Newsgroup: it.fan.tv.friends
Titolo: The Comeback

No, non il mio ;-P ma quello di Lisa "Phoebe" Kudrow, di cui avete già 
parlato qualche post fa...non ho visto link al torrent del primo 
episodio andato in onda qualche giorno fa. Se l'aveste già postato, 
scusate!
http://www.torrentspy.com/download.asp?id=322913
Torno al lurkaggio ;)
MM/che lo sta ancora scaricando, ma è al 64% 

che lo sta ancora scaricando, ma è al 64% 
se ci fai sapere com'e' magari un pensierino... :)
-- 
j./A seminar on Time Travel will be held two weeks ago.
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Yet Another Usenet Node

nicchia, con molti livelli, non sono sicuro che sarà un successo, ecco.
adesso si' che sono curioso. :)
quasi quasi, qui dall'ufficio... :)
-- 
j./Documentation is like sex: when it is good, it is very, very good; 
and when it is bad, it is better than nothing.
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 se ci fai sapere com'e' magari un pensierino... :)
Geniale come idea, pungente e sarcastico al punto giusto e lei non mi ha 
ricordato nemmeno un attimo Phoebe (ma ha sempre avuto così tante 
rughe?!?). Una bella satira sui reality, sulla lotta degli "ex" per 
tenersi a galla e resistere all'avanzata dei più giovani, sullo spietato 
mondo della TV regolato solo dall'audience più che dalla qualità. Io 
aspetto di vedere i prossimi episodi, poi ci sono alcuni personaggi 
azzeccati, come il parrucchiere e il costumista ("DO you have a Juicy 
ass?" è stata una delle mie battute preferite :), insieme al reiterato 
"I want to know that I'm being heard" della Kudrow-Val Cherish). Anche 
l'incontro con Marilu Henner (chi se la ricorda in "Taxi"?) e con Kim 
Fields (Tootie in "The Facts of Life", ovvero L'albero delle mele) è 
stata una bella trovata. Ma non voglio spoilerarvi ulteriormente. Fatemi 
sapere.
MM 

 rughe?!?).
Dimenticavo: visto che qui interessa (i capezzoli della prima vicina di 
Joey fecero furore), vi segnalo che c'è anche un topless, e non della 
Kudrow :)
MM 

 ha scritto nel messaggio
news:9Pjpe.993162$b5.43...@news3.tin.it...
Mi aggancio qui per postare un articolo del NYTimes che parla anche di
questa serie:
http://www.nytimes.com/2005/06/08/movies/08lose.html
Lo ricopio sotto per che non e' utente registrato.
Cristina
New On-Screen Losers Are Winning a Following
s America finally ready to embrace its inner loser? From Benjamin Franklin
and Horatio Alger through "American Idol" and "The Apprentice," the
rags-to-riches success story has been a central cultural myth. But now the
most daring television heroine is Lisa Kudrow as an actress on a hopeless
quest to regain her former stardom, in the new HBO series "The Comeback."
That show echoes, without quite matching, the tragicomedy of the British
series "The Office," about an obnoxious middle manager with no place to go
but down.
One of last year's surprise cult-movie hits was "Napoleon Dynamite," about a
high school dolt oblivious to his enduring loser status. And a midlife
variation is on screen now in the small film "Second Best," with Joe
Pantoliano as a man who so revels in his failure that he posts a losers'
newsletter on lampposts and online. Along with Kirstie Alley's recent
Showtime series, "Fat Actress," and the American version of "The Office"
(returning to NBC in the fall), these works have created a moment of loser
chic and heroes without a chance of winning.
When loser chic works, as in "The Comeback" and the original "Office," the
characters are not pathetic but poignant and likable, endless strivers who
earn our respect and even affection. Viewers embrace them for reasons that
go beyond Schadenfreude. These heroes offer relief from the oppressive image
of perfection that can seem like a media assault on ordinary people.
As Scott A. Sandage points out in his recent book "Born Losers: A History of
Failure in America" (Harvard University Press), the meaning of the word
"failure" has evolved from the early 19th century, when it referred only to
a business loss. Gradually, being a loser in life came to suggest a failure
of character, too, a lack of up-by-the-bootstraps drive that the new loser
chic debunks.
Of course, Arthur Miller's "Death of a Salesman" pleaded for the Willy
Lomans of the world, and the loser achieved comic glory with Charlie
Chaplin's Little Tramp. But beyond attacking the notion that failures
deserve their bad luck, today's loser comedies also seem aimed at the
media-driven idea that fame equals success; there is hardly a flop among
them who doesn't have some floundering show business ambition.
In "The Comeback," Ms. Kudrow's resonant character, Valerie Cherish, is
reduced from playing one of the hot roommates on a new sitcom to playing the
frumpy neighbor, Aunt Sassy, but she still acts like the diva she believes
herself to be. In Ms. Kudrow's deftly balanced performance, Valerie's
stubbornness is not ego run wild but an assertion that she matters at least
as much as the next air-headed starlet. Her psychobabbly lament, "I need to
know that I'm being heard," is the show's echo of Miller's "Attention must
be paid." Ignoring the fact that her star has already fallen, she also
resembles the heroine of "Sweet Charity," recently returned to Broadway, who
lives "hopefully ever after." Valerie's tragic flaw is her inability to
separate herself from her show-business success.
The challenge in creating loser-heroes is to keep viewers emotionally
invested, and to make the characters' cringe-inducing failures palatable.
That's where humor saves or dooms a work. In "The Comeback," the idiocy of
the sitcom world - trite catchphrases, writers who cower at a new idea - is
skewered in devastating detail. In both versions of "The Office," the
inanities of the workplace are mordantly captured in the lethal boredom of
the workers and their deadpan disbelief at their clueless boss's gung-ho
attitude. And just as "The Comeback" is shot by reality-show cameras
following Valerie, the office workers' reactions are captured by the
mock-documentary camera that gives the show its premise; even the paper
company manager is striving for media stardom.
But where Ricky Gervais as David Brent gives the British version of "The
Office" a touching character - not an appealing guy, but someone so sadly
deluded you feel for him - Steve Carell in the American version is simply a
cardboard jerk who never engages viewers' sympathy.
The affecting, irresistible loser is best embodied by Bill Murray's recent
characters, the has-been actor in Sofia Coppola's "Lost in Translation" and
the oceanographer and fading star of his own television documentaries (yes,
even the oceanographer is a media star), in Wes Anderson's satire "The Life
Aquatic With Steve Zissou." As Zissou, Mr. Murray wonders: "What happened to
me? Did I lose my talent? Am I ever going to be good again?" And Angelica
Huston, as his estranged wife, offers the deadpan answer, "I don't know."
The cleverness of the writing, the silliness of Zissou in his red Team
Zissou cap and Mr. Murray's impeccable balance of sadness and comedy hold
the film together. Anything less than such mastery and a loser remains a
disagreeable lout. In "Second Best" Mr. Pantoliano plays a onetime
publishing executive down on his luck who surrounds himself with many loser
friends and one success, a visiting Hollywood producer (more media). But his
losers' epigraphs are not nearly as scathing or wise as the film means them
to be - "The losingest loser bares all," captures the level of his writing -
so the movie's premise is more intriguing than what's onscreen. And Kirstie
Alley's fictional version of herself on "Fat Actress" was too whiny and
abrasive to wear well for the length of a series.
The shrewdest way to turn a loser character into a box-office or ratings
winner is to walk the ultimate tightrope and let viewers have it both ways.
"Napoleon Dynamite" and "American Idol" have thrived by presenting
characters that audiences can either identify with or make fun of. (That
choice can be your little secret.) Plenty of viewers are addicted to the
early auditions phase of "Idol," when the worst of the worst are trotted
out; William Hung even parlayed his unmatchable lack of talent into a CD.
The "Idol" castoffs and the overconfident, socially challenged Napoleon fit
a pattern: losers who insist in going ahead being just who they are.
The reassuring message is that loserdom can be cool. But there's another
message, too. Ms. Alley has turned her floundering career around by playing
a loser, and whatever happens with "The Comeback," Ms. Kudrow is flush with
the success of "Friends." The loser as hero may be a comfort, but let's not
forget it's also a fiction.

 ha scritto nel messaggio
news:9Pjpe.993162$b5.43...@news3.tin.it...
Mi aggancio qui per postare un articolo del NYTimes che parla anche di
questa serie:
http://www.nytimes.com/2005/06/08/movies/08lose.html
Lo ricopio sotto per che non e' utente registrato.
Cristina
(Lo rimando perche' prima avevo fatto un pasticcio...)
New On-Screen Losers Are Winning a Following
Is America finally ready to embrace its inner loser? From Benjamin Franklin


> Fatemi  sapere.
Devo ancora decidere. Al momento posso solo dire che mi ha fatto
venire il mal di mare....ho veramente la nausea, se č tutto girato
cosě non credo riuscirň a guardarlo.
Mavi
_______________________________________________________________
"My friends help me move. My real friends help me move bodies."
http://mavi.livejournal.com
ICQ:6901746
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Ho guardato anche la seconda puntata e francamente lo trovo
insopportabile, proprio nel senso di fare fatica a guardarlo.
Mima il ritmo "reale" di un reality show, o almeno di un documentario,
così spesso ti chiedi cosa lo guardi a fare mentre i minuti scorrono. A
un livello superiore, è intrigante perché tocchi con mano la stupidità
di certi meccanismi, la falsità del "reality" e tutto il resto e può
persino essere divertente in una-due scene per episodio. Però poi
saliamo a un livello tre, e ti rendi conto che è un gioco intellettuale,
e nell'essere intellettuale è molto noioso.
Certo, sono tutti bravi (anche Lisa) nel gioco degli specchi, ma ti
chiedi quale sia l'utilità.
Ricordo: è un telefilm sceneggiato (non c'è nulla di "reality") che
parla di un'attrice che gira un reality che documenta il "dietro le
quinte" del suo ritorno a una sitcom su un grande network. Noi vediamo
quello che nella finzione sarebbe il "raw footage" (materiale grezzo,
senza tagli) del reality.


insopportabile, proprio nel senso di fare fatica a guardarlo.
io ho scaricato la terza ma ancora devo trovare il tempo di vederlo,
e' grave? :)
mi chiedo: insopportabile per via dello stile 'finto reality'? Hai mai
visto Curb Your Enthusiasm, per caso? Cosi', per sapere come si
rapporta 'the comeback' al capolavoro di Larry David :)
-- 
j./A seminar on Time Travel will be held two weeks ago.
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