Super Bowl thoughts

My Super Bowl view: It was definitely the best one ever.

It was tough, taut, muscular, kinetic. It was filled with action, excitement and stardom.

Also, the game was OK.

What I'm talking about, of course, is the Bruce Springsteen halftime show. In Super Bowl halftime standards, it was twice as good as the Rolling Stones, three times as good as Paul McCartney. Even if Janet Jackson's exposure had been doubled, Springsteen's show would have been better. Maybe.

The hour-long "Office" that followed the game was also a winner. It started wonderfully, faded a little during the "roast" portions, then ended well. The mini-movie inside the episode was only so-so -- Jessica Alba, who was supposed to be one of its stars -- was barely in it at all, but the rest was often terrific. 

Some other Super Bowl thoughts:

1) It's supposed to be called the Bridgestone halftime show, which is OK with me, because I loved the Bridgestone commercials. Especially the Mr. Potato Head one. The worst part of any car accident is when your lips fall down a cliff.

2) We're also supposed to refer to the G halftime report, but I won't. I really don't like the notion of changing Gator Aid to G. As far as G is concerned, I think it's a spot, not a drink. I'm just glad Pepsi didn't turn into P.

3) Speaking of commercials, I've got to go now and drive a car wildly. That's the collective effect of car commercials and "Fast and the Furious" ads.

4) My favorite commercial, though, was from (The boss gets the moose head in his office suite; the worker gets the rest of the moose. Most people know the feeling.) Or the witty take-off of Coke's Mean Joe Greene commercial.

5) Incidentally, this Super Bowl XLIII included movie ads for "Land of the Lost," "Transformers" and "G.I. Joe." Did somebody lose the L and think this was Super Bowl XIII?

6) You probably noticed this already, but Faith Hill and Jennifer Hudson are great singers.

7) I get tired just watching a supersized lineman run 100 hards with an interception. When they run it over and over, I'm exhausted.

8) NBC listed only Andrea Kremer as working the sidelines, but it had a second person. She instantly broke two rules: When covering a football game, don't mention F. Scott Fitzgerald. If you do, don't give the impression that you have no idea who he was. Except maybe that he wrote a Brad Pitt movie.

9) Speaking of NBC, there was immense creativity in it promos. I'd like to see more of that in the NBC shows.

10) That was more than fair. Kurt Warner got a trophy before the game started. (It was the Walter Peython being-a-nice person award.) So he didn't need to win the game, did he?



Monday (Feb. 2) TV: Too much, too good

We all know that Feb. 2 repeats itself over and over. That's what happened to Bill Murray in the "Groundhog Day" movie; the repeating was, we were told, a bad thing.

This week, however, I think it would be kind of good. Monday has way too many strong shows for one night; it would be a good day to repeat -- or at least to put our VCR's or TIVO's into hyperdrive.

Any regular Monday includes TV's best series ("House," 8 p.m.) and TV's best comedy ("Big Bang Theory," 8 p.m.). It has the sometimes-terrific "How I Met Your Mother" (8:30), plus the still-funny "Two and a Half Men" (9 p.m.) and "Prison Break" (9 p.m.) and more.

This Monday, things pile up. There's the 100th "House" episode, a richly crafted hour with an ethical dilemma that entangles Foreman. There's a compelling "American Experience" (9 p.m.), viewing the rush to find a polio vaccine. And there's the return of NBC's Monday line-up, which spent way too long on the shelf.

"Chuck" (8 p.m.) is an underrated delight. Now it's back with an episode that's in 3-D. (We're supposed to get glasses wherever SoBe is sold, which kind of depends on what SoBe is and where it's sold.)

"Medium," a fairly good show, finally starts its season at 10.  And in between is the start of a new "Heroes" chapter.

Often, "Heroes" has scattered its characters in too many places. Monday's episode tries to patch things up. By the end of Monday's hour, most of the characters are in one precarious place.

They'll split back up eventually, but this is a promising start. "Heroes" is making a heroic effort to get back on track. 

Passenger trains still work (really)

I probably should have suspected this, but now I know for sure: This whole passenger-train thing really does work.

Movies and TV shows -- my main reference points in life -- always hint that trains work. They show passengers riding effortlessly; along the way, people find romance, sex and mysteries, plus a mean  guy who's intent on killing James Bond.

Still, I keep forgetting to try. My one previous train trip (from Minnesota to Michigan) had included fun and Scrabble; then I went back to my usual car life.

This week, I finally re-trained myself.The goal was to go from near Lansing, Michigan, to Madison, Wisconsin. It's a tough trip, because Chicago keeps wedging itself between. I checked with Amtrak, which said it would take me there (train to Chicago, then bus) for $49.

I had no illusions of finding mysteries, Scrabble or Bond-killers, but I was hoping to see some upcoming TV episodes during the trip, before the battery on my little DVD player gave out.

When I got to the train station, I was delighted to find an electrical outlet. When I got into the train, I found another outlet right next to my super-comfy seat. I even found a place to plug in at the Chicago terminal.

The second half of the trip was adequate. The terminal had no interest in telling me where or how to find my bus. The bus was (again) super-comfy, but didn't have outlets. I read, instead.

By the end of the trip, I knew a lot about "Oliver Twist"; also, I had seen:

-- A good "Heroes" (9 p.m. Monday, Feb. 4, NBC), which finally gets most of the characters back together.

-- A great "American Experience" (9 p.m. Monday, PBS), looking at the massive efforts to prevent polio.

-- A fairly good "Frontline" (9 p.m. Tuesday, PBS), offering a personal view of Parkinson's disease.

-- And more, including a wonderful George Carlin tribute (9 p.m. Wednesday, PBS). Scooting across the countryside in comfort, I was watching clips of a comic genius. I think I like trains. 



"Bride Wars" is a minor skirmish

OK, I have only myself to blame for this: On Oscar-nomination weekend, still giddy over having seen "Slumdog Millionaire" (see previous blog), I ... well, went to "Bride Wars."

It's not that it's a bad movie. It was co-written by Casey Wilson, one of the newer "Saturday Night Live" people, who also has a brief role. It's resoundingly adequate.

And maybe I should have guessed that. Anne Hathaway sometimes ends up in movies with texture and content; Kate Hudson's movies -- at least, the ones that make it to the multiplex -- can collectively be greeted with a shrug and an "eh."

This one is Kate's kind of movie. It does have a few decent moments and it's always fun to see two brides wrestling in the aisle, their veils and trains tangled into one fluffy souffle. Mostly, though, I think I'll get back to the Oscar nominees. 


Slumming it with Oscar

By the time I'd left Los Angeles, I was filled with buzz for and against "Slumdog Millionaire."

Critics who had seen it were giddy. Producers of "Skins" (an above-average teen show on BBC America) were delighted; Dev Patel, an obscure actor in the first season of their show, suddenly had the title role in this Oscar-bound powerhouse. And on the way to the airport, a fellow passenger (heading home to Calcutta) said he disliked the film: "They only show the bad parts of India."

Well, I do agree with that part. After seeing scenes of poverty, crime and corruption (plus a cute kid soaked in feces), I wasn't dreaming of a vacation in India.

Still, there is much more. "Slumdog Millionaire" is a bracing, energizing film. And it gets there in time-tested, Hollywood ways.

Hollywood loves ships that pass in the night, would-be lovers who keep almost meeting. That has worked wonders, from the old black-and-white films to "Doctor Zhivago."

Hollywood loves the extreme underdog, from Charlie Chaplin to "Rocky." And it savors the love-hate relationship of brothers.

"Slumdog Millionaire" uses all of that and more. Often, great movies come from an outside perspective. Now Danny Boyle, who grew up in blue-collar England, brilliantly captures the visual sweep of India.

Boyle even throws in a bonus. After the story is done -- after filmgoers have been swept on a roller-coaster of emotion -- he offers a surprise: The actors return for a splendid, Bollywood-style musical number. It's the perfect ending for a movie that would be liked by Zhivago and Rocky and Fred Astaire and Ginger Rogers ... and will be loved by lots of modern movie buffs.