Screen Junkies » Deaths http://www.screenjunkies.com Movie Reviews & TV Show Reviews Mon, 18 Aug 2014 21:37:31 +0000 en hourly 1 http://wordpress.org/?v=3.3.1 R.I.P Robin Williams: On the Passing of an Icon and the “Legalized Insanity” of Comedy http://www.screenjunkies.com/general/r-i-p-robin-williams-on-the-passing-of-an-icon-and-the-legalized-insanity-of-comedy/ http://www.screenjunkies.com/general/r-i-p-robin-williams-on-the-passing-of-an-icon-and-the-legalized-insanity-of-comedy/#comments Tue, 12 Aug 2014 16:33:27 +0000 Jared Jones http://www.screenjunkies.com/?p=264064 Robin Williams was a walking, talking stream of consciousness, an errant television signal from another planet that had (barely) been contained to a human vessel in some sort of freak accident. We'll dearly miss him.

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By Jared Jones

It’s funny — the first thing I did after allowing the news of Robin Williams‘ passing to settle last night was rewatch his appearance on Inside the Actors Studio. A comedy and film icon with over 100 voice and acting roles to his credit (and more memorable characters than my video library could possibly hold) had just died, and rather than dust off my ancient VHS copy of Jumanji and remember the good times, I was looking for closure in the deadpan monotone of James Lipton?

I guess I sought out Williams’ appearance on Inside the Actors Studio out of the misguided sense that it would reveal who the real Robin Williams was. Surely, the episode would consist of a series of deep, “revealing” questions that hinted at the pain, the depression, the drug abuse that Williams had battled against throughout his legendary career. Surely, I would get a glimpse into the man behind the perpetually contorting mask.

Some eight minutes into Williams’ appearance, the only question he had even come close to answering was about his style of comedy, which he had dubbed “legalized insanity.” The rest was basically an extended improv, featuring prop work, audience interaction, and no less than 10 characters; an immigrant, a southerner, an old-timey politician, a smoker speaking through an electrolarynx, etc. Dizzying, hysterical, and almost overwhelming, the bit was the epitome of every joke that’s been made about Robin Williams’ style of comedy since he rose to popularity some 40 years ago, and it freaking killed. Most of the audience was doubled over with uncontrollable laughter, and even Lipton was in stitches. Robin Williams was treating this prestigious, learned audience like the Saturday night crowd at the Laugh Factory, and he was on fire.

Forty impression-filled minutes later, Williams borrowed a pink scarf from a woman in the audience and used it to transform into a female movie director from Bombay, then a terrified Iraqi woman, then Robin Van Schoppel: Gay Rabbi, and finally, an Iron Chef host.

And that’s more or less when I accepted just who Robin Williams was. The unprompted outbursts, the constant barrage of voices and characters; that was just him doing him. Robin Williams was schizophrenia fully realized; a walking, talking stream of consciousness, or an errant television signal from another planet, maybe, that had (barely) been contained to a human vessel in some sort of freak accident. He was certifiably bonkers, but managed to harness those crazy, kneejerk, Id-driven thoughts we all have into a routine. If he weren’t so damn famous, he’d probably be locked up. Hence, “legalized insanity.” He was also one of the kindest, most outgoing guys in the industry, which is probably why they allowed him to stick around as long as he did.

Williams always came across — to me at least — as someone who chose comedy out of a greater desire than making other people laugh. It wasn’t a mindless indulgence to Williams, although the speed at which he could fearlessly fire off material might lead you to believe it was. It was a necessity, a distraction from the soul-crushing normalcy of people who weren’t Robin Williams. To write it off as a coping mechanism would be too easy, but comedy seemed to be the only way he could exist in a world so mundane, so profoundly inhibited.

And that’s perhaps the saddest truth about comedy (and the success garnered by it), that those gifted with it are seemingly the most conflicted, depressed people among us, often as a result. Because comedy is creation — a single person’s unique understanding of the world around them, from premise to execution — and creation often breeds dejection. Where there should be self-confidence, there is only doubt in one’s abilities. Like any drug, comedic success builds a tolerance within you that can only be satisfied with a bigger, better high. Perfection becomes your endgame, impossible as it may be, and eventually, the bottom always drops out.

We’ve seen it with countless comedy greats: Chappelle, Seinfeld, Pryor, and so on. The pressure to constantly best yourself, to make each and every person you meet laugh no matter what condition you might be in…it’s too much for most. Eventually, you just drop all your shit and flee to Africa, so to speak, or become a recluse. You do anything within your power to avoid the mountain of expectation your own damn mind has convinced you that you need to rise above. It’s exactly what happened to Williams, and exactly what has happened to dozens of praised funnymen before him.

Moments before bringing about the apocalypse in Stanley Elkin’s The Living End, God revealed himself to the legions of the assembled dead and the living billions and addressed them all at once. He was moments away from bringing about the annihilation of everything he had created, and his reasoning behind it was simply “Because I never found my audience.”

“You gave me, some of you, your ooh’s and aah’s, the Jew’s hooray and the Catholics’ Latin deference — all theology’s pious wow. But I never found my audience.”

I’d like to think that Robin Williams found his audience. Maybe not during his time here on Earth, or maybe not in whatever afterlife you prefer to picture him in, but within himself. Robin Williams was the only audience necessary for Robin Williams, and the only audience that could truly appreciate his greatness. A hyperbolic or egotistical or plain rude statement it may be, but it’s ultimately fitting for a man as truly original as Williams. Go ahead, try and name one person who you could even begin to compare to him, celebrity or otherwise. Name one person so unashamedly wacky, so multifaceted and uninhibited, that they could even begin to understand the constant influx and outpour of thought that Williams has displayed in almost every public appearance since 1975. I don’t know about you, but I’m extremely grateful that I cannot.

To pull a quote from one of William’s more recent efforts, World’s Greatest Dad, “I used to think the worst thing in life was to end up alone, it’s not. The worst thing in the world is to end up with people that make you feel alone.”

Here’s hoping you found your audience, Mr. Williams.

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9 Most Famous Sitcom Character Deaths http://www.screenjunkies.com/tv/tv-lists/9-most-famous-sitcom-character-deaths/ http://www.screenjunkies.com/tv/tv-lists/9-most-famous-sitcom-character-deaths/#comments Mon, 08 Aug 2011 20:11:05 +0000 Jame Gumb http://www.screenjunkies.com/?p=223916 In honor of the death of Charlie Harper, here are nine more famous sitcom deaths.

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As you probably know, TMZ is reporting that the CBS sitcom Two and a Half Men will be killing off Charlie Sheen‘s character, Charlie Harper, in a very gruesome manner. Apparently, the character’s death is being called a “meat explosion” resulting from being pushed in front of a Paris‘ subway train by his longtime stalker Rose. While the sitcom death may be one of the more inventive ways in which a character has been eliminated, it is far from the first. Here are nine more famous sitcom character deaths.

Paul Hennessy – 8 Simple Rules for Dating My Teenage Daughter

When actor John Ritter died of a congenital heart defect while on the set of 8 Simple Rules for Dating My Teenage Daughter, producers scrambled to salvage the series. As a result, they killed of his character in a similar manner to the actor’s death, and brought David Spade and James Garner as two new characters. Unfortunately, the show was never able to bounce back after the loss.

On a side note, I’m not sure what’s sadder: Ritter’s death, or the fact that someone made this tribute video.

Chico Rodriguez – Chico and the Man

Despite the fact that it was a hit show, you’ve probably never heard of Chico and the Man. That’s because actor Freddie Prinze (Chico) killed himself at the height of the show’s popularity. The show continued on, with producers bringing in a 12-year old replacement, and explaining that the Chico character had moved in with his father in Mexico. Eventually, it was revealed that the character was actually dead, but no explanation was given as to how he had died. Luckily, by the time the character’s death was acknowledged, no one was watching anyway.

Valerie Hogan – Valerie

Just because your name is in the title of a show does not mean you can’t be replaced. Just ask Valerie Harper, who was fired from her own show after “creative differences” arose. The show was then renamed Valerie’s Family, and later The Hogan Family. But despite the multiple name changes, one thing it was never called was “good television.”

Coach – Cheers

When actor Nicholas Colasanto died of heart problems during the third season of Cheers, producers took the Chico and the Man route, explaining away Coach’s absence rather than confronting it head on. But by the forth season, they could no longer ignore the elephant in the room. Coach’s death became part of the plot, as did the addition of his replacement, Woody, who went on to become one of the show’s most popular characters.

Edith Bunker – Archie Bunker’s Place

When All in the Family morphed into a show called Archie Bunker’s Place, actress Jean Stapleton’s character, Edith, became less and less involved. Rather than take a backseat to her costars, she decided to leave the show. Soon after, producers killed the character off with a stroke, the result of which is one of the most depressing moments in sitcom history. Unless your sitcom is named Louie, depressing really isn’t an adjective you want people to use when describing your show.

Dan Conner – Roseanne

Dan Conner’s death via heart attack wasn’t acknowledged until the final episode of the show, which means a lot of people probably don’t even know he was killed off. After all, because the final season was such a bizarre train wreck involving lottery winnings and fantasy scenarios, most people had already stopped watching.

Bill McNeal – NewsRadio

When actor Phil Hartman was shot and killed by his wife, producers were forced to kill off his NewsRadio character, a.k.a. Bill McNeal, with a heart attack. A heart attack isn’t very inventive, but the whole murder-suicide route probably wouldn’t have gone over too well. Hartman was replaced by his close friend Jon Lovitz, but the show was never able to recover.

Henry Blake – M*A*S*H

Of all the deaths on this list, Henry Blake’s may be the most famous. After actor McLean Stevenson decided to leave the show to pursue a lead role on his own sitcom, M*A*S*H writers decided to kill off his character rather than simply write him off the show. Luckily, a show that revolves around the Korean War allows for that sort of thing, and Henry Blake was killed in a plane crash over the Sea of Japan, a twist that caught both the audience and the show’s cast by surprise.

Susan Ross – Seinfeld

In perhaps the greatest sitcom death of all time, Susan Ross (Heidi Swedberg) died after licking hundreds of cheap-toxic envelopes purchased by her fiancé George Costanza. The bizarre death was one of the darkest comedic moments in the history of network TV, and was only heightened by the fact that Costanza seemed more relieved than saddened by his partner’s death.

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