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Biblical 'Kings' premieres with solid acting, regal expectations

               NBC kicked off its newest midseason series, "Kings," last Sunday with a two-hour pilot episode complete with action, romance, betrayal and mystery. Backed by stunning visuals and terrific acting, the episode showed promise and ambition but also revealed what the series will have to do (and avoid doing) if it wants to last.     "Kings" is essentially a modernization of the King David story from the Bible. And yes, it's much more than a Sunday school lesson. In this version, David Shepherd (played by Christopher Egan) is a young soldier fighting for his kingdom of Gilboa (think contemporary New York City, but sleeker) against the neighboring Gath. When his unit learns that two of its men have been taken hostage, Shepherd goes against orders and sets out on a rescue mission that ends successfully after he blows up an enemy tank named, of course, Goliath.     When Shepherd begins his mission, however, he doesn't know that one of the hostages is Prince Jack Benjamin (Sebastian Stan), and just as Shepard's court-martial is about to begin, King Silas Benjamin (Ian McShane of "Deadwood" fame) shows up to change his life completely. The King brings Shepherd back to Gilboa's capital, Shiloh, for a lavish hero's welcoming ceremony and offers him a coveted new job as military liaison to the royal press secretary. Although he is reluctant to take the job at first (he's not a city boy), Shepherd agrees to stay, giving himself ample time to get to know the king's daughter, Michelle (Allison Miller).                As the plot progresses, some secrets are revealed about King Silas and Prince Jack that promise to provide interesting subplots in the future; Silas has a secret second family and seems to have married the queen for her money. Silas' brother-in-law is introduced as his slimy financial chief who may prove to have more power than the king himself.               The series is already falling into some clichéd characters — secret families, romancing the princess, slimy brother-in-law — and certain elements feel predictable. It also borrows its overarching story and characters from classic tales, not only biblical ones. Accordingly,  the young, handsome, innocent hero is going to get the beautiful girl, and the prince is going to be jealous that someone else is getting all the attention.              These are minor flaws, however, that are redeemed by the show's beautiful scenery, well-designed graphics and stellar performances. The battle scenes are gray and gritty, while the city scenes are bright and sleek and fully immerse the viewer into the show's fantasy setting. McShane's acting anchors the show, as he is able to sell even the cheesiest line with his eyes alone. Clichés and a predictable plot don't make this show any less entertaining.              NBC has ordered a 13-episode first season for "Kings," and that may be more than enough. Not only did the show premiere to low ratings (a mere 6 million viewers tuned in over the two hours), but it already feels like it may be better suited for a miniseries format than that of a full-fledged weekly series. "Kings" can't rely on shiny graphics or Bible-lovers alone if it wants to see a second — or even the rest of its first — season. The show must work to its strengths, namely its superb actors, in order to create characters with depth that will keep audiences interested. It must continue to develop Shepherd as a likeable everyman who is getting caught up in his newfound fame and status and King Silas as a vicious monarch who has his redeeming qualities.             "Kings" has much more working for it than against it, including series creator Michael Green, who has previously worked on shows like "Heroes" and "Everwood." "Kings" launched with a grand premise borrowed from a familiar source to create a dazzling alternate reality, and it would be a shame if it did not get a chance to fully realize its vision. Here's to hoping this exciting new series won't be prematurely dethroned. Long live the "Kings."


The Setonian
Arts

Two Men of Florence' depicts science's struggle with the Church

"Would you transform the world?" Galileo's daughter, Maria (played by Molly Schreiber), asks her father, the controversial and brilliant scientist. Galileo (Jay O. Sanders) replies, "Not the world, but the mind of man by which the world is known." Remaining true to this theme, The Huntington Theatre Company presents a play that, while it doesn't physically bend the world, succeeds in altering viewers' perception of what theater and life can accomplish.


The Setonian
Arts

Interview | Australian singer-songwriter Missy Higgins talks about music and fame

Last weekend, Missy Higgins took the stage at the brand-new House of Blues Boston alongside Justin Nozuka and Lenka. Already an award-winning Australian singer/songwriter, Higgins recently released her second album, "On a Clear Night" (2007). After touring with Ben Folds last summer, Higgins started her own U.S. tour last month in order to promote her music and attract a larger audience. Her single "Where I Stood" has been featured on numerous popular television shows like "Grey's Anatomy" and "One Tree Hill." Her popularity continues to grow as her soulful, strong-woman sound becomes available to a more mainstream audience. Higgins recently took the time to give this interview via e-mail about her music and who she hopes to attract and inspire with it. Catherine Scott: What are some sources of inspiration for your songwriting? Missy Higgins: I'm inspired by people. The way they think... the motivation behind their actions, their fears, their insecurities and their past experiences that have shaped them into the person they are today. CS: Have you always wanted to be a singer/songwriter, or was it a passion, hobby or dream that just took off and that's where your path has led you? MH: It started out as me just wanting to sing. I first realized I could sing in primary school when I was cast as a fairly main character in the school musical "Joseph and the Technicolored Dream Coat." I had so much fun singing in front of an audience for the first time with a microphone in my hand and [everyone] in the palm of my hand that I just knew I wanted to do it forever. It made me feel more alive than ever. Then songwriting came a few years later. CS: What musicians or types of music do you most often listen to and draw inspiration from? MH: I guess I mostly listen to music with powerful lyrics and simple production. Songs that take me somewhere, or suck me right in to the moment they're singing about and I'm unable to come up for air until it's finished. A song that completely takes over my body with its rawness and fragility and pure honesty. CS: Many of your songs are about being a girl or a woman, and the experiences that go along with that. What kind of message do you want to send to other women as a female singer-songwriter, if any? MH: I don't consciously write with any sort of message in mind. I think the best way to affect other people positively is to write unselfconsciously and openly. When there's no pretense it allows the listener to drop their guard as well and then the real connection can be made. The most healing songs are the ones that make you feel as though the singer is teling your story for you in a way that you were never able to articulate yourself. CS: What is the best part about being on tour? What is the worst? Being from Australia, what do you think of touring in America? MH: I get to play music every night. That is hands-down the best part about touring. Losing yourself onstage for an hour-and-a-half makes all the grueling traveling worth it, ten-fold. American audiences are, for the most part, amazing to play for. They're respectful and willing to make you feel really good about yourself on stage. They want to be entertained which, as crazy as it sounds, is not always the case with audiences. CS: What message would you give to young musicians and artists who want to succeed in the music industry? MH: Ask yourself what your idea of success is. Is it fame? Money? A record deal? Playing sell-out stadium tours in Europe? Getting chased by the paparazzi and dating a supermodel? Get it straight in your head. Think about what will really make you happy. Think about what music means to you and if you really need half of those things in order to feel proud of yourself. The amazing thing about music is that regardless of whether you have an audience or not, you can still have music and it will always be just as precious. Sometimes those other things get in the way of that. Be careful and don't worry. Just respect your inner artist, always listen to it and never compromise. CS: If you could take three things to a desert island, what would they be? MH: My guitar, my sister and my brother. CS: My favorite song on "On a Clear Night" was "Sugarcane." What's yours and why? MH: I don't have a favorite song; they all mean different things to me. I have favorite live tracks which change all the time as we change the arrangements. At the moment it's "Secret" because we've developed an interesting line-up of percussion instruments that everyone in the band plays at the front of the stage.


The Setonian
Arts

Film 'Watchmen' is almost unwatchable

Alan Moore has famously said that "Watchmen," his 1986 Hugo Award-winning graphic novel, is unfilmable. For two decades Hollywood heeded his words, but wunderkind director Zack Snyder couldn't leave it alone.


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Arts

Funny 'Later Life' explores an old relationship

The Southern couple, the gay man and the British lesbian will make audiences laugh uncontrollably, while Ruth (played by sophomore Lily Zahn) and Austin (sophomore Austin Field) will leave viewers tense with anticipation as they try to revive a quasi-relationship of the past. Who are these two people, and what have they gone through since they last met for one night in the Island of Capri? "Later Life," a one-act comedy written by A.R. Gurney and directed by junior Ned Berger, has all the answers.


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Mikey Goralnik | Paint the Town Brown

When I first saw STS9, I was 16 and they were a thought-provoking, ludicrously skilled, highly energetic band with a small but committed following of warm, interesting people. Its music dipped and swelled, generating tension and then releasing it in a haze of live drum and bass -- organic electronica. With its rhythmically enveloping music, it has something that I don't think anyone else has, or can really match. It's pointless to try to describe what my first several shows were like, and I'll probably never have the vocabulary or syntax to convey what that music and community meant to me. Just know that they were important.



The Setonian
Arts

Director of 'Watchmen' talks about the challenges of adapting a famous graphic novel into a major motion picture

Long spoken of as the unfilmable graphic novel, Alan Moore and Dave Gibbons' comic masterpiece "Watchmen" (2009) was recently brought to theaters by Zack Snyder, director of the imaginative and successful "300" (2006). Known for his reverence of the superhero genre, Snyder walks a thin line between pleasing the legions of fanboys and girls who hold the source material sacred and creating a marketable, successful feature. To bring the novel to life, Snyder took some cues from the online community. For instance, he directed his casting crew to consider forums on the Internet Movie Database that threw around suggestions for which up-and-coming actors would be suitable for different roles in the film. Recently, the Daily sat down with Snyder to discuss his interest in the "Watchmen," the events that led to the creation of the film, the reasons behind the changes that he made and his hopes for its reception. Question: How did you go about getting the film? Zack Snyder: The studio actually called me. I was doing post on "300," and I got a call, and they had a script for a comic book they bought called "Watchmen," and I don't think they actually knew much about it. But they thought, "Oh, Zack loves comic books, so he'll love this." But it was strange because I don't think they realized, you know, how crazy it was. Q: Do you think there's anything specifically political you want to say with "Watchmen?" ZS: I think the thing that's interesting with "Watchmen" is ... it does talk about superhero politics, and they're similar in the sense that ... what we learn from the graphic novel and hopefully from the movie is that the morality of policing your neighbors or the morality of being a vigilante with superheroes is a slippery slope. The movie sort of asks: Who polices the police? Who watches the watchers? Who governs the government? Or, who gods God, you know? Those are, to me, the questions of "Watchmen," and I think they are political. I think it also takes on ... American popular culture and sort of looks at America generally. You know, Alan Moore is English, and he's sort of looking at America generally through distance and time, and it's interesting how the more things change, the more they stay the same. Q: Can you talk about Alan Moore at all? ZS: Yeah, I can talk about him. I'm a giant fan of Alan Moore's. When I came on to the project ... the first question I asked was "Okay, when do we get to go talk to Alan Moore?" and I was greeted with the reply, "Umm, we don't get to talk to Alan Moore. Alan Moore has famously divorced himself from our motion picture and, yeah, you don't get to talk to him." That bummed me out because I thought that was how ... it seemed to me would be the easy way to do the movie. Since then, I've just had to flounder through my own experiences. In some ways, maybe it's a truer experience for the viewer. What I think was I tried to make the movie based on the experiences from when I first read the graphic novel back in '88. I'm a huge fan of Alan's, and he's asked that I try not to make any assumptions about what he thinks and not to contact him, so that's what I plan to do. Q: In what ways did Dave Gibbons, artist of the comic, influence the direction of the film? ZS: Someone asked me "Did he help you make the movie?" and I mean, he wasn't there on a day-to-day basis helping, but he did do ... thousands of drawings that helped me, so in a lot of ways, Dave is the visual author of the movie. If you think about the movie like a normal book, Dave becomes the imagination, in some ways, of the reader. I think that that's an amazing gift that he gave the movie because the movie is not only the texture of what Alan wrote, but it's also the mood that the drawings of Dave Gibbons did that I tried to get into the movie. Q: How did you approach keeping the things that you did in the movie and changing what you did? A: I guess the way I approached that was that there were certain sorts of things that I really wanted to get at ... especially the Comedian, the Comedian's funeral, Manhattan on Mars, Rorschach's interrogation and then the final conflict -- what we like to call "Mount Olympus," or the discussion of nature's plan. These are the big things that I tried to get at. Changes went to pulling up the story to get at those things. We've also changed the end, changed the device employed. The reason we did it was that we really didn't want to spend that time to explain [the end] because we would have to lose a lot of character. And also, I think, the concept that Adrian [Veidt, the world's smartest man] finds the thing we blame, the thing that we have to divorce from our lives, that being God. I just found that elegant and interesting.


The Setonian
Arts

Music Review | Dan Auerbach's first solo outing does not need to be kept hidden

In his first solo project, The Black Keys' frontman Dan Auerbach strays away from faster, driving drumbeats and muddy blues for a slower, stripped-down sound. The Akron-based Auerbach recorded the album in his own studio using almost entirely vintage instruments, most of which he plays himself. This technique is definitely effective, as both the album and its cover seem as through they were taken straight from the early '70s.


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Devin Toohey | The Good, the Bad, and the Ugly

As you have probably guessed, I'm a man who puts a lot of effort and passion into his pet peeves. Therefore, it should come as no surprise that one of the things that irks me most is when people foster disingenuous hatred. These people despise not because a tremendous inferno burns within their soul but as a show and means of social integration. Should I be clearer? Let me give an example: Hipster Haters.


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Zach Drucker and Chris Poldoian | Bad Samaritans

It seems like the Stan Lees, Frank Millers and even Charles Schulzes of the world compose their visual masterpieces with the intent of producing storyboards that translate into epic blockbusters. Ever since "Superman" (1978) lit up the silver screen, movies based on comic books and graphic novels have been some of the most and well-renowned blockbusters in popular culture. With the release of last summer's "The Dark Knight" (2008), last weekend's "Watchmen" (2009) and the prospective releases of about nine other comic book movies this year, we decided to dissect the components needed for mating a successful and worthy film adaptation of a comic book.


The Setonian
Arts

Tupac's latest lacks energy

The newest album from Tupac Shakur, the Elvis of Generation X, is a mere phantom of the rap legend's former work. Forget all those bogus sightings and conspiracy theories: Tupac's latest of many posthumous releases, "One Nation," is conclusive proof that the rapper is six feet under. Featuring hip-hop "supergroup" Boot Camp Clik, this album would never have seen the light of day under Pac's discerning eye. Its tracks are uncharacteristic of the artist's usual West Coast thug love, preaching unity between coasts and the "one nation" of hip hop. To understand the strange theme of the album and the reason it took 13 years to complete, one must rewind to 1996.


The Setonian
Arts

Latest installment of 'Futurama' brings closure

"When a love comes to an end," Oscar Wilde once said, "weaklings cry, efficient ones instantly find another love, and the wise already have one in reserve." Fans of "Futurama," which aired on Fox from 1999 to 2003, had ample time to prepare for the end, but many never found a replacement show or never got over its untimely cancellation. After five seasons, Fox pulled the plug. Since then, however, the show's heartbroken fans have obsessively bought the seasons on DVD, convincing Comedy Central (the company that owns the show's syndication rights) to commission a series of four direct-to-DVD feature-length films, of which "Futurama: Into the Wild Green Yonder" (2009) is the last.


The Setonian
Arts

3Ps brings absurdist play to Balch Arena

The Pen, Paint, and Pretzels' spring minor production of "The Garden Party" embraces the circular arguments and absurdist nature of the original production. Among snippets of humor and a cascade of superficial disagreements, the political context of communist Czechoslovakia in the '60s is laid bare on stage.


The Setonian
Arts

Street Fighter' doesn't stand a fighting chance

It is not easy to critique "Street Fighter: The Legend of Chun-Li" without feeling bad for it; it's like reviewing a four-year-old's drawing of his family. This movie is so terrible that it's not "so bad it's good." It's so bad that it goes past good, past bad, and to "arranging the contents of a trash can would have been a better use of two hours."




The Setonian
Arts

Latest Madea film is forced and generic

    The latest installment of writer/director/actor Tyler Perry's Madea movies continues his now-familiar formula: a feel-good melodrama using Madea as comic relief. Perry's films certainly succeed as light, mildly amusing entertainment (and each are a good 90 minute distraction from midterms). If viewers loved the past movies in this series, then they should watch "Madea Goes To Jail."  But if viewers are interested in anything besides an extremely generic Perry movie, then they should avoid this new film at all costs.     In this installment, Perry reprises the role of Madea, a troublemaking but loveable grandma whose antics have caught the attention of two prosecutors. Although Madea initially avoids jail, her anger management issues eventually catch up with her and help land her in the slammer. Meanwhile, the prosecutors, Joshua (played by Derek Luke) and Linda (Ion Overman), attempt to assist Joshua's old friend Candy (Keshia Knight Pulliam), a prostitute whom Joshua wants to help break away from the streets.     The flaws in this movie become obvious as soon as the terribly constructed plot gets underway. Do not be fooled by the title; this is not a movie about Madea or about Madea in jail. Instead, the film jumps back and forth between the unhappy prosecutors and their drama and the zany high jinks of Madea.     These plots don't intertwine until the end, which strongly undercuts the movie's foundation. Most of the time, it is unclear what is going to happen next, not because the movie has unpredictable twists (it doesn't), but because everything feels so unrelated; it's like Perry took discarded lines from his previous movies and pasted everything together.     These deep-rooted flaws could have been avoided if the movie had more interesting, dynamic characters. Unfortunately, Perry's Madea shines in only one small scene, during a cameo by Dr. Phil. Otherwise, she remains exactly the same as in the previous movies. Perry must have decided that any attempt at character development would somehow hurt his series, because Madea encounters nothing that challenges her in any way. As a result, any scene with her in it features Madea either doing something zany or getting congratulated for doing something zany.     The prosecutors' storyline has slightly more promise, but still ultimately fails. For the most part, the characters and their lines are one-dimensional, unbelievable and do not give the audience any reason to care about the ensuing comedy and drama.     There are moments when the actors almost break free of their wooden roles and show real emotion, though. Luke and Overman especially try to capture the drama of their traumatic past that slowly comes to light over the course of the movie, and with a little more help from a less predictable script, they might have succeeded.     But despite their efforts, all attempts to discuss serious themes seem disingenuous because Perry does not seem interested in the real emotion that comes from fleshing out characters and plot. After all, that would involve telling a real story — one that would probably have both more drama and more humor.     Instead of portraying real people dealing with the aftermath of violence, Perry only offers props that seem to exist solely to drive home the movie's wholesome, happy little message. When "Madea" tries to be funny, it fails; when it tries to be melodramatic, it fails even more miserably; and when it tries to instill a lesson behind everything, it topples over into a poorly made mess.     But none of these problems matter to Perry, and who can blame him? He has found a formula that gets him money and an audience, and his feel-good, zany Madea movies are not any worse than anything else coming out of Hollywood. The trouble is, they aren't any better, either.


The Setonian
Arts

Vegetarians do it with unclogged arteries

She tosses her head, her shiny dark hair streaming down her back as she lets her silk robe fall to the floor. She's dressed to impress in black lingerie and garter stockings, and it's clear she's ready to go and get what she wants. Seductively, she licks her lips and starts to slink toward the object of her affection — a pumpkin.


The Setonian
Arts

Aidekman Arts Center shows documentary 'Tokyo Streets'

Japanese fashion is characterized by eccentric individuality. Most Americans instantly recognize vibrant colors, over-the-top aesthetic qualities and what can only be called "uniqueness" as characteristic of young Japanese fashion. Yet beyond this mainstream conception, there is much of Japanese culture and fashion that remains to be explored.