![]() And yet Cheers never felt dry or airless. Even the show’s barroom setting seemed calculated. Every element was perfectly calibrated for maximum comic value, every cast member precisely chosen, and each character played a specific role within the ensemble. It’s as if the show took the basic precepts of an MTM show like The Mary Tyler Moore Show or The Bob Newhart Show, then honed them to the sharpest possible point. ![]() ![]() Of all the American sitcoms produced in the 1980s, Cheers feels most like a culmination of what was going on in the ’70s. ![]() Walking away at the height of its popularity made him a legend. Alas, Chappelle’s Show grew progressively darker and more uncompromising until it was too grim even for Chappelle, who famously fled the kingdom he’d created for reasons that are still mysterious. Merciless racial satire made Chappelle a comic outlaw and critical darling, and the infectious joy he brought to his work-plus his virtuoso, jazz-like gift for improvisation-made the show a breakout hit and pop-culture phenomenon. During its tumultuous two-and-a-half-year run, Chappelle’s Show was prime water-cooler fodder, the show everyone was talking about. More than just funny, Chappelle’s Show felt dangerous and relevant like no sketch show since the much-mythologized early days of Saturday Night Live. įrom our list of the best late-night comedy/talk shows of the ’00s :ĭave Chappelle’s eponymous sketch-comedy series established a tone of defiant irreverence with its first sketch, a notorious fan favorite about a black, blind white supremacist. Not a Paramount+ subscriber? Check out our guides to Netflix, Hulu, Amazon, and HBO Max. Dig a little deeper and you’ll find the televisual gems in this self-described “mountain of entertainment”: the pioneering animated series that aired late at night on Music Television or weekend mornings on Nick Comedy Central favorites from its late-’90s/early ’00s and mid-2010s heydays and a handful of over-the-air classics from the Viacom vaults (only some of which have been licensed far and wide across the streaming landscape). But a few clicks through tantalizing titles like Behind The Music (only two episodes available at publication time, Madonna’s from 1998 and Jennifer Lopez’s from 2010) or Double Dare (16 episodes from 1987 is not nearly enough slime!) may yield disappointing returns. For now, it remains to be seen whether or not Jeff Davis and MTV Entertainment Studios are up to the task of doing justice to Peter Chung’s animated masterpiece, as this practically entails revolutionizing the way animation is adapted into live-action content.For anyone who came of age watching the many cable channels now organized under the ViacomCBS umbrella-which include MTV, Comedy Central, VH1, Nickelodeon, and BET-the Paramount+ TV library might look, at first glance, like a streaming El Dorado. Without the creative and logistical difficulties of single-film production, which reportedly plagued the 2005 Aeon Flux movie, the franchise could finally break out of the shadow of the Wachowski sisters, who actually count Aeon Fluxas one of their inspirations for creating The Matrix and its sequels, and even enlisted Chung to produce an episode of The Animatrix. The series format, combined with Davis’ experience in rebooting cult material, could prove to be a much more conducive arena for properly fleshing out Peter Chung’s Aeon Flux in a live-action setting – a puzzle that hasn’t been solved since the animated series ended 26 years ago. However, Teen Wolf’s Jeff Davis has been confirmed to be the showrunner for the new Aeon Flux, which will be a series that will stream on Paramount+. The Aeon Flux reboot doesn’t have a release date just yet. Set in the year 7698, this bizarre universe is home to Aeon Flux, a spy from the anarchist city of Monica, and her lover and arch-enemy Trevor Goodchild, the technocratic dictator of the Orwellian city-state of Bregna. In contrast to the Aeon Flux movie’s straightforward themes, Peter Chung’s original animated series has a largely ambiguous dystopian plot, which is told through the lenses of BDSM, erotic fetishism, biotechnology, gnosticism, horror, and psychedelia – and animated in a style that, according to Peter Chung, was influenced by Hergé, Moebius, and German Expressionist painters. These movies were heavily influenced by 1999’s The Matrix, the highly successful Wachowski sisters film which popularized dystopian sci-fi themes in mainstream turn-of-the-century cinema. Aeon Flux shares its visual style and political themes with several other dystopian sci-fi movies released in the same era, such as Ultraviolet and Equilibrium. In the film, the titular character Aeon Flux is part of a rebel group called the Monicans, who frees the people of Bregna from the Goodchild regime, which turns out to be lying about everything to its people in order to maintain power and control.
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