Recenzii TV Toate recenziile TV sunt intr-un loc convenabil.
„Candice Bergen” (primul sezon, episodul patru; difuzat initial 8/11/1975)
Primul episod gazduit de Candice Bergen este intr-adevar primul care, de la inceput pana la sfarsit, se simte ca un episod perfect format din Saturday Night , si nu un experiment de laborator. Acest lucru se intampla in ciuda faptului ca, dintre primii 10 oameni care au gazduit spectacolul, Bergen a avut probabil cel mai putin motiv evident pentru a fi acolo. Ea nu a jucat niciodata cu adevarat comedie, nici macar in putinele filme de pe CV-ul ei – fiasco-ul Ant-Nuke The Day The Fish Came Out si batalia dintre sexele lui Mike Nichols si Jules Feiffer Carnal Knowledge– prin anumite definitii exotice ale cuvantului, s-ar putea sa fie numite comedii. Nu a avut experienta de improvizare si nu a avut credinte particulare pentru sold sau chiar o imagine publica deosebit de bine definita. La 27 de ani, a fost cea mai cunoscuta pentru ca arata frumos si actioneaza rigid intr-un sir de filme groaznice si pentru ca este fiica lui Edgar Bergen.
Spectacolul nu se refera la nimic. Nu exista schiuri bazate pe rolurile ei de film mai bine cunoscute, iar singura data cand superba ei de coperta de revista este abordata direct vine atunci cand ea si Gilda Radner au o discutie la fata locului. Nu este genul de „show biz people care se prefac ca sunt cei mai buni amici” decat animatorii dintr-o generatie anterioara obisnuiau sa omoare timpul in show-urile de varietati. In concordanta cu vibratia relaxata, de ultima ora a spectacolului sperat sa creeze, chiar se simte ca o sesiune de rap informal. Ea si Radner stau doar pe scena si compara notite despre nesigurantele lor, vorbind despre modul in care acestea afecteaza totul, de la viata lor de intalnire la politica lor.
Devine cu adevarat interesant atunci cand conversatia se indreapta catre amendamentul privind drepturile egale, pe care New York nu a ratificat. Bergen mentioneaza ca a votat pentru asta si a fost dezamagit. Radner – care incearca probabil sa fie amuzant, nu inseamna sa para ridicol – spune ca nici nu a votat-o, nici impotriva ei, dar murmura ceva despre cum nu este confortabila cu ideea de bai unisexe. Bergen o informeaza cu blandete ca exista o multime de propaganda in jurul problemei si ca egalitatea protejata constitutional nu inseamna acelasi lucru cu a pretinde ca nu exista diferente importante intre barbati si femei. Femeia care arata ca un model vorbeste sensibil despre feminism ca mijloc de justitie sociala, iar comediantul cu fata amuzanta pare confuz un pic frica de asta, care probabil nu este directia pe care ar fi luat-o cei mai multi scriitori de comedie daca aceasta ar fi fost o scena scenariu. Este un moment care ar fi de neconceput in emisiune acum; de fapt, ar fi fost greu sa-l imaginam in emisiune doar cativa ani mai tarziu. Insa, in acest moment, Lorne Michaels si compania trebuie sa fi fost de parere ca publicul ar intampina o sansa de a cunoaste oamenii de pe ecran, chiar ca aceasta a insemnat sa le permita sa vorbeasca pe scurt despre lucrurile de care aveau grija fara sa se prefaca macar sa glumeasca.
Rap-ul Bergen-Radner este, de asemenea, consecvent in ton si scara cu restul episodului, care se stabileste intr-un format revue casual cu o estetica DIY, subliniind importanta talentului si atitudinii fata de valorile productiei. Chevy Chase stabileste un precedent cu deschiderea la rece, care serveste pentru a-si introduce „raspunderea” presedintelui Ford. Din nou, este ceva care nu ar fi trecut niciodata mai mult in istoria spectacolului. Chase nu incearca sa para sau sa sune ca Ford; pur si simplu iese afara, se prezinta, apoi incepe sa foloseasca reputatia lui Ford ca o poticnire pentru a spune lucruri idiotice si pentru a-si arata flerul pentru comedia fizica. Dar, la vremea respectiva, acest lucru a facut ca parul sa para mai ireverent.
Apoi, exista prima parodie a serialului, „Jaws II”, care a introdus termenii „rechin de pamant” si „Candygram” in multe lexicale ale unui clovn de clasa. Reuseste sa-si faca treaba doar taind inapoi si inapoi intre doua seturi, dintre care unul nu este atat de mult ca un set ca Dan Aykroyd si John Belushi stand la o masa in fata unui zid de caramida. Exista, de asemenea, cateva schiuri de talk-show, inclusiv un „Black Perspective” foarte amuzant si destul de infocat, in care Garrett Morris intervieveaza „surorii sufletului” Jane Curtin, autoarea suspecta de culoare deschisa a unor astfel de romane incendiare despre afro-americanii experienta ca Sharecropper ’75 si Charcoal City. Cea mai meticulosa productie interna, dar este reclama filmata pentru Ambasador Training Institute, in timp ce cel mai ambitios set este probabil biroul dezordonat necesar pentru o schita – rezonabil de politica,
Cand Bergen nu sta de vorba cu Gilda Radner sau sta pe un canapea care ii asteapta randul cu rechinul, face o parodie a unei reclame de parfumuri infaptuita de Catherine Deneuve, care se realizeaza de asemenea cu tehnologie scazuta, cu gazda reclinata la faza centrala. , recitandu-si liniile in accent francez, cu o sticla de parfum lipit de partea capului; participa la un monolog de deschidere care se transforma intr-o scuza pentru a-l transforma pe John Belushi in costumul sau de albine; ofera o primire calda, accesibila invitatei muzicale, Esther Phillips; si face o reclama reala pentru camera foto Polaroid, obtinuta de Chevy Chase. Ea joaca, de asemenea, un reporter care, de dragul de a juca o poveste plictisitoare, conduce un conducator nerefacut al Orientului Mijlociu (Belushi) la o furie ucigatoare („Nu pot pronunta acest nume, asa ca de ce nu te numesc Raghead ? ”) Si gazduieste o schita de talk-show,
Which really pinpoints what Bergen brought to the show, and how she helped to liberate the cast and crew. She might not have been one of the giants of hip ‘70s comedy, but she was a good sport, and ready for anything. Michaels was ready to let his regular cast loose to really show what they could do, and that was a necessary step in the show finding itself. But the special charm of this episode comes from the feeling it gives you that a big part of what they wanted to do was induct Candy into their world and show her a good time. At the very end of the episode, one more thing happens that had never happened before: As the host says goodnight to the audience, the cast gathers around her, as if they’d finally been invited to sit at the grown-ups’ table. Then they each hand her roses. It’s a very sweet closer, because the emotion from both sides looks genuine. From this moment on, hardcore fans would look forward to watching how everyone behaved during the closing credits, to get a sense of just how the past week had gone backstage.
Observatii vagabunde:
- Am scris saptamana trecuta ca episodul precedent a marcat ultima data cand Michael O’Donoghue (care face aici o scurta aparitie caracteristica urat, facand o idee malefica in varsta de opt ani a unui apel telefonic obscen pentru o femeie care lucreaza pentru un linie aeriana) a fost listata pe ecran ca unul dintre jucatorii care nu sunt pregatiti pentru Prime Time? Daca da, am mintit. De fapt, exista de fapt un glitch in creditele de deschidere: o singura carte de titlu – cea care enumera O’Donoghue, Garrett Morris, Laraine Newman si Gilda Radner – apare pe ecran, in timp ce persoanele ale caror nume apar inainte de alfabet trebuie sa se multumesc cu platile lor, aplauzele multimii si multumirile unei natiuni recunoscatoare. Slava Domnului care include Chevy Chase; daca ar fi fost creditat si John Belushi nu ar fi fost, Belushi ar fi ars probabil cladirea la pamant.
- It’s easy to lose sight of this now, but at the time, the title “Jaws II” was itself a joke. It had been less than a year since The Godfather, Part II initiated the now-standard practice of tacking Roman numerals onto the titles of sequels. If anyone had done it before, it didn’t start a trend, and by the time this episode was broadcast, the only movie I know about that had the chutzpah to follow Francis Ford Coppola’s lead was French Connection II. The real punch line may be that, by the time the actual sequel to Jaws came out two and half years later, there was zero possibility that it would be called anything except Jaws II.
- Four “Weekend Updates” in, Chevy Chase has finally found his catch phrase: “I’m Chevy Chase, and you’re not.” At this point in the history of the Chase ego, it sounded more like an absurdist one-liner than a smug boast.
- “Weekend Update” also features the first of its “Editorial Reply” duets, with Jane Curtin delivering a rebuttal while Chase makes funny faces behind her back. Like the return appearance by Garrett Morris doing News For The Hard Of Hearing, it represents an extension of “Weekend Update” into a parody of TV newcasts as a genre, not just a pile-up of topical one-liners.
- Andy Kaufman does his Foreign Man, messing with the audience’s head by doing one of those stand-up routines so bad it’s surreal, then having a breakdown (“I don’t know if you are laughing at me or with me!”) that might also be taken for the real thing by the unhip. Let it be noted that this was Kaufman’s third appearance on the four-week-old show, and that this was the first time he spoke, and it wasn’t in his real voice.
- Kaufman, plaintively, to the audience: “There is nothing I can do but promise I will not be here again.
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- The Muppets sketch this week is an environmental lecture revolving around a near-extinct but reputedly delicious bird. The title, “Dregs And Vestiges” is gone, but I think I heard a scream during Don Pardo’s spoken introduction that I never noticed before.
- In the first installment of a least-remembered recurring routine from the early days, a couple of college kids are heard having a conversation while the game of Pong they’re playing takes over the TV screen. These sketches—which, I suspect, were probably inspired by a scene in the 1975 movie Rancho Deluxe where Jeff Bridges and Harry Dean Stanton have an exchange while playing Pong, while we see their faces reflected in the screen—were never especially memorable in the writing or the performing, but at the time, I’ll bet they made the show’s creators feel very modern. Seen now, they get over on the strength of the primitive-video-game nostalgia.
- Albert Brooks’ short film is a promo for NBC’s midseason replacement shows—“Even a super season has super failures!”—including a hospital drama (featuring Rene Auberjonois and some guy who, my wife assures me, used to play Dr. Neil Curtis on Days Of Our Lives); a leering, proto-Three’s Company sitcom in which Brooks plays a married man who’s constantly trying to lure his wife and her best friend into a menage a trois; and „Black Vet”, the story of “a young black veteran from the Vietnam war” who “returns home and establishes a practice as a veterinarian in a small Southern town.” (Watch for Dabbs Greer, the preacher on Little House On The Prairie, as the guy who explains that, while he himself is fine with a black doctor looking after his animals, the animals themselves have a problem with it.) Of all the films Brooks made for the show, this is easily the one that fits in most perfectly without breaking the flow of the show itself; it’s basically a long, filmed commercial parody. As it happens, it’s also one of funniest things Brooks has ever done with a camera.