Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
Summertime television programming has changed in the last few decades in ways I never expected. As I kid, I lived for the TV Guide to arrive, analyzing it like a textbook that required a report each week. I loved the articles and the back page crossword puzzle. Mostly, I loved seeing what shows were not airing as a repeat; ah, the life of a twelve-year-old. As I recently sipped on my ice tea, floating in the pool in this east coast heat, my friend’s thirteen-year-old said, “what should I binge watch next?” Keeping her age in mind, I couldn’t blurt out what I really wanted. I posed a question to her, “what did you just finish watching?” “Grey’s Anatomy,” she replied. I was please since I personally love the show. My answer was simple and well thought out, Gilmore Girls.
For anyone who missed it, well, it’s truly a lovely show. In a post 9/11 world, Lorelai and Rory Gilmore created a sweet coming of age tale experienced by both of these Gilmore Girls. Lauren Graham, more recently Parenthood fame, portrays Lorelai Gilmore, a thirty-two-year-old mom of a teenage daughter, living in a suburban town in Connecticut. She’s witty, quirky and freakishly loveable on screen. We judge her for the choices she already made and the ones she continues to live by. As Lorelai navigates the unconventional world of bringing up a daughter at such a young age, she gets a little help from her parents. As polar opposites go, her relationship with her mother could not be more different than the one she has with her own daughter. She feels deeply judged and less than loved by her mother, therefore treating her daughter more like a best friend than anything else. Emily and Richard Gilmore, portrayed by Kelly Bishop and Edward Hermann respectively are well to do socialites that vacation in Paris but only in the fall. I mean, what else is there to do at that time of year?
Lorelei was only 16 when she gave birth to her daughter, Rory, who is now that age. Rory, played by Alexis Bledel, is silly and smart at the same time, with a sharp tongue and a bright smile. She compliments everything that Lorelai is and isn’t. We watch her struggle with boundaries, entering adulthood and staying true to herself, with her mother being her true best friend. Rory and Lorelai apologize to one another more than any two people I have ever seen, but then again, it’s good to acknowledge fault whenever possible, I guess.
The breakout star in all this is Lorelai’s friend; the lovingly clumsy, Sookie St. James, portrayed by non-other than Melissa McCarthy. It’s wonderful too witness the much younger version of such a comedic genius. The cast hits a cloyingly sweet note and is definitely rated G, safe for all ages. Despite this show’s sugary nature, it still made us feel warm and fuzzy for a successful seven seasons.
Gilmore Girls can bow be streamed and binge watched on Netflix. I hope my friend’s daughter takes my advice and indulges in this lovable story. Netflix recently announced that fans receive another installment of this highly popular show. The cast has committed to another, albeit shorter season, streaming this November, post election day of course. The gang is back, nearly ten years later. In an act of sheer humility, Melissa McCarthy has also signed on to recreate her supporting role. Thanks, Melissa, for showing Hollywood how it’s done, despite your the level of popularity and fame! Hat’s off to you Sookie!!
Start watching past episodes now and by the time Thanksgiving rolls around, you will all be ready for Gilmore Girls, circa 2016.
It’s not as bad as some (mostly male) critics have predicted. But it’s not as good as it might have been. By including scenes, themes, the logo, settings, even spirits from the original Ghostbusters, the new Ghostbusters misses an opportunity to present something fresh and innovative and even – dare we say – go on to become a cult hit on its own merits. While the all female cast has been touted, what does it say that perhaps the best performance in the film is by a guy? Chris Hemsworth seems to be having the time of his life playing the ditsy receptionist, Kevin, hired not for his skills but for his hunky eye candy appeal.
That’s not to say that this film isn’t fun and enjoyable. (Particularly this summer when so many hyped sequels have fallen flat.) Melissa McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones have chemistry and superb comic timing. Yet these talented actresses are hamstrung by a script that often falls flat and doesn’t allow them to truly bring their characters alive. McKinnon, who never lets what’s on the page hold her back, manages to stand out as the quirky, eccentric scientist Jillian Holtzmann. McCarthy and Wiig are fine, but at times seem to be walking through their parts. As for Jones, casting her as a blue-collar worker, is probably not what Jada Pinkett Smith had in mind when she was arguing for more high profile roles for black actors. Jones is terrific as a bad ass MTA worker, but why couldn’t she have been a bad ass scientist?
McCarthy and Wiig play Abby Yates and Erin Gilbert, former colleagues who once wrote a book on the paranormal. Now that Gilbert is up for tenure at Columbia University, she goes to Yates’ lab, asking her to stop selling the book on Amazon, fearing it will damage her reputation as a serious scientist. When Yates and Holtzmann receive a call to investigate the paranormal activity at a Manhattan mansion, Gilbert can’t resist going along. After the ghost makes an appearance, Gilbert’s fate is sealed. The event makes it onto the internet, she’s fired from Columbia and agrees to join Yates and Holtzmann’s lab. Jones’ character, Patty Tolan, comes on board after witnessing ghostly activity on the subway tracks.
What the film lacks is a compelling plot and a real villain. The bad guy here is Rowan North (Neil Casey), a hotel worker who is somehow collecting bad spirits to create chaos with a big attack. (How and why he’s doing this is never fully explained.) Rowan comes off as a sad sack who is disgruntled but never appears very threatening. He does manage, however, to unleash a firestorm which manifests itself on the screen with an unending barrage of ghosts. There’s a lot of activity, but never a center for the attack. It just appears as computer imaging run amok. Once Rowan disappears, there’s no real villain to take his place. (One longs for the more creative plot in the original which at least made it clear who and what Bill Murray and company were fighting.)
Speaking of Murray, he makes the obligatory cameo as a professor out to discredit this new all-woman team. Dan Ackroyd turns up as a cab driver who refuses to take Wiig’s Gilbert to Chinatown and gets to deliver the expected line: “I ain’t afraid of no ghosts.” Ernie Hudson appears as Tolan’s uncle whose hearse the team has been using. The fourth member of the original crew, Harold Ramis, died last year. (Stay for the credits to catch Sigourney Weaver.)
While all these star turns are fun to watch (Annie Potts, the original receptionist, is seen here as a hotel clerk), they keep reminding us that this Ghostbusters is not that Ghostbusters. Director Paul Feig, who co-wrote the screenplay with Katie Dippold, seems to be trying too hard to appease those critics who trashed this reboot based solely on the all-female cast. Feig worked with McCarthy and Wiig on Bridesmaids while Dippold delivered a terrific script for The Heat’s female pair of McCarthy and Sandra Bullock. Both films were critical and box office winners. They missed an opportunity to create another winner here.
In looking at the title of The Boss and Melissa McCarthy’s headlining name, the first thought that comes to mind is that this is a comedy. And with last year’s very successful and very funny Spy, McCarthy was on a roll. What could go wrong, right? Well, the last time McCarthy teamed up with husband Ben Falcone, we got Tammy, a horrific train wreck that couldn’t be saved. Unfortunately, the same can be said about The Boss, a film that flounders in its inability to understand what it wants to be.
Michelle Darnell (McCarthy) is an orphan no one took in as a child, so she’s always felt unloved and unwanted. While Michelle’s rocky beginning caused her to push people away, she succeeds as an entrepreneur. Her book, The Power of One, is a bestseller and, thanks to her business, she’s the “47th richest woman in America.” However, Claire (Kristen Bell), a hardworking single mother and personal assistant to Michelle, is shortchanged. Being on the receiving end of Michelle’s mean disposition and behavior is not a joyride.
Once on top of the world, Michelle finds herself in jail after an old flame and coworker, Renault (Peter Dinklage), gives her up for insider trading and all her assets are claimed and liquidated. Starting from scratch, Michelle finds she has no place to stay except with loyal and pitying Claire and her daughter, Rachel (Ella Anderson). Michelle gets into business with Claire making brownies and tries to rebuild herself from the bottom up, gaining a new family along the way.
The Boss is by no means as much of a mess as Tammy, but the film doesn’t tap into McCarthy’s comedic strengths. Tacked onto the already weak plot are several side ones that are completely unnecessary: Bell’s romance with Tyler Labine; McCarthy’s strange and unfocused relationship with mentor Kathy Bates; Dinklage’s terrible attempt to be a bad guy; and, the verbal fights with uptight scout mother Annie Mumolo.
These confusing story lines make clear that the film has no idea where it wants to go. Is it about being a mean boss? Is it about Michelle’s lonely and unloved past? Is it about something else entirely? The Boss starts one way and then veers off into various directions, quickly disintegrating in its third act. McCarthy’s Michelle is the center of the film, but without great supporting characters to bolster her journey, the film spirals into a chaotic and incoherent mess.
McCarthy makes a couple of fun quips, but the rest of the film’s comedy only rarely hits the mark; and the remainder of the cast doesn’t quite know how to keep up with her energy. Paul Feig seems most talented at bringing out the best in McCarthy, as seen in comedies like Bridesmaids and Spy, but Falcone and McCarthy together have yet to balance entertainment with a good story. The Boss is a disappointing comedy that struggles to keep its story afloat.