Months of Meryl: Prime (2005)

John and Matthew are watching every single live-action film starring Meryl Streep. 

Meryl Streep as therapist with Uma Thurman as her client in Prime (2005)

#32 — Lisa Metzger, an Upper West Side therapist whose client begins dating her much younger son.

JOHN: The most depressing thing about Prime is that director Ben Younger reportedly spent eight years writing it. Equally depressing is the sight of Meryl Streep, Actress of Her Generation, wasting her time on this insipid project, and the subsequent dearth of roles for actresses over fifty that her involvement signifies. Here’s a fun kernel for a comedy skit: a kooky, Upper West Side therapist learns that the 37-year-old woman she is treating has begun dating her 23-year-old son, ensuing comic hijinks, oversharing, and ethical quandaries between therapist, son, and client. Now, imagine that idea stretched out for nearly two hours, sans comedy or romance, and you’d have Prime, easily one of the worst movies in Streep’s filmography...

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Months of Meryl: Lemony Snicket's A Series of Unfortunate Events (2004)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#31 —Aunt Josephine, an agoraphobic, grammar-obsessed, hermetic eccentric.

MATTHEW:  Who says Meryl Streep doesn’t make movies for kids? In 2004, Streep lent her talents to Brad Silberling’s film adaptation of A Series of Unfortunate Events, Lemony Snicket’s (née Daniel Handler) acclaimed literary series that, over the course of 13 novels, chronicled the many misfortunes and menacing adventures of an orphaned trio of children...

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50 Kristins for Kristin's 50th

by Jorge Molina

Today, Tony, Emmy and Grammy-winner (that’s right, she only needs an Oscar to EGOT; get on it, Hollywood) and human ray of sunshine Kristin Chenoweth turns 50 years old. To honor her career, her legacy, and that impossibly high pitch matched only by her charisma, let’s take a look at 50 roles and appearances that she has gifted the world in almost three decades of work, in no particular order:

1) Her Broadway debut in an adaptation of Moliére’s Scapin as Hyacinth in 1996. 

2 & 3) Her two most iconic Broadway roles: A featured Tony-winning turn as Sally in You’re a Good Man, Charlie Brown in 1999, and the Best Actress Tony-nominated performance as Glinda, the Good Witch in the world phenomenon that was Wicked in 2003.

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Blueprints: Emmy Nominees for Outstanding Writing in a Comedy Series

Jorge has been taking a look at the Emmy history for this year’s writing nominees. 

Let’s take a look at the four shows that made up the six nominees for Writing in a Comedy Series, the only writing category this year in which there were repeat nominations for the same show. Remember that, just as in the Directing categories, individual episodes are honored rather than overall series. For the fifth year in a row network shows were entirely shut out of the comedy writing category. (In fact network television was shut out of all three narrative writing category this year, only showing up in "Variety/Special"). Two newcomer shows and two established favorites got the comedy nominations; none of the shows have ever won for their writing.

Let's see the elevator pitches and the stats (we love a good round of statistics) after the jump... 

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"Monkey Business" Giggles

I caught a retro matinee of Howard Hawk's silly delight Monkey Business (1952) for my birthday last weekend. I'd never seen it before and was giggling throughout. Cary Grant, Marilyn Monroe, Hugh Marlowe, and Charles Coburn were in great form but Ginger Rogers completely steals the movie -- no small feat with that cast!

She plays the ridiculously patient and then suddenly immature wife of a chemist (Grant) who is trying to find a formula for de-aging that he's testing on monkeys. Hijinx ensue! My main takeaway this week has been that modern comedies try too hard to have a message, a character arc, and "heart" to go with the laughs. This spring's I Feel Pretty and Life of the Party had this problem and one assumes the newly opened Tag does, too, merely because almost all comedies now do. Heart and message and meaty arcs (if you have to have them) should just spring from silliness rather than be inorganically thrown on top of the comedy like a blanket. That blanket is wet and it dampens the fun.

Do you have this problem with modern comedies and what do you love most about Monkey Business if you've seen it?