The Word October 2013
THIS ISSUE: Gravity
Breaking Bad
Lou Reed
Captain Phillips
NCIS
And Much More ‌
Table of Contents Movie Review: “Gravity” (Philip Price) …. 3 Movie Review: “Captain Phillips” (Julian Spivey) … 6 Movie Review: “Rush” (Julian Spivey) … 8 ‘Breaking Bad’ Gives Fans Ending They Deserve (Preston Tolliver) …. 9 'NCIS’ Says Goodbye to Ziva in Emotional, Awkward Episode (Julian Spivey) …. 11 ‘Glee’ Sends Off Finn in Emotional Tribute Episode (Aprille Hanson) …. 12 Five Reason Nick and Jess Should Stay Together on ‘New Girl’ (Aprille Hanson) … 14 Colorization of ‘Lucy’ for CBS Christmas Special is Absolutely Unnecessary (Aprille Hanson) … 16 Walking on the Wild Side: Lou Reed 1942-2013 (Aprille Hanson) … 18 Song Reviews (Aprille Hanson) … 21 2K Sports Goes Overboard with LeBron James in ‘NBA 2K14’ (Preston Tolliver) … 23
Edited by Julian Spivey Additional Editing by Aprille Hanson & Wendy Spivey
Note: All of these pieces were previously published on thewordwebzine.webs.com
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Movie Reviews ‘Gravity’ By Philip Price
The moment the title card came up at the end of “Gravity” I was ready to see it again. It has that type of effect on you where despite the fact what you've been a part of over the last 90 minutes was completely terrifying, completely out of your comfort zone, completely eye-opening and maybe to certain things you wouldn't want to admit; it was still so exhilarating that you want to experience it again and immediately. That is the kind of reaction I expect most people will have as they leave the theater and begin to reflect on what they've just witnessed, for not only is “Gravity” a visual delight, a technological wonder that defies all convention and expectation, it also never forgets story and character, the two driving forces behind anything worth telling. If there isn't an engaging story, a narrative to pull us in which includes recognizable characters, people with whom we live vicariously through or sympathize with in their moments of need and desperation, then there is no connection to the film other than that of a superficial one. Director Alfonso Cuarón, who made the well-received but little seen “Children of Men” and my personal favorite Harry Potter film (“The Prisoner of Azkaban”), has crafted what could easily become one of those defining moments in cinematic history where the mythology which will no doubt come to surround “Gravity” will be as great as the content of the film itself. This is a game-changer in ways only those who hope to create something bigger than themselves, something that pushes the boundaries, but does so for the right reasons could only hope to achieve. It is a film which, as far as I can tell, best captures the feeling of being in space without actually having to go there. The vastness of it, the colossal weight of what it means, the beauty of it all, yet the film also comes to carry much more weight than simply functioning as a National Geographic tutorial on space travel while teaching a lesson about the consequences of space junk; it is a story about existence, about human nature, about the will to live and everything that comes along with these giant themes which are as extensive as the universe itself. Opening with a spectacular shot of the overwhelming earth we slowly begin to hear chatter, the voices filled with NASA jargon which we recognize if not fully understand at first. Out of the corner of our eye we see something begin to move in the upper right corner of the screen. As it grows closer the voices become louder and we realize it is a spaceship and one on which a few astronauts are operating. It is an immediate reminder of how small we are when compared to this expansive thing appropriately called space. The first 15 minutes or so introduce us to these astronauts as they float around and work on the craft. Sandra Bullock is Dr. Ryan Stone an engineer on her first mission and George Clooney is veteran Matt Kowalski who is currently on his final mission and they are also joined by Shariff (Paul Sharma). Stone and Shariff are connected to the structure, held in place and working hard and fast so that they may complete what is necessary and return to the convincing safety of the ships interior. Kowalski meanwhile orbits the craft and speaks back and forth with mission control (voiced by Ed Harris, a nice touch considering his involvement with both “The Right Stuff” and “Apollo 13”) as if he were hanging 3|Page
out at a Sunday Barbecue. We see the nervousness, the unsteady hands, the pure fear with which Stone operates in her nearly frozen position while accepting the ease with which Kowalski comforts everyone around him. We are given these early moments of calm, despite the fact we are still on the edge of our seats due to little more than the environment, to get to know the personalities of the human element this film will carry and Cuarón along with his son Jonás have crafted such a subtle script with a simplistic approach that these introductions are done with a true naturalism that isn't forced, but more a necessity of the circumstance. It is in these small moments I came to be surprised by the film and the way it impacted me. To fully understand why “Gravity” works the way it does is to look into how it uses the technological aspects of its achievements to feed the audience a much bigger picture, a better understanding of what the point of all this might actually be as well as providing moments of pure terror and entertainment value. The visuals alone are worth the price of admission, but what you get in return is something you may consider in your daily life, and the wide shots of astronauts floating alone into deep space will reinforce these ideas and thoughts. It is the heart of the film which will continue to carry weight hours and days after seeing it as much as the views take our breath away. In the aftermath of a Russian satellite being destroyed its debris begins rushing toward Stone and Kowalski's Explorer causing Houston to force the team to abort the mission with only seconds to spare and clear the space of the oncoming threat, but they're too late. This sets up the core of the film, which in turn becomes a survival mission and lends the film the ability to discuss the more internal aspects of who these people are, who we are in the grand scheme of things and what makes this life worth living, if anything at all. While we are given the sense of how fragile and easily dispatched these counterparts are even in their massive suits that protect them from the increasing number of threats stacking up against them; we realize even more how easy it is to become lost and give up when it seems there is absolutely nothing waiting for us or no bigger purpose for us to serve. Cuarón has crafted a film that meshes these big questions into a single, direct piece of work that doesn't so much intend to answer any of them as much as it does put them into a context that may help us better understand. Where we might expect to go into this film and be taken on a wild adventure with a look behind the curtain at a job many of us wouldn't dare take on, we come out having received both that and a journey of the human psyche which has been dealt blow after blow, not only in the aftermath of this disaster, but in the life preceding her first mission. The simplicity with which “Gravity” conveys these ideas is its strength. It doesn't need to be overly-pretentious or mystical to be thought provoking, but simply looks to the facts of the tiny part we play in the universe and how our immediate problems can so quickly be dwarfed by the enormity of what has yet to be discovered. It is in small, fleeting moments that Cuarón allows his camera to float and settle on a well-framed image that we come to see his masterful storytelling not only through the actor’s voices and actions, but in how their situations are visually presented to us. A shot of Bullock's Dr. Stone as she cradles herself into a fetal position and attempts to maintain control over her breathing and calm her heart speaks volumes more than any dialogue could explain. The same could be said for multiple shots which focus on the random objects that litter the spacecrafts our astronauts move in and out of. Whether they be a picture of Jesus in one satellite or the Buddha figurine placed above the main controls in a Chinese satellite. It is all present to reinforce the meanings and themes Cuarón and his son intended to explore when writing the script as much as the extended shots (including a 13-minute long unbroken, opening shot) are intended to elicit the feeling of what it must be like to float weightlessly through an endless nothing. While all of this is fantastic and makes for one of the most engaging and absorbing movie-going experiences I've had in quite some time, it would undoubtedly be little more than a ton of style over 4|Page
substance were it not for the actors being able to place themselves in these situations and delivering a genuine emotional performance which doesn't ground the fantastical elements of the picture, but makes us believe in them. While Clooney is ultimately his charming self, if not a bit of a cheeseball, our surrogate throughout is Bullock's Ryan Stone. As with what I assume will be most of the audience, this is her first foray into space travel and so we understand her uneasiness and her hesitation to even move as one wrong movement could send you in the wrong direction with no hope of making your way back to where you need to be. It may be easy to dismiss just how difficult giving a performance like Bullock has done here is, but trust when you see her succumbing to the physical aspects of the role that it is just as much acting as she is doing as when she is delivering dialogue. Much of the running time Cuarón requires Bullock to carry the weight of the entire film, and she is able to do this with what appears to be a large amount of pure determination (a trait Dr. Stone doesn't always possess making it even more impressive Bullock was able to mask what her acting mind was telling her while allowing her exterior to express only what was necessary for her character). The way in which Cuarón places his camera as it moves from a third-person omniscient point of view to the interior of Stone's helmet, where the only sounds we hear are those she hears (her hard breathing, her voice going through the microphone, the echo of Kowalski) and the only visual we now have is the limited view through her visor as she searches frantically for a space station, only enhance the performance Bullock is giving as she transcends the insane scenario she's been placed in and engages the audience based simply on who she is as a person. There is much more to be said for a film such as “Gravity,” a film that reminds us why we go to the movies in the first place, a film that demands to be seen on the biggest screen possible and pushes visual storytelling to a completely different level as it accomplishes a complex sense of filmmaking not often witnessed. Still, it is impossible to encompass the true impact of this film in words for they do nothing but diminish the visceral sense you receive as you sit in wonder and experience what it might be like to float hundreds of miles above the earth and realize your minuscule role in the existence of the universe or even the human race. While it helps us consider ideas of accepting our situation, giving up in moments of true despair, facing fears and overcoming obstacles, it coaxes us into the understanding that it is in these moments our true character is defined by how we decide to deal with them. These evaluations of human nature and the bigger psychological ideals the film imposes lend that unexpected weight that I didn't completely see coming while facets such as Steven Price's score and Emmanuel Lubezki's cinematography only help to enhance the visual and emotional roller coaster the film takes us on. “Gravity” is something not easily defined as you can lump it into several genres such as science fiction, thriller or drama but in the end, like its lead protagonist, the film transcends these categorical limits and becomes nothing short of an experience we will continue to reference, continue to think about and consider when we, if we're lucky, are able to define who we truly are and why we are necessary in this big, big world.
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‘Captain Phillips’ By Julian Spivey
Paul Greengrass’ “Captain Phillips,” based on the true story of Capt. Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged MV Maersk Alabama, is one of the most intense and dramatic films of the year and features an extremely emotional performance by multiple time Oscar-winner Tom Hanks. The film, written by Billy Ray and based off of the real Capt. Phillips’ book “A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea," is the way a great biopic should be done. It captures everything about the real life story in a way that almost puts you in Capt. Phillips’ shoes and does so without really making anybody overly heroic (although both Capt. Phillips and the Navy SEALS on and off the screen certainly are). It just lays the story out how it was (with the obvious dramatic embellishments you’re naturally going to get from a film) with both Capt. Phillips and the Navy SEALS tasked with rescuing him from the Somali pirates simply doing their jobs. The cramped spaces of the Maersk Alabama ship and especially the lifeboat, in which Capt. Phillips and the Somali pirates spend a good deal of the movie’s second half in, help to give the film its intense feel and Greengrass is certainly no stranger to the art of making tight spaces feel even tighter than they really are having previously directed the similar themed “United 93,” for which he was nominated for an Oscar as best director. It’s a possibility Greengrass could receive another nomination for “Captain Phillips,” but a best picture nomination (something “United 93” didn’t receive) is actually more likely. The true highlight of “Captain Phillips” is the incredibly emotional and affecting performances by Hanks in the lead role and previous unknown (and non-actor) Barkhad Abdi, who plays Muse the leader of the band of Somali pirates who hijack the Maersk Alabama. Abdi, along with other previous non-actors Barkhad Abdirahman, Faysal Ahmed and Mahat M. Ali, all do a superb job as the Somali captors despite having no previous acting experience. Abdi is the one who truly gets the chance to shine, though, in the film as the group’s ringleader and captures incredibly all of the emotions his character feels whether it’s his sheer determination or the occasional fear and insecurity that seeps into him at times. Screenwriter Ray and Abdi both enforce that Muse is not just your run-of-the-mill bad guy, but a man conflicted and in a tight spot wanting to better his life the best way he knows how. Abdi is likely to go from non-actor to Academy Award-nominated actor in just a short amount of time as a best supporting actor nomination is likely coming his way and rightfully so. Speaking of Academy Awards, it’s almost hard to believe that it’s been a dozen years since Tom Hanks was last nominated for an Oscar for his role in Robert Zemeckis’ 2001 film “Cast Away.” It’s almost been a full two decades since his last of two best actor Oscar wins for “Forrest Gump” (he won his first for 6|Page
“Philadelphia”). It’s going to be a tough task breaking into the best actor Oscar field this year with a ton of truly fantastic performances already featured and more to come as we’ve just entered “awards season,” but a non-nomination for Hanks for his harrowing performance as Capt. Phillips would definitely qualify as a major snub. Capt. Phillips is likely Hanks’ best role in more than 10 years and the immensely popular thespian certainly hasn’t lost any of that excellence that once won him back-to-back Oscars. Hanks’ everyman qualities as an actor play perfectly here as Phillips, who was seemingly an everyman ship captain. Hanks is one of the biggest movie stars to ever grace the cinematic screen and yet so effortlessly makes you forget he’s acting by absolutely encompassing his role. He’s everything that’s needed as Phillips — simple, thoughtful, stoic, staunch, smart and at times sarcastically witty. The true tour de force of Hanks’ performance though comes in his very last scene after he’s been rescued from the pirates by the Navy SEALS (not a spoiler; this just happened in real life four years ago and was major news) when he’s being checked over by a Navy medic. In this scene, which was unbelievably improvised by Hanks, Capt. Phillips is simply able to let go of all of the feelings (fear, desperation, etc.) he was forced to keep pent up during the whole ordeal and they all shoot out of him at once like an erupting volcano. It’s a scene that, although it may sound absurd knowing his incredible body of work, is likely the best bit of acting in Hanks’ career … and again it was all created by him on the spot and unscripted. Tom Hanks is one of the greatest actors the art form of film has ever seen and when his career is all said and done and people compile lists of his five best performances, this one will be in that canon. “Captain Phillips” is truly one of the must-see films of 2013 thanks to its powerful performances and edge of your seat intensity that will leave you entertained and nerve-wracked throughout its two hour and 14 minute runtime.
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‘Rush’ By Julian Spivey
With “Rush,” director Ron Howard has done something that you don’t see too often on film … he has captured sports rivalry so well and uniquely that you come out of the film not rooting for one of the rivals over the other; but merely marveling at the intensity and relationship between the two. This makes “Rush” unique because it seems that most sports films play up a good guy versus bad guy scenario and in “Rush” Chris Hemsworth’s brash, British party boy Formula 1 driver James Hunt easily could have been the bad guy or villain to Daniel Bruhl’s ever-serious, scientific in his passion German driver Niki Lauda. But, Howard and mostly screenwriter Peter Morgan, who’s responsible for many of the finest movies featuring British personalities of the last few years (“The Queen,” “The Damned United” and his previous matchup with Howard, “Frost/Nixon”), thankfully realized that there are two sides to every rivalry and while those two sides are often going to be incredibly different and neither person may see eye to eye, as with Hunt and Lauda, it doesn’t necessarily mean somebody has to be good and bad. It is this distinguishing factor of the film that truly makes it great. It makes it more than your typical or stereotypical sports movie and turns it into basically a character study of two guys striving for the same goal in immensely different fashions. Bruhl is a relative newcomer to American audiences and his role here as Lauda and his raved about upcoming role in “The Fifth Estate” are sure to put him on the map. He seems fully immersed in his role as Lauda bringing the determined German racer to the screen in a way that gives him a blue collar working man’s mentality with a mathematician/scientific way of thinking that allows him to capture every last bit of speed from his Ferarri. It’s Lauda’s drive that makes him admirable and Bruhl performs that effortlessly. It’s likely not a performance that’s going to see the newcomer earn Oscar-nomination praise, especially in what seems to be a jam-packed year of award-worthy performances, but it is a performance that is certainly worthy of much praise. As for Hemsworth, an actor that is certainly known in America thanks to his role as Thor in the Marvel comic book movies, but nevertheless is an actor that I remained unfamiliar with, also shines in his performance as the playboy Hunt. Hunt loves to party hard, carouse with women and always has a mischievous smile strewn across his face. He is the type of person they talk about when they say “live fast, die young and leave a good looking corpse” and he is the antithesis of Lauda. It is this contraposition of characters that make this, and almost every real life or movie (in this case both), rivalry so utterly fascinating to watch. Some people might come into “Rush” hoping to see a high8|Page
flying action film (which it gives the audience in its racing scenes), but they are going to come away having seen one of the best representations of rivalry that any recent movie has given us. Most sports movies prove inadequate at that by not showing both sides. “Rush” is Howard’s most impressive film since he and Morgan last teamed up for the Oscar-nominated “Frost/Nixon.” It is a film that obviously knows its characters and gets inside their heads to show us their passion and drive for what they do. Any film essentially about daredevils who risk their lives every single time they strap into their cars and put their helmets on to do business at over 200 miles per hour must give us that insight to truly be great. Most films of the like just give us the high flying action, but “Rush” takes the opportunity to go deeper and ultimately takes the checkered flag because of it.
Television ‘Breaking Bad’ Gives Fans Ending They Deserved By Preston Tolliver
Over the final eight episodes of “Breaking Bad,” I felt almost like I was the passenger in a — well, let's say a Lamborghini. I don't know cars. Something fast. And every 10 seconds, this car was driving 10 mph faster than it was 10 seconds before. And at the wheel of this car sat Vince Gilligan, creator of the Emmy-winning drama, approaching speeds and taking turns so reckless yet methodically that even Jeff Gordon would find himself wheezy. And even though Gilligan took his foot off the gas pedal five days ago, the car is still traveling so fast that I'm afraid to let go. Gilligan spent the last eight weeks with the pedal to the metal, wrapping up fourand-a-half seasons of a twisting-and-turning plot into eight-and-a-half hours. Even with only four episodes left, there was so much resolution to be found. If you told me then that everything would be wrapped up by this past Sunday night, I wouldn't have believed you. But after watching the finale of “Breaking Bad,” I can confidently say Gilligan wrapped the show as best as could be expected of any Emmy-winning show-runner. What was most surprising about "Felina" was that it wasn't as "action-packed" as I had expected. Just as I'd expected the final eight episodes to be heavy hitting and full of non-stop action, the last episode surprised me when it slowed down just enough to wrap up whatever story was left to tell. And just when you started to sit back in your chair, Gilligan, like he has done in so many episodes before, slammed his foot on the gas and brought you back to the edge of your seat.
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I've read several reviews, and heard several critics say that the ending didn't do the characters justice. Walter White, though now dead, achieved what he wanted, and I'll agree, he probably didn't deserve the ending he wanted. Despite the havoc he's wreaked on his family — the mental anguish he imposed onto Skyler since the very first episode of the series, setting in motion the events that led to Hank's death, and sending Jesse off to be tortured by the Nazis — Walt was given the chance to go out on his own terms. And he did. Walt went out as Heisenberg. In the preview for the finale, we were taken back to a season one clip of Walt teaching class at his old Albuquerque high school. "Chemistry is the study of transformation," we see Walt tell his students. Over the last five years, we've witnessed Walt's transformation. Like the cancer he was diagnosed with in the first episode, Walt grew into something he couldn't control — something that would eventually consume his life and the lives of his family. We saw Walt become his family's cancer. It was hard to believe, after endangering his family for two years, attempting to kidnap his daughter (though briefly), ultimately causing Hank's death and trying to send his long-time partner to his own, that Walt would have any shot of redemption in the final episode. Walt deserved to go out in cuffs, as he almost did in the series' penultimate episode. He deserved to stand trial and suffer for his crimes, alone with the exception of his fellow inmates and the haunting thought of his family hating him. If you'd told me at the end of the second season that I would have felt that way about the show's protagonist, I would've called bullshit. Walt started out as a man trying to earn enough money for his family to live off of after his inevitable death. His intentions were pure. It wasn't until after he conquered his cancer — or so we'd thought — that Walter White died and Heisenberg rose in his ashes. It wouldn't be until "Felina" that we saw another honest glimpse of Walter White. "I did it for me. I liked it. I was good at it. I was alive." The first honest thing Walt had said since seasons before. And he was redeemed. He ensured that the wreck he'd left his family in wouldn't be in vain. He found a way to get his children the money he had left from the most captivating meth empire in the world. He built a very Walt-esque contraption to mow down the Nazis. He outsmarted Lydia, tricking her into taking the ricin and inflicting on herself a slow and unimaginable death. And Jesse — the once-junkie, burnout, punk-ass smart-mouth kid who became the paradox to Heisenberg's malicious influence and instead tried to break free of the bad he'd broken — well, he let Jesse go. Like I said before, the characters in “Breaking Bad” didn't receive the ending they deserved. Walt should've lived long enough to see the inside of a jail cell, and Hank should've lived long enough to make it happen. And Jesse, though the moral compass of the show, especially in the last season, deserved to be put out of his misery. The open road is surely a haunting one for television's favorite junkie. No, it wasn't an ending that most of the characters deserved. It was an ending the fans deserved. It was fast, it was shocking, gripping, intense, emotional and satisfying. And if nothing else, all the bad guys died in the end.
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And that includes Walter White.
‘NCIS’ Says Goodbye to Ziva in Emotional, Awkward Episode By Julian Spivey
The second episode of the “NCIS” eleventh season is the one that fans have probably been dreading ever since the announcement that Cote de Pablo was leaving the show during the summer hiatus. The episode marked the farewell for the beloved NCIS agent Ziva David, who’s been with the show since the start of its third season. The departure of de Pablo from the series is one that came as a huge surprise to fans of the show and probably even the show-runners themselves. You could tell it came together quite sudden by the rather awkwardly placed farewell for the character in “Past, Present, and Future.” The episode revolves around Ziva’s partner Tony DiNozzo (Michael Weatherly) searching for Ziva, who’s life may be in danger, in Israel, after she returned to her home country after she, DiNozzo and Timothy McGee (Sean Murray) resigned their positions with NCIS at the end of season 10. When Tony finally finds her after months of searching he finds an emotionally damaged Ziva, seemingly wanting to give up her badge to try to repair her life scarred greatly by her past — being forced to kill her terrorist brother Ari, the death of her mother, the recent death of her father, etc. I must say that seeing an emotionally scarred Ziva David is an extremely odd sight, as she’s proven to be one of the toughest, if not the toughest, characters on the show throughout its run. She’s undoubtedly been the toughest female character on network television, something that has endeared her to the show’s millions of fans. This is somewhat why her farewell felt slightly awkward, because it was us seeing such a strong character leave a show at quite possibly her weakest moment. It isn’t as if the whole scenario was implausible, it’s just that it’s not quite the way many of us imagined it. It’s very hard to imagine Ziva giving up on her job, and in some ways giving up on her family-like friends, just to come to grips with the ghosts of her past. Ziva’s farewell did accomplish one thing really well in that it gave the show’s fans the moment that they have longed for for many years — the most anticipated kiss on network television between Ziva and Tony. It’s a truly bittersweet moment, for most fans, because they have finally gotten the moment they have always wanted between these two characters and it’s taken away from them at the very same time. Personally, I never really wanted to see a relationship between Tony and Ziva, but I did feel that the way these two parted ways was a nice moment. It was also brilliantly acted by Weatherly and de Pablo.
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My biggest disappointment from the show is not getting that moment where Ziva gets to say goodbye to McGee, Abby (Pauley Perrette), Ducky (David McCallum) and especially Gibbs (Mark Harmon); that scene could’ve been a truly shining moment for this series. But, it was almost like the farewell episode tacked two different storylines together to form one episode: Tony’s search for Ziva and Gibbs’ search for the terrorist behind local bombings. Where “NCIS” goes from here, without Ziva, should be very interesting. The show does plan on bringing in a new character at some point this season and that shall be sort of an interesting new start for the veteran show. What will really be interesting will be to see how fans react to the departure of Ziva and if it has a negative effect in this show’s ratings, which are usually around 18-19 million a week, as the most watched show on television. It’ll certainly be a different show without the character of Ziva David, but this show is one that will definitely be able to survive the loss.
'Glee’ Sends Off Finn in Emotional Tribute Episode By Aprille Hanson
The last goodbye is often the hardest to say and on Thursday, fans said a final, tear-jerking farewell to former star quarterback Finn Hudson on Fox’s hit show “Glee.” The actor, Cory Monteith died July 13 from an overdose mixture of alcohol and heroine, throwing the show, it’s actors and executives into emotional turmoil on what to do going forward. Show creator Ryan Murphy said he took his cues from Lea Michele, who not only played Finn’s former love Rachel Berry, but was actually dating Monteith when he died. The result was “The Quarterback” episode. In the opening, the majority of the original cast members took the high school’s gym stage where so many scenes were filmed with Finn, including that most important pilot episode that included him and others singing, “Don’t Stop Believing.” Dressed in black, season one cast members joined the current cast to sing, “Seasons of Love” from “Rent,” a perfect way to open the solemn tribute episode. However, one very important character was missing from the opening – Rachel Berry. She would of course show up later, but Finn’s original girlfriend, Quinn Fabray, played by Dianna Agron, didn’t make the episode.
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It is three weeks after the funeral for Finn and half-brother Kurt Hummel, played by Chris Colfer, is still in disbelief as he begins packing to head back home for a glee-club memorial service. Kurt mentions how people keep talking about how he died, but “what does it matter?” And it doesn’t, at least that’s what the show emphasized when it did not reveal anything about Finn’s actual death. I heard before the show aired that it was rumored they were not going to reveal a cause of death for Finn and it seemed a bit strange to me. However, after watching the episode, it was fitting. It didn’t turn Finn’s, or truly Montieth’s, death into some sort of warning about drug abuse like many say they should have, but an examination of the various emotions for those that are left behind. To me, seeing the heartbreak of the characters, knowing that the actors behind them probably felt the same, is the most powerful message against drug abuse that they could have displayed on screen without being tacky about Montieth’s death. Will Schuester, played by Matthew Morrison, invited his former glee students back to the music room one more time to pay tribute to their fallen former classmate and friend through song. However, Will himself was having trouble expressing his emotions, not even shedding a tear at Finn’s funeral. Some of the musical highlights included Mercedes Jones, played by Amber Riley, singing The Pretenders’ “I’ll Stand by You,” a song Mercedes said Finn sang to his unborn child when he thought Quinn was pregnant with his baby in the first season – the child turned out to be Puck’s. Each of the former characters that returned showed grief in their own ways – there was Puck, played by Mark Salling, who was Finn’s best friend and known for his tough guy exterior, finally broke down in the locker room with Coach Shannon Beiste, played by Dot Marie Jones. His hesitance was simple – if he started crying, he’d never stop. He too got his turn at the mic, singing Bruce Springsteen’s “No Surrender,” one of the coolest numbers of the night and a perfect choice for that character. Santana Lopez, played by Naya Rivera, began singing “If I Die Young,” by The Band Perry, but broke before the last verse. When her former gleeks tried to comfort her, she ran out of the room screaming, one of the biggest reactions to come out of any of the characters. She followed that up by pushing Principal Sue Sylvester, played by Jane Lynch, after she tried to have other students take Finn’s locker memorial down. Lynch provided many of the humorous breaks in a very heavy-themed episode. One of the most powerful scenes was actually from side characters: Kurt’s dad Burt, played by Mike O'Malley, and Finn’s mom, Carole Hudson-Hummel, played by Romy Rosemont. The scene was simple – Kurt and the parents going through Finn’s clothes and possessions, deciding what to keep and donate. Pretty soon, Burt, who was known for his tough exterior, but soft heart, began a tear-soaked speech, wishing he would have hugged Finn more. O’Malley’s powerful performance alongside Rosemont, who fell apart before the viewers’ eyes, was the true heartbreaking gems of the show.
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All the while, Finn’s letterman jacket was front and center. It was the only true piece of Finn left for his friends and teachers to hold onto. Mid-way through however, the jacket went missing and fans wouldn’t find out who had it until the episode’s final scene. However, that plot line was pushed aside for the moment everyone was waiting for – Rachel Berry’s appearance. His character’s former love, and the real actor’s girlfriend, took on her role with poise as she walked to the center of the glee club room, warning everyone to not “treat her with kid gloves” – no doubt a message from the actress also. With tears streaming down her face, Rachel sang a rendition of the ever popular “Make You Feel My Love.” At the end fans are left with Mr. Shu at his apartment, pulling Finn’s jacket out of his bag. It’s then that we see Finn’s teacher and friend break down in tears. It’s one of the saddest scenes of the series and Morrison delivered an impeccable performance. What was most tragic about Montieth’s tribute episode was that you really couldn’t distinguish what was acting and what was not. These young actors lost a colleague and friend in Monteith and to have the courage to get on screen, on the same set they once shared to allow their characters to say goodbye is something that they should all be commended for. Fans received a teary goodbye for Finn and now, as Finn Hudson put it, “The show must go … all over the place … or something.”
Five Reasons Why Nick and Jess Should Stay Together on ‘New Girl’ By Aprille Hanson
It seems like the road to the Nick and Jess romance on FOX’s hit show “New Girl” came up quicker than most viewers expected. From the beginning, fans knew it was only a matter of time, but instead of dragging out the inevitable like other shows –“ Frasier” springs to mind, where it took seven seasons for Niles and Daphne to finally fall in love – it only took the writers of “New Girl” two seasons to put the pair together. The romance could go in a variety of directions – they could become like Monica and Chandler on “Friends,” sticking together while others around them try to figure out their own love lives (Rachel and Ross for example); or they could go the way of the CBS hit, “The Big Bang Theory,” which jerked viewers around for a few seasons on the Leonard and Penny relationship with “will they or won’t they,” “Yes! They’re together,” “Lovely, now they broke up,” “wait, not so fast” and on and on and on.
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Watching the onscreen romance blossom so quickly has been an unexpected treat, but here’s the top five reasons why this particular TV couple needs to stay together: Nick needs a win From the beginning, Nick Miller (Jake Johnson) has been the lovable loser of the loft. Schmidt (Max Greenfield) described it best: “He’s like a damaged flower, a chubby damaged flower who hates himself.” He ditched his plans of becoming a lawyer and has been bartending and throughout most of the first season and into the second, he was getting through a break-up over the woman of his dreams (or nightmares really), Caroline. His clothes are not stylish, he doesn’t have much use for phones and his personality is that of a grumpy old man. Schmidt and Winston are both in stable careers and there’s Nick, still trying to figure out life. But low and behold, he finally has a leg up on his roommates and that’s the love and affection of the quirky Jess (Zooey Deschanel). Out of the three, she picked Nick. Fans have rooted for him and to take it all away would be too devastating for this character we’ve learned to love. Let Nick enjoy his sweetheart of a victory. The loft will implode SPOILER: In the latest episode of the third season, “Double Date,” chaos has stricken the loft. Winston (Lamorne Morris), who is single, is quickly spiraling into a more manic state. It’s acid trippy watching him this season, from his obsession with puzzles to plotting to kill poor Ferguson when he finds out his girlfriend is cheating on him. All turns out well for the kitty though – he winds up adopting him after they break-up. For Schmidt, his juggling the love of both CeCe (Hannah Simone) and Elizabeth (Emmy winner Merritt Wever) comes to a screeching halt when he reveals what he’s been doing to Nick, who in turn tells Jess. CeCe of course finds out, breaks it off, calls Elizabeth and the party is over for Schmidt. With both Winston going off the deep end more and more every day and Schmidt a total wild card on how he’s going to take losing both his loves and the guilt he’s going to be carrying for breaking their hearts, the loft just can’t take anymore dysfunction right now. Schmidt’s ego At the end of “Double Date,” Schmidt has zeroed his scope on Nick and Jess. Despite him being the sole one responsible for losing both CeCe and Elizabeth, he reveals to the happy couple that they are actually the ones to blame and he will do everything in his power to break them up. You’d think after the disaster of losing both girlfriends that he’d be taken down a notch and figure out how to not be so arrogant. But alas, poor Schmidt just can’t do it yet. So, his anger is misdirected – his ego is still too big to blame himself. Once he realizes he can’t break them up, his ego will have to shrink. He had a lovable, goofy arrogance and various kinds of Chutney, but lately, he’s just a little too self-centered. Breaking Nick and Jess up would be a victory for Schmidt who needs the opposite. No more loser boyfriends for Jess In just two seasons, Jess has dated her share of mismatched men. From the beginning, there was Spencer (Ian Wolterstorff) the “wizard” with the gorgeous hair to Jess, but a bicycle-riding, jobless 15 | P a g e
cheater to everyone else. Then there was Paul (Justin Long) who was the ugliest crier on the planet and just too similar in quirkiness to Jess. Who can forget Russell, (Dermot Mulroney) who was just too old and old-school for her. Finally, her sex-bomb boyfriend Sam (David Walton), their relationship started out only physical, which made it doomed from the beginning. Watching her go through these men while her chemistry with Nick was just electric, was kind of excruciating. Her perfect man was in the room right across the hall and now, we can just watch and smile. Watching new couples is fun Life has enough drama and so does this show for a comedy. Schmidt is going into his own brand of misery and Winston is just in his own little twisted world. Leave the relationship and life drama to these characters, especially since Jess is already going to be busy helping CeCe pick up the pieces after Schmidt broke her heart. Watching Nick and Jess navigate this new love is just plain adorable. Their chemistry is perfect and viewers get to be along for the ride through the highs and lows of this adorable couple. Jess brings out the best in Nick — will he look into going back to law school perhaps? Will Jess continue to loosen up and relax in knowing that Nick is always going to be there for her? It’s an exciting time for the characters and for the writers to jerk it away suddenly would be cruel to the show and viewers. So, let’s keep smiling and cheering on the most adorable couple on television.
Colorization of ‘Lucy’ for CBS Christmas Special is Absolutely Unnecessary By Aprille Hanson
Lucille Ball is the most famous red-head to ever grace the small screen … despite audiences rarely ever seeing her locks broadcast in vibrant red. And that’s kind of the point; it wasn’t necessary. But that’s all changing, at least for a new generation. On Dec. 20 at 8 p.m., CBS will air the “I Love Lucy Christmas Special,” a one-hour block of two episodes, the rare “Christmas Episode” and one of the most popular ones, “Lucy's Italian Movie” (aka “Grape Stomping”) — both newly colorized for the unveiling. “I Love Lucy” was the biggest show of the 1950s, the first hit sitcom on television and is still loved, cherished and lauded by fans and critics alike as one of the greatest shows period. The show, for those living under a rock, is about the crazy antics of Lucy Ricardo (Ball) and her neverending quest for fame, much to the exasperation of husband and Latin singing sensation Ricky Ricardo (Desi Arnaz, her real life husband during the show’s run). Along for the ride was Lucy’s best friend/partner in crime Ethel Mertz (Vivian Vance) and her husband Fred Mertz (William Frawley). While Ball will always be the star power of that show, it wouldn’t have been possible without the rest of the 16 | P a g e
four-some. Specifically, Lucy and Ethel’s bond is the greatest female friendship to ever hit television — I will argue that with any challenger; they were the original best friends. The series, airing six seasons from 1951-1957, was aired the only way it could have been back then — in black and white. As an ardent fan of the show, I can still pop in an episode and laugh at the slapstick humor and outrageous situations the cast, mostly Lucy, found themselves in and find the story line relatable. That’s what makes the show still relevant today – its humor, heart and the unsurpassed acting skills of the performers. The fact that it was shot in black and white has nothing to do with its appeal. Unfortunately though, that’s the world we live in today. When I first heard CBS was going to air the “I Love Lucy Christmas Special,” I was thrilled because A.) Hopefully parents or grandparents can sit down with their children and grandchildren to enjoy quality television, something that is lost to many youth today, and B.) It will introduce a whole new generation of viewers to one of the greatest shows in history. I may be a little bit unrealistically optimistic with my points, but even if one family and one kid get something out of the viewing, it’s worth airing. But to be successful on modern television, it needs a little color. Actually, almost total color to be exact. Is it necessary? Absolutely not. The show is a classic because of the content, not the color, or lack of rather, it was broadcast in. Is it necessary for audiences today? Unfortunately, yes. I am not a fan of them broadcasting the show in color. I think it sends the wrong message to young fans that a show is only as good as the color its broadcast in. It could be a good teaching lesson – air the show in black and white, if the kids like it, maybe they’ll give other black-and-white series or movies a chance. On the flip side, I’m a realist. Most children or youth today are not going to sit down for a black and white broadcast, no matter how good the content. And if the color broadcast will get more people watching, it is ultimately good for the show’s legacy. Show me a kid who doesn’t laugh at Lucy stomping around, throwing and slipping in a giant vat of bright purple grapes and I’ll show you a kid who needs a therapist. At least the broadcast will include some black-and-white. The “Christmas Episode” (re-found in 1989) includes a series of flashbacks, which will be broadcast in black and white, giving it a modern, yet classic feel. And honestly, it’s never been about the color, or lack of, anyway. On Dec. 20, I will be nestling up on the couch, turning on the T.V. to watch “I Love Lucy” on primetime television. However, no matter how many colors of the rainbow the production team throws in, she’ll always be my favorite black-and-white red head. 17 | P a g e
Music ‘Walking on the Wild Side’ – Lou Reed 1942-2013 By Julian Spivey
Lou Reed, in my opinion, wrote the greatest song about transvestites ever recorded and for some reason I’ve always thought that to be incredibly cool. Probably because Lou Reed was the epitome of cool. Now, Lou Reed has died at age 71 succumbing to liver disease. There shouldn’t be anything cool about that, but seeing as how it’s something Lou Reed has done I think we may have to make an exception. Lou Reed — you can’t really just say ‘Lou’ or ‘Reed’ because it just doesn’t sound right as the name flows off of your tongue effortlessly with its two perfectly sounding syllables — was quite likely the most unknown of the great rock icons, but perhaps iconoclast is a better word. Many people today probably couldn’t tell you who Lou Reed was, even though they’ve certainly at some point heard the name. If they did know him it was likely because of that transvestite song that most people would misidentify him as a one-hit wonder for, without actually knowing that the song was indeed about transvestites, drug addicts, male prostitutes and actresses blowing whoever they came across in backrooms of clubs — you know typical Andy Warhol crowd stuff. They would skip all of that — all that truly makes it cool, all that makes it truly on the wild side – and remember the titular phrase and the ‘doo do doos.’ They may not know him as a leading member of the incredibly influential ‘60s art or psychedelic rock band The Velvet Underground, even though they certainly should seeing how the group has been inducted into the Rock and Roll Hall of Fame, been named the nineteenth greatest artist of all time by Rolling Stone magazine and released one of the most influential, popular and greatest albums of all-time in their 1967 debut “The Velvet Underground and Nico” (thirteenth greatest ever made according to Rolling Stone). Those who don’t know Lou Reed are missing out — not just missing out on the greatest transvestite song of all-time (which is something nobody should ever deprive themselves of), but missing out on one of the coolest motherfuckers to ever make their mark on pop culture. A man who made some of the coolest sounding music that has ever been made. Take a listen to the track “Heroin,” off of the Velvet Underground’s debut, and tell me it’s not the epitome of rock cool. It starts off as low droning, picks up its pace rapidly, goes back to that drone, picks up again and repeats until all hell breaks loose at the end. The rapidity of the track is supposedly to 18 | P a g e
mimic the high that somebody feels while on the drug. It also represents the high you feel as a listener marveling at such a hauntingly beautiful record. Then take a listen to “I’m Waiting for the Man,” also off of the debut. It’s a more gleeful-sounding take on the same topic as “Heroin,” this time the narrator is waiting to score $26 worth from his dealer. It’s a song that is essentially a precursor to the NYC punk scene that would take the stage a decade later and proves that gritty, dark themes can sound just as happy as they can mournful — something you would see from a lot of punk groups. I probably shouldn’t really be the one to talk about Lou Reed, though. Yes, I loved his transvestite song that was his biggest hit as a solo artist. And, I deeply respect “The Velvet Underground and Nico” and think it has some of the coolest sounding stuff ever recorded. But, I don’t know as much about Lou Reed and his body of work as I should know or as The Word contributor Kellan Miller, who wrote this classic album review of “The Velvet Underground and Nico,” would know. I just think he’s one cool sonuvabitch. I like how he wrote about darker themes and subjects that most songwriters wouldn’t or couldn’t write about. He brought a different kind of scene to popular music. That’s what truly makes him cool. What truly makes him a rebel. Lou Reed makes me want to walk on the wild side alongside the transvestites, the man whores, the junkies, the pusher men and the sadomasochists if only for four to seven minutes at a time. That may sound strange to a good many people, but Lou Reed was a poet and the great poets have this quality of making the strange incredibly sexy; incredibly cool. About as cool as Lou Reed, a man who walked the wild side for 71 years and will continue to walk it for all of eternity. It doesn’t get any cooler than that. Doo do doo do doo do do doo ...
Jason Isbell, Dawes Rock Roof Off of Rev Room in Little Rock By Julian Spivey
The Revolution Room in Little Rock was jam-packed on Wednesday night (Oct. 23) to see Jason Isbell and Dawes rock the roof off the joint. Now, I feel as if I must explain that I attended the concert Wednesday night solely to see Isbell, who has become one of my all-time favorite singer-songwriters over the last two years and who I believe has released the best album of 2013 in “Southeastern.” I knew he would simply be the opening act to Dawes, who I had previously heard of but never actually heard, but it was an opening act I could not miss. I feel that this explanation is needed because most concert reviews mostly review the headlining act and leave a little space somewhere in the review for the opener. My review is the exact opposite, with no offense intended toward Dawes, who would greatly endear themselves to me by the end of the night. Isbell’s opening 45-minute set was short and sweet and certainly left the crowd, many who seemed to be like me and were there simply to see him, wanting more. Hopefully Isbell will be able to return to The Rev Room sometime soon for a full show.
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Backed by his terrific band The 400 Unit and his wife/violinist Amanda Shires, Isbell sounded crisp and clear as if you were listening to his record with a few hundred fellow fans, a testament to the fine sound system at The Rev Room. He kicked things off with a rip-roaring performance of “Flying Over Water,” one of six songs he’d play during the evening from “Southeastern.” Following the opener Isbell performed his only song of the set from his days in the Southern Rock group Drive-By Truckers “Goddamn Lonely Love,” a song that he tweeted earlier in the day he had written 10 years ago right there in Little Rock. The performance proved to be one of the crowd’s favorites, as many sang along and swayed to the beat. Following the somber tale of broken love, Isbell turned things up a few notches with the rocker “Super 8,” the hardest song off of “Southeastern,” as well as one of the most fun tracks from the record. The next two performances proved to be my favorites of the night: “Different Days,” a contemplative folky that is one of Isbell’s finest compositions on “Southeastern” and “Codeine,” the only performance during his set from his fine 2011 album “Here We Rest.” “Codeine” specifically seemed to be another favorite of the packed crowd who intently sang along. Things got a little somber again with the devastating “Live Oak,” which plays like a Western short story, but also includes incredibly personal and emotional lyrics like: “There’s a man who walks beside me, he is who I used to be/and I wonder if she sees him and confuses him with me/And I wonder who she’s pining for on nights I’m not around/Could it be the man who did the things I’m living down” — lyrics that certainly were inspired by Isbell’s new found sobriety and new marriage to Shires, who is cute as a button and an immensely talented violinist who showed off her terrific playing at many points during Isbell’s set. “Live Oak” was followed by the much-happier “Stockholm,” maybe the catchiest tune off of “Southeastern” about the feeling of unexpectedly falling in love — something that was almost certainly prompted by Isbell’s relationship with Shires. It proved to be one of the best performances of his set. After the happiest tune of the set, came the most hauntingly beautiful and mournful tune, even more so than “Live Oak” in which the narrator murders his love. “Elephant” is a searing elegy of a man in a relationship with a woman dying of cancer and the ups-and-downs associated with someone dying long before their time. If there was a dry eye in the house during this performance somebody obviously wasn’t paying enough attention — which was extremely unlikely given the unbelievable talent onstage. Isbell finished his opening set up with an incredibly badass cover of the Rolling Stones’ rocker “Can’t You Hear Me Knocking,” which absolutely brought the house down and he desperately needs to capture (preferably as a live performance) on a record at some point. As a huge Isbell fan I was left, like almost everybody in the joint, feeling that the opening act set was simply too short and could’ve gone on for much longer. The shortness of the performance left me disappointed in that I wasn’t able to hear my absolute favorite Isbell tune “Alabama Pines” or some of his other Drive-By Truckers classics like “Outfit” or “Decoration Day.” There were also plenty of other great tracks from “Southeastern” that I would’ve been thrilled to have heard like “Songs That She Sang in the Shower” or “Relatively Easy.” Like I previously said, hopefully Isbell will return to The Rev Room sometime soon to give fans an entire set.
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As I said previously, I had little to no knowledge of California roots rock group Dawes coming into the show, but I left feeling that I had been introduced to one of the better rock groups around today. The band is incredibly talented and frontman Taylor Goldsmith has an indelible charm about him and a penchant for writing good lyrics, which I’m thrilled I could make out, thanks to The Rev Room’s system, despite never previously hearing the band. He’s also a seriously good guitarist with a unique and warm voice. Maybe the only small criticism about Dawes’ set is that after a while many of the songs, though good, start to sound the same. Dawes ripped through a strong set that included some new found gems (to me) like “Most People,” their set opener from their most recent album “Stories Don’t End,” “A Little Bit of Everything,” “Something in Common” and “Someone Will.” Their performance of “When My Time Comes,” off of their debut 2009 album “North Hills,” was a truly special moment of the night as the entire crowd felt energized as they danced and sang along in unison. It was a moment that seemed to almost take Goldsmith by surprise and he reiterated multiple times throughout the show how well The Rev Room crowd had treated their music and performance. I only wish that I had known the words to “When My Time Comes” so I could have sung along, but it was a marveling moment to just stand there and watch these people totally immerse themselves in an utterly fantastic live performance. Ultimately that’s what the entire night was “utterly fantastic live music” from an artist that I knew would deliver the goods in Isbell, a truly underrated artist and one who is criminally unknown by too many people, and a fun, mellow rock group in Dawes, which I’m glad to have introduced myself too, as they performed an incredibly effortless and enjoyable headlining set.
Songs ‘All Kinds of Kinds’ by Miranda Lambert By Aprille Hanson
Miranda Lambert is known for her hard-hitting sass in songs like “Gunpowder and Lead” and “Mama’s Broken Heart,” but in a more subdued turn, Lambert sings about tolerance in a society quick to jump to conclusions. Her fifth release from her album “Four the Record,” Lambert’s “All Kinds of Kinds,” is different than any mainstream country song heard on the radio. It’s the most similar in style to newcomer Kacey Musgraves, despite Musgraves actually co-writing “Mama’s Broken Heart.” The song opens to a wedding between an acrobat and Horatio, the human cannonball, complete with the “dogfaced boy” howling out for joy and the tattooed lady crying happy tears. Not exactly the scene of backwoods, trucks and beer. It’s not a stock image of a country song, but the perfect image of our society – a bit of a circus. Then comes the more controversial verse where Congressman Thomas has “a closet full of skeletons and dresses that he wore on Friday night.” The song then segues to Phyllis the pharmacist who slips her children Ritalin to calm them down while waiting for “Thomasina to arrive.” 21 | P a g e
The song, in its simplest theme, is about learning to accept others. Musgraves’ latest single “Follow Your Arrow,” is similar in theme, but is more in-your-face, taking on homosexuality, premarital sex and drinking. Lamberts ‘Kinds’ is radio-friendly, while also letting people draw their own conclusions on how ignorance and pointing the finger at others can destroy a society. In the very last verse, the tune turns personal, chronicling a singers’ journey from youth to finally “making it.” While it’s easy to assume the verse is referring to Lambert, it’s relatable to any artist or person who has chased down a dream. Out of all the tripe on country radio, this song is something different. This genre needs different. After all, as Lambert sings in the chorus: “ever since the beginning / to keep the world spinning / it takes all kinds of kinds.”
‘Mine Would Be You’ by Blake Shelton By Aprille Hanson
Blake Shelton has turned into a country superstar ever since taking a spin in NBC’s “The Voice” coach chair and has taken a turn toward pop or bro-country lately. “Boys ‘Round Here,” though catchy as hell, was the worst song he’s recorded. As a fan of the Shelton who cranked out songs like “Austin” and “Old Red,” I was skeptical that he’d ever get back to that traditional country sound, especially since he referred to much of that music performed by “old farts and jackasses” – guess you can throw his old self into that category. However, there’s a glimmer of hope for Shelton music in his latest single, “Mine Would Be You.” The song is about a man who seemingly has the perfect relationship. The couple happily “sing like crazy fools” making up their own words to songs on the radio and “laughing ‘til it hurts.” But it’s clear from the get-go that this song may not be all rainbows and sunshine since it’s not upbeat in the slightest. It starts out as a question: “What's your all-time high, your good as it gets? / Your hands down best ever make-up sex? / What's your guilty pleasure, your old go to? / Well if you asked me, mine would be you.” Call me a prude, but saying “sex” in the song is kind of awkward there in the first couple of lines. But, a minor detail, because if you listen to the tone of the whole song, it does fit. Shelton is a master at singing desperation songs, letting the emotion flow nicely through his smooth vocals, as proved with past hits like, “Goodbye Time.” At the end of the song, we find out that the woman he loves isn’t with him anymore. It takes until the end of the song to realize it’s not a straight love song, but a lost love song, which is a pleasantly sad surprise. Shelton needs to do more songs like this, and my hope is that success off of this one will send him back to where he really shines – doing songs like an old fart and jackass. 22 | P a g e
Gaming 2K Sports Goes Overboard with LeBron James on ‘NBA 2K14’ By Preston Tolliver
2K Sports has, for the last few years, been the creator of the best sporting video games in the world. Each year, they've added new features, better graphics and game modes, putting to shame games of previous years. Well, I guess they can only get so much better each year. Sure, they fixed some glitches. Added some things. But there's something distasteful about a video game that's so far inside the NBA's Most Valuable Player that after my first 20 minutes of gameplay, that I needed to take a shower just to wipe off the stink of whatever LeBron ate yesterday. I get it. LeBron James is the biggest star in the NBA, if not the biggest star in the sports world. He has a giant fan base. He deserved to be on the game's cover. Maybe he even deserved to be the centerpiece of the game. But 2K took it further than that. This year, 2K Sports is LeBron's crazy new girlfriend who updates her relationship status on Facebook to "In a Relationship" after one date. Let me give you a quick rundown. You start the game. It's not just an introductory video of CGI versions of basketball's top players doing their signature dunks and crossovers, like in previous years. The game starts with an overly dramatic video of a pretty-into-himself LeBron James sitting in a dark room, talking about what it means to be the best. After all, if there's anyone who loves LeBron James more than 2K Sports, it's probably LeBron James. The newest and most prominent addition 2K added this year was the "LeBron: Path to Greatness" mode, a game mode in which you play as the Miami Heat in a series of games to win LeBron more rings than the two already on his hand. The first game is against the Houston Rockets — Game 6 of the 2014 NBA Finals (Because everyone knows a Dwight Howard-led Rockets team that lost its first preseason game to the New Orleans Pelicans is a shoo-in for the NBA Finals). 2K Sports is now LeBron's crazy girlfriend who deletes her Facebook account to replace it with a joint "LeBron2K" page. But that's petty to be upset about, right? Like I said, LeBron is king of the NBA mountain right now. Why not center a game around the MVP? Well, here's where I take real issue.
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In sporting games, it's absolutely necessary to nail down player rankings to an exact T. If you mess up, you could have the LeBron Jameses and Kevin Durants playing like Brian Scallibrines and 2013 Finals-era Manu Ginobilis; inversely, embellishments in player rankings can have players like Kendrick Perkins raining threes, or Dwight Howard making free throws. LeBron's player ranking? 99. The next highest is Kevin Durant's, at a 94, followed by Kobe Bryant, who ranks 93. 2K Sports just got a tramp stamp of LeBron's name tattooed on its lower back. In case you couldn't tell, I'm not a LeBron fan, and I'm sure that comes out in my judgment of this game. But really, I don't mind some of the LeBron-centered additions as much as you might think. I think the Path to Greatness mode is a decent idea — I'd just like to see them give more options than LeBron. Maybe replay some of Kobe Bryant's best games and end the mode you leading him to his last ring in the 2014 season. Put in Derrick Rose and lead him to reclaim his MVP title, and subsequently lead the Bulls to their first championship in over a decade. Give us a Kevin Durant mode, where he leads a weak roster back to the Finals to overcome the Heat. Let us play as a rookie Tim Duncan, guarding down low alongside David Robinson, and let us play his best games on his way to a fifth ring. Or maybe let us play the best games of some of basketball's greatest past players, such as Michael Jordan, Larry Bird or Magic Johnson. Give us more options. After all, LeBron James isn't the only NBA player on a "Path to Greatness." Now, let's talk about some things the game really has improved upon. Gameplay is more realistic — you don't get any silly reach-in fouls called on you every time you try to steal the ball. Sure, it happens every now and then, but at least it makes stealing more of a possibility and fouling out in the second quarter less of one. Blocking and rebounding have also been improved — where my 6-foot-tall player used to never grab a board or block a shot, he's averaging three of each every game. There's something about slapping the ball back in the faces of Miami's Big Three that makes the game that much more satisfying — even if I did still lose. I've always been big on the "My Career" mode. Starting out as a rookie, getting drafted and rising to the ranks of an NBA legend. Last year, 2K added a "Social Media" function, where you could see fake fans talk trash on your 6-foot-tall player for not getting more than three rebounds — despite a 40-point scoring night. In 2K13, the social media piece of My Career served no purpose other than to make you wish these fans were real so you could tweet them to meet you in a back alley somewhere. Now, the social media function offers challenges from fellow NBA players to complete and earn more points, so at least now you have something to shoot for after getting pissed off at all the negative feedback your ungrateful trash fans send your way.
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