Though summer is the most cherished of seasons, it’s also a time for a pop culture phenomenon known as television limbo. In summer, syndication is king, and reality shows sadly take up precious primetime slots. But once the weather takes a jolly stroll down the thermometer, it’s time to return once more to your old boxy friend. A slew of shows are popping up on the radar this season, some good, some mindless slot-fillers. Get the dirt on some of this year’s new shows, along with a few returning favorites.

Community

Premise: What do you get when you mix the producer of The Sarah Silverman Program with the directors of Arrested Development? A new show headed up by Mr. Pop Culture himself, The Soup’s Joel McHale. Community follows McHale as his character, Jeff Winger, a smooth talking lawyer with some less than smooth credentials, finds himself back in community college. There, he falls for an uninterested blonde named Britta (Gillian Jacobs), and forms a study group the likes of which even The Breakfast Club could not have topped. (In fact, that’s one rumble I’d like to see).

Chevy Chase plays Chuck, a seasoned divorcee and able wingman (read: scene stealer) and to McHale’s shenanigans. He does this with help from token funny Asian guy Ken Jeong as the Spanish teacher, Senor Chang and new faces like the very funny Danny Pudi.

Why you’re skeptical: With all of the highly defined stock characters of stereotypical college life, there’s a chance that Community could just come looking like a bad season of Real World (aka, any season). Plus, it’s been 20+ years since Chevy Chase has made us laugh. Hopefully he can kick the arthritis from his funny bone.

Why you should watch anyway: Until you see some solid leaks and spoilers on your favorite blog about the ad nauseum delay of the Arrested Development movie, this will have to tide you over. If you squint really hard, McHale looks a little bit like Gob Bluth.

Premiered: September 17^th at 8:30 pm on NBC

Glee

Premise: Glee is a new show by Ryan Murphy, the creator of Nip/Tuck so you already know that it’s going to at least a little catty, despite described as High School Musical style “musical dramedy.” The show centers around Will Schuester (Matthew Morrison), one of those ne’er give up optimists, who has taken it upon himself to resurrect the McKinley High School Glee Club. This sounds like an easy enough task, but adversity is right down the hall, from the long shot singing hopefuls trying to stay in tune to an underhanded cheerleading coach. While the characters come off as a little one-dimensional, the undeniable talent behind the characters help break out from the cardboard cutouts. What also helps is a multi-dimensional repertoire of songs that get woven throughout the show, from Journey to Neil Diamond, and more contemporary players like Rihanna and Avril Lavigne (ok, we could have done without Avril).

Why you’re skeptical: It’s one of those shows that you won’t want to tell your friends you watch. You already had a hard enough time living down that one time you watched Project Runway, because nothing else was on, and you were too far from the remote control, etc.

Why you should watch anyway: If you’re a guy and your girlfriend has been complaining about having too watch too many machismo shows with you, try Glee, a superficially fem-centric show with a sarcastic undercurrent that’s enjoyable for the sexes. If that’s not enough of a motivator here’s two words: Jane Lynch. She plays the devious head cheerleading coach and is brilliant in just about everything she’s been in.

Premiered: September 9th at 9pm on Fox

It’s Always Sunny in Philadelphia

Premise: Back for a fifth season, Sunny is possibly both one of the funniest and most polarizing shows on television. Perfectly executed running gags come off as vulgar, low brow humor when translated through the unsavory characters of the show. Deandra “Sweet Dee” (Kaitlin Olson) runs Paddy’s Irish Pub, along with Mac (Rob McElhenney), Charlie (Charlie Day) and Dennis (Glenn Howerton). Back as the unscrupulous father, Frank, Danny Devito makes up for his already naturally humorous height with an even funnier display of confusion, ignorance and tactlessness for everything around him. But the young ones are no saints either, beating up the homeless, faking their own deaths, and getting addicted to crack. Hey, it’s all in a day’s work.

The pre-season festivities are going on now through September 25th, where “the gang” is doing a six city tour of “The Nightman Cometh,” a live musical adaptation first inspired one of their more popular episodes, “Sweet Dee’s Dating a Retarded Person” and later realized in the season finale.

Why you’re skeptical: For those just getting in to the show, it may not be love at first sight. But from their pilot episode (which cost just $200 to shoot), the cast of It’s Always Sunny has slowly but steadily managed to worm their way into America’s hearts, even if it’s just a very cleverly disguised case of Stockholm Syndrome.

Why you should watch anyway: This season promises to tackle hot button issues like the economy on their season premiere “The Gang Exploits the Mortgage Crisis,” along with progressing insider storylines. For instance, much to Charlie’s chagrin, it will be revealed that the waitress (played by Mary Elizabeth Ellis) is engaged to be married.

Premiered: September 17^th at 10 pm on FX Networks

Durham County

Premise: And you thought Canada couldn’t get any chillier. Sink into the bleak world of Durham County, a Canadian drama originally aired back in 2007 but making its mass American debut this month. The series follows homicide detective Mike Sweeney (Hugh Dillon), who moves from Toronto to Durham County after his partner is killed and he discovers that his wife Audrey (Helene Joy) has breast cancer. But all is not well in the land of suburbia. Indeed, something is rotten in the county of Durham. For one thing, dysfunctional families are quite the global phenomenon. If that weren’t enough of a hassle, as it turns out, Sweeney’s childhood rival and new neighbor, Ray (Justin Louis), may well be a serial killer. A washed out color palette and haunting musical score add to this gripping show from our neighbors to the north.

Why you’re skeptical: No one likes a Debbie Downer, and this show puts on no pretenses about being depressing as heck. There’s no cheeky, hopeful endings like in CSI Miami, no inspirational monologues by Marika Hargitay.

Why you should watch anyway: There hasn’t been a show this creepy and done this well since Twin Peaks. Give it a go, eh?

Premiered: Sept. 7 at 10 pm on ION*

*The second season will premiere October 19th at 10 pm on ION

Flash Forward

Premise: What would you do if you knew your future? That’s the question sci-fi writer Robert J. Sawyer posed in his 1999 novel, Flashforward. And now it’s a new drama-thriller on ABC, starring Joseph Fiennes. FlashForward (note the capital F’s to distinguish from aforementioned book) is a show in which a strange worldwide blackout leaves everyone groggy, confused or worse. Once things get back to some sense of normalcy, people start getting glimpses into their respective futures. Fiennes plays a lead in one of those “cast of many” shows, as FBI agent Mark Benford. Other key players include Demetri Noh (Joh Cho), Lloyd Simcoe (Jack Davenport), Bryce Varley (Zachary Knighton) and a host of others.

Although the idea of seeing into the future sounds pretty dang sweet, FlashForward has a decidedly negative spin on the topic, in which it appears the majority of people’s lives look to be going down the crapper, unless they do something, and fast. This leads folks to become paranoid, defeated and (occasionally) motivated all in the hopes of affecting some change.

Why you’re skeptical: This show has the potential to be uber cheesy, with a life motivating subtext shoved down the throat of viewers. Not to mention, the success of the show at large hinges on how good the pilot is, in which the mysterious catastrophic event will more than likely be 10-times more action packed than the rest of the series combined.

Why you should watch anyway: Consider it your new Lost. You’ll be so hooked for at least the first season that you’ll cancel dates, order Chinese takeout and generally become an antisocial hermit because it’s that important not to miss even one episode.

Premieres: Sept. 24 at 8pm on ABC

Dexter

Premise: Miami’s favorite serial killer is back for a fourth season to tackle the really difficult subjects, like being a dad. Now that Michael C. Hall’s renaissance man of a character is married to mother of three Rita (Julie Benz), things are sure to get even more hectic as he balances his day job as a blood spatter analyst with the Miami police department with his unofficial night job as hatchet man. But unlike “all those other serial killers,” Dexter redefines the role of the hunter by only going after the baddies, the ones that truly get what they deserve.

Agent Frank Lundy (Keith Carradine) is back as the hard-nosed, mild-mannered etc. detective, whose return will undoubtedly stir up emotions within one-time love interest and Dexter’s willful sister, Debra Morgan, played by Jennifer Carpenter. (Calling all Freudians: Carpenter and Hall are married in real life). New faces this season include the enigmatic John Lithgow, whose chilling performance as the so-called “Trinity Killer” should hammer that last nail into the coffin that was Third Rock From the Sun.

Why you’re skeptical: Babies and butchery? Sounds like two mutually exclusive ideas.

Why you should watch anyway: Knives and nappies? Bring it on! Not to mention, the show’s clever intro has forever changed the way you think about blood oranges.

Premieres: September 27^th at 9pm on Showtime

Bored to Death

Premise: Fresh from a breakup, Jonathan Ames (played by indie darling Jason Schwartzman) is an aspiring writer in Brooklyn who’s having trouble kicking out his second book, while spending too much time drinking white wine and smoking pot. But instead of wallowing in his mediocrity and potentially tedious life, he puts out an ad on CraigsList advertising his amateur services as a private investigator. In his spare time, he hangs out with his loafer of a friend, Ray (played by Zach Galikianakis, who basically reprises his Hangover persona) and spends entirely too much time with his magazine editor, George, (a very able and silver fox-esque Ted Danson).

The idea for the show was created by the real life Jonathan Ames, novelist cum TV producer. It’s offbeat enough so as not to be pigeonholed as stereotypical television comedy; in fact, they coined their own term for the genre: “noir-otic.” A slew of supporting characters also help breathe credibility into the show, with various cameos by Parker Posey, Oliver Platt and Kristen Wiig, among others.

Why you’re skeptical: Jason Schwartzman on the small screen? Isn’t that the movie star’s death sentence?

Why you should watch anyway: Any Wes Anderson film fan really has no excuse not to. Besides, it’s backed by enough originality to almost make you forget that they ever made a show called Cougar Town, or that Carson Daly still exists.

Premieres: Sept. 20 at 9:30 pm on HBO

The Cleveland Show

Premise: What do you do when you’re riding high on the wave of success from your hit TV show? Make a spin-off with one of your lesser characters. Enter The Cleveland Show by Seth MacFarlane and the Family Guy crew. The show follows Cleveland Brown, the token black neighbor, who ends up moving with his rotund son to funny-the-first-time-you-see-it Stoolbend, VA. There, he falls in love with and marries his high school prom date and takes on her brood for a dysfunctional mini-partridge family vibe. Mike Henry continues in the role of Cleveland, while new voices like Sanaa Lathan, who voices Donna come on board, with a somewhat ironic recurring role by Arianna Huffington as the voice of one of their neighbor bears.

The bottom line? It’s basically Family Guy with a minority spin. Call it “Tyler Perry moves to Virginia” but it still has potential. More than likely, The Cleveland Show won’t reach the same comedic heights of Family Guy but there’s a good shot of it receiving likeable enough reviews as such shows as American Dad.

Why you’re skeptical: First of all, the main character, a black man is voiced by a Caucasian. Second, is this show really necessary in the grand scheme of things? Shouldn’t it be time that Seth MacFarlane took some time off to write his memoirs or something?

Why you should watch anyway: A good fart joke has the staying power of a fine wine. And more than anything, you’re just plain curious.

Premieres: Sept. 27 at 8:30 pm on Fox

The Jay Leno Show

Premise: After a 3 month hiatus during which time he no doubt renewed his AARP membership, Jay Leno is back to the boob tube, but now at a family friendlier primetime spot. So after doing the Tonight Show for 17 years, battling it out tooth and chin with Letterman, what’s the late night vet got up his tailored sleeve?

See Jay Leno shoot the shizz with the same big names, minus the big desk. Is he a more intimate softer, Jay? Not nearly. The same sketches, like Headlines and Jaywalking are back, along with new segments like 10 at 10 and Stories Not Good Enough for Nightly News. But is that enough to get people to watch? Responses to his first show back were mixed at best, so maybe it’s really true. You can’t teach an old late-nite talk show host new tricks.

Why you’re skeptical: Your first alarm went off when you were forced to sit through the new opening credits, which looked like a 1980s music video by A-ha. And he could have done so much with Kanye’s appearance, post-MTV VMA gaff.

Why you should watch anyway: Nostalgia. Leno was integral in securing a place for late night talk shows during their heyday. Turning your back now would be like refusing your grandma’s fresh baked cookies.

Premiered: September 14th at 10 pm on NBC

Parks and Recreation

Premise: The first season of mockumentary style Parks and Recreation set up a lot of loose-ended storylines that will hopefully tide viewers over into the new season. Will Ann (Rashida Jones) and Mark (Paul Schneider) ever progress beyond awkward quasi-flirting? Will optimistic mid-level Bureaucrat Leslie Knope (Amy Poehler) ever make good and actually build something?

What exactly does the second season bring to the governmental table? In the season premiere, Knope arranges a publicity stunt to marry two penguins with the intention of promoting the local Pawnee zoo. The only problem is, they’re both male. Watch and cringe as Leslie gets bitch-slapped again and again by regulations and red tape.

Why you’re skeptical: Unflinching loyalty to The Office left you a tad resentful when the original writers all jumped ship to do Parks. How can they just leave Jim and Pam in the lurch like that, especially with a baby on the way?

Why you should watch anyway: The cast really carries what is essentially a (intentionally) dull premise for a show. Amy Poehler gets you with an understated hilarity, while Aziz Ansari is just comedic gold in whatever he does, from an Aussie hating fruit vendor in Flight of the Conchords to foul-mouth standup comedian, Randy, in Funny People.

Premiered: Sept. 17th at 8:30 on NBC

But all is not Emmy-worthy in TV Land. For as many decent looking new shows as are coming out, there’s just as many, if not more mind-numbing, pictorial insults elbowing their way for a spot on the small screen. Before you pick up that remote, know what to avoid before it’s too late.

Skip the following:

Mercy
Flo Nightingale ain’t gonna take no crap from no know-it-all doctor.

Hank
Better known as: Frasier remixed. Been there, quipped that.

The Beautiful Life
Pretty people acting pretty stupid. Oh the sex, oh the intrigue. It’s like Tyra Banks and Ed Westwick doing the humpty hump.

Cougar Town
There’s really no explanation needed. The title says it all. Geriatric me-yow.

Eastwick
Sex and the City with wands and cauldrons. You can put lipstick on it, but it still sucks.

The Vampire Diaries
Okay, we get it, vampires are cool. All these pasty ingénues almost make us miss fake tanning spray and LiLo.

If you’ve heard of Evelyn Waugh, it’s probably because your film buff friend dragged you to see Brideshead Revisited. But aside from his Hollywood reincarnation, there is no one who better sums up the image of the epicurean than the writer who lived through one of the most flamboyant periods in history. Arthur Evelyn St. John, better known just as Evelyn Waugh, may have been highly satirical of the Roaring Twenties and interwar period, but he understood and wrote about it better than most. Born in London on October 28^th, 1903, Waugh was raised in a middle class household. It was at college that he first got a taste of the “bright young things” he would later write about, a highly active set of socialites who engaged in all manner of hedonistic pleasure. But this was a sign of the times. The period after WWI left many people, especially in war-torn Europe, in a state of shock. Once everyone had gathered their wits, an unreal state of euphoria seemed to grip the continent, and the young partied like every day was their last, especially when anticipation of a second World War appeared on the horizon.

In addition to the climate of the times, a number of things influenced Waugh’s work, including his time as a journalist, his service in WWII, an unsuccessful first marriage, and his conversion to Catholicism later in life. For example, it was during the war that Waugh wrote one of his most famous works, Brideshead Revisited,which hearkens back longingly to the unattainable lost period before the war. In the preface of the novel he quotes: “In December 1943 I had the good fortune when parachuting to incur a minor injury which afforded me a rest from military service. This was extended by a sympathetic commanding officer, who let me remain unemployed until June 1944 when the book was finished.” Another set of books, the Sword of Honourtrilogy, also loosely parallels Waugh’s time during the war, and these are a favorite choice of John H. Wilson, professor at Lock Haven University and the US representative for the Evelyn Waugh Society.

Waugh died on April 10^th, 1966 at the age of 62. By this point in time the prolific writer had authored a great many novels, short stories, biographies and travel accounts. He is remembered today, because, as Wilson avers, “he is the best stylist of the twentieth century.  Anyone who is interested in writing can learn a great from reading Evelyn Waugh.  Second, Waugh is also the funniest writer of the century.  Third, paradoxically, Waugh deals with the most serious subjects: the nature, purpose, and destiny of humanity.”

For the Waugh novice, the best way avenue in to the ostentatious world of the 1920s and ’30s is through his most acclaimed satires. Wilson recommends A Handful of Dust to start, but Vile Bodies and Decline and Fallare also friendly introductions to his work. However, his serious works, like Brideshead Revisited, should not be passed over, as they are equally telling of the times, but from a more straightforward, if heartbreaking point of view.

But you don’t have time to read more than the occasional magazine or Blackberry email blast, you cry. As much as the old adage of “read the book, then see the movie” stands to reason, there have been a number of film adaptations that if nothing else, merit a look and will hopefully pique your interest enough to find time in your busy schedule to grab the hard copy. The aforementioned film version of Brideshead Revisited came out in 2008 and is the most widely circulated of the adaptations to date, having been shown a major studio release. This, along with Stephen Fry’s 2003 film Bright Young Things, a translation of Vile Bodies, have both received favorable reviews insofar as being quality films, but as any of the literati can attest, adaptations almost always contain their failings. Wilson adds, “I’m glad that filmmakers are showing interest, somewhat belatedly, in Waugh’s works, but I was disappointed in both Bright Young Things and Brideshead Revisited.  As Waugh himself realized, the imagination of the filmmakers takes over and distorts the original conception.”

And so, a Waugh primer, condensed:

Read This

Vile Bodies

This look at the decadence of British high society and the eventual disillusionment is best summed up in a monologue by one of its characters, Agatha, in which she dreams that they were all “driving round and round in a motor race and none of us could stop, and there was an enormous audience composed entirely of gossip writers and gate crashers…all shouting at us at once to go fasters, and car after car kept crashing until I was left all alone driving and driving—and then I used to crash and wake up.”

And This

A Handful of Dust

Taken from Eliot’s eponymous poem “The Waste Land,” A Handful of Dust describes the plight of the well-to-do through the angle of a marriage falling apart. After the accidental death of their son, Tony and Brenda are headed for divorce. Through a series of mishaps, Tony gets stranded in the Brazilian jungle, where he spends the rest of his days forced to read Dickens to a man named Mr. Todd.

Watch This

Bright Young Things (2003)

Even though Fry’s adaptation may be missing out on some key points, the attention he gives to the lavish parties and out of control lifestyle is a tasty bit of eye candy. Plus, stellar performances by Emily Mortimer and an unforgettable bit part by Peter O’Toole give that extra little oomph.

Skip This

Brideshead Revisited (1981)

Although worth a look eventually, this British TV series based on the novel is 11 hours in total of slow going. Watch the 2008 remake for a condensed version, or better yet, crack open the book, silly.

Links

http://www.evelynwaughsociety.org/

The movie opens upon a great white snowy expanse in which Hopkins is racing some stereotypical well-to-do competitor. The vastness of the landscape and the contrast in these two characters come to set the tone of the rest of the film. The wide open vistas, highlighted with panoramic shots to accentuate their size, come to symbolize the sheer isolation and loneliness faced not just by Hopkins, but also the other racers. It hearkens to some vague “each man must follow his own path” sort of philosophy, though this is never overtly realized in the film.

One of the main themes of the film is the overarching underdog story. Throughout, there are three clearly defined underdogs. The first is Hopkins himself, the rough and tumble cowboy who is not as cultured or wealthy as those he comes to face. The second underdog is Hidalgo, the so-called “impure steed” whose very name refers to his wild and untamed nature. The last underdog, or underdogs and comedic relief as it were, are Yusef and the slave boy, who are ordered to be the “infidel’s” lackey when the race gets under way.

Throughout the lengthy film, the character of Hopkins is not only revealed, but he is compared to other characters to the point of exhaustion. For one, Hopkins is very much like Sheikh Riyadh (Omar Sharif) whom he befriends by the end. Both value honor and pride over money, even though they come from different backgrounds and opposing sides of the social strata. Then there is Jazira, the Sheikh’s headstrong daughter, played by Zuleikha Robinson. As if it were not enough to hint at these two characters sharing traits, the dialogue makes sure of it. At one point, Jazira mentions how she must hide who she really is behind a mask, whereas Hopkins, born among the Sioux tribe, also wears an (albeit figurative) mask.

The film’s antagonists, Prince Bin Al Reeh (Said Taghmaoui) and the double-crossing Lady Anne Davenport (Louise Lombard) are bad guys indeed, but they cannot stand up to the absolute cornucopia of obstacles which our fearless hero must overcome. Hopkins deals with all of the following and somehow comes out barely scathed: a sandstorm, temptation, water shortages, and also a swarm of locusts. As if the biblical plague did not delve enough into the ludicrous, someone thought it would be a good idea to attack the protagonists with (poorly animated) CGI leopards. In the end, though, Hopkins’ greatest adversary proves to be himself and his struggle in accepting who he really is.

A major device the film employs is the use of flashback, which lets the audience in on Hopkins’ character and inner turmoil. The first flashback shows Hopkins at Wounded Knee, shortly before that fated hour. Supposedly, he was the one who delivered the orders (aka death sentence) to the commanding soldiers. His guilt afterwards never truly goes away, and he spends the rest of the film dealing with his demons and trying to make it up to the Sioux. Spoiler: he does.

In his next flashback, some eight months later, we see Hopkins working as a clown in Buffalo Bill’s Wild West show. Not only do they depict the Wounded Knee massacre in cruel parody, they even go so far as to vilify the Native Americans. This is obviously a dark time for Hopkins, illustrated in his brief and unfulfilling affair with the bottle. Yet even after giving up the drink, Hopkins does not come face to face with his problems until he is on his last legs, and sees a mirage in the desert which prompts him to break out in mournful Sioux song.

There are some definitively positive things about this movie. For starters, Viggo Mortensen has proven himself to be a chameleon of a thespian, someone who is just as comfortable playing a cowboy as he is an undercover Russian thug (Eastern Promises) and a king (LOTR). He makes the character of Hopkins likable without making him into a caricature. In fact, because of his ties to the American Indians, Hopkins seems to have a cultural sensitivity far beyond his peers. Also, even though Hidalgo is anthropomorphized to Mr. Ed proportions, somehow it comes off as endearing, and the horse proves to be a better supporting character than a good number of Hollywood actors. Finally, perhaps the film begs the viewer to suspend his disbelief more than he would like to, but what is important to remember is that in the end this is a fairy tale and an adventure.

The Arabian setting, though tritely romanticized ala 1001 Arabian Nights, is still an escapist orgy of brightly colored robes, spices and hookahs. And it is refreshing to see a movie where they actually speak the languages (in this case, Arabic and Sioux), rather than just hire extras to speak with affected accents.

Since the movie came out, there has been a lot of controversy surrounding the movie’s true story. What can be said for certain is that there was a Frank Hopkins and he did compete in long distance horse races, a popular pastime in the 1800s. In Oklahoma, there is still the Spanish Mustang herd in which Hidalgo’s descendants are rumored to exist.

But unless you’re a historian or a purist, one’s general impression of the film shouldn’t hinge on its historical accuracy. It’s exciting and intoxicating. Maybe it does toe the line of believable fantasy, but sometimes, isn’t escape just what the doctor ordered? It was for Hopkins. It took him thousands of miles to find himself; all you’ve got to do is drive to the video store.

MY OLD KENTUCKY HOME
Music and Lyrics by Stephen Foster

The sun shines bright in the old Kentucky home,

Tis summer, the people are gay;

The corn-top’s ripe and the meadow’s in the bloom

While the birds make music all the day.
The young folks roll on the little cabin floor

All merry, all happy and bright;

By’n by hard times comes a knocking at the door
Then my old Kentucky home, Good-night!
Weep no more my lady. Oh! Weep no more today!

We will sing one song for my old Kentucky home
For the old Kentucky home, far away.

Along with the mint juleps and mile-high hats, the Kentucky Derby is also known for a more musical tradition. Each year, the University of Louisville marching band performs the song “My Old Kentucky Home” as the horses are marched onto the track, to kick-off the start of the race and pay tribute to the state’s great history. The song was originally composed in the mid-19th century by Stephen Collins Foster, also known as the “Father of American Music.” In his time, Foster is also credited with penning such old time classics as “Oh! Susanna” and “Camptown Races,” but no other work has become so tightly associated with an exalted American pastime as this song is.

For the Louisville band, the performing of “My Old Kentucky Home” is not just a recent occurrence, as Dr. Greg Byrne, associate director of bands at the University of Louisville, explains.

“We have been playing the song each year at the Derby since 1936.” Before that, the practice of playing the song at the Kentucky Derby is rumored to have started only about 15 years prior, so the band’s role is as deeply entrenched in the Derby as is the song itself.

But unlike a football game or other sporting event, the playing of the song is not accompanied by choreographed moves or marching. As Dr. Byrne goes on to say, “The song is really seen as reverent in this state. Typically it is played in a standstill position and played as a chorale.” However, that is not to say that the ditty has been entirely absent from other band repertoires. He adds, “There are marching band arrangements of this song available that can be used in parade settings and even halftime show settings.” Often times, the playing of the song at the end of sporting events is performed in conjunction with the school’s alma mater.

Of course, nothing else can really compare to the main event performance, and the swell of cheering that inevitably follows. The almost sacred ballad is, to Kentuckians and their compatriots, grouped in importance with such tunes as “America the Beautiful” and even the National Anthem, although a 1970 version of “My Old Kentucky Home” by singer-songwriter Randy Newman paints a less than complimentary picture of the state.

Turpentine and dandelion wine

I’ve turned the corner and I’m doin’ fine

Shootin’ at the birds on the telephone line

Pickin’ em off with this gun of mine

Parodies aside, preparing for this yearly performance is no laughing matter. It takes a strong work ethic and discipline.

“We actually put a lot of time into rehearsing the song and how we are going to stand for the performance,” says Byrne. “We always work on beauty of tone with all our music; however, just as with the National Anthem, we know that people will sing along. Therefore, we spend quite a bit of time capturing the spirit of the song as well, making sure the voicing structure is apparent.”

Attaining a comfortable level of perfection is necessary when preparing to play at such a highly publicized and televised event. But no amount of nerves can shake the music veterans who know this song as well as the back of their trumpets. And speaking of trumpets, one famous horn blower in particular stopped by one year to join the band in the playing of “My Old Kentucky Home.”

Dr. Byrne relates the tale:

“During the Derby, Louisville really rolls out the red carpet for celebrities and royalty from around the globe. One year, renowned trumpeter Wynton Marsalis joined us to play. Before we performed, Wynton and his band held a jam session for members of the marching band, which was really special and unexpected. When it came time for us to play ‘My Old Kentucky Home’ on international television, the TV stations revealed a pedestal for Wynton to stand on, [but] Wynton declined the offer and said that he would stand with his fellow band members in the trumpet section. What was even cooler than that was that he chose to stand with the students, playing the third trumpet part, and that’s the part he played during the performance.”

What’s clear overall is that the Derby’s official song is one piece of nostalgia that brings people together year after year, whether you’re a freshman flautist, a horse aficionado, or just a casual onlooker. “My Old Kentucky Home” has proven its merit as a piece of work that has withstood throughout time as a testament, not only to the race itself, but to the pride and optimism of American culture as a whole. Even in dark times of political turmoil or economic unrest, as Foster once wrote, “The sun shines bright in the old Kentucky home,” and there’s no sunset in sight for this venerated and popular tradition.

The EPI Awards are our way of paying respect to the favorites of our given categories, and ones that are truly representative of both the category to which they belong, and in the broader sense, to the Life Epicurean, and all that encompasses that lifestyle and philosophy. This is, admittedly, a fluid concept, but as our mission statement says, it is that lifestyle and je ne sais quoi, and that perpetual growth that makes it so worthwhile.

To compile this list, our staff was given a set of categories for which to nominate a given number of choices, and then, to reach a consensus, there was a run-off ballot created to complete the process, with the winners being decided by aggregate votes and nominations. Through closed and independent voting, we finally decided the winners, and we welcome you find out who will be the Inaugural EPI Award Winners, and the best Columbus had to offer in 2008, and who will be looking forward to a very happy new year in 2009. With no further ado, we proudly give you the EPI Award Winners.

THE BARS

PHOTO CREDIT: GILES CLEMENT

Best Wine Bar: The Burgundy Room
From intimate fireside sofas, to high back round booths, to a knowledgeable and courteous staff, and top-flight menu that is always new, the Burgundy Room is a Short North spot that is second to none. Romantic, comfortable, and insouciant are just some superlatives that could be laid upon this fine establishment, but none better than this: Their wine list is simply stellar. The food is superior, and the staff is as good as any in town. Few in Columbus can call themselves as good at what they do as the Burgundy Room, and none was a better wine bar in 2008.

PHOTO CREDIT: MATT REESE

Best Dive Bar: Larry’s
This legendary campus haunt is gone, but won’t soon be forgotten. Likely, the smoking ban was the death knell for this establishment, where once the smoke provided a haze for the new beats and the crowd of people who were always just a bit different. Larry’s was a very real location, where you can sit down with a shot and a beer, or split a pitcher of cheap brew over a game of pool, or just drown your sorrows with a double of Jack Daniel’s and your favorite sad song on the Juke box that was maybe the best on campus. The etchings of students and poets, musicians and misfits adorned the weathered booths and tables, and from the collection of strewn chairs and tables, pulled every which way, for scholar and souse alike, Larry’s was as democratic a place as there was. Many places will come and go, even places with as long a history, but none will ever have the discreet charm that Larry’s provided since Larry Paoletti founded the Lawrence Grill in the early 1920s, and when Navy personnel kept the place open late for drinks starting in the ’40s.

PHOTO CREDIT: GILES CLEMENT

Best Neighborhood Bar: The Press Grill
Casual and cozy, the Press Grill provides the Short North with a place that many in the area can call their regular watering hole. A front-end, open kitchen serves good food, solid selection of spirits, and good beer at fair prices on tap; all combine in an environment full of locals. TVs are present but discreet, flush with the wall, and whether the music comes off the jukebox or an employee’s iPod play list, it’s nearly always fun and fitting. Great food specials, and cocktails that are always solid, and a staff that is friendly makes the Press Grill easily one of the best bars in the Short North, and easily, the best neighborhood bar of 2008. When you can kick back with a good martini, and still feel like you’re in your own living room, you know you have a place that’s as much like home as it is nice place to eat and drink.

PHOTO CREDIT: GILES CLEMENT

Best Upscale Bar: The Rossi Bar & Kitchen
When one thinks of a trendy place to go, where you feel compelled to wear a coat and tie, or your favorite little black dress, and stilettos, it can be a slippery slope to place that is either overcrowded and overpriced, or inhabited by elitists who epitomize what Dickie Greenleaf called in the film adaptation of The Talented Mr. Ripley “the cream of America: Rich, and thick; people who have tasted everything, and have no taste.” You always want that place where you can still be comfortable, but nevertheless enjoy a fine drink, great food, not kill your bank account, and have an intimate conversation, a great night with friends, or any other occasion when you may feel compelled to treat yourself to something special–even if it’s a regular spot. The Rossi provides just such a locale. The bartenders are among the most knowledgeable around, and it can be said that they mix the finest martini in Columbus, without exception. There may be other locations that have more of the hoity toity crowd, or a high-brow clientele, but where other places offer all show and no go, the Rossi delivers on all fronts. With familiar brick walls, and ambient lighting and candles at your table, and a setting that offers adequate seating for couples and groups alike, you can rest assured that The Rossi is hardly a pedestrian place, and in fact, caters to the crowd wanting both beautiful, and real, people.

PHOTO CREDIT: MATT REESE

Best Happy Hour: Eleven at Hyde Park
Eleven at Hyde Park may have rubbed some Columbus area critics the wrong way, with cocktails that are surely not founded on the principle that people drink with their budget in mind first, but those people are not thinking with Eleven’s happy hour in mind. To those off put by the stiff prices of equally stiff drinks at Eleven, the happy hour pricing is as competitive as any in town, and what they offer proves that Eleven can deliver a value that many others cannot: A top flight cocktail for a college-bar price. Additionally, with the eats available during their happy hour, they more than make up for the notion, however unfounded, that they’re only there to cater to the extremely well off. The happy hour here offers a glimpse at an establishment that has a lot of upside, and while potential is an extremely dangerous word to that end, it is always better to have it by the truckloads, which it does, than to not.

THE FOOD

Best Small Plates: The Burgundy Room
The Burgundy Room claims their second win in the Inaugural EPI Awards, and this time, it is thanks to wonderful work of executive chef Andrew Brannin. With their delightful selection of cheeses–with offered wine pairings–to their rotating menu, always fresh and enjoyable, and the portions are extremely liberal for small plates. The food is wonderful, and the suggestions of pairings on the menu are always spot on and effectively priced. Put simply, the Burgundy Room is one of the true standard bearers of Columbus food and drink.

PHOTO CREDIT: MATT REESE

Best Late Night Dining: Tip Top
Liz Lessner has been the face of Columbus’ emerging food culture for sometime, and her vociferous defense of the high-quality of Columbus and Central Ohio as a location has translated into being behind the best late night eats in town with Tip Top. Tip Top’s food is simple, tasty, and effectively priced, and after a late night of bar hopping, and gallivanting around town, Tip Top’s down town location makes it a ready waypoint from nearly any end of town, and fits comfortably into the budget, as well. The inclusion of a great bar selection, and sizeable patio for warm weather dining only adds to the appeal. If there’s any one meal that personifies late night eats and comfort food better than eggplant fries and a Reuben with Russian dressing, we’ve yet to find it.

PHOTO CREDIT: MATT REESE

Best Neighborhood Dining: Betty’s Food & Spirits
While the Downtown area enjoys Lessner’s late night eats at Tip-Top, the Short North belongs to Betty’s, Ms. Lessner’s first location. Relaxed, easy-going atmospheres, along with starting your meal with their plantains, are just a few reasons why Betty’s is such a great location. In addition to their history in the area, and their fun atmosphere of pin-up art from the recently passed Bettie Page, you can enjoy the location that put Liz Lessner on the map, and brought a fun flavor to Short North restaurants again, and will hopefully continue to do so for many years to come.

PHOTO CREDIT: CHRIS SPINATO

Best Upscale Dining: Alana’s
It could be easy to overlook some places in the University District, particularly in the North Campus area, where the staple of dining has long been The Blue Danube, or foreign fare like Taj Mahal, but Alana’s provides a remarkable menu prepared by one of the city’s truly remarkable chefs. Alana Shock’s so-called “bastardized French” is a treasure, nestled just north of Lane Avenue, and with one of the best wine lists in the city, a new full bar, and an ever-changing menu that features amazing local fare, it’s not difficult to see why Alana’s is the finest in independent upscale dining, with a brasserie flair, and with her summertime outdoor dining, and extremely loyal clientele, Alana’s proved in 2008 why dining in Columbus is so great, and why the slick package is not always needed to show off the gem that lay within.

THE KEEPERS OF THE FLAME

Best Columbus Cigar Shop: Smoker’s Haven
Premal Chheda’s Smoker’s Haven may have been troughed off by inconvenient roadwork this summer, but there’s nothing like the hands-on touch that Mr. Chheda provides his clientele, as well as the extensive knowledge with which he and his staff is armed. Perhaps there are larger selections around town, but for value, quality, and the ability to have that personal experience with a store’s proprietor; no place in Columbus brings to the table the unique touch that Smoker’s Haven does. Premal Chheda said it best himself, with many local business people backing him up on several occasions, in our in-depth interview with him from October of this year, “You can be successful in any business if you treat your customers well, and provide good quality products. Those are things I believe in.”

Best Place to Smoke a Cigar: Smith and Wollensky
Although open for only a few short months after the holiday rush, the smoking patio at Smith and Wollensky is unparalleled by any other in the city. Referring to it as simply a smoking patio may feel somewhat of a misnomer as it is actually more akin to a lounge. The space is fully enclosed, comfortably heated, and furnished with nice couches, tables, and even a large HD television. Better still, it receives full service from the bar and kitchen. In the event you don’t have your own on you, or just out celebrating an event, Smith and Wollensky even offers a cigar list with a very fine selection. Expect a considerable markup, but there are a few gems to be found, such as the Davidoff Double R. With all of these amenities considered, it feels more an extension of the restaurant itself than an “outdoor patio,” and you can expect the same great service and atmosphere as you would receive if dining in. Our only complaint is that it is not offered year round, but, as they say, sometimes the best things in life are worth waiting for. Truly, there is no better place to smoke a cigar in Columbus.

The 2008 EPI Award for Food & Drink Figure of the Year: Liz Lessner
Liz Lessner represents the better angels of the restaurant business. She’s an ebullient personality, with a love and passion for what she does that is rivaled only by her willingness to work hard for what she wants, and what she believes in. Ms. Lessner has championed all things Columbus for so long, it’s become old hat to her, and with the coming of Dirty Frank’s in the old Queen Bee location downtown, she is looking to continue that trend. For Ms. Lessner, comfort food needn’t be overly simplistic, formulaic fare, but rather, a concept that should be fun, communal, and most importantly, local. Liz Lessner’s love of Columbus, of the State of Ohio, and of the industry to which she has devoted her heart and soul, makes her the 2008 EPI Awards Food & Drink Figure of the Year.

The 2008 EPI Awards Person of the Year: Mayor Michael B. Coleman
When charged with the task of nominating a person whose impact on Columbus was so great, and so positive, that their city was made the better for having them, the list was Mayor Michael B. Coleman, and everyone else. Truly, it would be difficult to imagine someone who has such a positive attitude about Columbus, and its people, no matter how tough the times we face, or how hard the road ahead may appear. Mayor Coleman, despite any criticisms, has a “can-do” attitude about this city, and about the challenges that may come in the future. His Honor has also worked hard to help deliver the Columbus-area to the President-Elect, having endorsed Barack Obama for President long before it was fashionable, and in the face of a popular Ted Strickland having endorsed Hillary Clinton. When one asks many people in Columbus what their impression of the man is, most will tell you that in their personal experience, he’s been affable, accessible, personable, and positive, but that also brings the tacit statement that they’ve met him. Mayor Coleman is in the community, and understands what the beating heart of the city sounds like, and what the face of the city looks like. For the city of Columbus, we can find no better representative of all we’re capable of, and for the 2008 EPI Awards, we, the staff of LifeEpicurean.com, are happy to name Mayor Michael B. Coleman the Person of the Year.

Reader’s Choice Awards

Best Bar of 2008: Burgundy Room

Best Restaurant of 2008: Alana’s
With honorable mention to The Refectory for a significant number of write-in votes.

Person of the Year: E. Gordon Gee (President of The Ohio State University)

JFK

(1991, Dir.: Oliver Stone, Warner Bros, 206 mins)

Oliver Stone’s epic meditation on how a man loses himself in his work, in pursuit of the truth and justice, as the world can crumble around him. Stone’s portrayal of New Orleans District Attorney Jim Garrison is that of a patriot, who has gone through the looking glass, and cannot forget the man behind the curtain. Perhaps nothing sums up the film’s undying love of the pursuit of the truth, of justice, and for the answers to why perhaps the most inspirational leader of the 20th century was cut down before our eyes, than Garrison’s (Kevin Costner) impassioned speech at the end, which reminds us to never forget our dying king.

Mr. Smith Goes To Washington

(1939, Dir.: Frank Capra, Columbia, 129 mins.)

Jimmy Stewart made a career of playing honest everyman who believed wholeheartedly in the American ideals of hard work, compassion for your fellow man, and honesty. In this sense, Jefferson Smith, the earnest young Congressman picked to go to Washington, represents not just his constituency in the film, but us as well. Upon arrival, he quickly learns that the ways of Main Street hardly mean much inside the Beltway. Nevertheless, when he’s set up as a party to corruption, framed by a corrupt colleague, Smith delivers one of the most moving and inspirational monologues of the Golden Age of Hollywood, with the memorable words he says, shortly before collapsing in exhaustion, his filibuster to clear his name, successful: “And you won’t just see scenery; you’ll see the whole parade of what Man’s carved out for himself, after centuries of fighting. Fighting for something better than just jungle law, fighting so’s he can stand on his own two feet, free and decent, like he was created, no matter what his race, color, or creed. That’s what you’d see. There’s no place out there for graft, or greed, or lies, or compromise with human liberties.”

The Candidate

(1972, Dir.: Michael Ritchie, Warner Bros, 109 mins.)

Perhaps much more cynical than idealistic, Robert Redford’s portrayal of Bill McKay, a fictional Senate candidate, shows how the system takes even the best of men, and corrupts them absolutely. As the old saying goes power corrupts, and absolute power corrupts absolutely, and it’s little surprise these days when the reformer and agent of change turns out to be just another politician. Nevertheless, there’s a remorse in McKay, loosely based on John F. Kennedy, that is written on his face, in his actions and in his words. There’s a lot to be said about his guilt in selling out just for a few votes, for campaign money, for broader support. Nothing in McKay is the man we wish he were, but so much of him is what we wish we weren’t. His flaws, his human flaws, are the epitome of humanity and frailty, and vulnerability, and for that, this picture serves as a mirror of ourselves. It’s never out of the question that even the most idealistic amongst us are corruptible.

The Contender

(2000, Dir.: Rod Lurie, Dreamworks/Paramount, 126 Mins.)

When an ambitious rising star Senator (Joan Allen) is nominated to replace the recently dead Vice President, a lurid night of college sex romps is brought to light during her confirmation. With all the scandal of Bill Clinton, or Clarence Thomas, the question is brought up: Would this matter for a man? The politics of backdoor deals, double crosses, and the politics of gender, and sex, present an interesting debate beyond the film itself, and moreover, are arching themes in our society to this day. While we have shattered the race barrier to the white house in electing President Barack Obama, there is still the “highest glass ceiling of all” that Senator Hillary Rodham Clinton spoke of, and it merits exploration of the issue. The film blurs gender lines, the arguments for equality, and what politics as usual means in Washington today.

Nixon

(1995, Dir.: Oliver Stone, Cinergi Pictures, 212 mins.)

Anthony Hopkins donned the whig and make up to appear as the disgraced American President, Richard M. Nixon. The epic story of Nixon, who pulled himself up as the classic overachiever, but marred by his all too human flaws, was one that naturally inspired much controversy, particularly on the heels of President Nixon’s death the previous year. Nixon is painted as a tangle of webs and lies and love and work ethic. His walking contradictions never end, as he goes from moments of pure elation, to manic depression. The picture is also connoted by Stone’s own relationship with his father, and the human flaws we see in Nixon are never ones that we are asked to obscure or condemn, but rather, empathize, and learn from. What hopefully rings true, then, is that quality that Hopkins, as Nixon, laments in the depths of Watergate, as he stares at the picture of his slain predecessor, and political rival, President John F. Kennedy. “When they look at you they see what they want to be, and they look at me, they see what they are.” Nothing summarizes the mortal manhood of Richard Nixon quite that eloquently, and while in many ways, it is an attack piece, attack pieces have proven to be great cinema. Citizen Kane, after all, was an attack piece on William Randolph Hearst. Nixon may never be held to that measure of esteem, but the Ex-President is never more vulnerable, and as a result, accessible, than in Stone’s biopic.

EDITORIAL NOTE: The opinions in this piece are solely those of this author, and do not necessarily reflect the opinions, thoughts, or feelings of LifeEpicurean.com

This weekend marked the beginning of Banned Book Week, celebrated by libraries across the world. Although technically, very few titles have ever been banned per se, libraries have been challenged in regards to the content of their collections and censors have tried to dictate what materials libraries can make available to the public. The American Library Association began Banned Book Week in 1982 to celebrate our right to read, and the success that librarians, and other information professionals, have had in ensuring that these materials remain available to the public, in spite of censors.

Each year, ALA releases a list of most frequently challenged books from the previous year, while encouraging readers to examine. The Adventures of Huckleberry Finn is a mainstay on this list, and as far as I can tell has been consistently challenged for well over a decade, due in large part to what some feel is racist language. Other titles, such as the popular Harry Potter series, as well as Phillip Pullman’s Golden Compass, have also appeared on its list for encouraging witchcraft. Even picture books, such as And Tango Makes Three, Daddy’s Roomate, and Heather Has Two Mommies have been challenged for being anti-family and promoting homosexuality.

Although many of the book challenges in recent years have been aimed toward school libraries and children’s book collections in public libraries, this was not always the case. Many novels we now consider classics were initially challenged on publication. For example Steinbeck’s The Grapes of Wrath was challenged in its first year of publication (1939) for using “vulgar words”, and was most recently challenged in 1993 for using the name of God in a “vain and profane manner”. Other classics that have graced this list include To Kill a Mockingbird, Catcher in the Rye and The Color Purple.

As a librarian by profession, Banned Book Week has great personal significance. Unlike lawyers, or therapists, librarians don’t swear to protect patron information and reading habits, nor are we contractually obligated to guard the books in our branches. However, librarians do adhere to Ranganathan’s Five Laws of Library Science in which we’re taught, “Every reader his book” and “Every books its reader”. On principle, we work to ensure that library patrons have access to our services, whether it be a book, magazine, movie, or simply access to the Internet.

In recent years, these practices have been challenged on a national level following the inception of the USA PATRIOT Act. Libraries have been asked to hand over patron reading and personal records as well as computers. In several cases the librarians themselves were served with a gag order, and were not allowed to reveal any details of the case. Censorship in libraries has even become a discussion point in this current election in which Governor Sarah Palin is rumored to have asked an Alaskan librarian how to ban books. In light of these kinds of challenges, Banned Book Week seems more important than ever, to raise awareness of the kinds of censorship that occurs on a daily basis, impinging upon our freedoms. I do believe that every reader has a right to access the information they want, whether that information is The Anarchist Cookbook, or a Chinese newspaper, our freedom to read is central to our democracy, and without that, I have great concern as to the direction our country is taking.

Each year, I try to read at least one book from their list, of frequently challenged books. This current year I’ll be reading Tropic of Cancer, and encourage everyone to expand their horizons, and read a banned book.

Far too often, people are quick to make the big blanket, exclamatory statement, “TV sucks.” Apart from it being ridiculous to issue a grand indictment over a form of media, it’s also not true. While there’s a lot of saccharine, disposable, interchangeable shows out there, there’s also a lot of good ones as well, that are still worth watching, and still keep us glued to the tube. While much of it is on cable or premium networks, with the dawn of the iTunes/online era, they’re also readily accessible online. From news, to late-night, from drama to comedy, there’s nothing that is sub-par about these shows, and they are going to be the shows that are being talked about around the coffee machines and water coolers across the country.

1. David Letterman & Craig Ferguson
Late Night’s Cutting Edge on CBS
(M-F, 11:30-12:30, 12:30-1:30, CBS)

The reigning King of Late Night may not have the highest ratings, but he’s still the funniest, most innovative show that sets the tone for the whole of late night. David Letterman may not have gotten Johnny’s show, but he’s taken Johnny’s spot as the guy who people tune into in late night when they want to know what’s important, what’s relevant, and it’s easy to see why more talked about moments have been seen on the “Late Show”, than the same tired, stale, middle of the road humor on Jay’s show, and the crude, lowest common denominator, unoriginal comedy on Jimmy Kimmel. There’s something about Dave that carries the same gravitas as Johnny, and that cache makes his show all the funnier. With Craig Ferguson quickly building a following on the 12:30 show, the “Late Late Show.” Quirky, inspired, edgy, and fresh comedy meets interviews with a wide collection of guests and an interviewer that’s actually interested in what his guests have to say. CBS has the best late night line-up, and it continues to provide a barrel of laughs, and a heart and soul of our pre-slumber viewing.

2. Real Time with Bill Maher
Politically Incorrect, And Loving Every Live Moment
(Friday, 11, HBO)

Comedy & news is a popular genre, with the Jon Stewarts and Stephen Colberts of the world. Those shows, however, hardly have the same hard hitting debate, and down-and-dirty discussion, even of taboo issues, that Bill Maher brings every week on his his show. The ersatz Politically Incorrect, this time with no commercials, no breaks, and broadcast live, brings Maher’s Carlin-esque biting humor to political comedy, and hosts a panel that often features important voices of noted academics, political personalities, as well as the occasional high-minded actor or musician. With interviews with people of all stripes, one could hardly call this show slanted towards liberal or conservative, but it could be called acerbic and alive. There’s a quality about Maher’s HBO show that isn’t present on Jon Stewart, or Colbert. The panel brings a quality of those big, late night conversations where you feel yourself learning, and teaching, and laughing, sometimes all in one moment. With the election coming up, and the political season reaching it’s hyperbolic zenith, Maher keeps his court jester’s tradition in the face of hot air speeches and stuffy candidates.

3. Anthony Bourdain’s No Reservations
World Beater
(Travel Channel, Check Local Listings)

Few shows on the Travel Channel could pretend to be interesting, but there’s few shows on TV that are as genuinely fun, and interesting as Bourdain’s “No Reservations.” It’s part Frommer’s, part drinking buddy, and part reflections of an executive chef who has taken leave of his job, and maybe, his faculties. Bourdain brings an insouciant cool to what are normally painfully lame, fairly typical travel shows. While Bourdain is good enough to take part of all the local traditions, and be great sport about the strange and new, it’s always from a distinctly urbane, American perspective. Still, traveling with Bourdain inevitably becomes a trip not just around the world, but through the looking glass, as well, as Bourdain plays equal parts Mad Hatter and Cheshire Cat. Fun, enlightening, and refreshing, Bourdain takes us around the world on a journey into a new locale, and possibly insanity. It’s a journey we’re only too happy to take with him.

4. Entourage
They Love L.A., And So Should You
(Sundays, 10, HBO)

In a world of fake celebrities, “Entourage” sends up our OK! magazine tabloid culture and spins it into a group of friends, and their quest to make it. It’s the hustle we tune in for, but it’s the camaraderie that we love. The fact that all of these characters have become so identifiable and so fleshed out on their own, and can still mesh so well in a group dynamic is a testament to a quality of comedic writing that transcends the hilarious “ball-breaking” quick wit that is traded between them. Jeremy Piven, on top of it all, has created a character that is as likable as he is slimy, and if he weren’t the conniving weasel he is, he wouldn’t be the hyper-caffeinated hustler we’ve all come to love. Kevin Dillon’s Johnny Drama, the older brother character who hangs on to a fringe of showbiz success that so honestly and humorously depicts his own struggles as an actor. “Entourage” is a scathing critique of Hollywood, a meditation on male bonding, and, fundamentally, just damn funny.

5. Weeds
For The Drug Dealer Next Door, It’s Showtime
(Mondays, 10, Showtime)

Drawing on a great suburban narrative, Showtime’s “Weeds” is the quirkiest, funniest look at what goes on behind all those picket fences since, well, Picket Fences. Mary-Louise Parker as the queen of the Stepford dealers is a priceless, even brilliant turn for an actress who had seen a dearth of great parts prior to the series. With the fleshing out of the roles of Guillermo Diaz and Jack Stehlin, it has become the breath of fresh air (no pun intended) that the series was starting to need. Rejuvenated and still featuring that same must watch-quality, it’s a brilliant send up subur
ban malaise, as well as a heartfelt look at families.

6. Dexter
Cutting Edge TV
(Sundays, 9, Showtime)

Somehow blurring the lines between American Psycho and Miami Vice, Dexter is just as much psychological thriller as it is police drama and dark comedy. Each week we are able to tune in and watch the twists and turns unfold as our favorite sociopath serial killer, Dexter Morgan, unleashes his macabre brand of justice on deserving criminals. Always on edge, always wondering what is about to happen next, the plot manages to weave an elaborate and alluring web that is sure to snare audiences in its trap much the same as those set by the series’ title character. With its dark humor and examination of personal relationships, the tone is much like Michael C. Hall’s previous HBO series, Six Feet Under, but taken to another level entirely with all of the on-the-edge-of-your-seat plot twists and questioning of one’s place in society. This is a show that dredges up the darkest parts of ourselves and forces the viewer to examine the duality that we all face in our daily lives. Everyone has secrets, some are just a bit more grim.

7. Tom Brokaw hosting Meet the Press
If It’s Sunday Morning, This is the Must See TV.
(Sundays, 11 am, NBC)

When Tim Russert passed away suddenly earlier this year, many wondered what would be the future of the Sunday news and interview show. Tom Brokaw has stepped in to some big shoes, and become the best possible choice to fill in on the show in this election year. Brokaw’s experience and cache as a newsman is unquestioned, and his ability to speak to, and for, the common American, is one that has that Russert quality. While Russert was always notorious for pouncing on an inconsistency in someone’s record, or holding politicians accountable to their record, Brokaw has proven to have much the same savvy on the program, already having a wonderful interview from London with Barack Obama, Arnold Schwarzenegger, and Al Gore. Brokaw is a strong moderator, and has the integrity and the vision to lead “Meet the Press” through the season, and will undoubtedly hold both Sens. Obama and McCain to their record right through Election Day.

8. Mad Men
Drinking, Smoking, and the American Way
(Sundays, 10, AMC)

There’s something beyond just the stylistic, throw back approach of AMC’s “Mad Men”. It’s a nebulous quality, one has to grant. That said, it’s still clearly a masculine, brooding quality, that is compelling to watch, and with the authenticity of the show to this ethic, the viewer is simply a captive audience. “Mad Men” is a show the comes through the camera, the TV, and reaches men on a fundamental level. There’s a grab you by the arm trait in this show that commands attention, and respect, and when it gets it, it showcases human drama that we haven’t seen in television in some time. Not since the advent of “The Sopranos” has a show been so fascinating so soon, and it is quickly becoming something that inspires it’s own ethic. Indeed, even GQ is a captive audience, featuring the show so prominently in seemingly every issue. With an ensemble cast, it harkens back to that post-Eisenhower, New Frontier era of men being men, and women being women, and with it’s meditation of how the sexes segregate themselves, and create these prisons of their own making, it’s easy to see how relevant this show is in today’s world. “Mad Men” is the trendsetter of prime time TV, and a show that will be talked about for years to come. Retro and chic, it’s television history in the making.

9. The Shield
The Final Act Brings The Pain
(Tuesdays, 10, FX)

While it isn’t on HBO or Showtime, the gritty, at times, brutal crime drama, “The Shield” has brought to the fore a realistic crime drama, and morality tale that blurs the lines beyond recognition. The story of Michael Chiklis’s Vic Mackey, and his struggle as a cutthroat, stop at nothing cop isn’t in the same ethic of glorifying the loss of morality and praising a means to an end. In fact, there’s a meditation and reflection on the corruption of Mackey and his team as the unfortunate facts of llife. “The Shield” presents a considered look at the brutality of urban crime, of fading morality, and the ease with which we come back to the wrong side of the line, once we’ve already crossed it. Beyond this, the inclusion of Glenn Close, Forrest Whitaker, who are among the very best American actors in the world, has made this show credible in a way that few shows can claim to be. For a realm of TV that is chock full of crime dramas, and hard-boiled cops, “The Shield” stands unique amongst them, more well composed and nuanced than nearly any on TV. As we say goodbye to this show, we should also look at the way in which it has moved the paradigm of cop shows, and how much the genre suffers in it’s absence.

10. Breaking Bad
Desert Meth-Freaks, And Their RVs, Give AMC A Shot in the Arm
(Monday, 10, AMC)

A show that perhaps doesn’t get the praise it’s more stylistic, glamourous Sunday night neighbor. This show’s black comedy is more uproariously funny than most in the genre, even well executed ones. The show’s exploration of the desperation of the Jeckyll & Hyde lifestyle of Bryan Cranston’s portrayal of a man who turns to a life of crime to secure his family’s future after his diagnosis of cancer. From parading around the desert in not much more than a rubber smock, to more touching moments shared with his family, Cranston’s humanity shines through, and there’s an air of counter culture cool around the show that can’t be touched. Few shows on TV are as multi-faceted and as simultaneously hilariously funny and heartbreakingly human as “Breaking Bad.” Perhaps it never will get the same attention that the sexier, hipper “Mad Men” does, but in a way, that is what makes this show feel so special. It’s like a great secret that only you and the coolest people you know are hip to, and you’d almost prefer that nobody knew about it. That said, not many shows on TV deserve as much attention as “Breaking Bad” demands, and hopefully, will soon have.

Billy Wilder is widely considered to be one of the most renowned, innovative, and important filmmakers in American cinema. There’s a handful of his films that are considered to be all-time greats, and truly innovative, and legendary. With that said, the film that is perhaps most important to the history of American cinema, is 1944’s “Double Indemnity.” Few films define a genre better than “Double Indemnity” does for film noir. What’s more, is the use of the actors involved, and the innovation of the shadowy, dark camera work, intense close ups, and brooding suspicion that clouds the character of all involved. It may be common place, even passe in today’s cinema, but to tell a story, after the fact, from the perpetrator of the crime, was particularly innovative.

The first surpise to viewers is to see an actor many might be familiar with–Fred MacMurray, the father from “My Three Sons.” In a dark and mature role, he may seem a tad alien to the average viewer, but his performance as such a starkly immoral man, carrying on with a married woman, and plotting the murder of her husband. MacMurray’s masculinity and seriousness in the role is countered only by his portrayal of the taboo that he feels as insurance agent Walter Neff. From his use of the strike-anywhere matches, the suit and fedora, and nightlife of Los Angeles that Neff delves into, Wilder takes the audience on an exploration on the darker side of themselves, where morality becomes clouded, and sex, booze, cigarettes, and crime become one intoxicant from which few, if any, could claim immunity. [Neff foreground, Phyllis Dietrichson background]

MacMurray’s Neff is countered by the elegant, but mournfully criminal character played by Barbara Stanwyck. Stanwyck’s guiles mask a vulnerability, and though she’s rotten to the core, we can’t help but feel that things could be different for her, had only she zigged where she had zagged, or abstained rather than given in. Stanwyck’s protrayal of Phyllis Dietrichson is rife with the human element and shades of grey that make film noir so compelling, and life so confusing. Wilder could be thought to be guilty of framing women as evil, or the source of Neff’s corruption, but this would be an oversimplification. In a sense, it is, and it could be seen very much as Eve giving the apple to Adam, offering a taste of forbidden fruit. That said, Neff’s folly is of his own creation. He’s hardly innocent and his weakness is his own lack of moral fiber, and a closer examination would show how evident that is. Had it not been Dietrichson, it would’ve been some other temptation to prey on Neff’s own personal shortcomings. She merely provided the best opportunity for Neff to exploit. This isn’t to excuse Dietrichson from her own crimes, however. In fact, though the film is probably closer to the novel by James Cain, it is based on a true story, and that truth tells us that all must be held accountable for their crimes.

Edward G. Robinson also deserves a nod for his willingness to make a supporting part so memorable with his own presence. His portrayal of claims adjustor Barton Keyes is memorable, if minor, and it’s evident Keyes has a sense of morality that is as incorruptible as Neff’s is sullied. Nevertheless, Keyes is a bit of a naive character, never seeing the tell-tale signs of guilt from his best friend, and never once suspecting that his friend could be the accomplice that Dietrichson used to murder her husband. Still, Neff’s own guilt forces him to confess, if only to his best friend’s dictaphone, and well after his fate is sealed. Perhaps the use of flashback to tell the story is an added emphasis on Neff’s own sad, human failing. His crimes, are they a fait accompli? Could he ever have pulled himself away? Could he ever have chosen to do the right thing? Perhaps not, but it’s clear that we all face a moment of choice where we can do the right thing or the wrong thing, and Neff is fully aware of what each is. Keyes, in this regard, is the antithesis to Dietrichson’s immorality, and as it’s clear whom Neff chooses in the end, and whom he realized he should’ve chosen, he recognizes his own choices have done him in. Wilder’s use of duality, in a black and white film no less, shows that morality in a confusing world need not be lost, though the path perhaps less clear, and choices more confusing and difficult. Indeed, Wilder knows all too well that it is often difficult to tell right from wrong in a complex world.

Keeping that in mind, however, Wilder’s use of Neff’s perspective makes us identify with a murderer, and forces us to confront parts of us that might want to rationalize criminal behavior, and make it okay under a given set of circumstances. It’s not self-righteousness, rather, it’s a loss of virtue, and a mourning of that loss that makes us want to delve into this mentality. We want to hold ourselves to a higher standard, but the pitfalls of immorality make the journey towards bettering ourselves, and being a better person, and doing the right thing, just so difficult to either make us not want to try, or give up along the way. It’s evident in Neff’s want to escape to Mexico, only to fall to the floor, overcome and beaten by his own guilty conscience, killed by his own failings as a man, the murders of others on his hands, and his conscience. It’s his own human faults and failings that make it too difficult for him to pull himself out of the shadows of criminality that have taken over his life. As the Inferno itself says, “Long is the way, and hard, that out of hell, leads up to light.” Perhaps it is Dante’s notion of purgatory to write such an eloquent line, but extracted, it is a firm, principled stance, and an expression of how difficult it is to do the right thing, and how easy it is to give in to temptation.

Comedy today seems nearly devoid of notable cigar buffs, but beyond it, we can see that there’s still plenty big stars who enjoy a fine smoke from time to time. Danny DeVito and Whoopi Goldberg both enjoy fine cigars, DeVito with his fondness for Cubans, and Whoopi who prefers the smaller end of the Davidoff line. Elaine and Jerry both enjoy cigars from time to time if you catch them on “Seinfeld” reruns (remember the Peruvians, courtesy of Todd Gak?), and Dan Akyroyd is a notorious cigar smoker, with a famous love of aged Cubans in his native Canada. But the cigar icons of yesteryear? From WC Fields to Groucho, to George Burns…these were men who really knew how to live, and live they did.

GROUCHO MARX In the comedic realm of cigar icons, Groucho remains atop the list, and everyone else is competing for a distant second. With his trademark eyebrows, moustache, and black rimmed glasses, he certainly didn’t need an added gimmick, but we cannot owe him enough for his love of a good stogie. According to son Arthur Marx’s article for Cigar Aficionado, Groucho kept a massive collection—lighter smokes for after lunch, bolder ones for after dinner, and big, show-off smokes for VIP guests. While his moustache and thick eyebrows were makeup enhanced, his love of a fine smoke was genuine, and he kept a genuinely fine collection of his own. In the history of cigar lore, one of the most famous, funniest quotes was uttered on his show, “You Bet Your Life.” When a woman said she had 10 children because she loved kids, and loved her husband, Groucho said back to her, “I love my cigar, but I take it out of my mouth once in a while!” His favorite Dunhills weren’t the only thing extinguished by such a risqué (by 1950s standards) remark—Groucho threw cold water on the legend, insisting he never said such a thing.

	GEORGE BURNS While Groucho certainly made it an iconic prop, George Burns made it part of his life. Smoking roughly 10-15 cigars a day, it’d be fair to call him a regular, and fairly heavy cigar smoker. George discovered the smokes as a way to keep his hands busy on stage and in films. While he favored a cheap brand typically, he would occasionally partake in a fine smoke with some of his comedian buddies at his favorite clubs around Los Angeles. Burns enjoyed cheap cigars that stayed lit while he was performing. There’s something to be said about an old school icon who truly appreciated a fine smoke, regardless of price, and never listening to the naysayers who pushed him towards more expenive smokes, or health crazes that would have cut short his 100 year life.

MILTON BERLE Uncle Miltie may have been legendary for a variety of things, from his one liners, to his cross dressing routine on his old television show, but his love of cigars certainly ranks highly among the trademarks of this comedy legend. Berle had a love for fine Cubans, like H. Uppmans or Montecristos, but when it came to what he smoked well after the embargo, Berle was said to have stuck exclusively with Fidel’s former favorite, Cohibas. While Berle took the source of his Cubans to his grave as a secret, it wasn’t a premature grave, to be sure. At the time of his death, Uncle Miltie was 93 years old, and had enjoyed a lifetime of good humor and great cigars. What more could a man ask for?

MICHAEL RICHARDS Perhaps there are other comedians for whom the cigar was a greater trademark, but few could claim to have made it of such a high profile at the beginning of the cigar boom, when Arnold and DeVito and Rush Limbaugh were bringing the cigar back into vogue. However, none of those guys were invited into people’s homes on a weekly basis the same way that “Kramer” was on Seinfeld. His post-Seinfeld grotesque comments aside (and they are abhorrent), Kramer’s cigar escapades—from burning down the Ross’s cabin with a poorly-placed light, to golfing with Cuban ambassadors—Kramer kept the cigar on hand, and Richards used it as a nod to the comedians of yore, and for that, Richard’s comedic contributions to cigar lore were paramount.

DAVID LETTERMAN As Rolling Stone put it famously, It’s Dave’s World, and we just live in it. The true king of late-night, though retired from cigar smoking after his heart trouble, has once admitted on Larry King to smoking nearly a box of double-coronas a day. While his love of double coronas famously gave way to Churchills, and has spoken at length how well he enjoys the times he has been able to enjoy a cigar with fellow comedic icon Bill Cosby. From chewing on the end of a stogie in Rolling Stone, to sneaking a smoke between breaks on live TV, Dave was certainly a cigar icon in the truest sense.

Chris Spinato | 4.16.08