Monthly Archives: January 2010

Weekly Best Of: The 21 Best Lost Episodes

I don’t know if you’ve heard, since everyone’s been keeping it on the DL, but it turns out that Lost is coming back on Tuesday! In little breaks from spending time agonizing over whether or not Jack’s plan to nuke the island worked or if the Man in Black is named Esau, Mike and I came up with a list of our 21 favorite Lost episodes. We now present them to you, in order of air date since in order to successfully rank them we’d need to retreat to a four-toed foot with only a loom and the Valenzetti Equation to figure it out. Disagree? Sound off in the comments below.

Pilot
The cultural phenomenon of Lost became such as the result of an action-packed two part pilot episode that helped defined the essence of the show’s first season. The show starts with Jack waking up immediately after the crash, and in those first two hours shows the immediate aftermath, introduces the smoke monster, the mysterious message from Rousseau, and, the most talked about twist, the polar bear attack.

Walkabout

While the “Pilot” was an appropriately mindboggling start, it wasn’t until “Walkabout” that Lost really showed what it was capable of. By turning Locke from the creepy old man in the “Pilot” into a major island player, introducing him to the monster, and deploying the episode’s mind-spinning final twist, which is still one of the most effective surprises in Lost’s history.
Numbers
A point of interest in Lost‘s first season were the mysterious numbers, 4, 8, 15, 16, 23, 42, which had haunted Hurley and turned up on the Island. Fans broke down the meaning, which thus far, hasn’t really been explained. The episode also helped established more the backstory for the lovable Hurley, who, we discovered, had won the lottery and spent time in mental institution. Hurley was already the goofy, big, comic relief, but “Numbers” established him as being as essential to the story as Jack, Kate, or Locke.

Exodus

Still one of the show’s most satisfyingly epic wrap-ups, “Exodus” did a great job of wrapping up the show’s first season while setting up its second. The twin cliffhangers of Walt’s abduction and what exactly was in the hatch set the standard for Lost’s torturous season-enders. However, my favorite moment may still have to be Arzt’s spectacular dynamite fail and Hurley’s all-time classic response.
Man of Science, Man of Faith
In the second season premiere, the plot of Lost more or less got flipped on its head with the discovery of Desmond in the Hatch. The added fact that Jack had once met Desmond during a late night work out was even more incredible, another insane coincidence on a show that loves insane coincidences. The mythology of the show grew exponentially with the introduction of what was in the Hatch, most specifically, the computer that required the pushing of the Numbers every 108 minutes to “save the world.” The episode kicked off a season that at times bogged itself down too much, but it ultimately added to the mystic of the Dharma Initiative and the history of the Island.

Orientation

There are an inordinate amount of Locke episodes on this list, because he tends to be at the center of some intriguing stuff. Case in point, “Orientation,” which deftly sets up a lot of the action for season 2, courtesy of a little bit of film by the Dharma Initiative. Meanwhile, the flashbacks gave us more insight into Locke’s tragic, off-island life, even as he started further down the course that would lead to his own death (uh…spoilers)

Live Together, Die Alone
Another fantastic season finale, “Live Together, Die Alone” again established the notion that everything we thought we knew about the Island would change the next year. As Michael sails away with Walt, he watches the results of his betrayal, when Ben Linus orders the hoods put over the heads of Jack, Kate, and Sawyer, their fate hanging in the balance. Meanwhile, we learn what the Hatch was there for and, finally, just how Oceanic 815 crashed on the Island. The end of the episode, Penny being woken up by a call from the Arctic, made it a long summer of waiting to find out what happens next.

Flashes Before Your Eyes

Everyone complaining about Season 5’s use of time travel must have missed the night “Flashes Before Your Eyes” aired. After turning the key, Desmond shoots back through time and has a second chance to choose Penny over a life of button-pushing…until he gets talked out of it by Eloise Hawking. A great episode (as is any Desmond-Penny episode) that also serves as an example of how good Lost has been at long-term table setting.

The Man from Tallahassee
The powers of the Island were evident from the moment we learned Locke had once been in a wheelchair, but in “The Man From Tallahassee,” they became even more extraordinary. First revealing that Locke’s paralysis was the result of being shoved from a window by his father, a fall that should have killed him, but next, we find that Locke’s father, the real life Sawyer, has appeared on the Island. It’s the first time we learn also of Richard and Locke’s supposed connection with the Island.

The Brig

Pretty much a direct sequel to “The Man From Tallahassee,” “The Brig” is an emotional wrenching hour that brings to rest two of the show’s most well-drawn character arcs – Locke’s father issues and Sawyer’s thirst for revenge. For a show that doesn’t always get the character stuff right, “The Brig” is pitch-perfect, no more so than the moment when Sawyer finally reads the letter he wrote 30 years earlier.

One of Us
Through the first part of Season 3, it was hard to figure out what to make of Juliet, as we didn’t know very much about her. But “One of Us” was the episode where she began to emerge and endear herself to Lost fans. She’s a sympathetic character who has been pulled in further than she intended, wanting only to return to her sister. She goes through great pains to get the Losties to trust her, only for us to discover at the end it’s all part of an elaborate plot of Ben’s.

The Man Behind the Curtain

While at first Ben Linus appeared to be irredeemably evil, Lost is a show about layers and moral greyness. But “The Man Behind the Curtain” gives us some insight into who he is. Ben loses his mother in childbirth, gets dragged to a strange island, abused by his father, and neglected by Jacob; the show pulls off the tricky feat of making us feel bad for its most morally questionable character, even as it shows him planning and executing the genocide of an entire group of people and the murder of one of our favorite characters.


Through the Looking Glass

Perhaps the most mind-blowing of all the season finales, “Through the Looking Glass” again completely changed Lost. It’s a mixture of triumph and sadness, with the death of Charlie, the hope of rescue, and the unknown as to who’s boat has arrived (not Penny’s, that’s for sure). But the most incredible part comes at the end of the episode, when it’s revealed that the drugged up, bearded Jack we’ve seen wasn’t part of a flashback, but a flashforward. The episode ends with a huge cliffhanger, and Jack yelling to Kate, “We have to go back!”

The Economist

When the O6 came home, Jack drank a lot, Kate obsessed over Aaron, and Hurley lost it again, but Sayid grew his hair out and became a globetrotting super-assassin. How? Why? “The Economist” goes into Sayid’s post-island life, his hunt for a mysterious economist, and the ultimate reveal that his employer is none Other than the man he hates most: Ben Linus, all while hinting at the time-shifting weirdness that was about to come.
The Constant
The Lost writers warmed us up for the idea of time travel with “The Constant,” an incredibly touching and solid episode. We’d previously seen Desmond’s struggles with glimpses of the future, but as he gets stuck in time, bouncing between happier times with Penny and tough times on the freighter, the purpose of Daniel Faraday becomes clearer and clearer. The episode also has one of the best moments in all of Lost, the brief conversation between Desmond and Penny that brought a lump to the throat of even the toughest of fans.

The Shape of Things to Come

When Lost went on a Writers’ Strike enforced hiatus, it seemed possible that season four would be cut-off at the legs. Instead, they came back with one of the strongest Lost episodes ever – a fast-paced hour that took us through Ben’s rivalry with Widmore, his recruitment of Sayid, his capability to summon the Smoke Monster, and, most tragically, his misplaced faith in the island and Jacob to protect Alex from harm.

Cabin Fever

After a lifetime of running, hiding, and missing his destiny, John Locke finally takes charge and embraces his future as the island’s savior, right? Well, this episode takes on a new and interesting irony in light of what would happen in season 5, but at the time it was enough to get an intriguing look into Locke’s past, which included visits from Richard Alpert and Matthew Abaddon. We also got the Horace/cabin dream sequence and the crazy ending, where Christian (who may or may not have been the Man in Black) and a hazy looking Claire tell Locke to move the island.

316
“316″ marked a major turning point for the Oceanic 6, all of them (except Aaron) being on the same flight that was doomed for the Island. Meanwhile, Jack, a man always opposed to the idea of destiny and gut feelings, struggles to come to terms with his impending fate. The episode ends with a great image too: Jack, Kate, and Hurley being confronted at gunpoint by the Dharama-uniform-clad-English-speaking Jin.

The Life and Death of Jeremy Bentham

You can be forgiven for finding “The Life and Death of Jeremy Bentham” kind of a slog the first time through. But, in light of everything that happened after, the episode becomes a bleak elegy for a man who was never anything more than a deluded pawn in a game too big for him to understand. Each visit with a castaway is more crushing than the last, and all of it builds to the epic Locke-Ben showdown, a powerful scene that features some of the best acting in the show’s history.

LaFleur
The character transformation of James Ford, better known as Sawyer, comes full circle with “LaFleur.” When we first met him, he was truly hard to like. But as he cons his way into staying with the Dharma Initiative in 1974, falls in love with Juliet, and becomes a responsible man, it’s hard to remember that time. Further more, the episode delves deeper into what exactly the Dharma Initiative did and the nature of their conflict with the Hostiles.

The Incident

Season 5 is probably Lost’s most meticulously crafted and ingeniously structured season, but it is impossible to take in fully until you get to its satisfyingly twisty conclusion, which was easily Lost’s most touching finale (boo! hiss!). The Locke reveal was pretty shocking, Juliet’s death was tragic, and the final cliffhanger was positively masochistic, but the heart of the episode was Mark Pellegrino’s debut as Jacob. From the electrifying first moments with the Man in Black to his Forrest Gump-like cameos in our favorite castaways’ lives, Jacob’s introduction defied all the expectations we had built over the last five years and set the table for a (hopefully) immensely satisfying conclusion.

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Track-By-Track Review: Casual Victim Pile

Designed to feature Austin bands who are still flying under the radar, Casual Victim Pile is the brainchild of Gerard Cosloy, Austin resident and co-founder of Matador Records. Rather than providing a regular review of the record, I decided to instead give my track-by-track thoughts.

Band: Follow That Bird!
Song: The Ghosts That Wake You
Review: Follow That Bird! has come far from the band I saw open for The Eastern Sea at my friend’s co-op and they open Casual Victim Pile like a defibrulator. Their shambling punk sound is tinged with a Southern garage rock edge that calls to mind contemporaries like Heartless Bastards and even a little Black Lips. Unlike the latter though, Follow That Bird! favors precision over sloppiness and “The Ghosts That Wake You” is an appropriate propulsive beginning to the compilation.
RIYL: Sleater Kinney, Heartless Bastards
TUIW Grade: B+

Band: The Young
Song: Blister
Review: The Young are reverb-soaked lo-fi – with an art rock edge – and may or may not have swiped Les Savy Fav’s Tim Harrington to sing vocals. “Blister” starts with an in-medias-res fade-up and builds from there. The Young’s ambition exceeds their modest production values – the song’s builds and fades are reminiscent of Broken Social Scene, but condensed into a much smaller package. Even if it seems like they’re rushing to fit a whole bunch of ideas into one 3-minute song , “Blister” is never boring and a good indication of the potential that The Young has.
RIYL: LSF meets Wavves
TUIW Grade: B

Band: Woven Bones
Song: Spirits Roam
Review: Now I wanna be your dooooog. Iggy meets the Stones with a lithe, sinewy rock sound that, unfortunately, never quite adds up to more than the sum of its easily identifiable forebears. Still, their pulsing, nasty energy has its appeal and their show is a lot of fun.
RIYL: Classic rock or Detroit Punk
TUIW Grade: C

Band: Flesh Lights
Song: Crush on You
Review: Flesh Lights is one of the bands making their recorded debut on Casual Victim Pile and they ooze potential. “Crush on You” is straight out of the Ramones playbook, and despite clocking in at under 3:00, it is at least a minute too long. That said, Flesh Lights have oodles of energy and a charming sloppiness, not to mention perfect timing since their sound would fit in right alongside The Smith Westerns, Surfer Blood, Girls, or any of the other beach party bands that the indiesphere has spawned in the last year or so.
RIYL: The Ramones, The Smith Westerns, The Wonders
TUIW Grade: B

Band: Dikes of Holland
Song: Little City Girl
Review: Another debut band, but this one was less rewarding. Give Josh Homme crappy recording equipment and way too much echo on the vocals and you might produce something like “Little City Girl,” which wouldn’t sound out of place on a Madden Soundtrack.
RIYL: Queens of the Stone Age, Dead Kennedys
TUIW Grade: C-

Band: Tre Orsi
Song: The Engineer
Review: Definitely my favorite of the first side, Tre Orsi fits right in with other 90s revivalists like Cymbals Eat Guitars. Featuring dynamic, J. Mascis-style guitars and appropriately dispassionate vocals, Tre Orsi’s winning shamble is definitely one of the highlights of the compilation (which makes it a little sad that they’re actually from Denton…)
RIYL: Built to Spill, Dinosaur Jr, Sonic Youth
TUIW Grade: A-

Band: The Distant Seconds
Song: Akron Bureau
Review: Hardcore meets post punk meets 70s guitar heroics meets an extremely competent and passionate lead singer (which is a rather winning combination around these parts). What “Akron Bureau” lacks in originality (in addition to Ted Leo, there’s a whole lot of Spoon in this song), it makes up for in energy and sheer competence.
RIYL: Ted Leo, Wire, Spoon
TUIW Grade: B

Band: Kingdom of Suicide Lovers
Song: Hoboken Snow
Review: “Hoboken Snow” starts off like “Love Will Tear Us Apart” before morphing into “Teenage Riot,” but unfortunately that’s too literal of a description of this song. Still this is a new band (making their debut) and they’ve already got a pretty solid command of what they’re doing (including guy-girl vocals that share as much with Ira-Georgia as they do with Thurston-Kim). Given the potential they showed here and in shows around town, I’m excited to see where Kingdom of Suicide Lovers goes next.
RIYL: Sonic Youth, Yo La Tengo
TUIW Grade: B-

Band: Elvis
Song: Mommy’s Little Soldiers
Review: Pure, simple, and nasty, Elvis’ dark, mucky blues rock feels like a cough syrup trip and, while I originally found them a little too self-consciously weird, this song has definitely grown on me (especially when the Adam Sandler sound-a-like comes in towards the middle). They’re here in Austin with a rabid fanbase, but haven’t found broader success. I’m still not totally convinced, but their show is a sight to behold and “Mommy’s Little Soliders” is the nastiest song here.
RIYL: Early White Stripes, Josh Homme
TUIW Grade: B

Band: Love Collector
Song: First 48
Review: Fast punk with a dose of rockabilly and a tinge of pop that doesn’t overstay its welcome, “First 48” is unreasonably catchy and fun. Love Collector often sounds just barely on the edge of control, and the shout-along, answer vocals are a nice touch. All in all, this song is just a lot of fun.
RIYL: Buzzcocks meets Buzzcocks
TUIW Grade: B+

Band: Bad Sports
Song: Can’t Remember Your Name
Review: The guitar riff here keeps reminding me of “Rock N Roll All Nite” and the song is definitely in that blues rock tradition. Its muscular and, at under 2 minutes, doesn’t really last long enough to leave a bad taste, but its still derivative and unsatisfying.
RIYL: Rolling Stones, Eagles of Death Metal
TUIW Grade: C

Band: Wild America
Song: Drink It Dry
Review: Wild America has actually been getting a lot of buzz around town, so maybe this song isn’t representative, but I was not impressed. The guitar is punk-by-numbers and the vocals are too low and murky to make an impact. There’s something a little joyless and generic about “Drink It Dry” which comes into sharp relief when compared to the number of similar, but generally better executed songs on this compilation.
RIYL: 70s punk, but don’t seem to have any of those records around
TUIW Grade: C-

Band: Harlem
Song: Beautiful and Very Smart
Review: Harlem’s on the verge of exploding (just signed to Matador, making them the only semi-ringers on this comp) and its easy to see why. The innocent (yet slightly creepy), lo-fi, garage rock anthem “Beautiful and Very Smart” was the explosive stand-out on Free Drugs and is still just as great. While their first album left me with concerns about their ability to carry this level of energy and fun over an entire album and their show is still at Natalie Portman in Garden State levels of self-conscious whimsy, “Beautiful and Very Smart” gives me hope for Harlem’s future.
RIYL: Black Lips, Vivian Girls
TUIW Grade: A

Band: The Stuffies
Song: No One’s Gonna Miss You
Review: Unlike Wild America, The Stuffies sound legitimately out of control, reminiscent of early Replacements with a CBGB edge. The highlight of “No One’s Gonna Miss You” is the breakdown from the middle, where you can picture the band members stopping to catch their breath before tearing into the exciting conclusion. The Stuffies boast a winning, youthful exuberance that sounds amatuerish in the best way possible.
RIYL: Replacements, Buzzcocks, Ramones
TUIW Grade: B+

Band: The Golden Boys
Song: Older Than You
Review: The Golden Boys have one of my favorite shows of the bands on this album, so I was primed to enjoy “Older Than You,” but after listening to 14 songs that exist in roughly the same post-punk and blues rock realm, “Older Than You” also serves as a nice palette cleanser. The song infuses its basic 70s rock with some R&B organs and a vocalist who wouldn’t be out of place in a honky-tonk bar. Compared to the younger bands on CVP, The Golden Boys sound more polished, but there’s a clarity and originality to their sound that is a welcome change of pace. And even more than that, “Older Than You” is just a lot of fun. Definitely recommended
RIYL: Cheap Trick meets Motown meets Sly meets Drive-By Truckers
TUIW Grade: A

Band: The No No No Hopes
Song: Nobody’s Fool
Review: “Nobody’s Fool” starts with a teasing guitar chime before getting very nasty, very quick. The No No No Hopes have more of a hardcore edge than other, similarly bluesy bands on CVP, thanks mainly to vocalist Desmond Connolly’s gruff screaming. The band members are all indie lifers who bring weary experience and an impatient swagger to “Nobody’s Fool.” At times, that attitude can go too far (I probably could have done without the spoken word finish) but it makes for an engaging listen.
RIYL: No Age, Fucked Up
TUIW Grade: B-

Band: The Teeners
Song: Nazis on Film
Review: The Teeners broke up recently, which is sad because “Nazis on Film” shows that they were just starting to hit their stride. Their deranged, propulsive energy comes through on “Nazis on Film” (which isn’t even my favorite Teeners song) that keeps one foot in hardcore without going full Fugazi. If this really is the end of the road for The Teeners then at least they go out as defiant and wrathful as ever.
RIYL: Husker Du, The Replacements
TUIW Grade: B-

Band: The Persimmons
Song: The Notice
Review: “The Notice” sounded a little A Place to Bury Strangers covering “The Rat.” There’s a lot of pedals and effects, but the song just kind of sits there, too inert and proggy for its own good. Things pick up in the back half (especially the “you’ve got the notice on your wall” sing-along) and, to be fair, The Persimmons are among the rookies on CVP, but “The Notice” is full of sound and fury, signifying nothing.
RIYL: APTBS, Prog rock
TUIW Grade: C-

Band: Lost Controls
Song: Entirely Wired for Sound
Review: I’m pretty sure this is the most prominent use of anything electronic or synth related on the entire compilation, but its in service of another weak Madden Soundtrack song. I kind of get what Lost Controls was going for, but “Entirely Wired for Sound” can’t overcome its generic cock-rock feel and asinine lyrics like “the world has a lack of stimuli for me.”
RIYL: Nine Black Alps, later Dandy Warhols maybe?
TUIW Grade: C-

General Thoughts on the Comp: After being mostly great for its first two-thirds, Casual Victim Pile kind of runs out of steam towards the end. But even though I may have graded individual tracks harshly, I was still quite pleased with the compilation. As someone aligned with Gerard Cosloy’s goals (and even if he was joking, the fact that he said in the press release that the compilation’s alternate title was Please Kill Bob Schneider made me smile) I was pleased to see some of my favorite Austin bands get the larger showcase they deserve. That being said, I’m struck by how narrow the range of music is. I recognize that Cosloy just wanted to make a compilation of bands he likes listening to and didn’t hold any pretensions on capturing the entire Austin scene, but the record’s title is an anagram of Live Music Capital and it is subtitled Austin 2009. The Austin described by Casual Victim Pile is, at times, as frustratingly narrow as the country and singer-songwriter image that Cosloy is fighting against. There’s no sign of bands like No Mas Bodas, Moth Fight, and Yellow Fever, who are taking CVP’s punk aesthetic and stretching its sound in ambient, electronic, and atmospheric directions. But its hard to complain about a compilation that succeeds as consistently as Casual Victim Pile does.

Overall TUIW Grade: B+

P.S. Beerland is hosting three nights of shows with almost every band from Casual Victim Pile (no Tre Orsi or Teeners) on February 4-6. I’m going to try to go to the Thursday and Saturday shows, so track me down and say hey if you’re there.

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New Panda Bear Record Gets Title, Vague Release Date

Despite numerous hints and rumors that we might be getting a new Panda Bear record this year, I was a little skeptical. But I’m pleased to be wrong. Per Pitchfork:

Panda Bear’s forthcoming third album– the follow-up to 2007′s beloved Person Pitch– is called Tomboy…the record is tentatively due…in September

So Tomboy, out at some point in September. In case you missed, I’ve embedded the popular video from a week or two ago of him playing some new material in Europe.

Let’s hope Noah can top Person Pitch. Or, at the very least, this.

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Better Off Ted – “Mess of a Salesman”

While not the last episode produced of Better Off Ted, “Mess of a Salesman” is the last episode currently scheduled and ABC doesn’t seem to have any plans to burn off the final two anywhere. And, as Mike’s helpful Bubble Watch makes clear, the odds of a third season are pretty low. So, this could well be the last episode to grace the airwaves and, even if it didn’t go out on the high note I would have like, it was still an amiably absurd half hour.

The high point, as always, was Phil and Lem, whose antics were pretty amusing. Despite being ordered by Ted not to buy expensive lab equipment that they don’t need, they end up being won over by Ted’s salesman brother, who convinces them to ignore the rules, first by leaving work in the middle of the day (like Somali pirates) to go drinking and enjoy cheese cubes at the Admiral’s Lounge. Eventually, they got their new catchphrase, but I don’t feel like typing it here. Deal with it!

Their new blaze attitude towards authority was pretty hilarious, as they ordered a cadaver (and later named it, in direct violation of Ted’s order not to), a wind tunnel, and a family of robots (although not the whole family, which comes with grandparents who are still sitting back in the factory, brokenhearted). They also, amusingly, continued to yell “Deal with it!” while Lem bought leather pants and Phil “squeezed 10 pieces of cheese into a ball and ate it like an apple. I probably shouldn’t have done that. But I’m dealing with it.”

But why was Ted’s brother hanging around anyway? Well, it turned out he had been fired and was in town looking for a job, so Ted set him up as a salesman at a company that sells Veridian lab equipment…after Ted agreed to buy an unnecessary number of beakers (and he spends part of the episode looking for uses for them, such as coffee cups, which pays off splendidly when Veronica leaves the room during her “bad cop” act to go get “200 milliliters of coffee”). But the relationship between Ted and his brother felt frustratingly generic -  we’ve seen all the brotherly wrestling and mess-cleaning thousands of times before – which was very disappointing from a show that’s normally as quirky and offbeat as Ted.

The B-plot was also a little unsatisfying. It concerned Veronica winning an award, as she reminded everyone dozens of times. Part of the award is that she has to raise money for a charity, a job that she pawns off onto Linda until she finds out the charity provides young girls with a female mentor to help them navigate the corporate workplace. The two form a good cop/bad cop routine that raises a lot of money, but then they find out that only 5% actually goes to the charity while the other 95% of the money goes to telling the world about said charity. Linda headbutts the obnoxious head of the Veridian Foundation and then the two of them go rouge and donate all the money directly to the charity. This turns out to be illegal, but Ted’s brother, Lem, and Phil solve two problems at once by planting the cadaver in the guy’s car and blackmailing him into leaving Linda and Veronica alone.

On the whole, I thought this week was light on laughs and substance. None of the plots felt too satisfying, and none of the jokes really landed. Its kind of a shame, if this is the broadcast finale, to have to go out on a substandard note. That being said, there were still some good moments, especially when it came to the family of robots and Phil and Lem’s insistence that we “deal with it.” In the end, I can’t think of a better thesis statement for this show than Veronica’s line, “Now saddle up, Linda, and say good bye to common sense.” Its just that this episode had a little too much common sense for my taste.

Jonah’s Score: 59

Tangled Up in Wires Grade: C+

P.S. Though this could be the end of our Better Off Ted coverage, I’m not as broken up over it as I would be, since I’m going to be recapping the show replacing it, and I’m just a little excited to see what it has in store for us.

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Bubble Watch: January 28, 2010 Edition

It’s hard to remember that in the midst of the Late Night Controversy that just ended, we had our first big cancellation of the year with the horrid Jay Leno Show. Sadly, that means it’s time to start Bubble Watch, a semi-regular feature where we check in on some notable shows that are on the bubble of being canceled or renewed. We’ve developed a scale: 0 for goner, 5 for up in the air, and 10 for sticking around. We’ll keep updates coming as we hear them, but here’s what we have in the early goings:

Better Off Ted
Ted hasn’t exactly been a ratings winner in its short time on the air, despite it’s quirky charm. The chances of cancellation seem pretty high given its anemic numbers, but there’s still hope it could become a cheap summer show or jump to another network. Content wise, the best place it would fit would be Comedy Central or FX, but it’s a little to smart of Comedy Central and not quite edgy enough for those brash folks at FX. Either way, we’re hoping Veridian is around for a little longer.
Cancellation Scale: 1

Heroes
For a show that was so good when it started, Heroes‘ slow fall from the top has at times been painful to watch. Its ratings this season have been way down, hardly resembling the hit of season one. With a budget that’s probably too big for cable, I’d say the cancellation chances are very high. At least we’ll get Zachary Quinto in another Star Trek movie.
Cancellation Scale: 0

Scrubs
Like Heroes, Scrubs was once a good show. When ABC picked it up for last season, it was about giving the original cast and characters an ending. This season has more or less been a spin-off, but it’s foolishly been branded with the franchise name. It’s been just plain bad, in content and in the ratings, and is almost assuredly done.
Cancellation Scale: 0

Parks and Recreation / Community
Both of these shows are in similar boats, so we’ll group them together. Parks and Rec suffered from bad reviews in its first year, but has built up a following in its terrific second year. Community has a solid following too as the lead-off hitter in NBC’s comedy lineup. The chances for both are pretty good as a result of the Jay Leno cancellation. Keep in mind, NBC has to fill 5 hours a week now in his old slot, not to mention holes in its lineup next year from possible cancellations of Heroes, Trauma, and Mercy. They aren’t guaranteed to stick around, but the chances are on the good side.
Cancellation Scale: 6

Fringe
A big time bubble show, Fringe is most likely in a dogfight with Lie to Me as to which show is going to stick around, and I’m hinging my bet on Lie to Me, mostly because Fringe has been a disappointment, while Lie to Me has done about what’s expected. There’s a chance both could stick around, but doubtful.
Cancellation Scale: 5

Flash Forward
Another highly touted sci-fi (excuse me, syfy) show that hasn’t done very well is ABC’s Flash Forward, and the chances of it sticking around aren’t very good. It comes back in mid-March, and if it continues to slide (and what show doesn’t after being off the air that long mid-season), it could be a goner. If they stay steady or improve, it might be on next season, though with greatly diminished expectations.
Cancellation Scale: 4

Notable Renewals:
How I Met Your Mother
Modern Family
Glee

Bones
The Cleveland Show

Notable Cancellations:
Dollhouse
The Jay Leno Show

Ugly Betty

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Franz Nicolay Explains Hold Steady Departure

We reported last week that keyboardist Franz Nicolay had left the Hold Steady, and yesterday, Paste got the scoop. Says the man himself:

“In The Hold Steady, I was kind of a fox in a hedgehog band,” Nicolay tells Paste. “The Isaiah Berlin thing about the hedgehogs who have one defining idea and the foxes who have a lot of different ideas. So this is going to let me indulge a lot of those different ideas.”

The need for a change, Nicolay says, is about ambition. “They have their one big idea—making literate, wordy lyrics over big anthemic rock—and the last two records were about as good as I felt like I could do with that idea.”

It’s a little unclear to me whether or not he left on amicable terms or if this is about something else. Either way, he says he recorded sessions for a new record with the band that have since been re-recorded by a new keyboardist. As for Franz’s future, here’s Paste:

“Whatever works” is an apt way to describe Nicolay’s approach to making art. Bored easily, he always seems to thrust himself into four or five projects at once. At present, he’s anticipating the release of his upcoming book of short stories, producing a record from Brooklyn’s The Debutante Hour, promoting his klezmer/punk band Guignol’s Fight Dirty and his own solo EP, St. Sebastian of the Short Stage, gearing up for his solo tour and fielding questions about his departure from The Hold Steady. Phew.

Sounds pretty busy to me. Here’s wishing Franz good luck and for a new Hold Steady record soon!

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Sal Not Coming Back to Mad Men

On a season of Mad Men that was full of really sad things, one of the saddest was when Don fired Sal. We had some hope that the newly born Sterling Cooper Draper Price, in need of an art director, might find some room for him, but if this report on Vulture is true, it doesn’t seem to be happening:

According to Mad Men‘s Bryan Batt — who stars as Sal Romano, Sterling Cooper’s closeted art director, fired by Don after refusing to service a randy tobacco executive — he won’t return for the show’s upcoming fourth season. “I was supposed to be notified by December 31,” he tells TV Guide, “and nothing.” Mad Men creator Matthew Weiner makes it sound even more dire: “We don’t murder people on our show, but for there to be any stakes, there have to be consequences … I know how people felt about Bryan. I obviously love working with him, and he has been an indelible character since the pilot. But I felt it was an expression of the times that he couldn’t work there anymore. It’s the ultimate case of sexual harassment.

Sorry guys!

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Justice Return With “Beginning of the End” [UPDATE: IT'S FAKE]

France’s Second Best Electronic/Dance Duo is back with a new single, “The Beginning of the End.” It starts like the soundtrack to an early 90′s CD-ROM game and of course gets funky from there. Check out the MP3 (via Stereogum) below.

Justice – The Beginning of the End [MP3]

UPDATE: It’s a fake. No new Justice for now. :-(

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The Greatest Acceptance Speech of All-Time

When Fever Ray won a Swedish music award, Karin Dreijer Andersson went up to accept it. What happened next is history:

Suck it, Christoph Waltz!

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Review: Beach House – Teen Dream

Beach House hasn’t really changed that much between 2006 and now. They’re still Victoria Legrand and Alex Scally. Their music is still hauntingly fuzzed keyboards and tangly guitars; the blueprint unchanged from their first two good-but-not-great records. But by making some slight changes, Beach House has crafted a total masterpiece. Sure, all their music is dreamy, but whereas Beach House and Devotion felt more like a dream you’re struggling to remember the next morning, Teen Dream is a vividly recreated memory. It’s melancholic, eerie, hypnotic. It’s the flooding house scene from the end of Eternal Sunshine of the Spotless Mind.

The highpoint of the record is the one-two punch of “Silver Soul” and “Norway” two absolutely gorgeous, sweeping songs connected by a heart-stopping sustained organ. “Silver Soul” takes its time, moving Legrand’s haunting, affected voice slightly higher in the mix than usual and letting her pretty much dominate the song. This is a wise choice since her always strong vocals are in a totally different plane here, wringing out every last bit of pathos simply by repeating “it is happening again,” while the keyboards, guitar and drums cascade around it. As for what’s on the other side of that organ…well, you’ve probably heard “Norway” by now and there’s not much I can add to it. The sweeping climax to “Silver Soul’s” gradual build, “Norway” is nothing less than a capital-A Anthem, one that felt like a timeless standard from the first time hearing it.

But what’s shocking about Teen Dream is just how good the rest of it is. Beach House diversified their sound just a little bit, adding pinches of jazz, soul, AOR, 80s pop, and 90s haze. They’ve also shaken the icicles off of their frosty formalism to make their most immediate album. Songs like “Walk in the Park” and “Used to Be” make perfect use of fuzzy keyboards and cheap drum machine to generate feelings of isolation, sorrow, and regret that are so powerful that what Legrand is singing almost doesn’t matter (how she sings it, though, is another thing entirely. Her voice tends to be what people talk about first and it’s just as husky and soulful as ever. But on Teen Dream she sounds more direct and emotionally raw than before. Take the heartbreaking conclusion to “Used to Be,” where she repeats “coming home, any day now” like she knows it’s a lie. It’s almost exhausting to listen to).

Taken collectively, the first five tracks on Teen Dream are mindblowingly good. Like, they’ll make you believe in God. But I don’t want to undersell the back half of the record because what it lacks in immediacy it more than makes up for in precision and attention to detail. “Near, yet so far,” Legrand sings on “Lover of Mine,” getting at the vague pangs of longing that really come to dominate the last part of Teen Dream. Even the shoegazey, surprisingly muscular “10 Mile Stereo” circles back to the theme of loss (and in a really pretty, ambiguous way: “Limbs parallel, we stood so long we fell”), and while “Real Love” reads as the most ambiguous song on paper, the album’s relatively stripped-down sound and Legrand’s voice don’t need any explanation. Its such a powerful song that I couldn’t believe there was still one more left, but “Take Care” brings the record home beautifully.

I’ve read the term “haunted house rock” to describe the Beach House sound and, while a little cute, that’s probably not too far off, but this record is way more Wuthering Heights than Paranormal Activity. There’s a Gothic melancholy and a sense of timelessness that fills every second of every song. I’ve really struggled with writing this review, because I can’t put the ways Teen Dream affects me into words. It is a minor miracle that needs to be heard to be believed. One of TUIW’s esteemed commenters pointed out that our pick for the best album of 09 was released in early January and set the bar so high, nothing else could compete. Well, I don’t mean to jump the gun, but it is happening again. It is happening again.

Jonah’s Score: 98
Mike’s Score: 82

Tangled Up in Wires Grade: A

P.S. You can download Norway for free here, and Amazon’s MP3 store is also giving it away. What are you waiting for?

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