The New Fall Season (and a Little Politics)

Yes, yes, I should be watching the RNC, but, as bipartisan as I try to be (when it comes to predicting elections, I'm about as even as you get), I just can't sit through hours and hours of Obama-bashing and Mitt Romney's incredibly awkward laugh and Paul Ryan's complete disregard for the truth.  I shall be truly fair and balanced starting with the debates again; tonight, I am fair and balanced the way FOX News is, except hanging a bit gauche.  If it makes you feel better, I watched Clint Eastwood up there, and though he was even-toned and had the likability that Mitt Romney can only dream of (and for some reason kept talking to a chair), it broke my heart a bit that such a wonderful filmmaker was out campaigning for two people I vehemently oppose, and so I just can't sit through the post-Clint section.  We all have friends we disagree with, even if in this case they're cinematic friends, and we all find a way to still love them.  I'm sure there are Republicans who secretly love Streisand or Sarandon or Damon or Penn or any of the other countless Hollywood liberals.  Again, one night diatribe-I shall be back to being as nonpartisan as any person can be tomorrow when it comes to election coverage.  And I'll always be cheering for Clint, even if I think he only deserves two of his four Oscars (for the record, the ones from the 90's).

So, instead, let's focus on some of the new fall television shows.  Fall is by far my favorite season, primarily because all of my favorite things come out to play-all of the Oscar-approved movies start hitting theaters (every day I feel like I'm adding a new one to my "To View" list), election season hits full swing (I promise, next week there will be convention recaps, and I shall stomach all four debates for you fine people), the leaves turn color and I get to pull out the blankets and go on brisk walks by the lake in my sweatshirt (I have the most comfortable Columbia University sweatshirt, and it is literally my favorite thing to wear-it's also a thousand degrees, so this global warming-induced August is not really conducive), and my television is crowded with loads of goodness.  Sure, there's lots of returning goodies (for me, the top of the list has to be seeing what American Horror Story: Asylum does), but right now I want to discuss the new shows on the docket.

For some reason I can't seem to find a decent rundown of what's new in cable (if you have a link or an in, please share in the comments), and I have to say that there's not a lot that's really calling to me.  Last year, I stuck to the bitter end with only two shows-American Horror Story and New Girl-every other new show I eventually dropped either because it was cancelled (Terra Nova) or because I lost interest (Person of Interest) or both (Pan Am).  So I know that only a couple of these shows will make it into a full season pass on TiVo and it might not even be one of these shows (New Girl I started watching about halfway through the season).  All of those asides being said, here are the five shows I'm going to give a try to, and we shall see if any become my new Lost or Desperate Housewives or The Office.

Nashville (ABC)

Pro: I need a new soap opera after losing Susan, Gaby, Bree, and Lynette after eight long seasons.  Connie Britton is a delight, and I do love me some country music.

Con: Not to be cruel, but doesn't this seem a little bit limiting?  And also, could someone tell me if I should just catch up on a season's worth of Revenge instead of taking up a new soap?

666 Park Avenue (ABC)

Pro: The cast and the premise-this looks like SO much fun, and I adore Terry O'Quinn and Vanessa Williams and crush on Dave Annable hard, so this is the perfect combo.  Combining horror and soap opera worked so well for AHS last year.

Con: Lightning rarely strikes twice, and I'm not just talking about AHS.  John Locke and Wilhelmina Slater were once-in-a-lifetime characters-how do you compete with that?

Last Resort (ABC)

Pro: The reviews on this one are spectacular, and I've heard complete raves about the pilot episode.  Though the cast does feature Andre Braugher and Bruce Davison, it's primarily made up of relative unknowns, which is good for ensemble dramas (which, for the record, is my favorite format for a TV show).

Con: I have this sneaking suspicion that this is one of those shows that will either get lost after its initial concept goes bad or is cancelled before it gets the chance to grow.

The New Normal (NBC)

Pro: I honestly don't need another comedy in my lineup, but Ryan Murphy's shows do tend to intrigue me, and having a gay couple at the center of a comedy could be very appealing (before you say Will & Grace, name one boyfriend of Will's aside from Bobby Cannavale, and I'll name you four off the top of my head that dated Debra Messing).  Ryan Murphy doesn't pull punches, and I suspect this could be both entertaining and groundbreaking.  Being on NBC, it doesn't need huge ratings to be a hit.

Con: Ryan Murphy also doesn't know how to tend to his shows well-Glee and AHS both went through spurts of great highs and great lows, and I expect the same here.  Though on the flip side I still watch both shows religiously, so maybe even that's a Pro.  Either way, I'm in.

  

Revolution (NBC)

Pro: Like Ponce de Leon, I may spend the rest of my television-watching days searching for the next Lost (if it's on right now and I'm missing it, please refer me to it in the comments).  This and Last Resort seem like the two most likely contenders.  Giancarlo Esposito is always welcome.

Con: It could also be the next Flash Forward, V, Terra Nova, The River...

And what about you?  What show are you most jonesing for?  Did you watch the RNC, and have a favorite speaker I should check out (I like to stay informed on both sides, regardless of how I may vote, so please share)?  Did you like Clint's speech?  And do you also search for the next "insert-your-favorite-show-in-the-blank-here" every fall season in hopes of finding something magical?

OVP: Come to the Stable (1949)

Film: Come to the Stable (1949)
Stars: Loretta Young, Celeste Holm, Hugh Marlowe, Elsa Lanchester, Thomas Gomez
Director: Henry Koster
Oscar History: 7 nominations (Actress-Loretta Young, Supporting Actress-Elsa Lanchester, Supporting Actress-Celeste Holm, Cinematography, Art Direction, Original Song-"Through a Long and Sleepless Night," Motion Picture Story)
Snap Judgment Ranking: 2/5 stars

As we've been taking this journey through Oscar's many, many decades of film, we've come across stars that stood the test of time (your Crawford's, your Garbo's), and yet more often than not, we spend time with the stars that highlighted a certain era with a stunning brightness, then slowly flickered out of the big screen and out of memory.  Since this is our first visit to 1949 (certainly not our last-I've got a load of missing films this particular year), that may explain why this is our first introduction to the lovely and talented and very sweet Loretta Young, and no review of Come to the Stable would be complete without first talking about Loretta.

For those unfamiliar, and I must say that I'm not an expert, having only seen this and her Oscar-winning work two years earlier in The Farmer's Daughter, I'm trying to find a modern-day counterpart, but am at a loss, as there's really nothing super modern about Loretta Young.  Yes, she's incredibly beautiful (those eyes, my god!), and yes, she's got acting chops, but her general calling card is that she's largely playing a saint, both on screen and off, in almost every role that she tackles.  With that, you know what you're expecting when you see her on-screen-altruism and truth, but with a spine of steel to go with it.  This authenticity might make her seem a bit pious and dated, but it also lends itself well to certain roles, in particular her work here.

Come to the Stable is the story of two nuns (Young and a woefully miscast Celeste Holm, but I'll get there in a second) who come from France to create a hospital for children in the middle of New England, but run into a bevy of problems, primarily that they have no money or land to speak of to create the hospital.  The film occasionally winks at this problem, particularly in the naivete of the nuns when they venture into New York City to secure the land or their frequent run-ins with the always welcome Dooley Wilson (though, being that he's there and that a beautiful piano-ready ballad features heavily in a subplot, Henry Koster missed a huge opportunity by not putting the two together). However, the occasional depths into slapstick, while fun, don't aid the fact that the plot is incredibly thin-come on, you know those nuns are going to overcome every obstacle to get the hospital made, particularly when everyone seems to bend over backward after admiring the glistening halo the cinematographer seems to perch over Loretta Young's head, so awash in light is she throughout the film.

The problem, and I'm sorry to say this, may have been just as much the casting director's fault as it is Koster's.  Young, it seems, is the only actor that doesn't seem out-of-place within the film.  This makes sense, as this was her big vehicle and she was a huge box office draw at the time, but that doesn't excuse, say, the many teeterings and totterings of Hugh Marlowe's character, not sure if he's a villain or just annoyed, and since his character arch is so crucial to the film, it seems weird that he's missing for half of it.  Additionally, there's Elsa Lanchester, as the doddering Ms. Potts, who can't decide if she's kooky or meek or just in awe of the crazy antics of the nuns, but she spends a lot of time with her mouth gaping open.  And then, of course, is the very talented Celeste Holm, who dons a "now you hear it, now you don't" French accent and her job description seems merely to agree with whatever Young's character says.  This is fine, were it not for the facts that Holm got an Oscar nomination for this one-note role, that Holm is a superb actress who can do great things given the opportunity, and that Holm and Hugh Marlowe would just one year later have bitingly good chemistry in one of the great films, All About Eve.

Come to the Stable received seven Academy Award nominations, and like I said previously, the Holm and Lanchester ones in particular are hard to swallow.  I'm also not a huge fan of Young's nomination, though it is understandable considering she does saintly well, though she can't compete with ultimate winner Olivia de Havilland in her march toward bitterness in The Heiress.  I'm still waiting to see Pinky from 1949, which also featured three nominated women, and am hoping I will respond better to that film.  As for the techs, the art direction nomination seems generous considering the limited sets and how little interaction the cast has with the interchangeable New England cottages, but the Cinematography is strong and the original song, so lush and torchlit, may be unnecessary to the plot, but is probably the best of the Academy-recognized attributes.

What about you-are you a fan of this film, or Young's in particular?  Do you think that any of the three ladies deserved mention against the competition in 1949 (or that the film deserved a win for its rather high nomination count, which featured no victories)?  And is there a modern day equivalent of Young that I'm not thinking of?

OVP: The Poseidon Adventure (1972)

Film: The Poseidon Adventure (1972)
Stars: Gene Hackman, Ernest Borgnine, Red Buttons, Carol Lynley, Roddy McDowell, Shelley Winters, Jack Albertson, Arthur O'Connell, Leslie Nielsen
Director: Irwin Allen and Ronald Neame
Oscar History: A stunning 8 nominations and 2 wins, one of them a special award for Visual Effects (Best Supporting Actress-Shelley Winters, Best Original Song-"The Morning After"*, Best Film Editing, Best Original Score-John Williams, Best Sound, Best Costume, Best Art Direction, Best Cinematography, and a special Oscar for Visual Effects)
Snap Judgment Ranking: 4/5 stars

I have to admit, right off the bat, that I was skeptical going into this movie.  If you search back far enough in this blog, you'll find that I loathe the movie Airport, and that has thus far been my only major disaster film of the 1970's, though the OVP offers up a bevy of additional disaster films that I will be partaking in.  Aside from Maureen Stapleton's underrated performance, there was little to lend Airport to me as a viewer, and while I enjoy a blockbuster as much as the next person, and I love a star-filled cast more than the next person, I was not particularly pleased when The Poseidon Adventure popped out of my Netflix sleeve.

Imagine my surprise, then, that I was absolutely riveted throughout the film .  The film opens with a stock cast of characters, and for all intents and purposes, they really could just be Ernest Borgnine, Red Buttons, Gene Hackman, etc., for it's nearly impossible to remember any actors' name, outside of Shelley Winters' Mrs. Rosen (more on that below).  But this works in blockbusters-you need charisma to sell a large-scale action adventure (casting directors who keep hiring Victoria's Secret models and Shia LaBeouf, take note), and you don't get more charismatic than this cast.  Yes, it would be nice to see an acting roster that includes five Oscar winners do a little more heavy-lifting, but everyone needs a relaxing day in the water and a giant paycheck to go with it.

(SPOILER ALERT THROUGHOUT) The capsizing of the ship is almost certainly the best sequence in the movie, and is actually a nail-biter.  This is the 70's, and so you know you're going to be losing some big name actors right away as opposed to saving them to the bitter end (hardly knew you, Leslie Nielsen and Arthur O'Connell!), so there's genuine suspense to see if everyone's going to make it.  The hanging from the ceiling, and the film's continuing body count, make the film a bit darker than it would be today, and it's unnerving to know this is likely how things would play out-most people waiting for help, most people not making it out alive-it is a capsized ocean liner in the middle of the Atlantic we're talking about here.

One by one, the characters all start to perish, and we get to see some truly spellbinding stunts, with all of the actors roaming through crevices and tunnels around the ship.  Not to harp on modern cinema too much, but the reality is that we know when it's really just an actor or stunt double in front of a green-screen these days.  I know it isn't as cost effective, but occasionally it'd be nice to see special effects the Irwin Allen way-with giant sets, shooting fire and water, and genuine claustrophobia on-screen.  Today, we'd likely be taken out of the ship on a regular basis to see the rescue mission.  By keeping us trapped in the ship the entire film, instead of pulling us out, we get the same sort of desperate relief when the cast sees light pouring out of the ship for the first time.

There's a lot of Oscar nominations to discuss here, so I'll say first that the editing, score, and art direction are all top notch, but in the cases of the Editing and Art Direction (as well as almost every other category), they're competing against The Godfather and Cabaret, so it's tough to see it having a shot at my vote.  Ditto the Costumes and Cinematography, which are just fine, but nothing to write home about, and the Sound is loud, but doesn't strike a strong balance with the surroundings often enough, relying too heavily on the iconic score (written by my favorite John Williams, and probably the best shot it has at an Oscar win from my ballot, since Nino Rota's score is ineligible, though if I'm being honest, I probably prefer John Addison's work in Sleuth).  And though it wasn't a competitive category at the time, it's hard to see any film beating it for Visual Effects.

But you want to hear about the two highest profile of the nominations of the film, Best Original Song, it's only competitive win, and Shelley Winters final Oscar nomination in the category that adored her, Best Supporting Actress.  Maureen McGovern's lilting ballad certainly works in the film, though it's odd that after being performed by Carol Lynley, it isn't really referred back to throughout the score.  While most people of my generation are probably best familiar with the song from South Park, it works in the context of the film, and in a very weak year (in which I haven't seen a single one of the other nominees, but judging on reputation it's going to be an unfortunate weekend), it's got a head start as the "right" choice.

Shelley Winters is, I will say, the best of the cast.  Borgnine and Hackman, while both strong leading men, seem to have too much ego with not enough backstory to show why, and Red Buttons seems wildly out-of-place and way too old to be dating Carol Lynley.  I would have liked to have seen Roddy McDowell more, but mostly because I find McDowell wildly underused as an actor and I revel every time I see his handsome face.  Winters alternates from some lovely work-a very realistic, if overbearing, scene in the dining car highlights that sort of abrasive sweetness that is Winters' wheelhouse (see also A Place in the Sun), but she also flails badly when she decides that she needs to start ACTING, particularly when she has resigned herself to death 2-3 times in the movie.  This is oddly my first Best Supporting Actress performance of 1972, so we shall see where this takes us, but I've got to admit that I like Susan Tyrell's and Eileen Heckart's odds a bit more after seeing this movie.

What about you?  Do you have a favorite 1970's disaster film (after this I can't wait to investigate The Towering Inferno, Earthquake, and The Swarm!)?  Who was best in show?  How many of The Poseidon Adventure's nominations should have resulted in wins?  And was Shelley Winters robbed by Eileen Heckart in her quest for a third Oscar?

OVP: The Racket (1928)

Film: The Racket (1928)
Stars: Thomas Meighan, Marie Prevost, Louis Wolheim
Director: Lewis Milestone
Oscar History: 1 nomination (Best Picture)
Snap Judgment Ranking: 2/5 stars

For those of you who are not fans of the Olympics (judging from the traffic, that may not be a lot of you), you may have been wondering what has become of the Oscar Viewing Project.  Never fear, while I did take a slight break to watch the world's greatest athletes and discuss the Republicans' nominee for Vice President, we are going to be returning hot and heavy into the films that Oscar deemed worthy.  I have a lot of fun stuff planned for September as well-more Oscar films, theatrical releases, September TV show premieres, the U.S. Open, the Democratic National Convention (I will be recapping all of the televised nights), and possibly more-so hang onto your hats and pray that I don't get distracted by shiny objects.

To welcome both you and I back to Oscar Viewing, I thought it would be great fun to go with not only our first Silent Era film, but also one of the first three films to be nominated for Best Picture.  At the first Academy Awards, Best Picture was broken out into two categories-Outstanding Production and Unique and Artistic Production.  Unique and Artistic Production got canned, though considering that the masterworks Sunrise and The Crowd were amongst the films in that category, it sort of makes you wonder what sort of course the Academy Awards would have taken had they stuck with the category.  This is my first of the three films in the Outstanding Production that I've seen, and while Seventh Heaven (the other losing nominee) could pop up at any time, I've decided to save the ultimate winner of this category, Wings, for my final OVP movie.  So it may take a bit of time, as I've got 2249 films to go!

But let's start that countdown with this film, directed by Lewis Milestone, who scored two Oscars in the first three years of the Oscars, and is noted for his big pictures, as well as his massive ego.  Considering the film was produced by Howard Hughes, also famously sure of himself, I would have loved to be a fly on the wall on this set.  Milestone's epic masterpiece All Quiet on the Western Front relied largely on the naivety of some of his characters, as they slowly became world-weary men.  He's less sturdy here, where all of the characters have long-established relationships, and while it's hard to call them cliches since it was 1928 and film hadn't been around long enough to deal in cliches, the wise-cracking mob moll (Prevost), a justice-defying crime boss (Louis Wolheim, who would also memorably work with Milestone in the aforementioned AQOTWF), and the unflappable cop with a solid moral compass (Meighan) are such standard and overused tropes that you feel like you've already seen the film halfway through it.  This isn't necessarily Milestone's or Hughes's faults, but what is their fault is the way it treats Meighan in particular-it seems unbelievable that someone with the experience he has would, for example (SPOILER ALERT) leave his star witness meandering around the police station where Wolheim's mob boss is able to shoot him, rather than locking him up.  The best part of the film has to be Prevost, all Mae West spunk and able to seduce any man in her path, except oddly our two stars.  Prevost would be one of the more tragic stars of the 1930's, purportedly having an affair with Hughes (though really, what starlet didn't sleep with Hughes at some point during the 30's?), and becoming an alcoholic after this film.  She died of heart failure at the age of 38 (Joan Crawford, a longtime friend, paid for the funeral as Prevost was broke).

Overall, the film was a bit of a disappointment considering the heights that Hughes and Milestone were able to reach later in their respective careers, but I'll turn it over to you now.  Have you seen The Racket, and does it rank alongside of Wings or Seventh Heaven (or Sunrise and The Crowd, for that matter), in your opinion?  Do you have a favorite Marie Prevost performance?  And have you been doing any Oscar-viewing while I've been slacking off?  Do tell!

One Small Step...

A few years ago, upon the death of one of my personal heroes, Sir Edmund Hillary, I wrote this.  It was a dare to dream, and I wondered whom the future Edmund Hillary's would be, whom the future Neil Armstrong's would be.  Well, today, we may not be closer to finding whom the future Neil's are, but we sadly have to say goodbye to the one who inspired the world by taking a giant leap on our behalf.

I wasn't alive when Neil Armstrong first went into space, and honestly, the Space Program was on the wane by the time I was born.  And yet, it inspired me.  I would spend hours learning about the explorers and adventurers who would reach the skies and the moon and the poles and Everest and wonder what sort of person could dare to dream so large.  How does one make the impossible possible?

It's a sad commentary that today, Armstrong's feat would be unlikely if not impossible to duplicate-the costs would be too much, it would be accused as rampant government spending that should be given to the private sector.  People today don't dream as big, and politicians can't poll miracles.  Instead of fighting to test the bounds of physics and engineering and science, we have politicians that question science as basic as reproduction.  There's a giant red planet out there just begging for some brave soul to walk upon it, diseases like cancer and AIDS that are one great discovery away from being cured, a world climate on the brink, boundless space that is begging to be explored.  All we need is men and women who want it badly enough, and are willing to support progress rather than a retread and sucker in to banal and comfortable platitudes.

So Neil, I gladly salute you and your dare to dream, and the gift you have given to the world.  And to anyone reading this, I dare you to look at the stars, to learn something new, to help to discover the impossible.  Neil may have taken his last step, but mankind still has the ability to make more giant leaps.  God speed.

OVP: ParaNorman (2012)

Film: ParaNorman (2012)
Stars: Kodi Smit-McPhee, Anna Kendrick, Casey Affleck, Christopher Mintz-Plasse, Leslie Mann, Elaine Stritch, John Goodman
Directors: Chris Butler and Sam Fell
Oscar History: 1 nomination (Best Animated Feature)
Snap Judgment Ranking: 4/5 stars

There's a brief lull in August and September where the fall television season hasn't started, the summer blockbusters have come and gone, and the shiny allure of the Oscar season is starting to light up your "to view" lists.  During this time, I try to catch up on reading, exercising, maybe even picking up the phone and attempting to interact with my fellow man.  However, I still have that urge to sit in a darkened theater and involve myself with a risky "late Summer" film, risky in the sense that most of what's thrown out here is the tripe that wasn't going to make enough money to be released in June, but it's not going to make a dent at the Oscars.  It's not quite as bad as being released in March, but it's close.  And so, this calm and peaceful Saturday, I decided to take a chance on a strange little kid named Norman.

The fantastic nature of ParaNorman, made by the same studio that brought us the wonders of Coraline, is that it goes so far beyond its premise, and in fact, our main character almost doesn't need to be able to talk to ghosts, which he can.  He could just as easily have been a boy that's into ballet, into collecting thimbles, into Revolutionary War reenactments.  The point of the matter is that Norman is unusual, and in a town that wants him to conform to what's expected.  This is a movie with a message, that it's okay to be different, and that judging someone for being unusual (or for stereotyping) can lead to dire consequences, and surprises, including some for the audience.

For as an audience member, I'll admit rather freely that I was about thirty minutes in and I was thinking that we'd gone through yet another stock animated retread-your standard weird kid who will save the town, fat kid who becomes his friend, vapid older sister who is oblivious, neanderthal jock who is as dumb as a rock, and a bully who will eventually be saved by his bullied victims.  And yet-that's not the case in this movie.  (SPOILER ALERT) In the end, the vapid older sister is the one who not only stands up for her brother against her parents, but does it without compromising herself.  Ditto the bully who strikes out with every girl, and is really a massive dork underneath the punching.  And in one of the most stunning developments in animated progress, the jock, Mitch, (voiced by Casey Affleck) turns out to be gay, which I believe is a first for mainstream animated films-correct me if I'm wrong in the comments.

The film also goes into some genuinely dark and scary places-mob mentality (headed by a stock drama teacher that still delivers guffaws courtesy of vocal maestro Alex Borstein), and the death of a young girl who is accused of witchcraft and terrorizes the town only to be saved by Norman.  The film is also extremely beautiful and eye-popping, considering the advancements that stop-motion is able to allow, and the many hilarious sight gags littered on the billboards and signs throughout the town.

There's a lot more to discuss (mass consumerism of a tragedy, the clear anti-bullying message, the lack of a score making this seem more like an Oscar-nominated short than a feature length summer film, but I want to hear from you on it, and if you haven't seen it-go out and support what is one of the more daring animated films to hit mainstream theaters in a while.

Olympic Image(s) of the Day: Day 17

And so we close with a big bang, though apparently not the entire performance (really, NBC?).  Here are some of the best moments:

Apparently I missed the royal divorce/younger brother marriage, but they do make a striking couple, don't they?

This did my heart good-I love the Spice Girls, and my god they have all aged spectacularly.  Well done ladies!  And I think this performance told me that I wannabe a ticket holder at the reunion tour, perhaps? :)

Spectacular shots-London truly outdid itself with the fireworks.  Can't wait for Rio!

And I think the Olympic cauldron is still the most iconic image of the London games-a spectacularly well-thought idea by the planners, and obviously beautiful as it unfolds.

Olympic Summer Camp Photo Album

Yes, there's still one more day tomorrow, and you know I'll be imaging up the Olympics Closing Ceremonies, but I wanted to put this together.  I've been thinking a lot about how the Olympics is like Summer camp.  You spend two very intense weeks with a bunch of people that you don't know very well.  You run, jump, swim, and dive.  You develop a crush (hey Nathan Adrian-call me maybe!).    You promise to write, but you never do (have you ever watched a world championship in swimming?).  And you complain loudly about the things you hated (I am still waiting for someone to explain to me what the hell Ryan Seacrest is doing at the Olympics), but the things you remember are the faces and the memories.  So we have a photo album to remember them by, here's a look at all of the friends we've made over our last two weeks in London...

Missy

...Ryan

...Allyson

...Misty May and Kerri

...Aliya

...Serena

...David

...Usain

...Danell

...Oscar

...Carmelita

...Kayla

...Allison

...Lolo

...Andy

...Kyla, McKayla, Ally, Jordan, and Gabby

...Nathan

...Moneypenny

...and Michael

Olympic Image(s) of the Day: Day 16

Usain Bolt may be a bit (okay, not really a bit) full of himself in interviews, but that doesn't stop the fact that with six gold medals, four world records, and the famed "triple double" he deserves to be proud.

The women's 4x400 meter proved once again that the real story of these Olympics has been the American women.  From swimming to gymnastics to track, they have dominated.  From left-to-right, Francena McCorory, Alyson Felix, Sanya Richards-Ross, and Deedee Trotter.  Felix deserves a particular shout-out, as she is the first American woman since Flo-Jo to take three golds in one Olympics.

And, also, congrats to David Boudia, who made me cry so bad that it repeated when the Visa commercial came-on for Morgan Freeman and again for the medal ceremony.  Here's some of my favorite divers for the 10m platform:

Nick McCrory and David Boudia

Bronze medalist Tom Daley

Australian and Beijing gold medalist Matthew Mitcham

Wow...I'm going to miss the Olympics for so many reasons! ;)

Introducing Paul Ryan

Four years ago, I wrote a piece on this blog celebrating the shrewdness of Sen. John McCain and his selection of Gov. Sarah Palin of Alaska.  At the time, there was a growing discord amongst Democrats that their preferred candidate for the Vice President, Sen. Hillary Rodham Clinton, was not even on the ticket after doing better than any woman in the history of electoral politics during the primaries.  And the Republicans were in a position that only a Hail Mary pass would help them.  In came a political unknown, a governor and former mayor from the state of Alaska, with a personal biography that looked as if it had been written for a Hollywood movie-former beauty queen turned mother-of-five, came up out of nowhere to become the governor of Alaska, and was now poised to be a heartbeat away from the presidency.  Additionally, her convention speech was a stunner, and it seemed as if the Republicans had a shot at the White House.

Well, we all know what happened next, and so as not to embarrass myself again, I'll try not to chide or congratulate Gov. Mitt Romney on his selection of Rep. Paul Ryan of Wisconsin as his running mate.  I'll try to just stick to the facts.

In the plus column, you have a young (42, though he looks a decade younger), handsome (expect at least a couple of SNL lampoons on the P90x-ripped House member), and extremely articulate congressman who has been in the House of Representatives since 1998, meaning that he's been in since he was 28-years-old, meaning that if elected, he'd be the first Vice President born in the 1970's.

Ryan is almost assuredly going to "shut up" the conservative right wing of the Republican Party for the remainder of the election, something Mitt Romney has been desperate to do for the last two years.  Romney's choice is one of, if not the most, conservative men to ever run under the party's label for president-Paul Ryan is the candidate that many Tea Partiers dreamt Mitt Romney would be, and I suspect having as the Number two will be good enough for 2012.

Ryan is also an extremely likable person-look at his acceptance speech for proof.  This looks like the kind of guy you wanted to be friends with in high school, a hunting buddy or fellow PTA member who can relate to the average American.  Whether or not you believe that to be true when you combine it with his views is a different matter, but it's not a trait to underestimate, particularly considering how terrible Romney has been with relating to the average middle class American.  It also will make Ryan's debate against Vice President Joe Biden an epic one, and something for which the Democrats should immediately begin to prepare (I honestly think that Ryan goes into it the favorite, but for all his gaffes, few people can command a podium like Joe Biden when he's on his game).  Additionally, home state advantage could give Ryan a boost in Wisconsin, a swing state and a nice prize for Romney, since it's gone for the Democrats the last three cycles.  We'll have to watch for polls to see if there's an impact.

That being said, this is a risky, risky move.  As I said yesterday, Ryan bring a mountain of baggage with him that a Sen. Portman or a Gov. Pawlenty simply wouldn't have brought.  Not only is there the obvious-Ryan's views on Medicare, Pell Grants, and Social Security are already legend around Washington, and about to be legend in your living rooms, but he also has a 14-year voting record in Congress that the DNC is pouring over as I type this.  That long in Congress probably brings up some votes that Ryan wishes he could take back when facing the Vice Presidential nomination, rather than his swing district in Wisconsin.  And his views on Medicare, in particular, will be a tough sell in swing states like Florida where they have a disproportionately high senior citizen population.

The choice of Ryan also makes Romney look like a risk-taker, which is good to a certain extent, but this is a man who has carefully plotted every move of his campaign.  Clearly, a choice like Tim Pawlenty would have been more in-line with his "tow the line, don't make waves" campaign.  Paul Ryan is a bold choice, but one with far more risk, and a choice that a man that was already winning the election wouldn't have made.  It's another Hail Mary from the Republicans, but we won't know for the next few months whether it's a Hail Mary inline with Sarah Palin or one that will connect with voters.

I'm going to close this with a little soap-boxing about perhaps the most idiotic cliche I ever hear from voters complaining about the political process, that there's "no difference between the two candidates."  With Obama/Biden and Romney/Ryan, that is so ridiculously not the case that anyone who claims there's no difference should have their head examined.  Regardless of your opinions on the subjects, the two tickets present a decidedly different view on how to handle the economy, Social Security, Medicare, health care, the environment, education, tax cuts, and social issues, and it is your job to learn about these stances and vote accordingly.  Winston Churchill once said, "the best argument against democracy is a five minute conversation with the average voter."  Don't be that voter-become informed, become involved, and vote.

Olympic Image(s) of the Day: Day 15

I don't mean to sound mean, but Morgan Uceny?  Really?  On Day 14 we saw a man break his leg and still finish his leg.  I know you were no longer in contention for a medal, but you're an Olympic athlete-show some respect for the games and finish your race.

Jordan Burroughs, became the first American to win a gold medal in Wrestling, in a brilliant victory over Iran.

Renaud Lavillenie is the French champion in the Pole Vault, which for me is the coolest of all of the Track & Field events.  Clearing 5.97 meters, somewhere Isaac Newton is rethinking gravity.

I have to say I adored Tom Brokaw's piece on Roger Bannister, a living legend and a classy knight-the first man who ever ran under a 4 minute mile.

And of course, we have to go with the fabulous American women who won the 4x100 m and smashed the world record (from left Tianna Madison, Bianca Knight, Carmelita Jeter, and Allyson Felix).  My favorite, Carmelita, is celebrating below.  

Hope Springs (2012)

Film: Hope Springs (2012)
Stars: Meryl Streep, Tommy Lee Jones, Steve Carell
Director: David Frankel
Oscar History: None (though Streep got a Globe nomination)
Snap Judgment Ranking: 4/5 stars

There was once a time when adults went to adult films at the cinema.  Not adult Jenna Jameson sorts of films, but films that don't have wink/wink nods to teenagers.  No superheroes, no special effects, no vampires or werewolves or boy wizards, but films like Terms of Endearment or Kramer vs. Kramer or Hannah and Her Sisters which celebrate the moments in life when your twenties have past.  Hope Springs is a movie that celebrates that tradition.

The movie starts with Streep and Jones establishing their routines.  Since I'm still in Olympic mode (can you believe we only have two days left?!?), I'll use the metaphor that they're just finishing up the second leg of their marriage.  They've made it through the early years, have gotten their children grown and out into relationships of their own, and are now about to enter that last stage, of grandchildren and quiet retirement.

But for Streep, as she wants something more, and signs up for a week of couples counseling, which Jones reluctantly agrees to.  There they encounter Steve Carell's calming presence as the psychiatrist.  For a film that billed itself on a number of laughs and has one of the most talented comedians working in film today, Carell does absolutely no mugging, and really just serves as moderator to the increasingly complicated emotions of Jones and Streep.  We continue journeying through the layers of difficulty when aging together-from sexual attraction to the deep affection that is taken for granted, only to find a solution that seems satisfactory without appearing cute.

Streep, of course, is brilliant, which is something we continually take for granted, but that doesn't stop her from being able to surprise.  She and the screenwriter pull back when you expect Streep's Kay to burst into tears.  She's a woman so used to hiding her emotions that even when she's in a safe environment and being asked her opinion, she hides it.  Streep adds so many conflicted layers to her scenes packing and routinely making breakfast, constantly questioning whether or not this should be enough or if she should try for something else as she nears the twilight of her life.  She gets a beautiful moment with Carell where she states that maybe she wouldn't feel so lonely if she were alone, a thought so many couples have contemplated when they were in one of the "bad years" of their marriages.

Jones is her equal as a man who cannot understand why his life is being upheaved.  Jones is careful to unfold his cards-Streep is the one who sees the "problem" in their marriage-Jones is at that point where complacency trumps trying, and he continually finds himself angry that his wife wants to upset the calm in their marriage.  Jones, an actor of few years, let's every grimace, every uncomfortable leg crossing, speak for his character.  Between the two, we have one of the finest romantic duets of the year thusfar, and proof that "actors of a certain age" can still deliver splendid work when given the opportunity.

What about you?  Did you find the film reflecting something in your own relationships?  Do you wish there were more dramas made for adults instead of the whole family?  And do you think longtime Academy favorites Streep and Jones have a shot for nominations 18 and 4, respectively?

2012 Republican Vice Presidents-My Guesses

If you're going through the entire blog's history, I once wrote about politics in addition to the Oscars and the Olympics, and since Mitt Romney could be making his Vice Presidential pick as soon as today (though I'm guessing it'll be Monday), I thought I'd get my guesses in.  Here, with one being the most likely, are my final guesses:

 8, 9, and 10 (aka The “Superstar” Picks): Gen. David Petreaus, Sec. Condoleezza Rice, and Gov. Jeb Bush

Pros: Any of these three would be a game-changer as the nominee.  Despite this not being a “foreign affairs” election, Petreaus would squash the recent international tour of embarrassment Romney endured.  Rice continues to be the only major player of the Bush administration with a decent approval rating (and again, foreign policy credentials).  And Jeb Bush would lock Florida up for Romney at a time where he seems to be losing ground in the key swing states.

Cons: If Romney is fighting the “he’s boring” factor, picking one of the three biggest GOP stars in the country isn’t going to help counter his general lack of emphatic support amongst either the base or the electorate as a whole.  Petreaus’s politics are a big question mark-is he even a Republican?  Rice is a moderate, which is going to hurt in the first presidential election in modern history that will be decided more by the base than the shrinking undecided’s.  And Bush, well, if he wanted to run nationally, he would be at the top of the ticket.

7: Sen. Kelly Ayotte (NH)

Pros: The GOP is hemorrhaging support amongst women, and picking a woman theoretically could stop that.  She’s pro-life and a conservative Republican, and also has the added benefit of coming from a swing state.

Cons: I seem to remember another conservative woman who had very little elected experience that was selected to be Vice President….what was her name again?

6. Gov. Bobby Jindal (LA)

Pros: He’s a young, history-making (he’s an Indian-American) choice as Romney’s running mate.  He’s also a former congressman, so he’d be able to work quite readily with Congress if selected.  He’s ushered in a new wave of party-building for the GOP in Louisiana and at 41, Romney could be picking the next GOP superstar.

Cons: Unlike Reagan and GWB, Romney doesn’t seem to have found a balance of running for both himself and the Republicans, and party-building doesn’t seem to be part of his agenda this election.  Additionally, Jindal is not the world’s best public speaker.

5. Sen. Marco Rubio (FL)

Pros: Again, a young, history-making choice for Romney, and one that would excite the base to no-end.  Unlike Jindal, Rubio is incredibly charismatic and a terrific public speaker.  He’s highly telegenic, and almost thirty years younger than Joe Biden, which would show in a debate.  He’d also be a potential way for Romney to shore up Hispanic voters in swing states like Nevada, Colorado, and Florida.

Cons: He’s very new to the national scene (he just won his Senate seat in 2010) and is therefore more likely to have skeletons.  Sarah Palin looked spectacular on paper too.

4. Gov. Chris Christie (NJ)

Pros: As the Howard Beale of New Jersey politics, he’s managed the impossible-implemented a hard right agenda in a blue state while still remaining popular.  He’s got skills on the stump, and while he wouldn’t deliver New Jersey electorally, his brand of blunt politics could play well in certain parts of the Midwest.

Cons: He’s a loose cannon, and has a treasure trove of campaign material for the Democrats.  Joe Biden would be able to goad him a bit in the debate and he toes the line rather closely between impassioned and angry.

3. Gov. Tim Pawlenty (MN)

Pros: He’s a tried-and-true campaigner from a blue state.  Where Romney arguably lacks most (connecting with your average middle-class voter), Pawlenty does well.  A two-term governor, a short-lister for McCain, and a presidential candidate himself, he’s been on the national stage time-and-time again and is unlikely to have too many skeletons.  He also seems like the candidate that Romney truly wants to run with, and that has to count for something-Bush picked Cheney and Obama picked Biden when picking someone more glamorous like John McCain or Hillary Clinton, respectively, would have made more sense.

Cons: John McCain wanted to run with Joe Lieberman, John Kerry wanted to run with Dick Gephardt-you don’t always get to pick your right hand man when you’re down.  Pawlenty is a bit bland, and (from a GOP-perspective) would likely make a better Vice President than a Vice Presidential candidate.

2. Rep. Paul Ryan (WI)

Pros: He’s probably the most “exciting” of the legitimate contenders, and he’s also a game-changer for Romney.  Aside from being a telegenic and excellent speaker from a swing state, he’s also got instant credentials amongst the conservatives, particularly on economic policy, and if Romney wants an issues-oriented campaign, he wouldn’t be able to pick a better running mate.

Cons: Ryan would be a “no-going-back” sort of candidate for Romney.  He has a laundry list of not just votes, but budget proposals and Medicaire cuts that the Democrats could parse through.  It’s not that Romney disagrees with a lot of Ryan’s proposals, but Romney’s tendency to want it both ways on divisive issues would evaporate if he picked Ryan.

1. Sen. Rob Portman (OH)

Pros: Though recent quotes from the senator has me a little doubting Portman, I can’t help but feel that this is the choice.  Great-on-paper, a former congressman and current senator, he’s a terrific debater (perhaps the only person on this list who could outdo Joe Biden), a swing state candidate (Romney and Obama would both give just about anything to win the Buckeye State), he’d be a strong complement to Romney’s campaign, and unlike Rubio and Christie, he’s both a Tea Party choice and someone who has been on the national stage for a while.

Cons: He’s not the most interesting candidate, but neither was Walter Mondale or George HW Bush, and they still won.  However, his connections with the Bush administration, particularly his economic ties (he was Bush’s OMB Director) make tying Romney to Bush that much easier for the Democrats.

Olympic Image(s) of the Day: Day 14

We are sadly almost at the end of the Olympics, but that doesn't mean there isn't a lot of excellence to celebrate.  You will notice the lack of Usian Bolt, and that's primarily because I wasn't a fan last night-yes, he's one of the greatest athletes in history, and yes, an amazing story of these and the Beijing games, but had he not been grandstanding, he would have broken another world record last night.  When you're fighting for Olympic gold, it's not just that you win, it's that you do the best that you possibly can while the world is watching, and putting number one up while you're still racing is just bragging, not accomplishing.

The perfect example of giving it your all was Manteo Mitchell in the Men's 4x400 meter, who broke his leg!!! and yet still managed to not only finish in 46.1 seconds, but also to get the United States through to the finals.

And of course, if you wanted your requisite amount of tears, you had to enjoy Ashton Eaton hugging his mom after being crowned the "World's Greatest Athlete," winning the gold medal in the decathalon, a two-day event so grueling most people wouldn't be able to complete it if they were given a month and unlimited time to finish the race.

And finally, this was not yesterday, I'm aware, but I just wanted to chime in on the whole Lolo Jones controversy.  The reality is that, yes, Lolo Jones didn't medal, and yes, there were expectations that she would.  But the media seems to be eviscerating her for no reason-she's still the fourth best in the world, and to call her the "Anna Kournikova of track" is completely unfair-she's a two-time world champion in the 60 meter hurdles, and holds the American record.  The only reason Kournikova has a Grand Slam title is because almost anyone could win a tournament if Martina Hingis was your partner.

But that isn't to take away from Kellie Wells and Dawn Harper, who ran an incredible race, and took the bronze and silver, respectively.  So I'm including all three of these amazing athletes today.  If you have an opinion, there's a comments section-we'd love to hear from you!