Drag Race "The Sixening": Half a Premiere

Each year I think about covering RuPaul's Drag Race, so I'm finally doing it. Like Mad Men (and I bet this is the only time you'll hear them compared!) it's awash in fun movie references. Highlights from the past have included Raja's bucket of blood Carrie dress to Raven's "I'm giving Michelle Pfeiffer bitch" to Jinkx Monsoon's Grey Gardens fetish to Tammie Brown's demented Old Hollywood persona to numerous truly terrible movie star impersonations (I've never seen a worse Marilyn or Joan Crawford, for example, than this show has provided) and so on. I know. I know. It's the sixth season, "the sixening". The library is open if you'd like to read me because these books are overdue!

Four movie references to start us off... 

During the mini-challenge, a photoshoot where the queens lept across boob-tube color bars to a pile of foam below sees rubber limbed LaGanja Estranja compared to Goldie Hawn in Overboard. "I get that a lot," she said awkwardly pulling herself out of the foam. Laganga is obviously not in Goldie's comic league but, to be fair, Goldie Hawn did look like a drag queen in Overboard... 

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25 Years Since "She's dead... Wrapped in plastic!"

Diane, 11:30 AM, February 24. Entering town of Twin Peaks. Five miles south of the Canadian border, twelve miles west of the state line. Never seen so many trees in my life. As W.C. Fields would say, I'd rather be here than Philadelphia. It's 54 degrees on a beautiful sunny afternoon. Weatherman said rain. If you could get paid that kind of money for being wrong 60% of the time it'd beat working. Mileage is 79,345, gauge is on reserve, I'm riding on fumes, have to tank up when I get into town, remind me to tell you how much that is. Lunch was $6.31 at the Lamplighter Inn, that's on Highway 2 near Lewis Fork. That was a tuna fish sandwich on whole wheat and a slice of cherry pie and a cup of coffee. Damn good food. And if you ever get up this way, Diane, that cherry pie is worth a stop."

If you're like me and are a bit of a Twin Peaks nerd, then today is a big day. It has been exactly 25 years to the day since Laura Palmer was murdered, to be found some hours later amidst the lonesome sound of a foghorn, wrapped in plastic and washed ashore on a pebble beach in the town of Twin Peaks. Furthermore, just three days ago on the 21st was the 25th anniversary of David Lynch and company starting directing the scene. Although the famous pilot episode (which I maintain is better than 99.9% of films released before or since) wouldn't air for another year in April of 1990, it's February 24, 1989 that Twin Peaks mythology tells us is the day everything changed.

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Review: "Elaine Stritch: Shoot Me"

This review originally appeared in my column at Towleroad

I saw Elaine Stritch’s famous one woman Broadway show “At Liberty” in the last days of 2001 a couple of years after moving to New York. I’m not exaggerating when I say that it was nothing short of spiritual ecstasy but then showbiz is my religion and actresses are my only gods. You might then justifiably say that I am predisposed to love the hell out of the new documentary Elaine Stritch: Shoot Me and you’d be right. But I can still tell a peak performance from a Wednesday matinee and the last doc I saw on Stritch, which shared its title with “At Liberty” was significantly less stellar. Shoot Me is a must-see, even if you only know this Broadway legend from her hilarious guest appearances as Jack Donaghy’s impossible mother on 30 Rock. 

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Celebrating Black History Month: A brief tour of African-American animation

Tim here. With Black History Month still in full swing, I thought it would be worth spending some time diving into the history of African-American animation and reporting back to everyone with what I found, which turns out to be easier said than done. Despite a history of animation as an independent and avant-garde form welcoming any and all groups trapped without a voice in the mainstream reaching into the silent era, there has been shockingly little overlap between black cinema and animation down through the years. Which isn’t the same as saying that there’s none, and I am certain that there’s probably more than I was able to scrounge up over a couple of days of researching.

Pioneering animators Frank Braxton (L) and Floyd Norman (R)

By and large, though African-American animators have been associated primarily with big studios, beginning in the 1950s, when Frank Braxton signed up with Warner Bros. By the end of that decade, Floyd Norman had become the first African-American employee of the Walt Disney Company, and his association with that studio continued well into the 2000s (and may continue yet – he’s still actively working, with a credit on a non-Disney production as recent as last fall’s dire Free Birds). The first significant branching out happened in the ‘60s, when Norman left Disney after its namesake and founder died, to join forces with new artist Leo Sullivan to create Vignette Films, a studio focused on making short animated explorations of African-American history (of any of these films still exist, the internet doesn’t seem interested in sharing them).

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A Brief History of the Cartoon as Toy Commercial

Tim here. With The Lego Movie devouring money at a rate virtually never seen in the middle of winter, and receiving some of the most enthusiastic reviews of any animated film since Toy Story 3, any fears that it would be nothing but a craven toy commercial have been firmly put to sleep. Which isn’t to say that it’s not a toy commercial; but, as Nathaniel put it in his review, “Who cares? It’s wonderful!” Besides, it’s one thing to have a hard-core branding effort for some new plaything that nobody wants or needs, and quite another to have a feature-length advertisement for a 65-year-old icon that’s the best-selling toy in history. Lego doesn’t need The Lego Movie.

Still and all, the fact remains that there’s a mercenary heart beneath the film: not only selling Legos, but selling multimedia franchises controlled by Warner Bros. on top of it. This is done painlessly, even cleverly, and that tends to make it harmless; and in this respect, The Lego Movie represents a striking break from the history of cartoon-as-advertisement. For the most part, previous examples of this commercial impulse have been, in fact, unusually painful, dumb, and harmful .

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