The late Muhammad Ali lives on in compelling docs ranging from the crowd-pleasing When We Were Kings to the heartbreaking Muhammad and Larry

(Photo source: RogerEbert.com)

I was too young to catch the late Muhammad Ali in his prime as a boxer and civil rights activist. So it wasn't until the 1996 release of When We Were Kings, Leon Gast and Taylor Hackford's Oscar-winning documentary about the lead-up to Ali's 1974 victory over George Foreman at the Rumble in the Jungle in Zaire, when I started to understand why from the '60s to the early '80s, the world was captivated by this former athlete whom teenage In Living Color viewers like myself knew only as a lethargic roach spray pitchman.

The nicely edited doc caused me to be won over by both Ali's sense of humor--which remained a part of his personality even during his weakened state due to Parkinson's disease, like when he pretended to doze off in the middle of David Frost's 2002 interview with him--and his activism, particularly the brave stand he took against the Vietnam War, which cost him his heavyweight title and his boxing license. He once amazingly said, "Why should they ask me to put on a uniform and go 10,000 miles from home and drop bombs and bullets on brown people in Vietnam while so-called Negro people in Louisville are treated like dogs and denied simple human rights? No, I'm not going 10,000 miles from home to help murder and burn another poor nation simply to continue the domination of white slave masters of the darker people the world over."



Also noteworthy for featuring "Rumble in the Jungle," a catchy original theme song that united the Fugees, Busta Rhymes and A Tribe Called Quest, one of whose members was another beloved African American figure who died this year, Phife Dawg (2016 can go fuck itself), the stirring When We Were Kings remains one of my favorite movies from the '90s. But When We Were Kings suffers from something San Francisco Bay Guardian columnist Johnny Ray Huston criticized Gast and Hackford for at the time of the doc's release--Huston was the only writer I saw point this out back then--and that flaw is devoting too much of its running time to George Plimpton and Norman Mailer doing what's known today as whitesplaining both Ali and a moment of worldwide black pride like the Rumble in the Jungle. Huston's attitude was like "Who gives a fuck what these old white men think, especially when a black perspective would be the perfect one to recall these moments?" He had a point there.

Gast's fascinating archival footage of the G.O.A.T. in his prime more beautifully conveys the speed, grace and brash personality of Ali than any of the talking-head segments Hackford shot in the '90s with Mailer, whose cringeworthy black guy voice while impersonating the boxing legend keeps reminding me of Wyatt Cenac's anecdote about how an improv session between him, another black comic and the late Robin Williams went from awesome to mildly uncomfortable when Williams started trotting out his clichéd black guy voice in front of them. Moments of interminable whitesplaining aside, When We Were Kings is a rare doc that deserves to be seen at least once in a theater with an audience, just to hear how other viewers react to Ali's one-liners, the trash-talking mind games he subjected his rivals to outside the ring and his rapport with his youngest fans.

While other heavyweight boxers at the time tended to be either glum or inarticulate, Ali knew how to charm a crowd. He was the ultimate boxer-as-rock-star. The 1997 theater audience I saw When We Were Kings with wound up cheering for Ali or enjoying his spontaneous antics as if it were 1974 again. That's how charismatic he was. The crowd gets turnt up even when it's just archival footage of him interacting with the press.

"I couldn't stand the Michael Mann film Ali starring Will Smith... The film's great flaw is the fact that no one can really play Muhammad Ali except for Muhammad Ali," wrote Nation sports columnist Dave Zirin in 2013. "That is why Muhammad Ali has always been served better by documentaries than dramatic films."

(.GIF source: Muhammad Ali - The Greatest)

And that is why after Ali's death from respiratory problems last Friday, I marathoned for the rest of the weekend a bunch of docs about Ali instead of watching either Mann's beautifully shot but hugely flawed (and stolen by Jamie Foxx as Drew "Bundini" Brown) biopic on HBO Go or 1977's The Greatest, a much less beautifully shot and much more stilted biopic where Ali stars as himself, but, as Zirin noted, "it was a disaster precisely because the wicked improvisation that marked both his style of speech and boxing were [sic] thuddingly absent." Ali's passing makes you eager to revisit the real, unscripted Ali on film, not the Hollywood versions of Ali like Smith's faithful and respectful but also overly mopey (which isn't really Smith's fault--the mopiness is due to Mann's propensity for brooding and largely humorless male lead characters, outside of Dennis Farina on Crime Story and Al Pacino in Heat) recreation of Ali.

My marathoning of all these Ali docs I highly recommend has made me realize there will probably never be another sports figure as simultaneously entertaining and humane as the Greatest was (although he wasn't so humane towards the late Joe Frazier, calling him an Uncle Tom despite the fact that Frazier actually vouched for the reinstatement of Ali's boxing license, but we'll just consider that a rare slip-up by Ali). In the world of hoops, current Oakland hero Steph Curry could be another Ali, but it's too early to tell. And for a while, to us Filipino Americans, it looked like Manny Pacquiao was going to be our humble Pinoy superhero who would make us even more proud to be Filipino because of his heroism in the ring, but then Pacquiao had to open his mouth about same-sex marriage, and he went from being a kindly Ali type to the embarrassing drunk uncle at the merienda table who should really shut the fuck up about politics.

The boxing world, which is currently being eclipsed in popularity by MMA fighting (another sport that, like boxing, has just lost one of its black fighters: Kimbo Slice, the guy whom Tracy Morgan memorably said should be President Obama's Secretary of Defense on Late Night with Conan O'Brien), needs more humane Ali types and less ignorant types like Pacquiao. That's why Ali's passing is a huge loss for boxing. It's also a huge loss for Islam. It loses one of its most eloquent voices in terms of speaking out against the stereotyping of Muslims as terrorists, which has intensified again ever since Donald Drumpf started persecuting them as part of his Penguin-running-for-mayor-ish presidential campaign.

Ali's earlier allegiance to the Nation of Islam (an offshoot of traditional Islam) and the way that Ali's anti-war activism stemmed from his faith are deftly explored in director Bill Siegel's 2013 doc The Trials of Muhammad Ali, which is now streaming on Hulu. Zirin is right about the Siegel doc's ability to communicate with nuance Ali's journey of rebellion against racism and war. This is the film to see if you've always been curious about Ali's activist side, the allure Ali saw in the Nation of Islam (it provided the former Cassius Clay with a way to become empowered as a black man, right when he was starting to question both Eurocentricism and mainstream America's bizarre preferences for white over black in everything from Christianity to nursery rhymes) and the career sacrifices Ali made due to opting to be a conscientious objector.

"Brokedown Merry-Go-Round" Show of the Week: The Venture Bros., "Faking Miracles"

Occasionally on Friday, I discuss the week's best first-run animated series episode I saw. It's the "Brokedown Merry-Go-Round" Show of the Week. Stream "Brokedown Merry-Go-Round," my one-hour mix of original score tracks from animated shows or movies, right now!



In "Faking Miracles," the Monarch--the failed Venture Bros. supervillain who thinks he possesses an intellect equal to that of Phantom Limb, his wife's ex, or even Wide Wale, but he's hardly in their league and is also currently without both an army of henchmen and the floating cocoon he and his minions used to call home--reacts the way you'd expect a wanna-be supervillain to react to discovering his father was a superhero: not very well. His reaction is akin to a white supremacist finding out one of his parents was actually Jewish.

On the other hand, Gary is fascinated with both the Blue Morpho--who based his crimefighting persona on the tropical butterfly known as the morpho, just like how his son is a butterfly-themed arch--and the state-of-the-art-for-the-'60s cave the Morpho kept below the Monarch's childhood home in Newark (color design supervisor Liz Artinian and her color design crew nicely recapture the bold late '60s network TV colors of Batman and Star Trek in their color schemes for the Morpho's cave). Gary tries to get his boss to see that being the son of the Morpho is actually a cool thing, even though the Morpho appears to have been a second-tier superhero who was often drunk on the job in the '60s flashback that opens "Faking Miracles." In Scaramantula's lair on Spider-Skull Island, the Morpho and Kano, a future Team Venture member, are seen rescuing the kidnapped members of the original Team Venture roster, including Jonas Venture Sr., who dislikes the Morpho. His second-rate quality seemed to affect even his own merchandise: the comic book that was based on the Morpho's crimefighting career tanked after only six issues ("Not Kirby's best work," notes Gary, who probably isn't too fond of Jack Kirby's strange 2001: A Space Odyssey comic from the '70s either).

(Photo source: Liz Artinian)

Voiced by Paul F. Tompkins, whose mustache happens to resemble his character's stache, the Morpho is a hybrid of the '60s William Dozier versions of Batman and the Green Hornet. Hank's Adam West-style Batman Halloween mask established that the '60s Batman show exists in the Ventureverse, so that means the Morpho wasn't the Batman or Hornet of this universe and was instead the Monarch's socialite dad ripping off the lead characters from Batman and its much less comedic sister show (a Batman/Green Hornet crossover was Dozier's attempt to get Batman viewers to catch The Green Hornet). Dozier was, by the way, the Greg Berlanti of 1966, but while Berlanti has been able to build an empire out of his network TV adaptations of Green Arrow, The Flash and Supergirl, Dozier found success only with Batman. Based on an old radio drama that oddly took place in the same universe as The Lone Ranger's, The Green Hornet didn't become a popular TV show until a few years after its cancellation, when Bruce Lee's popularity renewed some interest in his role on the show as Kato, while Dozier's 1967 attempt to bring Dick Tracy back to TV failed to get past the pilot stage.

I'm looking forward to whatever Gary and the Monarch will be doing with all the equipment the Monarch's Dozier-style dad left behind. They're going to need to arm themselves with more than just the Monarch's tranq dart shooters now that Wide Wale followed up his act of ousting the Monarch from the position of arching Dr. Venture with the act of framing the Monarch for the violation of Guild of Calamitous Intent arching policy. In another nod to the '60s, "Faking Miracles" writer Jackson Publick has Wide Wale turning to none other than Dean Martin (Toby Huss), who had a cameo in "All This and Gargantua-2," to impersonate the Monarch and ruin this Level Six Guild member he finds to be a nuisance to the Guild, perhaps as retribution for the Monarch killing his brother Doug, a.k.a. Dr. Dugong, out of anger over the first time the Guild took away his arching rights to Dr. Venture.

In the Ventureverse, the Rat Packer never died and is known in the New York arching community as Copy-Cat, a supervillain whose superpower is similar to that of Jamie Madrox, a Marvel character who briefly caught my attention when writer Peter David relaunched him in 2004 as the star of Madrox, an inventive noir-style miniseries under the Marvel Knights imprint. Madrox reintroduced Jamie, a mutant who has the ability to create duplicates of himself, as a promiscuous and less-than-virtuous private eye who has trouble getting his dupes to cooperate with him, and the Marvel Knights mini led to David rebooting the X-Men spinoff X-Factor as a series about Jamie's detective agency (despite enjoying Madrox, I never got into X-Factor or any other post-1992 X-Men spinoff comic because like Deadpool says in his eponymous hit movie, these X-Men timelines can get so confusing). I love how Publick merged Madrox with Dino. I next want to see Peter Lawford drunkenly having trouble getting his adamantium claws to open another bottle of vodka.

Madrox (Photo source: Arion's Archaic Art)

At a party Wide Wale invited Dr. Mrs. the Monarch, the rest of the Council of 13 and a bunch of Manhattan socialites to attend, Wide Wale's requirement that none of the Guild members can bring their henchmen along with them is clearly intended to allow Copy-Cat to take down the Monarch, who's at his most vulnerable when Gary isn't there to protect him. Copy-Cat and his dupes trick Dr. Mrs. the Monarch into thinking her husband betrayed her and stood her up to illegally arch Dr. Venture in the middle of the party (when actually, the Monarch arrived at the party and was on his best behavior before Copy-Cat tranqed him). Dino appears to want the Monarch's wife all to himself. But she's immune to his charms, even though the show established that she and the Monarch have an open marriage.

At one point, Dr. Mrs. the Monarch tries to shoo Copy-Cat away by saying, "I'm not sure we need someone whose superpower seems to be bad pick-up lines." And I'm not sure we need marital discord as a storyline for the one couple on the show that soap opera viewers would refer to as the supercouple of the franchise, because I like how this one pair, aside from gay-for-super-science-but-not-gay-for-each-other roommates Billy Quizboy and Pete White, has managed to remain together amidst all the failure that surrounds them.

Dean Martin in "All This and Gargantua-2"

Dino, Dino, Dino, Dino, Dino, Dino, Dino, Dino and Dino in "Faking Miracles"

But then again, I don't tune in to The Venture Bros. to see relationships with no problems and stories with no stakes. Everyone on this show, except for Dr. Mrs. the Monarch, Triana Orpheus, Shoreleave and maybe Brock, is a huge fuck-up (as well as the kind of fuck-up who speaks like a recognizable human being, instead of like a Chuck Lorre-style joke machine), which is the thing that's kept me intrigued with The Venture Bros., in addition to all the funny references to things like CHiPs, Iggy Pop lyrics, Duran Duran and the LP version of Wu-Tang Forever. But while the Monarch's past mistakes as a Dr. Venture-obsessed arch continue to haunt him and are now affecting his wife's standing in the Council, as well as their marriage, it looks like things are moving up for Dr. Venture and his new Ventech employees Billy and Pete. They might be about to find some Apple-style success for a change, thanks to their discovery of an example of what Dr. Venture refers to as "the miracles": the not-quite-ready-to-be-unveiled-yet inventions J.J. kept stashed away in his company's inventory before his death.

Billy accidentally lets loose a bio-bot, a liquid metal entity composed of nanobots, in Ventech Tower. The bio-bot can be programmed to enhance the strength or brainpower of whatever human body it's injected into. But before Ventech can make gazillions off selling bio-bots to the public (or maybe exclusively to the military-industrial complex as a weapon?), Dr. Venture, Billy and Pete have to deal with a few bio-bot-related mishaps, like the ones that take place while they figure how to control the bio-bot, which seeped into Dean's body when he was in the shower.

I'm glad Publick spared us from seeing the orifice the sentient goo chose to climb into during Dean's shower. Hearing Dean's off-screen scream from the bathroom is unsettling enough already.

Unaware that the body the runaway bio-bot chose as its host belongs to Dean, Billy and Pete disrupt Brock's study session with Dean, who asked Brock to help him prepare for his SATs. They program the bio-bot to cause Dean to puke on Brock, gain enough superhuman strength to lift up a shocked Brock with one arm and speak in Babylonian, which causes Brock to think Dean needs an exorcist. All that's missing from this scene is Billy and Pete trying out on Dean that clever Innerspace tactic in which a shrunken Dennis Quaid uses his ship's tech to transform Martin Short's facial features into Robert Picardo's.

Despite the moments of body horror slapstick Dean experiences with the bio-bot inside him, the bio-bot miraculously provides Dean with enough brainpower to ace the SATs and get accepted to Stuyvesant University, his school of choice. His brother makes some progress too--with water-breathing Sirena (Cristin Milioti), that is. She ignores her dad Wide Wale's feud with Dr. Venture over his refusal to comply with the mob-connected Crusaders Action League's shakedown in "Hostile Makeover," and she agrees at the end of "Faking Miracles" to go out on a date with Hank, who's taken a job as a pizza delivery boy. Publick sets up a joke early on in "Faking Miracles" about the side effects of driving the GoPod, J.J.'s experimental floating car, and nicely has it pay off later when Hank drives the GoPod to deliver a pizza to Sirena. Of course Hank would pay no attention to the Pirate Captain's warning that the GoPod causes its drivers to become sterile.

Had the guest shots in "Faking Miracles" consisted only of Tompkins the podcast veteran as the Monarch's dad and Huss, the former King of the Hill regular who starred in a series of '90s MTV promos as Frank Sinatra, doing a decent impression of Sinatra's pal, "Faking Miracles" would still be a satisfying half-hour. But Milioti's first guest shot as Sirena elevates "Faking Miracles" to "Bot Seeks Bot" territory, if not "Victor. Echo. November." territory (2006's "Victor. Echo. November." remains my favorite Venture Bros. episode). Last season's Publick-scripted "Bot," a surprisingly tense Brock-and-Shoreleave-on-a-stakeout story, and the Doc Hammer-scripted "Victor" are both my favorite kind of Venture Bros. episode: they follow the characters around on a night out on the town that goes south late in the story, especially for Dr. Venture, but the spycraft or the mayhem isn't what makes either episode soar. The hilarious dialogue before the mayhem erupts--a huge chunk of the dialogue is delivered over restaurant tables, so at times, it feels like we're watching Diner, but with supervillains--is what makes them soar.

In "Faking Miracles," the kind of nighttime partying that energized the proceedings in "Bot" and "Victor" isn't so energetic because it's confined to the rather drab 18th birthday party Wide Wale throws for Sirena, and Dean and Hank's separate storylines aren't destined to become classics like their double-date storyline together in "Victor," but Milioti just steals both the Wide Wale and Hank storylines with the raspy, foul-mouthed Jersey Shore voice she came up with for the frequently irritable Sirena. She exclaims "Maron!" (maa-ROAN) at one point--Sopranos fans might remember that phrase, which is basically "Madonna!" or "Dammit!"--and in my favorite bit of Italian slang, she complains about how the thugs her dad has assigned to guard her are buttagots (it means "annoying idiot"). Milioti was a standout on Fargo this season as Betsy, Lou Solverson's dying wife, and after her charming voice work in "Faking Miracles," she's already a standout recurring guest star on this show too.

Oh yeah, and besides Milioti's guest shot, Donald Trump makes a mute appearance in the background at the party. This episode was made long before Trump started running for president and angering both progressives and conservatives alike. I'm tired of both reading about this buttagots and hearing him squawk like a race-baiting Oswald Cobblepot on the mayoral campaign trail, but his cameo in "Faking Miracles" makes a lot of sense. Of course he would hobnob with supervillains.

Is it me or is Wide Wale more likable as a Venture Bros. adversary than Phantom Limb or the Investors? The dichotomy of a ruthless gangster turning out to be a compassionate and understanding dad to his offspring is hardly new to the gangster genre, but it adds some flavor to Wide Wale as a Venture Bros. foe. He has a sweet little moment in "Faking Miracles" where he takes a break from trying to impress all the legitimate businessmen and notices a grumpy Sirena is uncomfortable at her own birthday party, so he tries to cheer her up with an order for some pizza (and he succeeds--but he's unaware that Sirena's attraction to Hank, which is bound to piss him off, also has a lot to do with her shift to a more content mood later that night). This moment already makes Wide Wale a better dad than his party guest Captain Combover, whose vomit-inducing desire to bang his own grown-up daughter and whose taste for women who are young enough to be his daughters are beautifully ridiculed by Robert Smigel in his uproarious Triumph's Election Special 2016 on Hulu.

If there's one thing I dislike about The Venture Bros.' sixth season as deeply as I dislike all things Trump, it's Publick's decision to leave Dr. Orpheus out of the Ventures' move to New York. Steven Rattazzi's bit part in "Faking Miracles" as Hank's Italian boss at the pizzeria makes me miss both Rattazzi's voice for Orpheus and his presence as an additional (and rather sane, in spite of all his melodramatically delivered incantations) member of the Venture household. Plus New York could use some help from Orpheus. The best person to deal with its problems with rats, bedbugs and pigs would definitely not be a Blue Morpho type. It would have to be a person who was trained in the black arts. Unlike the Monarch and Dr. Venture, they're no strangers to miracles.

Other memorable quotes:
* Scaramantula: "If you think you can just waltz in here and muscle in on my racket, you've got another thing coming! [Faints from being shot with a tranq dart by the Blue Morpho.]"
The Blue Morpho: "It's 'another think coming.' God!"

* "He shows up again in issue 36 when they team up to fight L. Ron Hubbard."

* Hank: "Aw, c'mon, Brock! Why not?"
Brock: "Because it's like cheating, Hank."
Hank: "But so is flying in an airplane or having a fake leg when you think about it, which I do."
Brock: "For the last time, no! You cannot have anabolic steroids!"

* Dr. Venture: "Let's toss this baby into production and call it a day!"
Pirate Captain: "Yeah, well, don't punch the clock just yet there, Doc. She's been known to cause sterility and heart murmurs in rhesus monkeys."

* Brock: "Aw jeez, Dean. Your essay reads like a suicide note."
Dean: "Everything I wrote was true."
Brock: "Yeah, but you gotta turn the gas down a notch, Sylvia Plath."

http://gothdean.tumblr.com/post/139357533252

Shows I Miss (Already): Selfie (with guest blogger Adam from Slant Eye for the Round Eye)

There are several things I'm going to miss about the short-lived Selfie, a hashtag-era reimagining of Pygmalion that has been rescued from post-cancellation limbo by Hulu and will finish out on Hulu the rest of its 13-episode run, starting today. They include the genuine chemistry between Karen Gillan as narcissistic pharmaceutical sales chick Eliza Dooley and John Cho as her marketing guru co-worker Henry Higgs and the rare and groundbreaking sight of an Asian American male as a romantic lead on a single-camera comedy that's not a YouTube show. Cho's Harold & Kumar franchise has been putting Asian American guys in romantic lead roles for three consecutive movies and an upcoming Adult Swim animated version now. It took 10 goddamn years for prime-time network TV to catch up to Harold & Kumar.

I'll also miss any scene where Gillan dances (especially to Wiz Khalifa) and that wig Gillan has to wear as Eliza (after Gillan had all her hair shaved off to play a bald alien warrior in Guardians of the Galaxy) somehow stays on; that little kid whose sobs sound like Eddie Murphy laughing; and the solid character writing and visual panache shepherded by Suburgatory and Selfie creator/showrunner Emily Kapnek, the Frank Tashlin of single-camera comedies. Like Tashlin, Kapnek started out in animation, which explains the strong visual sense she brought to both Suburgatory's first two seasons (before a huge budget slash really affected that show) and Selfie.

Kapnek's Nickelodeon background--I often forget that Nick nurtured Hey Arnold! and Dora the Explorer, kids' shows with lead characters of color--also explains the incredible diversity of the worlds of Suburgatory and Selfie, both casting-wise and music-wise. The huge amount of interracial couples on Suburgatory and Selfie nicely reflects the world outside the TV screen, and I'll always adore Kapnek for soundtracking a Suburgatory scene at a house party with Full Force's "Ain't My Type of Hype" from House Party.

But there's one thing none of the few TV critics who have been in Selfie's corner have noticed about the show, and I think I might miss this element most of all: the pause-button-worthy attention to detail in the show's cutaways to screen shots of social media. Those screen shots were dead-on about the dumb or vacuous things that are often said in comments sections and on social media feeds.

Henry Higgs' off-screen mom is every single Asian immigrant parent who stupidly parrots Republican bullshit, and I love how Selfie captured that in its Facebook screen shots. So of course, like any other non-stereotypical and genuinely funny show that nails a little aspect or two of Asian American life like that and doesn't feel like it was written by aliens from outer space who studied only clips of Long Duk Dong from Sixteen Candles or Fisher Stevens in brownface from Short Circuit on their spaceship viewscreen and think this is how all us Asian guys behave, Selfie gets cancelled.

What will you miss about Selfie, Adam? Take it away.--JJA

***

It Was Just a Good Show
By Adam Chau

Above everything else, I just liked "Selfie." It was warm, cute, funny--I knew what to expect (from a general POV) and each week it was something I started looking forward to. It was one of those shows where I could feel myself getting more invested because at it's core, I related to it. I laughed with it. I talked to the TV when I watched it. Say what you might about how they got some things wrong--I think they got a lot more right.

It's like the title. People have talked about the title of the show as being a part of it's downfall but how was that any worse than "The League" or "7th Heaven" or "Ally McBeal"? I'll argue that maybe it was a better title than people credited because it was too close to their faces. It's like the underground rapper that gets signed by a major label, or who's song you start hearing more of on the radio and start seeing on television. Are they any less artistic just because more people started to like them? It's easy to write "Selfie" off as a pop-culture-in-the-now-epm style title but when you think about why we do it, the overall arc of picture taking in general, and then what we do with them in the connected world from a larger social networking perspective with more connections and more spheres of influence--it stood on it's own.

I think that's the thing that gets me the most about the cancelling of "Selfie" is that it just wasn't appreciated and it could have been a great hit--for someone. Maybe not for ABC. But for someone. Because we loved Eliza. We loved Henry. They weren't perfect. They had their quirks. But so do we. And that's why we watch. Because we can relate. Because we've all jumped in the lake, or wanted to, at least once in our lives, or did the occasional "Hmm...I wonder what they're up to now..." searches and from that POV "Selfie" really did offer storylines that multiple different groups could relate to. I'll miss that piece of the show where I'm not just watching something that interests me or keeps my attention, but that also references some of my everyday life (versus something like "Storage Wars" which I occasionally like to watch but that has nothing to do with my daily life).

But "Selfie" did.

And absolutely, I will lament not being able to watch a show with John Cho as the lead because he's just a good actor who I like to watch on the screen, big or small. Almost every year he's in a new movie while at the same time also working in television. It's not just me. Other people like him too, and he was a recognizable face that anchored the show for millions of people that tuned in.

Yeah.

I'll miss that.

Minnesotan blogger Adam Chau runs Slant Eye for the Round Eye and contributes posts to YOMYOMF (pronounced "yawm-yawm-eff").

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Euro-Awesomes"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

If The Tick was the Seinfeld of the superhero comedy genre (as was the hangout sitcom No Heroics during its brief run in the U.K.), then The Awesomes is the Get Smart of the genre: each week, the bumbling lead character manages to save the day despite his ineptitude, and often due to the help of his work family. But while Maxwell Smart's bumbling ways stemmed from his arrogance and ego, the physically frail Professor Dr. Jeremy Awesome's bumbling ways (as a combatant and an actual superhero, that is, not as a leader/strategist, which he's far better at doing) are due to a low self-esteem instilled by an unsupportive and distant father. If Prock had taught himself to be more assertive towards the currently absent-from-Earth and retired Mr. Awesome (Steve Higgins), who spent much of his time as a dad supporting his protégé Perfect Man (Josh Meyers) and belittling Prock (either due to Prock not being as perfect as Perfect Man or Prock not listening to his doctors' warnings to not use his secret time-freezing superpower because it gives him nosebleeds within seconds), you can damn well bet that Prock would be frequently Zack Morrising the world to move frozen people and objects around (like he did on Earth 4 during "It's a Mad Mad Mad Parallel World") instead of using that power only to talk to himself.

Manipulating time is a power anyone, including myself, would want to have, which is why Prock's inability to appreciate his ability and figure out how to make proper use of it (or how to work around the pain chronokinesis gives him) is both amusing and infuriating. So when Prock's mentor-turned-nemesis Dr. Terfenpeltz (Bobby Moynihan) points out to Prock that he's not using his time-freezing power to its fullest potential in "Euro-Awesomes," I thought to myself, "Word." The evil scientist is basically voicing the frustrations of Awesomes viewers like myself who can think of a million things to do with time-freezing if it were possible and also wish that Prock would be a little less intimidated by his own chronokinetic power, even though it does turn his nose into a Ragú ad.

Prock finally figures out how to use that power to defeat somebody: in this case, Dr. Terfenpeltz, who wants to collect superheroes' powers to conquer the world (Prock tricks Dr. Terfenpeltz by allowing him to absorb his chronokinetic power and then withholding from him the caveat that chronokinesis is painful). While it's nice to see some progress in Prock's struggles with time-freezing, it'd be wise for The Awesomes to continue having Prock learn something new about his powers every once in a while (his other power is the ability to block Dr. Malocchio's mind control) because Prock wouldn't be as interesting anymore if he became more like Perfect Man, who, by the way, has been far from perfect lately (both having to hide at Awesome Mountain from the law and being unable to do superhero things out in the streets like he used to do are driving Perfect Man crazy and causing him to talk to basketballs as if they were Wilson the volleyball from Cast Away). Much of what made The Greatest American Hero unique--as well as, frankly, more enjoyable than the character of Superman, whom a rather deluded-at-the-time DC Comics thought The Greatest American Hero was ripping off--was Ralph Hinkley's often klutzy attempts to be a hero without the supersuit instruction manual he kept losing. As we see during DVD or Hulu rewatches of that old Stephen J. Cannell show and now the storylines for both Prock and the disheveled Perfect Man in "Euro-Awesomes," a hero who's imperfect or always learning makes for better storytelling than a super-perfect man who's always got it together.

There's also some progress in Prock's love life during "Euro-Awesomes," as he realizes his current girlfriend Jaclyn Stone (Amy Poehler) is no Hotwire (Rashida Jones), and both he and Hotwire, who developed feelings for Prock during her time as a mole working for her evil dad Malocchio, finally get the guts to kiss each other. While it's good that The Awesomes doesn't have to prolong Hotwire's Metal Fella arc anymore now that everyone on the team finally knows she's alive and has been pretending to be Metal Fella because of her guilt over betraying them, I'll miss her terrible impression of a male superhero because it gave Jones more to play than just the sexy mole/love interest.

Even though The Awesomes is a comedy, it takes its action scenes seriously, just like the original Get Smart did (despite Max's klutziness and what has to be the whitest white-guy walk in TV history, Don Adams--or his occasional stunt double--did an awful lot of hitting and running and jumping and clinging to the tops of cars). The climactic battle where Dr. Terfenpeltz's giant mecha absorbs the powers of both the Awesomes and their European counterparts is nicely visualized and reminiscent of the Super-Skrulls from various Marvel titles and The Avengers: Earth's Mightiest Heroes.

Another treat in "Euro-Awesomes," which was written by DC Comics veteran and Awesomes staff writer Judd Winick, is its gags about Euro superteams like Justice League Europe and Excalibur (a British offshoot of the X-Men), which are the most Judd Winick-y part of the episode. The cleverest creation out of all the Euro counterparts Winick and the other writers came up with has to be Mademoiselle Hunchback, an icy French beauty who transforms into Quasimodo from The Hunchback of Notre Dame when she Hulks out and plays hard to get in front of a smitten Impresario when she's in her more conventionally feminine form. You got to love how of all the superhuman forms she could have taken, like maybe a She-Hulk physique, a crystalline-armored body or a wolf, she prefers to change into Charles Laughton.

Mr. Awesome let Prock down as a parent, and now Dr. Terfenpeltz, the father figure who, unlike Mr. Awesome, could have helped Prock to become the genuine superhero he'd prefer to be instead of a mere lawyer/doctor/thinker/delegator, has let him down too. "Euro-Awesomes" doesn't brood over these father figures who keep disappointing Prock, but this history of underwhelming father figures is kind of depressing when you think about it, and it's where The Awesomes gets unexpectedly sad (and maybe even tragic) in a way that Get Smart couldn't because '60s sitcoms were incapable of depth and dark humor (aside from that one time when KAOS murdered a secretary by drowning her in a phone booth, which struck me as really dark back when I was a kid discovering Get Smart reruns in the '80s). My advice to Prock?: Stop looking for a father figure. That "Ask Dad, He Knows" cigarette ad sign young George Bailey saw in It's a Wonderful Life got it half-wrong. Dad doesn't always fucking know. Maybe the newly reformed Hotwire will be that long-sought-after figure who boosts Prock's self-esteem about his abilities and won't let him down like Mr. Awesome and Dr. Terfenpeltz did. A smart guy is nothing without a 99 by his side.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "MadeMan"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

The Sopranos is back in the limelight again, not because another one of its stars died, but because of a Vox writer's misguided attempt to create click-bait for the crazy "Tony got whacked in that diner, and we've got proof!" conspiracy theorists. So "MadeMan," a mob genre-influenced Awesomes episode where The Sopranos happens to get mocked, has wound up becoming kind of timely, and what I like about "MadeMan," which was written by Ben Warheit, is that it parodies the elements of The Sopranos and The Godfather that other animated comedies usually don't pay attention to whenever they riff on either of them.

Instead of spoofing Tony, Big Pussy or the HBO show's frequently parodied final scene, "MadeMan" spoofs Dr. Melfi. (Is that Kate McKinnon or Cecily Strong voicing Dr. Romano, Impresario's therapist? Whoever she is, she's come up with the best impression of Lorraine Bracco as Dr. Melfi since Debra Wilson's uncanny impression of her during MADtv's classic "The Sopranos on PAX TV" sketch.) And instead of doing tired gags about Don Vito Corleone's wheezy voice (although "I'm gonna make him an offer he can't refuse" and "No Sicilian can refuse a request on his daughter's wedding day" get referenced), the horse's head scene or any other violent moment from the two Godfather movies (The Godfather Part III never happened), the episode focuses its attention on a minor section of the first Godfather, Michael's romance with Apollonia while hiding out in Sicily.

Another thing that's enjoyable about "MadeMan" is its visual sense. The episode displays a confidence in both its visuals and storytelling that The Awesomes didn't quite have when it started out ("MadeMan" juggles three different plots--Impresario's mama issues, the love life of Josh Meyers' Perfect Man character and Gadget Gal's mentorship of Tim into a skilled gambler--and intertwines them more smoothly than most animated comedies that attempt to juggle the same amount of plots). The show has come a long way since its cheap-looking, straight-out-of-a-2002-webtoon sewage monster in the first episode. Bento Box shows like The Awesomes and Bob's Burgers have a tendency to start out looking unremarkable, but then as their seasons unfold, their animation quality and visual sense both improve (to the point where the rough animation quality of an early Bob's Burgers episode like "Art Crawl" becomes really jarring upon rewatch, much like the animation quality on many first-season Simpsons reruns).

The whole section of Perfect Man the fugitive laying low in Sicily and falling for a local businessman's daughter who's not unlike Apollonia is done mostly without dialogue and was handsomely realized by the Bento Box animators (it's letterboxed too, which enhances the Sicily section's '90s Miramax chick flick vibe as the section becomes more than just a Godfather riff). The images of the city being flooded with Impresario's infinite clones of himself are also quite impressive for an animated show produced exclusively for a streaming service (although the lack of bystanders while the Awesomes attempt to clear the streets of Impresario clones is kind of distracting).

The flood of Impresarios is a result of a fed-up Impresario finally getting rid of his smothering mama Annabelle's presence from the magic jewel she gave him, which supplies him with his Green Lantern-style power of conjuring up purple energy constructs that all previously carried the visage and voice of Annabelle. Now that Annabelle is dating one of Gadget Gal's poker buddies and old Awesomes teammates, the gangland-themed retired superhero MadeMan (Bobby Moynihan), and focusing all her attentions on this other man in her life, her new relationship gives Austin an excuse to free himself of his ubiquitous mama and turn into the kind of independent grown man he's always wanted to be. An especially observant and amusing touch in Warheit's script is that Austin is so stunted as a mama's boy that one of his first acts of freedom is to fill his home at Awesome Mountain with arcade games, pinball machines and oversized toys, much like what 12-year-old Tom Hanks did when he got his first apartment in Big (the scenes of Impresario being ecstatic over all the new belongings he's conjured up, including the "Walking Piano" from Big, are particularly amusing for me because I happened to catch for the first time the expanded cut of Big on DVD right before I watched "MadeMan"). It's such a mama's boy's idea of parentless freedom.

Without the jewel version of his mama, Impresario becomes irresponsible and reckless and creates countless clones of himself to pamper both himself and his teammates. But he loses control of his duplicates and isn't able to make them disappear, so he turns to Prock for help, and Jeremy reveals to his teammates that, much like Batman does with his Justice League teammates, he keeps secret files on them that list how to defeat them if any of them ever becomes dangerous and needs to be stopped (example: trick Frantic into running into flypaper and then light his dick on fire). Prock may be far better as a leader and strategist than as an actual superhero, but apparently he dozed off on the day the lecturer at Sky High (or wherever superheroes in the Awesomes universe go for superhero school) told aspiring leaders to never divulge to their teammates that they keep secret instructions on how to take them down because revealing to them that they keep such secrets about them would just creep them the hell out.

Impresario's A-story in "MadeMan" is a good example of how, on screen, the superhero genre is really at its best when it's handled as a satire or comedy that embraces the inherent absurdity of the genre and makes the characters' battles with their own neuroses more engrossing than any of their battles against crime, like The Incredibles, The Venture Bros. or The Tick (which, by the way, made news last week when Amazon expressed interest in reuniting the live-action Tick's cast). When the genre becomes a completely humorless glorification of superheroes--like any Zack Snyder-directed comic book movie where, as Birdman director Alejandro González Iñárritu once put it while elaborating on his hatred of superhero movies, "the human quality" becomes so de-emphasized that the heroes wind up being unrelatable as characters--the genre's interminable as hell. As we saw in his lead-footed take on Watchmen, Snyder's one of those neo-con directors who's too dumb to handle satire. I'm now convinced that all the witty moments in Snyder's first and best movie, the Dawn of the Dead remake, were James Gunn's doing, not Snyder's.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Tim Goes to School"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

It's a good week to be The Awesomes. Hulu announced that it's renewing Seth Meyers and Mike Shoemaker's animated superhero sitcom for a third season, and this week's Awesomes episode, "Tim Goes to School," solidly penned by Late Night with Seth Meyers head writer Alex Baze (who's been killing it on Twitter, whether he's ripping on Republicans or paying tribute to the late Don Pardo), isn't too shabby either. The episode deals with both the formation of the PRICKS (People Really Into Crime & Killing Sprees), a team of supervillains assembled by Malocchio Jr. to take down the Awesomes, and Awesomes leader Prock's realization that the raising of a child without his parents--in this case, Tim, whose ex-mercenary parents are currently under the protective custody of a hero protection program--is a responsibility he needs to be better at.

A new government act that requires both underage superheroes to receive an education and adult superheroes to finish theirs if they dropped out ends up forcing Tim--as well as school dropouts Muscleman and Frantic--to attend middle school, where Tim learns that handling bullies is easy, especially when you can transform into a 500-pound sumo wrestler with amazing strength. Instead of the bullies being the ones at school who are bothering Tim--they wind up becoming his friends after they see him transform into Sumo due to their surprisingly non-race-related verbal taunts pissing him off--it's Prock and the rest of the team who are bothering him with their overprotectiveness. Prock, Impresario, Gadget Gal and Concierge have disguised themselves as faculty to make sure Tim gets through school okay, and Tim's discomfort with having them around escalates into one of those Hulk-vs.-the-other-Avengers-type battles that have become such a staple of the Avengers comics that the Joss Whedon movie version staged such a confrontation aboard the Helicarrier.

Neither white viewers of The Awesomes nor Asian Americans who don't watch The Awesomes because they've been alienated by the comedy shows from Awesomes co-producer Broadway Video (due to SNL's propensity for yellowface and brownface, its lack of Asian American cast members and the particularly rocky year of race-related humor SNL experienced last season) may pay much attention to how The Awesomes writes Bobby Lee's character, but I like the way the show handles Tim and gives him the same type of anger management issues that Arthur Chu discusses in his Daily Beast essay "Model Minority Rage: Why the Hulk Should Be an Asian Guy." It helps that Tim's Asianness (he's half-Korean, half-Japanese) isn't used as a punchline like on Drawn Together or Family Guy. Sure, Gadget Gal, who's basically filter-less Estelle Getty from The Golden Girls in a rejuvenated body, says frequently racist things to Tim, like when she delivers a one-liner about walloping an uncontrollable Sumo right in the "won tons" during "Tim Goes to School" (won tons are Chinese, you old bitch), but The Awesomes frowns upon her racist views instead of adopting them like Drawn Together or Family Guy would.

It also helps that, Gadget Gal's xenophobia aside, the Awesomes team members are likable and the kinds of characters I don't mind spending an animated half-hour with. In his Dissolve piece on why Star Trek V didn't work at all, whether as a sci-fi actioner, as a Star Trek story or as a movie about the letter V, Noel Murray said that the '60s Star Trek has great replay value partly because its cast of characters is pleasant to be around. "The crew of the Enterprise has a believable camaraderie, cut with just enough friction to bring some dimensionality to their relationships," Murray wrote. Even though the Awesomes are animated characters--and even though the voice actors don't appear to have recorded their dialogue at the same time in the same studio, an approach that hasn't hurt Archer, a show where the actors are scattered in different parts of the country and are recorded separately--that same kind of camaraderie shines through in Awesomes episodes like "Tim Goes to School." Plus I like seeing SNL and MADtv alums together on the same show and getting along well: Lee, Ike Barinholtz and Josh Meyers, Seth Meyers' brother--and Barinholtz's one-time makeout scene partner--came from MADtv, as did current SNL regular Taran Killam, who voices Frantic. There used to be an intense rivalry between the East Coast SNL and the West Coast MADtv, but the two camps appear to have buried the hatchet--or maybe amongst the Meyers brothers, Lee and Barinholtz, there wasn't even a hatchet to begin with.

Like Jason Ritter on Gravity Falls, Lee is a couple of octaves too low to be voicing an 11-year-old, but he's good at bringing out the vulnerability of Tim, just like Ritter does with 12-year-old Dipper. Casting them to voice boys is better than getting women to voice them. As good as Regina King was as Huey and Riley on The Boondocks, I still couldn't shake the awareness that a lady was doing their voices. I don't think I'd be as invested in Tim's anger management issues in "Tim Goes to School" if Tim sounded like June Foray as Rocky the Flying Squirrel.

Stray observations:
* The biggest payoff of the formation of the PRICKS is not fisticuffs, but another appearance by Maya Rudolph as Malocchio Jr.'s doting mom Lady Malocchio, who shows up at inopportune times to make Malocchio Jr. look far from imposing. I've been wondering why Rudolph's amusing voice as Lady Malocchio sounds so familiar. It turns out that Lady Malocchio's voice is basically the voice Rudolph came up with for her obscure SNL character Glenda Goodwin, an attorney obsessed with Bigfoot. "Aired one or two times, I think, but was [co-creator] Mike Shoemaker and my favorite voice of all her voices. When we asked Maya to play the part, the first thing she said was 'Lemme guess, Glenda Goodwin?' She was right," said Meyers to Entertainment Weekly.

* Now that Prock has a girlfriend (Amy Poehler's lawyer character Jaclyn Stone), everyone's been throwing themselves at Prock, from a hot teacher at Tim's middle school (Cecily Strong, who replaced Meyers on Weekend Update) to Muscleman's sister Abby. The Bento Box animators did a good job with Muscleman's expression as he realizes that the shirtless pic of a bodybuilder that he glimpses on Prock's phone is not a pic of himself.

* "Tim Goes to School" doesn't contain any Zack Morris Time-Outs from Prock. I don't miss them.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Destination Deading"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

The superhero sitcom The Awesomes, about a cash-poor team of misfits and their equally inept adversaries, is easily the best of Hulu's batch of original animated shows--a batch of mostly horrendous, often Canadian-made shows. I can't say The Awesomes is a great show quite yet, but it might be getting there. The first season of The Awesomes was marred by animation by Bento Box that was as rough-looking as the Burbank and Atlanta animation studio's work on Bob's Burgers was during that now-great Fox show's first season, as well as the stilted, Jerry Seinfeld-during-Seinfeld-ish voice acting of Awesomes co-creator Seth Meyers, whose previous experience with the superhero genre was co-writing a Spider-Man comic with Awesomes co-star Bill Hader. In the second season, Meyers has clearly been growing a little more comfortable with the voice work, plus Bento Box is starting to play around more with shadows and shading, so The Awesomes has been looking less and less like a visually flat Flash webtoon from 2004.

Meyers and co-creator Mike Shoemaker just need to ditch the annoying device of having Meyers' neurotic and meek team leader character Prock always use his superpower of freezing time, not to perform heroic tasks but to monologue, and not to the audience like how Zack Morris monologued on Saved by the Bell but to himself for some weird reason (perhaps Meyers is trying to avoid making Prock resemble Zack by having him talk to himself, but it just continues to remind me of Zack). The big running joke in these time-freezing scenes is that there's always some sort of dangling opportunity for Prock--who has to follow his doctor's orders about not using his superpower for too long because it gives him nosebleeds--to make that superpower useful, but he keeps ignoring it. It's a good running joke that's reminiscent of self-important Maxwell Smart's ineptitude on Get Smart, but it can't disguise the fact that these scenes are such a clunky exposition device (Jody Schaeffer and George Krstic were better at the self-monologuing thing when Coop always did it in the middle of robot battles on Megas XLR). The device shows up in every Awesomes episode, and it briefly mars "Destination Deading," a solid Awesomes episode that riffs on both Andy Serkis' unexpectedly popular Planet of the Apes prequels and the absurdities of expensive and tedious destination weddings, from $800-a-night hotel rooms to $18 glasses of lemon water.

Recently on Late Night with Seth Meyers, the host told the audience that much of "Destination Deading" was lifted from an Awesomes staff writer's terrible experience as a guest at a destination wedding. "One of the writers said, 'Oh, [the Awesomes] should have to go to a destination wedding, and that will be worse than any supervillain they've ever fought because nothing's worse than when you get invited to a destination wedding.' And what made that hard for me to hear was he had been a guest of mine at my destination wedding," said Meyers.

The Awesomes co-creator's willingness to make fun of himself and own up to the mistakes he and his bride put their wedding guests through ("It was a nightmare. We were awful people," added Meyers) is one of a few reasons why I can't get mad at The Awesomes, even whenever Prock is awkwardly rattling off exposition to himself or when Prock, who's saddled with daddy issues, and his season 2 nemesis Malocchio Jr. (Will Forte)--the Black Canary-inspired accountant son of Malocchio (Hader, terrific as always), season 1's big bad (and now maybe a season 2 ally)--both come off as Venture Bros. lite. Another thing that helps The Awesomes through its rough spots is the simple fact that the members of the Awesomes are likable without being bland, as well as flawed without being as detestable as the characters of Hulu's other animated shows Fugget About It and Mother Up!, which both follow the increasingly hackneyed "let's make everybody an asshole for the sake of shock value" model of animated comedy.

Impresario (Kenan Thompson), a magician-themed hero saddled with a smothering mom (also voiced by Thompson), Concierge (Emily Spivey), Gadget Gal (Paula Pell) and Sumo (Bobby Lee) are my favorites of the team (which, fortunately, is as diverse as Meyers' unexpectedly diverse Late Night writing staff). Impresario's Green Lantern-style constructs always take the shape of his mom, and they're an amusing and effective running gag (Impresario's construct in "Destination Deading" turns into a mash-up of Mom and Godzilla, complete with Japanese lettering beside her). The Awesomes' efficient secretary Concierge--who was promoted to official Awesomes team member in the last episode despite not having any superpowers and was also given a snazzy new jumpsuit to replace her standard secretary outfit--borders on Mary Sue territory. But Spivey--a veteran SNL writer who created and then fled the sinking ship known as Up All Night and was recently involved with the equally troubled How I Met Your Dad pilot that didn't sell--imbues Concierge with a nicely irascible Southern voice that keeps the character from being Blandy McPerfectshoes.

Enjoyable voice work by another veteran SNL writer--Pell, who wrote two of my favorite SNL commercial parodies, Litter Critters and Homocil--also distinguishes Gadget Gal, an elderly heroine in a rejuvenated body that's modeled after the look of the '40s Silk Spectre from Watchmen. And Daily Beast contributor and Jeopardy! champ Arthur Chu has been wishing for an Asian Hulk (after Marvel gender-swapped Thor and made Captain America black) because Hulk's identity crisis reminds him so much of the cultural baggage of being an Asian American male who's constantly stereotyped and emasculated, but Chu clearly hasn't been aware that The Awesomes already features an Asian Hulk. He's in the form of 11-year-old Tim, a.k.a. Sumo, a mash-up of Hulk (brute strength) and Shazam (a little boy in a big guy's body).

Scripted by Dan Levy, "Destination Deading" continues the running joke of everyone on the team (except for Ike Barinholtz's supportive best friend character Muscleman and Taran Killam's deferential-to-Prock speedster Frantic) finding Prock to be a dorky stick in the mud, exemplified in this episode by the schmoopy talk between Prock and his new lawyer girlfriend Jaclyn Stone (Meyers' old Weekend Update partner Amy Poehler). But the team's dislike of Prock's mushy phone conversations with Jaclyn is immediately outweighed by their dislike of the overpriced drinks and suites during the wedding of Muscleman's sister Abby (Meyers' old Chicago improv partner Jill Benjamin), who had an unrequited crush on Prock and isn't quite over him, and David Apelstein, a mild-mannered chiropractor from the ape nation of Apesylvania. An Awesomes episode wouldn't be complete without a battle between superheroes and supervillains, so "Destination Deading" pits the team against the groom's grumpy uncle Elliot Levy-Apelstein (Colin Quinn), who uses his nephew's wedding to plot an ape uprising against humans.

Absent from this episode is Hotwire (Rashida Jones), an Awesomes member who turned out last season to be a reluctant mole for her dad Malocchio and is currently thought to be dead by her teammates, including Prock, who fell in love with her. Rescued off-screen by drunken Teleportation Larry (Bobby Moynihan), Hotwire has kept herself hidden and is pretending to be a male armored hero named Metal Fella. Jones excels at playing awkward--one of my favorite Jones scenes on Parks and Recreation had Ann Perkins trying and failing to bond with Ron Swanson's little stepdaughters--so Hotwire's awkward attempts at dudebro talk with Prock while she was suited up as Metal Fella last week marked the first time that this show has used Jones really well as a voice actor. Also absent from "Destination Deading" is Bob's Burgers voice actor Dan Mintz, who joined the Awesomes writing staff this season and voiced several different side characters in the episode he wrote, "Hotwire's Funeral," so it was kind of bizarre to hear Tina Belcher's voice--which is basically Mintz's normal speaking voice--popping up on another show and emanating from people who don't look like Tina. But "Destination Deading" is worthwhile for nailing the tediousness of weddings, especially destination weddings. "It's like a vacation, but at an inconvenient time, twice as expensive, not where you actually want to go," grumbles Concierge, "and instead of having a vacation, you go to a wedding." I've never been invited to a destination wedding, but if I had to pay $18 for a glass of water, I'd rather stay parched.