Welcome To The 21st Century, Programs!

Well, it's finally been confirmed. "Tron 2.0", or whatever it was called initially, has been given its official title: Tron Legacy. And the first trailer for what will certainly be a pants-creamer of a film has been released at this year's Comic-Con. Check it out here or watch it in the recommended HD version.

If any of you grew up in the 80s, Tron was one of those cool, but seemingly dorky films you came to love and appreciate. It wasn't some hand-animated schmaltz-fest with animals and moral lessons, it was a before its time story of artificially-intelligent computers bent on domination, crooked humans and a plucky young video game programmer. It was awesome, plain and simple. And the computer-generated animation and effects were light-years ahead of anything else in 1982. It was a film that fully immersed the viewer in an electronic world and sent imaginations in new directions. At least it did for me. Now, with a new film to open in 2011, we can re-visit this world again, this time with the help of new computer graphics, high-def images and sexy Olivia Wilde.

I'm in full-bore for this film, no matter how bad it could be. What will be the acid-test, however, for director Joseph Kosinski is if he does an admirable job with the remake of Logan's Run, one of my favourite films ever. It's slated to be released next year, and if he fucks that up, I will have diminished hopes for Tron Legacy. I'll still see it of course, but I won't have to bring back-up underwear.

TV Intros That Are Cooler Than You

Last week, I wrote a post that very few people understood (my mother, for one) because it dealt with the personification of a non-sentient entity, namely the day known as Friday. Admittedly, I was kind of bored at work on an otherwise uneventful afternoon, so I decided to write something a little different. Big deal, is what I thought at the time. But I suppose that's not keeping with the original theme of this blog, which celebrated it's third anniversary last Saturday! Yay! What turned out to be a simple excuse to avoid doing any work, while actually looking like I'm during work, has made it to three years. Strange how the initial reason for starting this has stayed the same... Anyways, I'd like to bring this blog back to form. Back to it's roots. And that means talking about meaningless pop-culture banalities.

As I mentioned in an earlier post, I decided to move to my parent's house a few months ago as a means to save money while I'm preparing to go back to school, and stay there while in school for the next couple years. This hasn't been as soul-crushingly terrible as I originally envisioned it, but rather, it's actually been fairly tolerable. Probably because my parents are fairly cool, and I'm a fucking man. However, the fact that they subscribe to Telus TV is going to introduce some serious conflicts very soon. Most concerning is that Telus TV does not carry AMC, and therefore I cannot watch first-run episodes of the new season of Mad Men. I am troubled by this, but I will find a way to circumvent my impending issue of contention. I suppose I could wait for it on DVD, but that's a stupid idea. How dare you even suggest that?

Since I've been thinking about Mad Men, and waiting for the new season, I've been watching previous episodes while frothing at the mouth and obtaining pleasure of the mind. If you've never watched the show, there's one thing that stands out right from second one: the opening credits. Opening credits don't just tell you who the actors are or who produced the show, they should set the tone, theme and style of the show. They serve the ultimate purpose: the credits should give you an idea on whether the show is amazing, mediocre, or fucking terrible. (anyone who remembers the opening credits for Full House or Dawson's Creek knows what I'm talking about).

Here are eleven of my favourite opening credit sequences that are the epitome of cool. Popsicle-Pete Double-Treat cool. Once you've seen their intro, you know that these shows are just going to kick serious ass. Times ten.



11. BAND OF BROTHERS

One of the best HBO series of all time has one of the best openings, which is hauntingly beautiful and striking. The images and score truly capture the style and quality of the show. Also, guns are cool.



10. LOST

Alright, this intro freaks me out. It's the shortest by far, but damn if it isn't effective. It sets a mood rife with disorientation, mystery and suspense, just as the show does (in its better seasons).



9. HAWAII FIVE-O

There was a time when a theme song made a TV show. As much as you want to argue that The Rembrandts' "I'll Be There For You" made Friends, it didn't. That song sucks, and Friends sucked. Hawaii Five-O on the other hand, is so damn sexy, I bet you got pregnant just making eye contact with Jack Lord.



8. KNIGHT RIDER

"A shadowy flight into the dangerous world of a man who does not exist". That is fucking awesome! This was when David Hasselfhoff was the man, and not some McDonald's eating drunk. There were the usual 80's cheese in this show, but can you honestly say that the intro bass line doesn't bleed cool with every note?

7. THE X-FILES

Let me run down the awesomess for you: lots of creepy visuals, pre-sex obsessed David Duchovny, hot Gillian Anderson, UFO stuff, more creepy visuals, FBI things, conspiracies... All adds up to a fantastic show (that sadly lost its way a bit with the alien plot lines) with a fantastically moody opening.

6. THE SIX MILLION DOLLAR MAN

If there was any intro that instantly made you think "Yes! If I try to jump from my sixth story apartment to the building next door, miss, and die after splattering my carcass across the pavement below, I can be brought back as a superhuman! We have the technology."





5 (tie). TWILIGHT ZONE AND THE OUTER LIMITS

Nobody did plot twists like these two shows, and their original intros set the standard for intros that make you uncomfortable, yet engaged. Though each series began airing in the late fifties and early sixties respectively, the mood and style are second to none. I'm creeped out while watching them, but I can't look away. Kind of like little people.

3. THE A-TEAM

The A-Team was a favourite show of mine as a kid, and the opening sequence is a thing of beauty. You want violence? You got it. You want an awesome back story about a rogue military outfit? You've got that, too. You want Mr. T giving you the most bad-ass look while in a car? You've got your cream-jeans on now.



2. MAD MEN

This is the best opening sequence on TV today. It's as sexy as ten young Elizabeth Taylors, and as cool as twenty Billy Dee Williams' (any age). The style of the 60's combined with the sense of losing control is played very effectively. It makes me dream of a simpler time of political incorrectness and drinking at work.

1. CAPTAIN POWER AND THE SOLDIERS OF THE FUTURE.

Before Terminator and The Matrix, there was Captain Power. Set in a world where man fought machine, and machine won (unsurprisingly - humans suck), this show was the best live-action show on Saturday morning. With special toy guns that interacted with the show, kids like me truly believed they were in a dystopic future. The intro has everything kids (like me) and adults (also me) want: violence, destruction and shiny costumes.

Any opening sequence I forgot? And don't say Dexter. I haven't watched it enough to blow my mind on its intro.

Friday

I sit at my desk, peering out into the atrium two stories below, wondering if somehow the clock found a way to reverse itself. It seems like it’s only been a matter of minutes for hours now. The end of the day is so achingly close to being here. The end of another work week is almost ready to announce its arrival, and it could not come a moment too soon. I'm dying a slow death inside, because I want it so much. I need it.

Friday. It can’t get here fast enough. I almost want to scream out in irritated frustration. Why can’t I go now? Why can’t I run out of this building and caress Friday the way I want to, with such willful abandon and unbridled emotion that it would make all other days enraged with jealousy? Why can't I make Friday love me? The questions swirl and stir in my mind, repeating themselves louder and louder with each passing minute. I try to maintain calm as I remind myself that I have a very special task ahead.

I switch my glance away from the atrium and prompt my creative centres of my mind to get working on the duty at hand: seducing Friday night. A task very few have tried to undertake, and even fewer have succeeded in doing. I think about my plan; solid, but not too rigid. Free to flow, free to improvise. Friday and I will spend some quality time getting to know one another initially. Perhaps in some dimly-lit corner of a local tavern. Perhaps by the window of a trendy coffee shop. We'll start with some small talk about the towns we grew up in. Where we first went to school. Our best friends growing up. We’ll chat about our various hobbies, what we like to do when we have the time, what we’d love to do, if we had the time. Perhaps a well-placed joke, an engaging anecdote. It will get more and more casual as the time progresses, I’ll make sure of that. I don’t want to seem to anxious, but I don’t want to appear aloof, uncaring. I want to show just the right amount of interest to Friday, but I don’t want it to feel like I’m some love-struck geekboy, only wanting to see what Friday has underneath its irresistible exterior. I can see Friday now. It's curvaceous form, its unbridled sensuality. Of all the days, Friday knows it's the one most coveted, most thought over, most desired.

Our conversation will inevitably dance around topics such as past or present loves. When this happens, I'll begin to become a bit more cynical, bitter, showing a vulnerable side Friday won't resist in prying for more information. I'll reluctantly reveal some heartfelt feelings to Friday, but not in any obvious way, but with an air of nonchalance, which may pique Friday's curiosity. It'll start to wonder if there is more to me than this masculine shroud I wear, more to me than my flippant descriptions of those who have made my heart seem cold. When this happens, my plan will come to its zenith. Friday will be drawn in with thoughts of a man whose mystery and vulnerability may frighten it initially, but its fear will be replaced with an urge to get to know me more. Get to know the real man inside.

And with that, my plan will have almost succeeded. By tonight's end Friday will know that it's the one day I can't live without. It's the day I won't live without.

The only way my plan can fail is if Friday finds out about Saturday. It's not my fault that Saturday turned the tables on me, but Saturday could captivate anyone with it's beguiling charms. I know I'm weak. If my plan with Friday doesn't work out, I will crawl back to Saturday. Saturday is hot, though.

You won't say a word, will you?