Quantum Leap

Channel Guide - Large

Yes, the moment you may or may not have been waiting for since 1991 is almost here: 21 Jump Street, the overly sincere, denim heavy, painfully ‘80s TV series about baby-faced cops going undercover in high schools, blowin’ up the spot and teaching everyone about morals or whatever, has been updated and turned into a movie that’s being released this weekend! The series, which aired from 1987 to 1991, served as a launching pad for the career of one of today’s greatest actors: Peter DeLuise. (Johnny Depp may have also been on the show.) The weird premise and casting of a pre-mega fame DeLuise are, I guess, what keep 21 Jump Street alive in our collective memory all of these years later. (Although, I don’t think that this new movie is necessarily intended for people who were fans of the series or who were even alive during its run.) Even though the whole “film based on old TV show” genre is ultimately the result of laziness, unoriginality, and rooted in the simple fact that that our memories and feelings of nostalgia can be exploited for profit, the release of 21 Jump Street means that series that existed in the ‘90s are starting to make their way to the big screen and that’s kind of exciting. So if this is where we’re headed, someone might as well start adapting the following shows.

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Culture Warrior

This editorial contains spoilers for Source Code and Moon. If you haven’t seen the movies yet, go check it out first before diving in. When I watched Duncan Jones’s sophomore effort Source Code, I couldn’t help but think about how much it resembles, nearly beat for beat in its structure, his first film Moon. This is not necessarily a criticism of Source Code or Jones, as repeated thematic occupations and narrative revisitation can be the sign of the auteur, and I’ve enjoyed both his films. But the films are, admittedly, structurally identical in several ways. Both involve a lone protagonist who discovers something unexpected about their identity that changes their relationship to their given tasks (Sam Bell realizing he is a clone in Moon, Captain Colter Stevens’s “near-death” state in Source Code), and combat some form of repression against a bureaucratic organizational body (a private corporation in Moon, military scientists in Source Code) while being assisted by an empathetic, benevolent subordinate of that organization (GERTY the robot in Moon, Vera Famiga’s Captain Goodwin in Source Code). But it is rather appropriate that both of Jones’s films be so structurally similar, for the major themes connecting them, and the narratives by which those themes are exercised, are enveloped in the topic of the repetitive structures of everyday life.

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This week, on a very special episode of Reject Radio, Peter Hall and John Gholson stop by to drop the Cinematical tag team on me, and we discuss the finer points of Pedobear advertising. They also destroy my anticipation for two films, and we manage to discuss the worst buddy cop cliches while admitting to the ones we can’t get enough of. All of this, plus you learn what movie is like Inception meets Dora the Explorer.

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published: 12.23.2014
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published: 12.22.2014
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published: 12.19.2014
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