Tag: Linda Cardellini

Dead to Me (2019) s01e05 – I’ve Gotta Get Away

This episode’s set an indeterminate time since the previous, with Christina Applegate and Linda Cardellini poolside in Palm Springs, taking it easy. Except they’re on a retreat with their grief group—the one other group members we see in the episode are the leader, Pastor Wayne (Keong Sim) and Telma Hopkins.

Cardellini and Applegate aren’t going to do anything with the grief conference, until Applegate decides she’s going to knock boots with hot guy Steve Howey no matter what it takes, even sitting through a presentation from Sim. And Cardellini goes to a miscarriage group, which confirms her stories about the multiple miscarriages for the first time. There’s a baby’s room at James Marsden’s but… the show still hasn’t explained how the miscarriage flashback fits in with the more consequential flashbacks.

Things take unexpected turns when Howey turns out not to be the stud Applegate’s looking for and Cardellini, who’s not interested in a convention hookup, meets soulful mourner Brandon Scott (after Scott sings the Cars’s Drive at karaoke) and gets romantic, leaving Applegate to fend for herself. And leads to Applegate having a come to Jesus moment, which is not a particularly good come to Jesus moment (and happens offscreen).

Abe Sylvia’s script is… eh. Guess Sylvia’s a better director for the show than writer. Episode director Minkie Spiro brings back the trying way too hard composition, which is a bummer.

Sylvia’s also got a lot of gay jokes. For Applegate. She’s drunk and making a bunch of gay jokes and then saying the equivalent of “not that there’s anything wrong with it.” It just makes Applegate seem like a jerk instead of a cynic.

She does get a good scene with Sim, finally. Who knew Sim would have good scenes.

And Hopkins gets to karaoke. Applegate and Cardellini are both surprised she can sing, which seems weird because I’d think Thelma Hopkins can sing but maybe that’s just because Thelma Hopkins can do anything.

Also, I’m pretty sure if the episode passes Bechdel, it’s on a technicality. Though Applegate having two sons to fret over kind of limits.

And the ending—with Cardellini trying to get new beau Scott (a police detective) to investigate Applegate’s husband’s death seems a little much. “Dead to Me” usually gets away with its little much but this one might be too much little much. It’s going to require one hell of a scene from Cardellini and the writers (and director) someday.

Dead to Me (2019) s01e04 – I Can’t Go Back

James Marsden’s character loses all appeal when—in the morning after scene with he and Linda Cardellini—he starts listening to his white man self-actualization podcast. Then he does his workout on the trampoline and you wonder just how Marsden came up with his characterization. Did he get to see the whole series script with all the character details and reveals or what. Because, even if he’s not appealing, Marsden’s performance as a mundane sociopath might end up being “Dead to Me”’s standout performance. Depending on how things go with Christina Applegate and Cardellini.

After Cardellini does the walk of shame home—or gets a ride because she’s still not driving—she finds out Applegate is upset about something, namely dead husband Ted cheating on her. Thanks to Cardellini knowing how to use the Internet, they convince the girlfriend they’re the dead husband and they’re going to meet her after work. So they go to the girlfriend’s restaurant—she’s a waitress—and try to spot her.

Unluckily, their waitress (Olivia Macklin) turns out to be the girlfriend. Applegate understandably gets hostile while Cardellini plays the good cop and gets information out of Macklin. Amid all that drama, Applegate’s also upset because Marsden has pulled his house off the market… because he’s getting back with Cardellini, which turns into an argument between the two.

Marsden’s already told Cardellini to pick a fight to break up the friendship and come back to him, so there’s a lot going on even with two characters sitting at a table.

Cardellini’s getting back together secret, which doesn’t even last the episode, is probably “Dead to Me”’s shortest secret. The show runs on them—it’s like if you found out Bruce Willis was a ghost every twelve to seventeen minutes—and this episode has two more? Three more? Ted had secrets on top of secrets for a lot longer than Applegate knew. But Applegate’s also got a previously undisclosed character backstory detail getting revealed and playing into the plot with Macklin so it’s a lot.

We’re also finding out Applegate gave up her dreams to support the husband, who was a failed musician, and it compounds a lot with her just revealed history secret. The episode ends in a very complex place for both Applegate and Cardellini; it appears “Dead to Me” is about to explore whether or not the truth truly sets one free… or maybe how that freedom might not be better. It’s complicated. And a good puzzle.

Also, Abe Sylvia’s direction is a really nice development for the series because you don’t notice it. There’s no forced pretentious composition with Sylvia.

Kate Robin’s script has some excellent barbed dialogue and sometimes it’s funny but it’s a very grim half hour.

Dead to Me (2019) s01e03 – It’s All My Fault

Even more secrets! Not only does Christina Applegate find out something she didn’t know—and not Linda Cardellini’s secret, even though Cardellini puts her secret out into the world in the form of a confession in a balloon—to send up to Heaven to Applegate’s dead husband, along with the family (it’s his birthday), which the show plays for a cheap bait and switch because it can’t help itself… And not even the secret martyring mother-in-law Valerie Mahaffey talks to Applegate about, a secret she’s keeping from… well, the audience. Because why shouldn’t everyone be keeping big ol’ secrets.

There’s a lot to the episode, what with Cardellini and ex James Marsden reconnecting after she has to call him to get her out of jail for damaging private property, which Cardellini copped to in an effort to help Applegate. If Marsden isn’t a complete sociopath who’s playing Cardellini, it’ll be the most surprising thing the show’s able to pull off. Because Marsden and Cardellini, in their extremely dysfunctional relationship, play off one another really well. If Marsden isn’t a villain, it’ll mean less great material for him, so I guess I’m hoping he’s a villain.

Then there’s Mahaffey, Applegate’s dead husband’s mother, grandmother to her children, and rival Realtor. Mahaffey belittles and demeans Applegate whenever she gets the chance, but Applegate’s in no mood to be pressed right now. Great performance from Mahaffey; Cardellini actually gets the more interesting scene opposite her, because most of the Applegate stuff is played—initially—for laughs.

Gay Realtor partner Max Jenkins comes through as a good friend to Applegate this episode, which initially redeems him, but then he’s the way they’re shoehorning in religion. Applegate apparently used to have cast and crew pray before takes (on a not “Married With Children” show); her character’s not religious on “Dead to Me” because she needs to be irate, but the gay White guy’s there to remind everyone it’s all good because God.

Eye roll.

Group’s back for a scene; nice to see Telma Hopkins and Edward Fordham Jr. And Ed Asner’s around a bit.

Abe Sylvia’s direction keeps up with some of the quizzical composition but not all of it, which is nice.

“Dead to Me” probably ought to have been called “So Many Secrets,” just because they’re what’s keeping it going but whatever. It works out. And it’s great to see Mahaffey.

Dead to Me (2019) s01e02 – Maybe I’m Crazy

Oh, the secrets. So many secrets. Linda Cardellini has secrets from Christina Applegate—the scene where Applegate tells Cardellini she’s a saint and Cardellini says something like, “you’ll come to find out I’m the Devil,” is a little too on the nose. But then the show has its secrets too. Creator and writer Liz Feldman wants to surprise viewers instead of just trusting in both them and her show. It’s a bummer.

Also a bummer is director Amy York Rubin, who’s back with her fake artsy composition and questionable focus blurs.

But otherwise—and Applegate’s exaggeratedly gay business partner Max Jenkins—it’s solid. Applegate’s arc this episode involves selling Cardellini’s ex-boyfriend James Marsden’s house while Cardellini gets comfortable staying with Applegate and sons. Younger son Luke Roessler gets a lot less to do than very upset teenager Sam McCarthy, who Cardellini sets about bonding with.

Now, given what the show’s reveals about Cardellini at this point, a bunch of the show just becomes trying to figure out her character motivations moment to moment. It’s a potentially great, showy part. It’ll be interesting to see what Cardellini does with it. At this point, she’s very interesting, which is the most she can be at this point.

Applegate’s got a subplot about calling the cops to report a speeding car in her neighborhood—apparently both she and her dead husband ran in the street instead of on sidewalks, which is… well… you’d think she’d move over to the sidewalks is all I’m saying. But the arc with the speeding sports car is pretty awesome. Gives Applegate a great last scene.

There’s no group this episode, so no guaranteed laughs. There’s a bit with the kids—Cardellini and McCarthy banter on the same level. Plus Ed Asner. And he gets lines this episode. He was background last episode.

“Dead to Me” is either going to work or it isn’t. It’ll probably be a waste of time if it doesn’t. But it’s engaging enough at this point I’m hopeful.

Dead to Me (2019) s01e01

The currently strangest thing, one episode into “Dead To Me”—not counting director Amy York Rubin’s pointlessly pensive shot composition, which just distracts in a thirty minute “sitcom”—is how the show handles the humor. Outside the cold open, which has lead Christina Applegate short with neighbor Suzy Nakamura (Applegate’s husband has died and Nakamura is bringing over food and can’t quite figure out the condolences), all the humor is left to the supporting cast at Applegate’s support group.

And it’s a great bunch of supporting cast to do humor, no complaints; Telma Hopkins, Edward Fordham Jr., and Keong Sim are all good at the humor. It’s a strange kind of support group. They meet outside. Sim set the whole thing up after his aunt died falling down stairs to go get him a soda. The episode doesn’t do the traditional support group thing of introducing everyone. It even skips Applegate.

But we do get to know other early forties with it White lady Linda Cardellini, who’s already established as weird because she introduces herself to Applegate while they’re getting the lousy coffee. Cardellini makes oddly inappropriate jokes and not for laughs, rather for Applegate to not laugh at, actually. Cardellini has lost her fiancé.

She and Applegate become phone buddies—they both have insomnia—and bond of “The Facts of Life” reruns. Soon they’re night owl buddies, hanging out in Applegate’s outdoor living room and watching the show, or driving around trying to find cars with Applegate husband-sized damage to the front right bumper.

Everything’s going great—it’s an indeterminate period of time, long enough the rest of the group knows they’re outside friends but not long enough for Applegate to think about introducing Cardellini to her two sons—but then Applegate finds out Cardellini hasn’t been honest about fiancé James Marsden.

The episode ends with some personal growth for Applegate and a major reveal on Cardellini’s level of deception… and her moving in with Applegate because sitcom.

There are some “give me an Emmy” moments for Applegate, like uncontrollably crying with taking a shit, but the show’s very careful never to be insincere. Like Rubin’s direction; whatever she’s doing, it’s not out of insincerity or hurriedness.

It does seem like it was written for a very specific audience—not just “Facts of Life” familiar, but “Kate & Allie,” which is not a realistic reference in 2020—but whatever. It does, however, make a big ask as far as the setup and Cardellini’s relationship with Applegate and it remains to be seen whether or not the show (and creator) Liz Feldman can make it into anything. So far, it’s all still conceptual and potential.

All-Star Superman (2011, Sam Liu)

All-Star Superman, the comic book, is maybe the best Superman comic book. Based on empirical observation (i.e. the other animated DC Comics movies from Warner Premiere), I assumed All-Star Superman, the animated movie, would be awful.

I was wrong. It’s wondrous.

It’s not without its problems, of course. The movie is based on the comic, but it feels like one of the Superman movies. It needs better music. Christopher Drake has the chops to do a video game score, not this film.

Second, the character designs are often weak. Proportions are absurd.

Third, Alexis Denisof is terrible. He doesn’t have a big part, but he opens and closes the movie. It hurts.

Now, on the good stuff. All-Star Superman is about two things–Superman and Lois and Superman and Lex Luthor. About twenty-five minutes is just Superman and Lois having a date. Sure, she’s got temporary superpowers and they’re flying around, but it’s just a date. It’s lovely.

The Lex Luthor stuff comes later and is consistently entertaining.

James Denton is great. Anthony LaPaglia gives the film’s best performance. Christina Hendricks is all right (she’s best in her scenes with Denton, which is odd, since they probably didn’t record together). Everyone else is solid–Arnold Vosloo is excellent.

The script hurries a lot, but manages to sell every sequence, even if it starts problematically.

The movie does what the comic book did–it turns the traditional Superman story into a fable of unbridled enthusiasm.

It’s great.

3/4★★★

CREDITS

Directed by Sam Liu; screenplay by Dwayne McDuffie, based on a comic book by Grant Morrison and Frank Quitely and a character created by Jerry Siegel and Joe Shuster; edited by Margaret Hou; music by Christopher Drake; produced by Bobbie Page and Bruce W. Timm; released by Warner Premiere.

Starring James Denton (Superman / Clark Kent), Christina Hendricks (Lois Lane), Anthony LaPaglia (Lex Luthor), Alexis Denisof (Dr. Quintum), Edward Asner (Perry White), Matthew Gray Gubler (Jimmy Olsen), Kevin Michael Richardson (Steve Lombard), Steve Blum (Atlas), John DiMaggio (Samson), Linda Cardellini (Nasthalthia), Arnold Vosloo (Bar-El), Finola Hughes (Lilo-El), Robin Atkin Downes (Solaris), Michael Gough (Parasite) and Frances Conroy (Ma Kent).

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