All posts by Matthew Callan

Studio 60 on Roosevelt Avenue: Episode 9

STUDIO 60 ON ROOSEVELT AVENUE
EPISODE 9
WRITTEN COMPLETELY BY AARON SORKIN TOTALLY ALONE AND UNDER GREAT DURESS
RELIVE THE EXCITING INAUGURAL SEASON!
PILOT | EPISODE 2 | EPISODE 3 | EPISODE 4 |
EPISODE 5
| EPISODE 6 | EPISODE 7 | EPISODE 8

LOGLINE: Once the nation’s best and most respected baseball GM, Sandy Alderson has been reduced to trying to revive a moribund franchise in the depths of deepest, darkest Queens. Along with his sharp-witted and adoring protégés, he fights off the seemingly endless series of controversies and crises that beset him while trying to run a sports team in the country’s most bustling metropolis, and still look fantastic while doing it. Can the pressures of such an important job crush this singularly talented and gifted individual genius?

ACT I

FRED WILPON’s office. He’s sitting across the desk from RAY BARTOSZEK, a rotund, bald man of Eastern European extraction in a garish suit. They are laughing together when DAVID EINHORN walks past the open office door. He stops in his tracks and looks inside. The two men shoot each other strained glances. EINHORN stalks off, looking angry and almost tearful.

Cut to: SANDY ALDERSON’s office. He stands at his window, looking out on the field contemplatively as groundskeepers water it. EINHORN bursts in.

EINHORN
I’m being pushed out!

ALDERSON
Nice to see you, too.

EINHORN
Do you know that Wilpon’s in his office right now, talking to Ray Bartoszek?

ALDERSON
No, I didn’t know that, for despite all evidence to the contrary, I have not yet been granted omniscience.

EINHORN
Bartoszek was the guy Wilpon talked to about investing in the team before he chose me. Now he’s got him in his office and they’re laughing it up like a bunch of…laughing guys! Do you know what this means?

ALDERSON
Someone told a humorous anecdote?

EINHORN
It means I’m being pushed out! Wilpon wants another investor in this team!

ALDERSON
So? He’s not going to have majority control like you do.

EINHORN
I don’t have majority control! I don’t have any control! I just have exclusive negotiating rights with Wilpon. Except, I kinda forgot to negotiate anything. Officially, I don’t own anything yet, and Wilpon’s gonna sell it out right from underneath me!

ALDERSON
So you’ve been calling the shots for this team, making trades, taking us on team-building conferences, and you don’t even own the team yet?!

EINHORN
I was gonna take care of it, but my brother was in town for a few weeks, and then there was that day I had to pick up a chair I bought on Craigslist…I got a lot on my plate, okay! I need you to fix this, pronto!

ALDERSON
Why? You just told me you’re not officially in charge of anything. Why do I need to do what you say when I have so many other things to take care of? Just this morning I found out my second baseman will be featured on an upcoming episode of Hoarders.

EINHORN
Well…all the fun times we’ve had, for one thing.

ALDERSON
Like when you traded for the most expensive player in baseball behind my back, then filled him with enough drugs to kill Keith Richards.

EINHORN
Only some of those words are true! C’mon, I thought you loved solving crises!

ALDERSON
I don’t love it, I’m just incredibly good at it.

EINHORN
Sandy, please, I need your help. You’re the closest thing I have to a friend right now. Everyone else I know is either indicted or in mutual funds.

ALDERSON
That’s rough, mutual funds. [begins to walk EINHORN out the door] All I can tell you, David, is that a business partnership is like a relationship.

EINHORN
Because you pay for it with cash and hate each other?

ALDERSON
No, because every now and then you have to rekindle the spark. Why did you and Wilpon do business in the first place? Remember that, and you’ll find the way to get back in his good graces.

EINHORN
What if I can’t think of it?

ALDERSON
You can ask J.P., or Paul, or Carlin. They’re all top-notch assistants who can help you with your problem when they’re not managing the incredibly difficult job of keeping a ball club together.

EINHORN
And what if they can’t help me?

ALDERSON
Then maybe you and Wilpon shouldn’t have been together in the first place. David, I’m sorry, but I need to be alone right now.

ALDERSON gently pushes EINHORN out of his office and shuts the door. EINHORN looks worried as J.P. RICCIARDI and PAUL DEPODESTA walk by.

EINHORN
What’s with Sandy? He normally loves to solve problems like this.

RICCIARDI
He’s been a bit on edge lately. He gets like that every now and then.

DEPODESTA
Best to just wait it out. A genius mind like that needs a break from time to time.

Cut to inside ALDERSON’s office. He’s staring out the window again. From a nearby corner, an apparition of ALDERSON’S FATHER emerges, dressed in army fatigues and a GI helmet.

ALDERSON
I thought I told you to leave me alone.

FATHER
You never listened when I told you to get a haircut, ya damn hippie, so now I’m returning the favor. You know why I’m here, son–to berate you into relapse

ALDERSON
I’m not doing that.

FATHER
It’s right in your desk drawer. Why do you have it if you don’t plan on using it? You want to use it, you weakling!

ALDERSON clenches his eyes, grasps his temples and tries to massage the pain away. FATHER chuckles.

Continue reading Studio 60 on Roosevelt Avenue: Episode 9

Edifice Wrecks and Rock Star Come-Uppance

A while ago I wrote for my love of Deadliest Warrior, which despite its attempts at jockishness and bad-assery is one of the nerdiest shows in the history of television. I’ve recently been thinking of another show that is almost its polar opposite: Human Wrecking Balls, a resolutely dumb show that makes faint stabs at nerdiness.

Human Wrecking Balls is a show that ran for two seasons and 20 episodes on G4, the gaming channel that launched Olivia Munn into superstardom (their cross to bear). It’s unclear if new episodes are in the works, though I believe G4 still reruns it from time to time. The show consists of “breaking champions” The Pumphrey Brothers, Craig and Paul, destroying stuff with their bare hands and brute force. You probably didn’t know you could be a champion at breaking (unless you used to watch Cheap Seats), but guess what? You can be a champion at anything in 21st century America. *eagle flies across purple mountains’ majesty*

The Pumphrey Brothers didn’t just bust tables or chairs, either. They massacred entire locations, like a post office, or a bar, or an amusement park, until the entire place was completely destroyed. Now, what constituted “completely destroyed” was somewhat mutable and indefinable. But when they were done with a building, it definitely looked like two meathead tornadoes had been throught it. Each episode was cast as The Pumphrey Brothers versus a location, as if it were a foe that needed to be conquered.

Would two dumb guys breaking stuff be enough for a show? It certainly would be enough for me, someone who has spent his entire life thinking nothing is funnier than watching things be destroyed. Add in the possibility of people getting hurt, and I’m even more on board than I was before. (See: Jackass) But for some reason, Human Wrecking Balls decided to add a dash of Mythbusters to their mix and feature a structural engineer named Chad Zdenek in each episode. (I wouldn’t feel good laying out money for a building if it was structurally engineered by someone named Chad, but that’s just me.) Chad explained some of the science involved with the breaking of things: how much force was needed, what would be the best angle or method to use against a particular item, and so on.

Basically, Chad was there to add an educational veneer to a thoroughly anti-intellectual endeavor. Unfortunately, the Pumphrey Brothers were as dumb as a bag of hammers. Lovably dumb, like huge dogs scraping at a door when they think Daddy’s coming home, but dumb all the same. Whenever Chad attempts to explain something to them (more like “at them”), you see the Pumphreys furrow their brows and nod while taking nothing in. Meanwhile, the viewer at home is just anxious for more stuff to get pulverized.

I remember an episode where they destroy an abandoned bar, and one of the brothers desperately wants to kick a pool table surface in half, but Chad is busy explaining just how hard he’s gonna have to hit it, and how the slate will probably snap into jagged, razor-sharp edges, delaying the inevitable awesomeness for no good reason. I was whining at the screen like Milhouse. (“When are they gonna get to the fireworks factory?!”)

You might call this “building tension,” while I call it “a bad decision that wastes precious smashing time.” And more often than not, Chad’s advice was sublimated to the brothers’ caveman strategies, which were usually discussed thusly (in a vaguely southern drawl):

PAUL: Whatta ya think, brother? Wanna blast through this sheetrock shoulder first?

CRAIG: Let’s do it!

The producers also tried to heighten the drama by strategically placing commercial cuts right when one of the brothers was about to plunge into/over/through something, like when The Dukes of Hazard would freeze-frame with the General Lee mid-air and Waylon Jennings would talk about what mess them boys was in. This was presumably to worry the viewer that we might cut back from an ad and see them collapsed in a bloody heap. If either brother did manage to injure himself, Human Wrecking Balls had a nurse on set ready to administer to their needs. More often than not, the brothers refused treatment for their cuts and bruises, so the nurse mostly just stood around and looked vaguely nervous in a conveniently low-cut EMT uniform whenever the boys were readying themselves to smash stuff.

I’m nitpicking. My main point is that there was a show where two huge, dumb guys destroyed entire buildings with their bare hands. I was given a gift by the TV gods and I should just accept it.

As professional “breakers,” they were not allowed to use anything but their own brute strength, and they had to smash everything. There’s an episode in which they demolish an abandoned movie theater, and that involves them crushing every single item in the theater from the seats and the projection screen to the whirling coolers of fruit drink and vats of nacho cheese in the lobby snack counter. (Suspend your disbelief and try not to think about why an “abandoned” movie theater would still have these last items out on display.)

But my favorite episode by far—perhaps one of my favorite episodes of anything ever—was one in which they destroyed a hotel room. This obviously echoes the old rock star cliché of a musician on the road, trashing his home for the night in a fit of excess and decadence. So Human Wrecking Balls decided to ask a real rock star to help them in their quest. The rock star in question was Jerry Montano, who you may know (but probably don’t) as a former bassist in Danzig.

I certainly didn’t expect a show on barely basic cable to get Keith Richards. Jerry Montano toured with a famous, headlining band (albeit well past the height of their fame, while playing the least glamorous instrument), so I suppose he technically fills the bill of “rock star”. But when he arrives on set, he immediately tells the Pumphrey Brothers about all the thousands of dollars’ worth incidental damage bills he’s run up on the road, trying to pump up his Crazy Rock Star bona fides. (Speaking of pumped up, he looks like he was inserted into his leather vest and jeans outfit, then inflated.)

Which is what makes what happens next so hilarious. The Pumphrey Brothers invite Mr. Rock Star to join them in trashing their hotel room’s lounge area. He starts by smashing a prop acoustic guitar, Pete Townshend style, but even this fairly simple task proves arduous. It takes him at least four tries of bashing it against a bass drum before the neck snaps.

Then he tries to break other stuff in the Pumphrey Brothers’ fashion, and this too does not go so well. While the show’s hosts easily destroy furniture, Montano hurls a table against a wall, and it bounces back at him limply. The Brothers pick up a few chairs and plunge their legs into the drywall, but when Montano tries the same (twice), the chair just caroms off the wall ineffectually. The Brothers end the scene with primal, roid-rage screams and “that’s what I’m talkin about!”s, while Montano looks sweaty and exhausted.

It is easily one of the most epic yet lightning-fast come-uppances in television history, and for this alone, Human Wrecking Balls and the Pumphrey Brothers deserve a spot in the Scratchbomb Pantheon of Heroes. (Also, keep watching to the end of this video to see the one of the brothers literally run through a wall.)