Boy Meets World
Girl Meets World, the Disney Channel’s long-awaited Boy Meets World spin-off, premiers tonight. Except it’s not Disney’s typical audience of pre-teens who are awaiting this premiere—it’s people in their 20s who have been clamoring the loudest for this show about an eleven-year-old girl. And why? Because we millennials fucking love Boy Meets World.
For those unfamiliar, Boy Meets World aired on ABC from 1993 to 2000, as part of the network’s “TGIF” lineup of family-friendly programming. The titular boy was Cory Matthews (played by Ben Savage). He was in sixth grade when the series began. His parents were happily married. He had an older brother (Eric, played by Will Friedle) and a younger sister (Morgan, played brilliantly by Lily Nicksay, then forgettably by Lindsay Ridgeway). His best friend was Shawn Hunter (Rider Strong) and the object of his affections was Topanga Lawrence (Danielle Fishel). Most important, though, was his next-door neighbor and perpetual teacher, Mr. Feeny (William Daniels), who was the show’s voice of reason and guiding light.
But all that sounds pretty cookie-cutter. It doesn’t really capture the enduring appeal of Boy Meets World. So what does? What accounts for the enthusiasm for Cory and Topanga’s return? Continue reading
Lorde was 2013’s biggest new pop sensation, sending her single “Royals” to #1 in August and releasing her album Pure Heroine in September. Both were NPI favorites. We were particularly taken with her voice and her lyrics so, as we are wont to do here, we decided to rank our favorite lyrics from her songs. Here are our 18 favorite lyrics of hers:
18) “All work and no play / Keeps me on the new shit, yeah” —Still Sane
(Tim’s rank: 17/John’s rank: 18/Josh’s rank: 18)
17) “Let me in the ring, I’ll show you what that big word means” —Glory and Gore
(Tim: 16/John: 15/Josh: 17)
16) “But this is summer, playing dumber than fall” —Still Sane
15) “In all chaos there is calculation” —Glory and Gore
14) “I won’t be smiling but the notes from my admirers fill the dashboard just the same” —White Teeth Teens
T12) “And you can watch from your window” —Tennis Court
T12) “I’m sitting pretty on the throne / There’s nothing more I want, except to be alone” —The Love Club
T10) “I don’t ever think about death / It’s alright if you do, that’s fine” —Glory and Gore
T10) “The way they are, the way they seem is something else” —White Teeth Teens
(12/6/12) Continue reading
The Theme of Movies in 2013: Rich People Suck
Before I start, I want to address how silly a ranking like this is bound to be. It’s not that lists are inherently dumb—we at NPI (and the Internet writ large) LOVE presenting things in list form. But listing the best movies of 2013 IN 2013 (or, technically, immediately after 2013) feels misguided. It takes a while for feelings about a movie to settle. I saw five of these movies in the last two weeks; who knows how I’ll feel about them in a month? It’s not always clear which movies will be remembered well, or suffer on a rewatching. Looking back at my list from last year, I see about a dozen changes I would make. So consider this list somewhat provisional.
With that said, I saw a lot of movies this year, and lists can be a helpful way of organizing your thoughts on those movies. I’ve borrowed some of my category ideas from Josh’s ranking, but unlike Josh I find the distinction between “independent” movies and studio films to be arbitrary to the point of distraction. Plus, it’s a little pretentious. If a movie is good, it’s good; if it’s bad, it’s bad. Who cares who made it or what the budget was?
Anyway, here are the movies I saw in 2013, in order from worst to best…
The Year of Breaking Bad
This was a big year on television. Netflix and Amazon added a bunch of new shows and whole new model for making them. A bunch of big shows, from 30 Rock to Breaking Bad, aired series finales. And what the hell happened to Homeland? The result was a lot of turnover on my list of best episodes. Some shows, like Louie, didn’t air in 2013, and some, like Community, simply dipped in quality. Anyway, here are the top ten episodes of the year. With spoilers, obvs…
10) “The Marry Prankster” — Happy Endings
Happy Endings did not get one. It was cancelled unceremoniously after a season that was kind of a letdown. But it was still one of the funniest shows on TV until its dying day. “The Marry Prankster” was probably the best example of its absurdist humor to air in 2013, from the Usual Suspects homage (“I’m not as dumb as I am”) to the crafty one-liners (“Classic Brad panic move, like when 9/11 happened and you full on supported the War in Iraq…” “We were lied to!”). Happy Endings will be missed, though some of the cast have found new homes on Fox sitcoms.
The skies will rain fire, the oceans will boil, and the streets will run red with Christmas decorations…
Christmas is awful. Christmas is the worst. Christmas is evil in calendrical form. If the Devil were real, he’d look upon all that is Christmas, smile, and say, “Nice.” There is nothing good about Christmas.
Why is Christmas so terrible? Well, its badness probably cannot be adequately described in human language, but let’s try. For one, Christmas combines two of the worst things in the world: religion and consumerism. At Christmas, people are encouraged to buy a bunch of stuff they don’t need in order to celebrate the birth of a god that doesn’t exist.
But Christmas does something special: Religion and commerce, such potent forces for evil when considered separately, combine with such insidious synergy that they produce a holiday far more nefarious than the sum of its parts. It’s not merely that people spend money and believe in God during the “Christmas season”—which now apparently begins shortly before Halloween—since people do these things all year long. It’s that each of these things brings out the worst in the other. Continue reading
The Newsroom, Aaron Sorkin’s fourth television series, debuts its second season tonight on HBO. And while the first season was something of a disappointment, Sorkin is still one of the most acclaimed writers on TV, with an Oscar and highly anticipated projects in Hollywood and on Broadway.
And yet The Newsroom seems to highlight all of Sorkin’s most annoying tendencies, from his inability to write women, to his smug condescension, to his love of self-plagiarism. But rather than repeat those complaints, I want to focus on what bothers me the most about Sorkin’s work—its lionization of a particularly virulent strain of liberalism.
I’m generally wary of the terms “liberal” and “conservative”, since they are often used to restrict the realm of acceptable political thought to the stances of the two dominant political parties. But Sorkin seems to represent a kind of liberalism that denotes a worldview rather than just stances on particular issues. Of course, on those issues Sorkin loves to parrot the most thoughtless talking points of the Democratic Party (the Christian right is silly; guns are bad; Islam is no more violent than other religions; etc.).* Continue reading