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TV Review: Winning Time S1E7 “Invisible Man”

Posted on April 18, 2022 by Logan Dalton

The iconic Lakers/Celtics rivalry takes center stage in “Invisible Man” with a rematch between college enemies Magic Johnson (Quincy Isaiah) and Larry Bird (A hick-ish Sean Patrick Small) being the talk of the country and also serving as commentary on race in the United States. However, on an immediate level, “substitute” coach Paul Westhead (Jason Segel) has to win the game, or he loses both his job and his old boss Jack McKinney’s (Tracy Letts) to former Laker Elgin Baylor (Orlando Jones in a bad wig), who accidentally calls Pat Riley’s (Adrien Brody) hotel room instead of a scheming Jerry West (Jason Clarke), who is doing the opposite of retiring.

Director Payman Benz frames the episode like a game of Monopoly, which is Jerry Buss’ (John C. Reilly) favorite board game because it relies on both chance and strategy, and it connects well to the plot of the episode. If Michael Cooper’s layup at the end of the Lakers/Celtics bounced another way (And the editing shows how desperate it is.), Westhead would have lost his job, and who knows if the Lakers would have won a championship under Baylor. So, it’s safe to say that Westhead is under a lot of stress this episode especially as the losses pile up. He gets talked over in the locker room and hides behind Riley, who shows a real talent for coaching and motivation, complete with shots of him slicking back his hair that hint at the legend he would become. There’s a great scene where Riley gets into it with Westhead and soaks him with cold water basically showing him the harsh reality of what will happen if they don’t win a game on this road trip. They’ve been buddy buddy up to this point, but coaching (Especially against the Celtics.) brings out an angry side of Pat Riley and lets Adrien Brody cut loose a bit with his acting culminating with getting thrown out of the Boston game.

While the coaching situation of the Lakers continues to be unresolved, writers Max Borenstein and Rodney Barnes thread the needle and show how the Larry Bird/Magic Johnson (And by extension, Lakers/Celtics) rivalry connects to race and white privilege in the United States. In demeanor, Bird is the complete opposite of Johnson with his one word answers to the press, Bud Light, and spit cup while Magic Johnson is all smiles and gives the journalists something to work with for better or worse. However, despite this and Johnson outperforming Bird on the court in the 1979 national championship game, the media treats him like God’s gift to basketball. Bird makes him feel invisible, and Kareem Abdul-Jabbar (Solomon Hughes) uses this feeling to have a serious conversation with Magic Johnson about race in the United States, and how since Johnson was bused to an all-white school in Lansing, he’s been trying to stand out with his smile, charisma, and basketball game. However, Abdul-Jabbar tells him that the media will continue to chase Bird even if Johnson dominates him tonight or has a better season overall.

This conversation between Kareem Abdul-Jabbar and Magic Johnson flows out of a very frank one that the Lakers captain had with Earvin Johnson Sr. (Rob Morgan) at the Christmas dinner that he and his wife host for the team after they’re upset by the last place Detroit Pistons. They start by making small talk about Abdul-Jabbar’s appetite, and how much Johnson Sr. respects Abdul-Jabbar and is glad that his son gets to play with one of the greatest centers of all time. However, the chat turns into Kareem Abdul-Jabbar asking Earvin Johnson Sr. why Johnson doesn’t seem to harbor any anger about race relations in the United States and, on a lighter note, if he’s always smiled all the time. Johnson Sr. says that he has been puzzled by this too, especially since he grew up in Mississippi when lynchings were common. Benz, Borenstein, and Barnes also use this scene to frame two men who genuinely care about Magic Johnson and don’t want him to be overwhelmed by folks who would take advantage of him with Abdul-Jabbar starting to take on a kind of surrogate father role for Johnson. This is in contrast with his agent Dr. Day (Steve Harris), who urges him to immediately take a deal with Buick focusing on the money that Magic Johnson would make while Earvin Johnson Sr. warns him that the cars are less dependable than they used to be according to his friends who work at their factory.

The complicated relationship between Magic Johnson and Cookie Kelly (Tamera Tomakili) continues in “Invisible Man” as she doesn’t use his tickets to the Lakers/Pistons game, but buys her own nosebleeds ticket. However, Isaiah and Tomakili demonstrate great chemistry with Johnson almost missing the team bus to Boston and calls her family hinting at an actual future for their relationship. But then Payman Benz does a quick cut to Kelly’s friend Rhonda getting dressed in the bathroom after their conversation. Yes, Johnson slept with the supposed love of his life’s best friend, and the rumors about him picking out women in the crowd at different games to sleep with makes sense. Max Borenstein and Rodney Barnes continue to show that Magic Johnson cares about Cookie Kelly deeply, but he also wants to enjoy his life as a young NBA star and not settle down just yet. (This is probably why the Los Angeles Lakers didn’t sign off on the show!)

The climax of “Invisible Man” is the Lakers vs. Celtics game, and there’s a lot on the line including Westhead and McKinney’s jobs, Johnson’s place in the Rookie of the Year conversation, and West’s sanity as he says that one loss to Boston is what led to the Lakers’ inability to beat them in the playoffs. Director Payman Benz shoots the Boston Garden like a haunted house complete with a racist, animated leprechaun, and both Pat Riley and Norm Nixon talk about the arena in the same hushed tones as a ghost story. And the ghost stories are true with the referees giving the Celtics every call to the soundtrack of Johnny Most’s (G. Larry Butler) incredibly biased/homer commentary while cutting to Buss and Bill Sharman sitting in the nosebleeds, and West getting taunted by his driver while listening to the game in the car because he doesn’t want to set foot in the Boston Garden again. Most and Chick Hearn’s (Spencer Garrett) makes the scene incredibly entertaining and also is a contrast between the old and new NBA.

Somehow, the Lakers win the game after Riley is ejected for saying he slept with the referee’s mother, and a fight breaks out after Larry Bird throws a ball at former All-Star/current ring-chasing enforcer/power forward Spencer Haywood (Wood Harris), who is finally getting some playing time from Westhead after benching him because of a misunderstanding that’s nagged at him the past two episodes. Like in the game at the beginning of the episode, the team is pretty much self-coaching, and the only reason Buss doesn’t fire Paul Westhead is because that would lose him McKinney too. However, Jason Segel taps into some rage and finally shows a little backbone with a “Fuck Boston” chant in the huddle and also giving the referees a piece of his mind down the stretch. He also has a good defensive game plan for Larry Bird, but Bird is that good telling his defender how and when he’ll make shots.

In the game sequences and through the reactions of the crowd in Boston plus animated and documentary-style elements like racist Boston fans putting human excrement in Bill Russell’s bed even after he won them 11 titles, Payman Benz shows how exciting the Lakers/Celtics rivalry was and also how it’s a microcosm of race relations in the United States through well-acted scenes with Quincy Isaiah, Solomon Hughes, and Rob Morgan as Magic Johnson, Kareem Abdul-Jabbar, and Earvin Johnson Sr. Segel also brings a lot of fear and anxiety to the role of Westhead while Adrien Brody adds a little more confidence and charisma to his portrayal of Pat Riley with the ejection sequence showing that he makes a great head coach.

As someone who has said “Fuck Boston” many times (Including today when they beat the Brooklyn Nets on a last minute shot in the first game of the NBA Playoffs), I’m definitely biased, but “Invisible Man” is one of the stronger episodes of Winning Time with a compelling visual style (Sunny LA vs the Crypt Keeper’s Lair aka the Boston Garden), strong characterization for Johnson, Riley, Westhead, and a demon-facing West, and sociopolitical commentary about being Black in the United States using the ultimate NBA rivalry as the lens.

Overall Verdict: 9.0

Review: Winning Time S1E6 “Memento Mori”

Posted on April 11, 2022 by Logan Dalton

With head coach/Showtime mastermind Jack McKinney (Tracy Letts) in the hospital in a coma, this episode of Winning Time: The Rise of the Lakers Dynasty titled “Memento Mori” deals with the fragility of life and success. The main plots that writers Max Borenstein, Rodney Barnes, and Rebecca Bertuch focus on are Paul Westhead (A frazzled Jason Segel) coming to terms with being the Lakers new head coach with the help of William Shakespeare and Jerry West (Jason Clarke), Magic Johnson (Quincy Isaiah) dealing with fame and everyone literally or metaphorically wanting a piece of him, and finally Jerry Buss (John C. Reilly) using wine, women, (probably) cocaine, and the Jacksons to get Great Western Bank to postpone the payment of the loan he used to purchase the team.

After the heights of last episode, the ensemble cast of Winning Time is in a dark place, especially Westhead, who isn’t just McKinney’s assistant coach, but his best friend with director Tanya Hamilton lingering on a picture of them in better times. There’s a little bit of Segel’s usual roles he takes in his portrayal of Paul Westhead as a flailing Muppet even though he does show a cool-headed intellectual side that kicks in when he quotes Shakespeare in the locker room and goes with his game plan against the Denver Nuggets instead of McKinney’s. (Seen in hallucination sequences) He’s definitely more English professor than NBA head coach. In the space of an episode, Westhead exhibits growth going from barely being able to speak to the players and getting chewed up and spit out by the media to switching up the depth chart and freezing out a player (Spencer Haywood) that McKinney wanted to play a major role on the Lakers. But this is after freaking out in his car and offering the Lakers job to West and travel secretary/color commentator Pat Riley (Adrien Brody). Riley plays a nice cheerleader role to Westhead throughout the episode laying the foundation for his future role…

On the flip side, “Memento Mori” spends a lot of time with Magic Johnson, and it’s not the most flattering picture as he chases fame and fortune while his coach is in a coma. Hamilton and cinematographer Todd Banhazl make a scene set at a sporting goods conference feel like visual overload using a nine-way split screen set up that’s The Brady Bunch meets Watchmen showing how every shoe company wants Johnson to hawk and wear their product. A Converse exec even uses some uncomfortable farm metaphors, but of course, he signs with them to have the opportunity to stick it to Larry Bird. It also fits the family friendly, “play it safe” image that his agent/current girlfriend’s dad Dr. Thomas Day (Steve Harris) wants for him instead of the gamble (That would have paid off.) of taking stock options and $1 per shoe sold from Nike. In the sales pitch sequence, Olli Haaskivi is a quirky scene stealer channeling the eccentricity and start-up energy of Phil Knight, who wanted to put Johnson’s name on the shoe and made it actually help his speed and performance, but everyone laughs him off in the episode, including the bankers that Buss parades Johnson to.

Magic Johnson’s relationship with women has been a recurring theme in Winning Time, and as mentioned in a conversation with Day, it’s his only vice because he steers away from drugs and alcohol. “Memento Mori” features his short-lived girlfriend/agent’s daughter Cindy Day (Rachel Hilson), who he is unsure actually loves him or just wants to be close to a famous person. In a monologue where Isaiah brings out an angry and darker side of Johnson, he talks about how they would be in a relationship while Johnson was calling Cookie Kelly in the other room basically cheating on her. And Cindy is cool with this. She also oversteps her boundaries by bringing flowers to Jack McKinney’s hospital room and getting Magic Johnson to sign autographs for the Great Western bank execs, which makes him uncomfortable because he’s in casual relationship mode and honestly just wants to be with Cookie, who appears in the final scene of the episode, and isn’t into the whole fame aspect.

Throughout the episode, Johnson is told by everyone from shoe execs to Richard Pryor (Mike Epps), who gives him great advice and helps get Spencer Haywood interested in cocaine, that his real first name, Earvin, is a thing of the past. There’s a little bit of sadness in Quincy Isaiah’s eyes every time someone uses the Magic nickname to refer to him personally and not in a marketing context all culminating in Cindy moaning “Magic” when he gives her an orgasm from oral sex and realizes that she cares him about him more as a celebrity than a human being. Although, he puts “Magic” on the prototype shoe, Knight actually does use his real name hinting at how Nike would use an athlete’s name and personality to sell now-iconic shoes a few years down the road. Borenstein, Barnes, and Bertuch show Magic Johnson basically being consumed by the fame aspect of his job as he skips a team hospital visit to sign a shoe deal with Converse and does business transactions and chats with Richard Pryor and cocaine baron Dr. Mike in the tunnel before the game. However, he does manage to find some distance between his personal and work life by using a line Dr. Day said about Magic not bringing good news to have him relay the news about breaking up with his daughter before sending him to Michigan State’s campus to personally invite Cookie to a Lakers vs. Detroit Pistons game.

The third main plot of “Memento Mori” shows Jerry Buss and his business partner Frank Mariani (Stephen Adly Guirgis) try to wheel and deal their way out of losing the team by getting Great Western to extend their loan and line of credit by marketing them as “the official bank of the Lakers”. They don’t buy it, but Buss shows them enough of a good time at the Forum Club to extend the loan until June 1980 aka right after the NBA Finals. Unbeknownst to the players, coaches, and other front office folks, the Lakers basically have to win a championship or go broke. John C. Reilly also gets to show a vulnerable side of Jerry Buss when his mother Jessie (Sally Field), who raised him by herself has health issues that hinder her from doing her job as accountant. What begins as him being furious that she used the wrong checking account for vendors and didn’t file the right paperwork to transfer team ownership to his ex-wife ends up with him monologuing on a balcony about how she raised him as a 19 year old single mom in the middle of the Dust Bowl. Jeanie Buss (Hadley Robinson) continues to show her quality by alerting her father to her grandmother’s health issues and also acting as a buffer between Magic Johnson and Cindy and Dr. Day when she can tell that they’re making him uncomfortable before the game.

By contrasting Jack McKinney’s coma and time in the hospital with Magic Johnson chasing fame and Jerry Buss sweet talking Sacramento bankers, Max Borenstein, Rodney Barnes, and Rebecca Bertuch really put life in perspective in a sobering downer of an episode. Jason Segel’s Paul Westhead is the standout performance of “Memento Mori” going from goofiness to anxiety and poignancy with Shakespeare quotes that befuddle his team and sports journalists, but act as kind of coping mechanism for him to deal with a stressful situation. Quincy Isaiah also continues to find the darkness and charisma in the character of Johnson switching between Magic and Earvin by lowering his eyes, dropping his smile, and in some cases, raising his voice.

Overall Verdict: 8.2

TV Review: Winning Time S1E5 “Pieces of a Man”

Posted on April 4, 2022 by Logan Dalton

At the halfway point of Winning Time: The Rise of the Lakers Dynasty, some basketball is actually played, and writers Max Borenstein and Rodney Barnes and director Tanya Hamilton zero in on the life and faith of Kareem Abdul-Jabbar (Solomon Hughes) opening “Pieces of a Man” with his conversion to Islam and name change from Lew Alcindor to Kareem Abdul-Jabbar. The grainy quality of these cut-up montages of Abdul-Jabbar’s life as wide-eyed, earnest young man speaking out against police brutality and American imperialism and praying five times a day contrasts with the dark glamour of Jerry Buss’ (John C. Reilly) Forum Club as he runs ragged trying to have everything perfect for the first game of the season. Barnes and Borenstein dig into Buss’ micromanaging side where he nitpicks at everything from the first Laker Girls to the make of the bar until his put-upon business partner Frank Mariani (Stephen Adly Guirgis) tells him to enjoy the ride.

Hughes has brought misanthropy and presence to the role of Kareem Abdul-Jabbar, but up to this point, he’s been in the background of Winning Time‘s narrative as the jazz-listening, aging star of the Lakers, who is skeptical about coach Jack McKinney’s (Tracy Letts) new system and the easy smile of teammate Magic Johnson (Quincy Isaiah). “Pieces of a Man” dig into why Abdul-Jabbar is this way, and how he wants to change the world and not just be a great basketball player. Hamilton peers into his relationship with his Harlem transit police officer father Al Alcindor that is strained when he speaks out against a New York policeman killing a Black teenager. She shows him keeping his eyes open during his Christian family’s prayers showing that he doesn’t feel comfortable or welcome with this belief system.

Islam gives Kareem Abdul-Jabbar a way to be a part of something bigger than himself, and the episode draws attention to his prayers and includes an extended conversation with an imam at a mosque that recenters him and gives him a warmer connection to Johnson, McKinney, and the game of basketball. Rodney Barnes and Max Borenstein’s writing sings in that sequences and combined with the jazz needle drops add the portrayal of a spiritual, aloof, and sometimes inspirational man. It’s wild to see the 180 from the first game against the San Diego Clippers (Featuring a cameo from baby Kobe Bryant whose dad Joe played for the Clippers.) and the second one against the Bulls where he goes from droning his stat line to Jack McKinney and telling Magic Johnson to fuck off after he hits the game winning sky hook to smiling and enjoying basketball again.

Barnes and Borenstein give Abdul-Jabbar a full arc in this episode, and it runs parallel to Johnson taking more of a leadership role on the team even though he’s a rookie. Although he goofs off with jokes about newcomer Spencer Haywood’s (Wood Harris) home-circumcision and blasts the boombox in the locker room, Magic Johnson shows a real work ethic showing up first to practice and buying into McKinney’s fast break system, but he’s afraid of having a conversation with Kareem Abdul-Jabbar and defers to him as he lumbers down the court and doesn’t really participate in practice. Finally, Abdul-Jabbar pulls Johnson aside for a lesson in “comporting himself” (The real Abdul-Jabbar still doing the same thing today with LeBron James.), and it turns into a fight when the younger player critiques his lack of effort and that his bad attitude is dragging down the team. However, it’s a real growth moment for Magic Johnson, who demonstrates he can smile and be goofy as well as be serious about the team’s performance. Isaiah brings a high-wire energy to his performance as Johnson this episode teetering between enthusiastic and annoying. This culminates in a brightly lit, quick cut montage sequence from Tanya Hamilton showing the fusion between basketball and entertainment that is the Showtime Lakers with Chick Hearn’s (A velvety smooth Spencer Garrett) commentary acting as the back beat.

And the other major plot in “Pieces of a Man” follows Jerry Buss trying to get everything right about the Lakers, the game day experience, and the Forum while radio pundits blast his inexperience. (At least, until the first winning streak.) Except when he’s enjoying the Laker Girls or watching the game courtside, John C. Reilly mostly plays Jerry Buss as angry yelling at choreographers and punching bars while Claire Rothman (Gaby Hoffman) looks like she’s constantly in need of a cigarette. As evidenced by the portfolios of buildings he’s bought and sold and the scrapbook of women he’s slept with, Buss likes the chase more than sitting with something for a while. Even as the Lakers succeed on the court, there’s an edginess to his behavior with his mom/accountant Jessie Buss (Sally Field) thinking he’ll fail and deciding not to go to the first game. Also, his daughter Jeanie (Hadley Robinson) mirrors his behavior running around all town trying to find a dance troupe and ends up recruiting a teenage Paula Abdul to be head choreographer and dancer and also punching a vending machine until her hand almost bleeds. She looks in pain when Buss is ogling the Laker Girls though.

However, the two steps forward, one step back through-line of Winning Time continues in the episode’s closing scene. Jack McKinney’s wife Cranny (Julianne Nicholson) encourages him to take a day off and play tennis with his bestie/assistant coach Paul Westhead (Jason Segel), who is the one person he can really be comfortable around. Tanya Hamilton turns the camera on McKinney’s binder full of plays and schemes before cutting to a sunny L.A. day with a “Good Vibrations” needle drop. During the whole bike ride, it feels like the other shoe is about to drop from a driver almost running a stop sign and fiddling with the radio to the popping of the frame and finally an utterly tragic slow pan. The architect of Showtime is down just as his ideas were becoming reality.

“Pieces of a Man” continues Winning Time‘s structure of focusing on one key figure from the Showtime Lakers and connecting his (Yes, they’ve all been men up to this point.) journey to the franchise’s. This time it’s Kareem Abdul-Jabbar, and Rodney Barnes, Max Borenstein, and Tanya Hamilton explore the sky-hook master’s faith, activism, and overall prickliness as he doesn’t buy into Showtime for now even though it would be easier on his body than the way he’s played for decades. (There are many sequences of Abdul-Jabbar getting massages and his back cracked, and he’s very much ready to retire.) Documentary-style grittiness and flashy disco for the basketball/dancing sequence collide in an episode that’s truly a feast for the eyes and mind with a dark cliffhanger ending.

Overall Verdict: 8.7

TV Review: Winning Time S1E4 “Who the F**k is Jack McKinney?”

Posted on March 28, 2022 by Logan Dalton

Showtime’s growing pains continue in Winning Time Season 1, Episode 4 “Who the F**k is Jack McKinney?”. Training camp is about to start after last week’s murder of Vic Weiss, Jerry Tarkanian has decided to not take the Lakers job with Weiss’ wife smacking Jerry Buss (John C. Reilly) at his funeral. So, per Jerry West’s (Jason Clarke) recommendation, Buss and the Lakers decide to go with Jack McKinney (Tracy Letts), who might have the stage presence of an accountant, but has ideas that would go on to revolutionize the game of basketball. But, for now, they’re just scrawlings on resort napkins and clipboards, or slides loaded by his assistant coach Paul Westhead (Jason Segel), a floppy-haired former English professor that is really a non-presence in this episode. Like he just mumbles and quotes Shakespeare and immediately fits in with this quite kooky set of characters

Along with the growing pains on the court, there is still the financial issues with team, and Buss’ accountant/mom Jessie Buss (Sally Field) finds a way out by saddling some of the liabilities with his ex-wife JoAnn Mueller (Kate Arrington). From an awkward opening scene where she and their children have lunch at the same Mexican restaurant as Buss and one of his girlfriends (And Jeanie Buss sees him fingering the woman at the table.) to walking in on him and another woman with the liability paper work, Arrington plays the part with scene-stealing contempt shattering the fantasy that Buss wants everyone to see about him. Writers Jim Hecht, Max Borenstein, and Rodney Barnes follow the thread of Jerry Buss’ true desires through the perspective of Jeanie Buss (Hadley Robinson), who gets real depth in this episode walking the line between an intern and boss’ daughter.

From being quiet and meek in the first couple episodes, she speaks up in a meeting and even builds a connection with two of her co-workers over a shared bong. This episode shows how much Jeanie cares about her dad and the Lakers and also how she’s unhappy that he would rather hang out with random women than spend time and communicate with her going all the way back to the opening flashback. However, she does have some real vision in regards to setting apart the Lakers from a college basketball experience, and Claire Rothman (Gaby Hoffmann) packages her ideas in something that will sell to Jerry Buss. But it’s all just theory for now. There are no Laker girls or Jack Nicholson and Dyan Cannon sitting courtside just yet.

This theme of theory versus practice definitely is the driving engine of Hecht, Borenstein, and Barnes’ training camp A-plot although there’s all kinds of squabbles and subplots going on from Kareem Abdul-Jabbar (Solomon Hughes) hazing Magic Johnson (Quincy Isaiah), Michael Cooper (Delante Desouza) battling to get a guaranteed contract, and Jerry West not wanting to walk away from the team. Director Damian Marcano excels at shooting the basketball action at its best (Johnson, Abdul-Jabbar, and Norm Nixon showing glimpses of real chemistry) and worst (Veteran Ron Boone getting hit by one of Magic Johnson’s no-look passes) while going the montage and voiceover narration route for McKinney’s ideas. With references to Buddhism that reminded me of a future Lakers coach, Tracy Letts nails Jack McKinney’s passion for basketball as well as the heartbreak and compromise he feels when West tells him that he needs to combine his system with some of his old sets. The practices and a verbal sniping show that doing things a new way is painful even as Magic Johnson and Nixon start to buy into system the system while Kareem Abdul-Jabbar simply doesn’t give a fuck. He doesn’t say a lot of words, but Hughes’ physical presence and taciturn looks show that he knows he’s the undisputed leader of the team and won’t be running suicides or “McKinney miles” with the rest of the Lakers.

I do have to applaud Marcano, Jim Hecht, Max Borenstein, and Rodney Barnes for showing viewers the building blocks of Showtime and fast break basketball with montages and film sessions showing how it sharply contrasts with the stagnant half court sets most NBA teams were running at the time. No wonder the league was struggling. There’s also a kind of cheeky animated sequence featuring Magic Johnson that connects his philosophy of basketball to McKinney’s with a focus on making his teammates and basically being good, giving, and game as the basketball court dissolves into Johnson giving oral sex. However, this whole being everyone’s friend is a little bit of facade as Cookie Kelly (Tamera Tomakili) reminds him that Magic Johnson basically stole her from one of his teammates. Their phone conversation doesn’t end well, and Isaiah shows a little bit of the darker, sadder side of Johnson, both on and off the court with Boone fighting him because he’s frustrated at his playing style and also that he has a guaranteed contract even though he hasn’t played a minute of professional basketball.

“Who the F**ck Is Jack McKinney” is set in a bikini-clad women-filled oasis in a harsh desert, and no one shot understands the facade that is Jerry Buss’ life and ownership of the Lakers than him mouthing “Fuck” under the pool when he realizes that the Lakers and Forum have no chance of turning a profit this year so he can pay off his creditors. Being together in an enclosed space (Even though McKinney closes practice to the ownership and front office) brings out temper and negative feelings with the Lakers continuing to have a long way to go both on and off the court. However, it’s not all downbeat as Hecht, Borenstein, and Barnes position Jack McKinney as one of the true, unsung heroes of the game even if the players hate him for now. Plus there’s strong characterization for Jeanie Buss as Winning Time leans into its greatest strength and weakness: it has a huge cast so it’s hard to get to know all the players, but most of them are fascinating and opportunities for strong, nuanced performances.

Overall Verdict: 8.1

Winning Time S1E3: The Best Is Yet To Come

Posted on March 22, 2022 by Logan Dalton

Winning Time’s third episode, “The Best Is Yet To Come“, shows just how precarious the Lakers’ franchise was at this time starting from the opening moments where Jerry Buss (John C. Reilly) completely loses his cool at Jerry West (Jason Clarke) for quitting two weeks before the season. The wheeling and dealing playboy has been thrown to side as West tries to salvage the interaction by saying that he wasn’t cut out for coaching and wishes he could still play for the Lakers, but he’s too old. Director Damian Marcano shoots the scene in a closed office space that becomes a recurring motif in this episode with Magic Johnson (Quincy Isaiah) spending a lot of time in the contained space of his new apartment in L.A. or former Lakers player/wannabe color commentator Pat Riley (Adrien Brody) reliving his glory days in his garage until he ends up raging out and chainsawing the whole place after his more successful wife Chris (Gillian Jacobs) says she wants to turn into her new therapist’s office. And, of course, there’s the body in the car trunk at the end of the episode. All is this to say is that Jim Hecht, Max Borenstein, and Rodney Barnes script a downer of an hour of Winning Time showing that the Lakers, and by extension Buss, Johnson, and Riley, have growing pains to go through before they can be great.

Three episodes in, and Winning Time‘s ensemble has really start to balloon. However, Hecht, Borenstein, and Barnes keep this basically cast of thousands manageable by orienting each character to either Magic Johnson and Pat Riley’s personal arc or the Lakers coaching search. (There is some D-plot kind of stuff with the team’s finances lingering like background radiation.) So, Jerry Tarkanian (Rory Cochrane) and his wise guy fixer Vic Weiss (Danny Burstein) figure in the story as Jerry Buss’ top pick for new Lakers coach. Tarkanian’s disinterest is pretty evident as he loves being respected in Las Vegas as the head coach of UNLV despite being under the scrutiny of the NCAA. Also, Johnson joins Norm Nixon (DeVaughn Nixon) for the premiere of The Fish Who Saved Pittsburgh and gets a taste of being a celebrity and what it’s really like to be an NBA player, and it’s kind of empty.

On the outside, Winning Time might be a glamorous show with 1970s/1980s fashions, California sunshine, bright lights, and naked women, but it continues to actually be about successful men (Emphasis on men.) and their existential crises. Cinematographer Todd Banhazl and editor Hank Corwin let a lot of scenes trail off and switch to a grainy (Think home movie, not New Hollywood film) composition to linger in unspoken emotion like Magic leaving his family to be driven to L.A., or Pat Riley spending aimless, unsatisfactory days at the beach. This extends to the writing as well with Jim Hecht, Max Borenstein, and Rodney Barnes giving Pat Riley (In job begging mode) one hell of monologue to Jerry West about how he never realized that his basketball career would end. (Spoiler alert: It’s 2022, and it still hasn’t.) Marcano does a slow pan to West’s dented MVP trophy and a plaque commemorating him as the official logo of the NBA while Riley tells West that he wish he had at least accomplished something in his career.

The look on Jason Clarke’s face basically says, “See the last episode”, and he’s the same kind of empty as Riley. By the end of the episode, Jerry West is looking as dejected as he was at the beginning and isn’t into having sex with his wife Karen (Lola Kirke), who wants him to become a father. He doesn’t, and it takes him the entire episode to clean out his office. Along the way, he is furious at Buss’ decision to hire Jerry Tarkanian and ends up finding what he thinks is a diamond in the rough in Jack McKinney (Tracy Letts). Letts plays McKinney as the most forgettable middle aged white dude, but the film clips of his Portland Trailblazers team and how he basically comes up with the idea of Showtime gets seeded in quietly while Buss is off jetting to Vegas to woo Tarkanian. West’s passion as he breaks down the film of McKinney’s Portland teams is in contrast with his interactions with his wife and honestly everyone else. Both he and Riley only light up because of the game of basketball. That’s all they know.

As mentioned earlier, John C. Reilly shows the angry side of Jerry Buss, and we also get to see more of his desperate side like an awkwardly hilarious sequence showing how he does his combover or when he ditches lunch with Magic Johnson to fly to Las Vegas and give Tarkanian all his money. The scenes with Jerry Tarkanian and especially his fixer Vic Weiss are straight out of a 1990s mob film with dim lighting, a Rat Pack soundtrack, and lots of quick cuts to show that Buss is out of his depth as he and his business partner Frank Mariani have to hand over their whole wad of cash to even get to have dinner with Tarkanian. Thanks to $750,000 and two cars, Tarkanian does end up taking the Lakers offer, but the conclusion of this episode puts that on hold continuing the one step forward, two steps back of Jerry Buss trying to turn the Lakers into a contender. Tracy Letts nails “Tark the Shark’s” larger than life personality including his paranoia, and how he comes across as a baron of a small fiefdom instead of an emperor. But, NCAA rules aside, he has things running smoothly at UNLV compared to the utter financial and basketball shitshow that is the Lakers. (Which is why they make an interesting TV subject.)

Also, don’t think I’ve forgotten about Magic Johnson. Quincy Isaiah does a good job showing what is charismatic for Johnson in East Lansing comes across as starstruck in Los Angeles through the quick wit of Norm Nixon. However, Nixon ends up being overshadowed by Bill Cosby at his film premiere, and the photographers ask him and his teammates if there are any Los Angeles Rams on the red carpet because the NFL far eclipsed the NBA in popularity in 1979. And in an even darker sequence (And probably why the real Magic Johnson is silent about the show so far.), Johnson falls for the over the top advances of a local pimp and ends up hanging out and having sex with lots of women at his after hours club. This sequence shows Johnson’s naivete as he falls for the pimp’s offer even after more experienced teammate Jamaal Wilkes tells him that the pimp has nothing lose, but Magic Johnson has everything to lose as his career is just starting. Damien Marcano and Corwin also utilize hard cuts from the after hours club to Johnson on the phone with his family to show how empty his time in L.A. has been so far, and that people want to use him and not be his actual friend with the exception of Nixon, who is still going after his starting position.

Even though he’s at the beginning of his basketball journey compared to Jerry West and Pat Riley, Johnson shares a throughline of disappointment with them. At the end of the day, (Although West and Riley have wives.) they’re alone with their thoughts and wondering whether it was worth it to spend so much time practicing and getting better. Marcano explores an undercurrent of nostalgia in his shots of these men from Pat Riley doing commentary over his old University of Kentucky highlights to Magic Johnson putting on his Michigan State hat when he leaves for Los Angeles. Nostalgia is a comfortable place, but as a way overcast Gillian Jacobs as Chris Riley says, “There’s a reason we bury the dead.”.

By weaving together the stories of Magic Johnson, Pat Riley, and Jerry West’s existential crises with Jerry Buss’ frantic attempt to get a Lakers head coach, Damien Marcano, Hecht, Borenstein, and Barnes craft an episode of Winning Time that has both style and substance and finds the flawed humanity in these basketball greats. Also, Adrien Brody’s sad boy slacker take on Riley is memorable and mesmerizing. Unfortunately, the female characters of “The Best is Yet to Come” only exist to advance the arcs of the male characters with even the well-drawn Claire Rothman (Gaby Hoffman) confined to smoking and sneering.

Overall Verdict: 8.4

Movie Review: Ralph Breaks the Internet

Posted on November 15, 2018 by Andy Wilson

Ralph Breaks the Internet may not be as good as the original, but it still has the same heart that its predecessor did. It takes a while to find its bearings, but when it lays in to making fun of internet culture and fellow Disney properties, it becomes an amazing thing to watch. And down deep, there’s a great story about friendship… and insecurities.

It’s been 6 years since the events of our first film, and everything is exactly as we last saw it. Wreck-It Ralph (John C Reilly) and Vanellope von Schweetz (Sarah Silverman) are still best friends. But while Ralph is enjoying the routine of his life, Vanellope wants more. She’s tired of racing around the same tracks over and over. And so, when Wi-Fi is installed in the arcade, Ralph and Vanellope find themselves scouring the internet for a part to fix the Sugar Rush game.

Of course, then they find themselves without the money to purchase what they need and find themselves at the mercy of the very strange economy of the internet. This is where the film takes off as they visit various locales trying to make some money. This includes a Grand Theft Auto / Twisted Metal type online racing game, where they encounter a racer played to perfection by Gal Gadot. I know this is weird to say about a 30-something and a 10-year old, but you really sort of ‘ship her with Vanellope. Friendship, of course! *wink*

Speaking of great new characters, we also get to meet “Yes,” (Taraji P Henson) the algorithm behind a Buzzfeed/YouTube type site. The film endlessly skewers internet trends and viral videos, which not only makes for a lot of fun but also some wry commentary on what it is we do for entertainment online.

But the absolute breakout scene of the film (Minor spoiler, but an early version of this scene was shown at Comic Con, so this shouldn’t be news to anyone) is Vanellope learning that she is now one of the Disney princesses. Not only is this the best scene in the film, but they went to the lengths of getting as many of the original voice actors for each of the Disney princesses as possible. It’s also a great commentary on the tropes of Princessdom. Oh, and while in the Disney area, they make fun of Star Wars. A lot. It’s perfect.

What ends up working the most about this film is that it is driven by these two characters who we as the audience can see are drifting apart and want different things. We also see them making bad choices in how they communicate with one another about their wants and insecurities, which makes them drift even further apart. it’s a great introspection on friends and friendship and friends drifting apart.

The only downside of this is I’m not sure kids will buy into this message. It feels much more like an adult conversation about insecurities and why it’s hard to maintain adult friendships, whereas kids just make friends because they’re into the same stuff and in close proximity to one another.

The other downside of the film is it’s not clear if this will keep the same classic vibe that the original Wreck-It Ralph did. By being very comfortably retro, it set itself apart as being sort of a film placed outside of time: thanks to nostalgia for classic 8-but arcade games, it already has a classic feel before it’s even made.

This film trades in that classic vibe for such current and prescient content/memes as Fortnite dances, and it’s unclear what cultural impact (if any?) this will have several years from now. Then again, you might have said the same thing about Q-bert or Street Fighter, and we still have all of those characters in Wreck-It Ralph.

One thing writer-director Rich Moore knows is comedy. As a veteran of The Simpsons and writer/director of some of its most classic early episodes (“Homer vs. Lisa and the 8th Commandment” is a personal favorite), he knows how to bring giant belly-laughs and smart satire. All of that is served up here in giant Thanksgiving-sized helpings.

The only problem is the film takes 20 to 30 minutes explaining its newly revised premise until the funny really kicks in. Sequels usually can forgo some basic exposition and cut to the chase, but this has to reset its basic premise before wackiness can ensue. And it doesn’t really hit its stride until that scene where we’re making fun of Disney princesses. It hits that climax about 2/3 of the way through, and rarely approaches the same heights again. It’s really unfortunate, but at the same time, it’s hard to remember a better single scene of any animated film in the past several years. Those five minutes are worth the price of admission alone.

The original Wreck-It Ralph works so well because of its giant heart.

When Ralph embraces that he’s a bad guy and is willing to use his badness to save his new, weird, glitchy friend, we all shed a tiny tear. It’s a beautiful story about broken people finding each other and being ok with not being “perfect” according to everyone else’s standards.

Ralph Breaks the Internet might break your funny bone, but not your heart. It’s missing some of that beautiful magic of the first, but it’s sure to be a crowd-pleaser for families looking for a great time in theaters over the holiday season.

Here’s hoping Disney will green-light a third film where they just make fun of Disney properties.

3.75 out of 5 stars

PS- Be aware there are two after-credits scenes, but neither is a must-see. However, at least one provides more of the meta-humor poking fun at the film and its marketing. They’re worth sticking around to suck the extra marrow out of the film, but if your little kids have to run to the potty and can’t hold it much longer, you won’t miss too much. This isn’t the MCU. . . yet. Wait a minute. . . Here’s a pitch: Ralph Wrecks the MCU— IN 2024! Crossover with Marvel vs. Capcom! Make it a team-up with Deadpool. BRILLIANT!!! Rich Moore– call me.