As I was hunkering down for the Buffalo/New England NFL game this afternoon (I won’t divert this post into a sports one; I promise), an ad on CBS came up for a show I’d never heard of until today: The Crazy Ones. No big deal — networks have done this before, waiting until the last moment to publicize a show, most likely because it’s a sure stinker. And then … sometimes they screw it up.

Tell me: can a show that STARS Robin Williams AND Sarah Michelle Gellar really warrant this little publicity? Is it because they think its cast will support the show well enough that “publicity be damned!” and they’ll get the ratings anyway?The show can’t really suck already, can it?

I wasn’t the only one who hadn’t heard of the show until today, at least amongst those at CliqueClack HQ. That … probably doesn’t make us look so hot for a TV-related site, huh?

(Edit: It appears this ad has been running for a while, and all it took for me to see it was to watch CBS. Well, that explains it.)

How do you make a prequel to a movie that is regarded as a classic, and also happens to be 74 years old? Disney and director Sam Raimi have placed themselves under some pretty tough scrutiny with their audacious decision to return to the land of Oz with Oz, the Great and Powerful, said prequel to 1939’s The Wizard of Oz, and also based on the works of Oz author L. Frank Baum. And this isn’t Disney’s first time visiting Oz … anyone remember the cult classic Return to Oz, a sequel which saw Dorothy institutionalized and undergoing shock therapy?! Thankfully, this new Oz movie is not quite that dark.

The plot, in a nutshell, starts out in a drab, black and white Kansas where a traveling carnival has set up. One of the attractions is magician Oscar Diggs, who is more charlatan than showman, and who also has some relationship with a woman named Annie (Michelle Williams). Annie tells Oscar that John Gale has proposed to her, hoping he will tell her not to accept but, knowing that she’s way out of his league, he wishes her well (it’s assumed that she will eventually become Dorothy Gale’s mother). When the residents of the side show learn that Oscar has been putting the moves on almost all of the women there, giving them music boxes supposedly belonging to his grandmother, they plan to run him out of business but he escapes in a hot air balloon … just as a twister strikes.

Oscar, or Oz as he was known on stage, wakes up in a colorful new land, learns that the denizens of the land of Oz have been waiting for the wizard to come and save them from the Wicked Witch, and also learns that he’ll be rich beyond his wildest dreams so he accept the prophecy that he’s the wizard and then has to convince everyone else of his abilities. While most take him at his word, Glinda the Good Witch (Williams, again) and Evanora (Rachel Weisz), a witch with dubious character, see through his charade. Only Theodora (Mila Kunis) believes in him until her sister Evanora reveals her true self and shows Theodora the error of her ways. The sisters lay siege to the Emerald City (and, yes, one of them does turn green and pointy-nosed and -chinned), and it’s up to Oscar and his friends to save the day.

Oz, the Great and Powerful certainly has some big shoes to fill, and for the most part Raimi and company have done an admirable job of connecting this film to The Wizard of Oz. The opening black and white segment, cropped squarely in the center of the screen, has the feel of the black and white segments from The Wizard of Oz. When the film opens up to its full widescreen, Technicolor glory, it almost becomes a sensory overload (and you begin to wonder how much of what you’re seeing is real and how much is CGI). If you’ve seen The Wizard of Oz, you will certainly recognize the Winkie guards, the winged monkey (the Wicked Witch this time has ferocious flying baboons), the Yellow Brick Road, and the Emerald City throne room (a marvelous recreation of the original set).

Unfortunately, the film itself isn’t all that great or powerful from start to finish. It seriously lags in the middle, and some of the performances are a bit weak, particularly James Franco. He really isn’t the best actor, but he gives it his all and tries to win everyone over with his charm. (He was also the third choice for the role. One can only wonder how Robert Downey Jr. could have made this a more engaging character.) Mila Kunis was okay, but I still didn’t buy her sincerity. Rachel Weisz had the tougher job of playing patronizing to Oscar upon his arrival, and someone with darker motivations, and she pulled it off. Michelle Williams did the best, giving Glinda a little more depth than she ever had in the original movie, proving she is more forceful than the image she portrays to her people. Zach Braff appears in the Kansas segment as Oscar’s assistant, and in Oz he voices the winged monkey who becomes Oscar’s friend and right hand. The most engaging character, however, is a little China Girl whom Oscar finds after the Wicked Witch attacks her village, leaving her legs shattered (echoing an earlier scene when a young girl begs the magician Oz to make her walk). For a CGI creation, China Girl is the most emotional, human character in the film.

Fortunately, the film ends with a bang that redeems the sagging middle and sets up future sequels as well as the events in The Wizard of Oz (hinting at cowardly lions, scarecrows and tin men). Raimi’s signature camera work is on full display (and keep a close eye out for his cameo-ing brother Ted and BFF Bruce Campbell), and he uses the 3D effect to its fullest potential. Raimi wastes no opportunity to have thing fly off the screen (to terrific effect even during the Kansas segment), from hummingbirds and butterflies to spears and fireworks. He gives the film great depth from the tip of your nose to way past the proscenium. If you hate 3D movies, this one may just change your mind. While the film is a little over-long and may not be as great and powerful as its title character, it’s still very entertaining and even a bit nostalgic. Be warned, however, that it’s definitely not for small children. Those flying baboons are quite terrifying!

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Alright, old school Destiny’s Child fans. This one is for you.

Say what you will about Michelle Williams, but I think that the chick is awesome. I’ve always had a thing for Williams. Perhaps it’s because I’ve always seen her as a bit of the underdog of the group. Oh, how I remember when she was brought on way back in the early 2000’s as one of the replacements for two of the group’s original members. If anyone can remember correctly, it was Beyonce who was doing all of the singing back then. Williams didn’t really get a chance to shine until she was given the opportunity to display her vocal talents — usually being tasked with singing the bridge of such hits as “Survivor” and my personal favorite, “Bootylicious.”

Now, I’m not even going to front — her voice is a little different from Beyonce and Kelly’s which is fine by me. Hell, this column is about diversity, you know. Michelle Williams has the kind of sultry raspy voice that could do wonders for uplifting inspirational songs or entertaining jazz numbers. In my humble opinion, her turn on “Stand Up for Love” eclipsed both Beyonce and Kelly’s verses. Still, that doesn’t seem to keep the haters from talking negatively about her.

Last week, I wrote a column on Hispanic actress Justina Machado and how it pays to be an actor and not a celebrity. I mentioned how celebrities can attract a crap ton of negative attention even when they’ve done absolutely nothing wrong. Well, I think this is what may have happened with Michelle Williams. When you’re in the spotlight as much as she was during her Destiny’s Child era, sometimes you can get disapproving attention from downbeat fans … or even unruly singers such as Keyshia Cole who took to Twitter to negatively bash Williams for her performance during the Super Bowl.

Who the hell is she to talk?

I mean, seriously: Was that tweet necessary? Maybe she was drunk. Perhaps she was high. Or both. Either way, the comment was uncalled for and I feel it kind of reinforces this negative stereotype of women being catty … especially women of color. I’m looking at you, Nicki Minaj and Mariah Carey! As for the remaining Williams bashers — ya’ll ’bout to get off my dawg. She was on stage. We weren’t. She got paid a crap ton of cash. We didn’t. Hmm … next paragraph.

Growing up, I used to have aspirations of making it big in Hollywood, but now, when I hear stories like Cole’s negative tweet, I rethink those aspirations. You have to have tough skin to be a performer and I’m sure Williams does. It’s nice to know that her fans rallied in her defense. What people need to realize is that everyone is different. Clearly the woman has talent if Beyonce chose her to be in the group. So, what’s the big deal anyway? Instead of hating, shouldn’t we just give Williams her props? If you won’t then I certainly will. Way to go, Michelle! It was great to see you back on stage! Now go cash that damn check, sistah.

And let me hold twenty dollars.

Do you enjoy reading Clacking in Color? Jaylen sure as hell hopes so. Keep up with his opinions and ponderings by following him on Twitter @thesuperflynerd!

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Best Import – Miranda

If you’re suffering from the mid-winter blahs like I am and find yourself in dire need of new laughs, I’d definitely suggest checking out the charming British sitcom Miranda. Think if a Liz Lemon-like character of similar failure-prone relatability in a sitcom with a mixture of the goofy sensibility of Happy Endings and the distinctly British embarrassment factor that the original Office had, and you have Miranda. The basic plot is of a large, very silly woman (played by the stellar Miranda Hart, who also writes the show) struggling to be mature and composed as she struggles through dating, work, and polite social interaction. Miranda also boasts a stellar cast of supporting characters that include her Lucille Bluth-ian mother, her best friend and co-worker Penny, and her longsuffering mutual crush Gary (played by the dreamy Tom Ellis, who Merlin fans will recognize as old baddie Cendred). It’s delightfully sweet, absurd, and poignant by turns. There is no technically legal way to get your hands on this show outside of the UK, and I don’t want to encourage anyone to break the law, per se, but if there’s a show worth finding a creative solution to watch, it’s this one.

Best Cameo – Michelle Williams on Cougar Town
I came extremely close to just declaring this a three-way tie and throwing the towel on this category, but that is not how we do it here at Sitcom Superlatives! Choices – even impossible ones, must be made. And so eliminated was poor, finally looking more his age and less like he was kept in a time dilation field between Olympics Bob Costas, despite his superlative job this week on Go On. Also sadly eliminated was the hysterical Octavia Spencer on 30 Rock doing her best impersonation of Tracy Jordan. (She will not have anything to do with Maryland because of her feud with Cal Ripken Jr.) But the ultimate winner had to be Michelle Williams’ blink-and-you’ll-miss-it cameo at the end of Cougar Town as Laurie’s foster sister. I don’t think I’ve ever seen Michelle Williams in a comedic role before, which is a damn shame. Between her boob shimmy at Laurie and her pitch-perfect delivery of “no, bitch, what what,” I can’t help but hope this is a recurring thing.

Also, Bob Costas excepted,it seems to me that more Oscar-nominated (or Oscar-winning) actresses should cameo on sitcoms For my sake, if not for theirs.

Best new bromance – Mark and James van der Beek on Don’t Trust the B—- in Apartment 23
There’s a beautiful new relationship blossoming on Don’t Trust the B, and I’m not talking about Mark and June (because where did that come from?). No, Mark has far better chemistry with his new bro, a one Mr. James van der Beek.

I think the secret to what makes these two so delightful to watch together is that they mimic what makes June and Chloe so good. James, like Chloe, is ridiculous, spoiled, needy, and overly-dramatic. He and Chloe need the boring practicality of a June or Mark. And James’ horrible loss of confidence after his Dancing With The Stars career and subse was cut short and subsequent bravado jives well with Mark’s constant on-again, off-again relationship with his horrible girlfriend Jennifer. They both need someone to pick them up and make them feel good, as well as temper their more ridiculous turns (James) and their tendency towards Eeyore-like irritating self-loathing (Mark).

There are some shows where I simply don’t want anyone to have a romantic relationship with anyone, and Don’t Trust the B is one of them. But more quirky friendships like Mark and James’? Yes please; bring it on.

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I had an absolutely great time covering New York Comic Con this weekend, although my fellow Clacker Jeremy couldn’t make it, I’m hoping other Clackers can attend next year. I had an awesome time covering the press rooms. I am officially in love with Kevin Bacon of Kevin Williamson’s new FOX show The Folllowing, coming out in January. And James Purefoy, who plays the villain, scares the hell out of me (in the show and reality). Both Doc Hammer and Jackson Publick kicked my ass for talking about Venture Brothers in the past tense (it returns in October). Voltron Force writer/producer Jeremy Corray is a charmer. I went in hating the show and left a total fan. I had a surprisingly small and cozy geekcenteric roundtable with Robot Chicken’s Seth Green. I wound up 5 minutes late to my Haven press room because my Person of Interest table ran over talking to Amy Acker. Even cooler, I passed the redoubtable Carrie Fisher smoking a blue cigarette while walking a tiny black dog. So, basically, good times.

This year’s New York Comic Con was EVEN larger than last year. I literally avoided using the restroom (or drinking) all day Saturday because I COULDN’T find a restroom without twenty people in line before me. Don’t worry, I paid for it later. The Manga/Anime software people at Micro Smith kept pushing water bottles on me, so, clearly, I looked tore up from the floor up. NYCC this year felt disorganized in places compared to last year and could’ve used more volunteers for the larger panels. But, I still went away with a warm fuzzy feeling despite the daily commute. I know I am slow when it comes to transcribing interviews (Shut up, Michael); however, I hope to post my interviews once a day (or every other day). So keep checking here or the main site for the ensuing weeks. But, for cosplay pictures (which I know you want), keep reading!

The Costumes
You can always tell what’s hot in pop culture based on the costumes each year. This year, there were a ton of Banes, a ton of invisible men, the usual anime girls/Neko cat boys, a ton of Dr. Whos, and the usual Deadpool families. However, I noticed more Teen Titan Raven costumes this year and even more kid costumes. I passed an adorable little girl who looked like Scooby Doo’s Velma dressed like Supergirl and another woman who dressed like nerdy Velma meets va-va-voom Daphne. This year, I cared less about the awesome costumes and more about the creativity. I loved the steam punk female Robin and the Captain America prom Queen. Kudos to the man dressed as the Fourth Doctor, who offered me a Jelly Baby, and anyone dressed as X. Of course, I couldn’t stop smiling at the men and women limping around at 5:00pm after an entire day wearing heels or too tight boots.

For the people whose photos I clicked, my gallery includes a Batman (and his reluctant niece), who felt cheated out of SDCC photos; a gamer incredibly proud of his mohawk; a Spiderman by the way of Brooklyn; a Red Robin (with naked children); and the Justice League’s Samurai. I thought I’d see more Green Arrows, but whenever I caught any archers, I snapped their photos. Other photo subjects included a Michelle Pfeiffer catwoman; the Dr. Who Angel from “Blink;” two adorable Where’s Waldos; an Abe Lincoln Vampire Hunter; two of my favorite Dr. Whos – Four and Ten; the X-Ladies; Princess Tiana; A Wonder Woman mother to a tiny ninja (but all mothers are Wonder Women); Starburns; a little kid all too anxious to show of his Iron Man and more!

Go to page two if you’re interested!

The People
Grizz of 30 Rock (check out my interview!) stated that he loved New York Comic Con’s openness which I experienced whenever I sat down. I met a Danish woman who LOVED Terry Pratchett and detailed her love for 15 minutes. Another man walked to my Food Court table, put a comic down, and then walked away. I noticed more families this year where the elderly, normally dressed parents cared more about events than their kids. Everything’s bigger in New York Comic Con. I didn’t think Bruce Campbell could be any more egregious or deliberately obnoxious (which I say lovingly); but, I caught a bit of his NYCC panel which changed my mind entirely. And, yes, everyone treated the NYCC hallways like their homes. I caught two babies tossing their complicated costumes off in a hallway while a woman tossed her shirt in another.

I noticed most of the women thanked me when I asked if I could post their photos while most of the guys said “of course! That’s why I come!” So, guys, don’t just shoot and run the lady cosplayers. Ask their permission first (and apply that to life, as well)!

For picture gallery, click to the next page!

Check out the latest NYCC posts, here!

(This post contains 2 pages. Please visit the website to continue reading. Thank you.)

Fellow Clacker Ivey West forever exudes his never-ending love for Delta Rae. Carla Day is a’hibbin’ and a’hoppin’ to Carly Rae Jepsen’s “Call Me Maybe.” Tara Shrodes is grounded in Eva Cassidy of late.

Me? I have “Shields” in continuous rotation, the latest release from Grizzly Bear.

Six years ago, a friend of mine introduced me to this band. I found their brand of music oddly ethereal, yet attractive. Fast forward 13 months from that introduction to March 1st, 2008, where I found myself inside one of my all-time favorite venues, the Walt Disney Concert Hall. Grizzly Bear — unbelievably to me despite the fact I was seated, ready and waiting — was performing with the L.A. Philharmonic. This indie band with barely a notch on the bedpost was about to commingle with the premiere west coast orchestra in its very own home.

The show was just as ear-bending as Grizzly Bear’s music … more so with the addition of the Philharmonic complimenting the band’s very different strains. I was already on board with their music from the get go, but with the orchestra backing them … well … what a treat.

Grizzly Bear is that rare band which is virtually uncategorizable. Track to track, their music jumps from what might seem comfortable to something else entirely. The songs force your ears to reconsider what you’re listening to. That’s some of the beauty of their music, coupled with the unexpected twists. Add their vocal harmonies to the mix and you have a very interesting package.

But to those unfamiliar with the group, it might be a better introduction if one gives “Veckatimest” a spin first. It’s a more mainstream sound, filled with polished details which might make for an easier listen before launching into the gritty “Shields.” It’s as much the band’s signature sound as the previous album, but it will give the listener a little auditory history and make one more comfortable with the interesting arrangements Grizzly Bear is known for. “Shields” plows the same field “Veckatimest” did before it with sonic twinges that will make you think you’ve got a beat on them … until they switch gears and hand you something challenging. But it’s never so challenging you won’t become acclimated to it with a couple listens beneath your belt.

2008’s “Veckatimest” not only debuted at #8 on the Billboard 200 and #1 on the Billboard Indie chart in 2009, but landed on made many Top Album lists for 2009 as well: #1 Wall Street Journal, No. 6 Pitchfork, No. 6 New York Times, No. 8 Time. It ranked #1 on the NPR Listener’s Poll and Top 10 on year-end lists in The New York Times, Time Magazine, Pitchfork, SPIN, The Village Voice’s Pazz & Jop Poll and more. And in March 2012, Jim Fusilli of The Wall Street Journal even declared the effort “one of the best rock discs of this century so far.” After releasing “Veckatimest,” the band scored Blue Valentine, the highly nominated and award-winning Ryan Gosling/Michelle Williams romantic drama.

Grizzly Bear — Daniel Rossen, Christopher Bear, Ed Droste, Chris Taylor — are currently enmeshed in a world tour which sees them not only traipsing coast to coast here in the states but venturing the international circuit as well: The UK, Scotland, Sweden, Norway, Denmark, Germany, France, Belgium, The Netherlands, Australia and New Zealand. I’ll be catching them at The Hollywood Bowl the 10th of October.

I regret not being able to offer a selection from that Philharmonic gig, but I have the next best thing: The video below shows how receptive their music can be when musicians like Ric Elsworth feel the need to slip other instruments into the mix. Enjoy.

//www.youtube.com/watch?v=qJ7-suV9Kc8

While “Sleeping Ute” is rather refined, “Two Weeks” from their previous album is even more refined, very exacting. If you’ve never heard this song, may I suggest you do the following (it will be a whole new experience listening to the song for you): Close your eyes and listen to the video. Do not watch it the first go around. Once you’ve listened to it, then watch it. You’ll hear the song in an entirely different manner. I promise.

//www.youtube.com/watch?v=tjecYugTbIQ

You’ve gotten a taste of Grizzly Bear. Now … go get their music.

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