"Omar comin'!": The Wire gets amazingly interpreted by artist Dennis Culver

For my forthcoming self-published compilation of my webcomic, I'm presently working on a section about The Wire, which will consist of "30 Reasons Why The Wire Is the Best Show Ever" and a piece of Wire-related artwork that was done by me.

I was Googling to see if there were any illustrators out there who ever interpreted The Wire in pencil and ink when I stumbled upon a fantastic Wire character gallery that True Tales of Roller Derby artist Dennis Culver recently posted on his Flickr. (*Exasperated sigh*) My drawings of the Wire characters will never look as dope as Culver's.

[Via ComicsAlliance]

Sign, sign, everywhere a sign

Just when I thought I saw all the clever signs from Jon Stewart and Stephen Colbert's nearly one-week-old Rally to Restore Sanity and/or Fear, more signs continue to be collected and posted online.

(Photo source: Rachel Donner)

That WWII vet's sign and this one I saw during Comedy Central's live telecast were neck-and-neck for my favorite sign:

(Photo source: Funny or Die)

But then I discovered the following four. Those of us who have been suffering from post-election blues need some cheering up, so here are some other funny signs you might have missed.

One rally-goer channeled a movie I love (the guy who shouted that line used to regularly pester Colbert on The Daily Show!) and another rally-goer amusingly referenced a recently-debuted-on-Blu-ray '80s movie that's still enjoyable despite its really dumb race-related moments.

(Photo source: The Huffington Post via FoD)

(Photo source: Ryan Splitlog via FoD)

(Photo source: Blastr)

(Photo source: Blastr)

Terriers, the P.I. drama that's often mistaken for an Animal Planet reality show, releases its charming theme song--and AFOS is streaming it

At comments sections and message boards about Terriers, FX's new San Diego-based series starring Donal Logue as a tenacious ex-cop-turned-unlicensed private eye and Michael Raymond-James as his equally tenacious ex-con partner, the show's viewers have constantly asked, "What is that catchy theme song? I've been whistling it all day long even though the co-worker next to me gives me this look that says 'urge to kill rising.'"

The tune is an original piece called "Gunfight Epiphany," written and performed by Terriers score composer Robert Duncan, who also wrote the opening title themes for Terriers producer Shawn Ryan's previous show The Unit and Castle (as well as the music during a hilarious score-related gag from Castle's first season). The iTunes Store released an extended version of "Gunfight Epiphany" today. (An A.V. Club commenter who prefers the Terriers theme's earlier title "Steel Neena" remarked that "Gunfight Epiphany" makes it sound like a Mars Volta B-side.)

As a fan of The Rockford Files and Veronica Mars, I've been loving the hell out of this show, a superb beach noir in the vein of Rockford and Mars. Like those two shows, Terriers skillfully balances smart-ass humor with pathos and to borrow the words of Vulture's Emily Nussbaum, "takes its characters' moral lives seriously, without ever being pompous." The creation of Ocean's Eleven and Matchstick Men screenwriter Ted Griffin, Terriers is also the sole gem in what has been an unexceptional fall TV season.

Unfortunately, Terriers has been doing so poorly ratings-wise (Mars had this problem too--why is the P.I. genre ratings Kryptonite?) that Logue and Raymond-James have embarked on a cross-country tour to spread the word about their show and host episode screenings for college campus audiences. As a show of support for Terriers, I'm adding "Gunfight Epiphany" to daily "Assorted Fistful" rotation on A Fistful of Soundtracks.

Oh, and watch Terriers Wednesday nights at 7 Pacific (10 Eastern) 10 (7 for West Coast DirecTV viewers like myself) on FX. It's far greater than its misleading (and as Logue has admitted in interviews, poorly chosen) title would have you believe.

TV Critic Grimlock gets an unexpected reply from some guy who makes TV shows

Shawn Ryan--creator of The Shield and Fox's upcoming Ride-Along The Chicago Code and producer of what has to be my favorite new fall show, the FX private eye drama Terriers--retweeted TV Critic Grimlock last night, and as a result, Grimmy's followership, which has been as tiny as his arms, experienced a wee bit of a spike. Congratulations, Grim!

A Fistful of Soundtracks' "Assorted Fistful" sets its sights on Bear McCreary's Human Target soundtrack

Former Battlestar Galactica composer Bear McCreary's beautifully crafted score cues for Human Target were a highlight of the first season of the Mark Valley series, an enjoyable Burn Notice-like throwback to '80s action shows despite co-star Jackie Earle Haley's weekly overuse of the word "dude" and the fact that Human Target bears little resemblance to the angsty, not-so-lighthearted Vertigo comic book that inspired it.

Most first-season Human Target episodes featured music performed by a 60-piece orchestra (McCreary upped it to 94 for the "Christopher Chance" season finale that guest-starred Armand Assante, Amy Acker and Lee Majors as a predecessor to Valley's title hero, an assassin-turned-bodyguard). This made McCreary's orchestra the largest group of musicians assembled for a TV series in years, a huge leap from the 30-piece orchestra McCreary often conducted on Galactica, the 29-to-34-piece orchestra Shirley Walker and her team of composers led during another made-for-TV DC Comics adaptation, Batman: The Animated Series, and the 37-piece one Michael Giacchino assembled for Lost.

"At the first production meeting we had, even before the pilot, I said we must have an orchestra," said Human Target's first-season showrunner Jonathan E. Steinberg in the press release for this month's Human Target soundtrack release. "This show is about an action hero, it's built out of the DNA of the movies I grew up on, Star Wars and Raiders and Star Trek. Those movies don't work without that orchestra."

Human Target, which debuted on Fox as a mid-season replacement last January, will return to the Fox lineup in mid-November (the season premiere was originally scheduled to air earlier this month--that's why the soundtrack release was slated for October--but the network postponed the premiere). However, Steinberg and McCreary didn't return for the second season. Matthew Miller, a writer/producer from Chuck, replaced Steinberg as showrunner, brought along Chuck composer Tim Jones and plans to insert into Human Target more Chuck-style "needle drops" (slang for existing songs), to the delight of a Human Target fan who said in HitFix.com's comments section that "I absolutely hate needle drops. I also love Bear McCreary's music. Human Target in its first season was a great callback to the silly shows of my childhood--The Fall Guy, The A-Team, etc. I don't like Chuck, and I don't like any of these proposed changes. I won't be tuning in for Season 2."

On his blog, McCreary explained his exit by saying "the series is now under new creative leadership, and as a result I have not been asked to return... We are likely to hear a very different musical approach to Human Target season 2, but I hope and trust the series will remain a fun adventure."


McCreary's departure is a disappointing development for fans of the show's Emmy-nominated first-season music like myself, but luckily, McCreary, who's currently busy juggling AMC's The Walking Dead and the Syfy shows Caprica and Eureka, has assembled a whopper of a Human Target soundtrack release. WaterTower Music's digital release of the Human Target soundtrack consists of 160 minutes of McCreary's music from the show, while La-La Land's physical version of the soundtrack on October 19 will contain even more music and encompass three discs.


I've added my favorite tracks from the Human Target album to daily "Assorted Fistful" rotation on the Fistful of Soundtracks channel. During one of these standout tracks, "The New Christopher Chance" from last season's cliffhanger, you can hear what Steinberg had in mind when he said his version of Human Target was built out of the DNA of Star Wars and Raiders. "The New Christopher Chance" contains "Katherine's Theme," a romantic motif McCreary wrote for Acker's character. The sweeping theme brings to mind both Han and Leia's Empire Strikes Back love theme and "Marion's Theme" from Raiders.

Tune into A Fistful of Soundtracks to get your Human Target music fix while you wait another few weeks for Jackie Earle Haley to come back and abuse the word "dude."