6A - Monday, September 10, 2012

The Michigan Daily - michigandaily.com

- Monday, September10, 2012 The Michigan Daily - michigandailycom

Finding the ine art
in partying

" his is a party, Anna,"
Sara said as she shim-
mied a sparkly purple
skirt over her hips. "The more
glitter, the better."
And judg-
ing by the
disco ball
ensembles
hanging in
her closet,
Sara's entire
life was one
giant party. ANNA
"It's about SAOSKA
perfecting
the art," Sara
continued, spraying body mist in
her hair. "The art of partying and
having a good time."
I never take anything Sara
says seriously, and it's not only
because she owns more sequins
than you'd find in a craft store.
But why not? There is an art to
partying. And why would that
art be any less valid?
Freshman girls pile into
someone's dorm room, trading
clothes and make-up tips while
getting ready. They straighten
their hair and try on eight dif-
ferent crop tops before settling
on a light pink one with a black
skirt and sky-high heels. They
continually ask one another if
their eyes are painted too dark
or their lips too red. They ques-
tion every strand of hair. And
when they're ready, they play
pump-up music to be fun and
happy and flirty. This is the art
of partying - an almost theater-
like evolution of girls into The
Girl.
You see The Girl around
town, her hair shiny, eyes danc-
ing, laugh carrying over the
mundane, unhappy droning of
a Thursday. She's so ... who is
she? Why is she laughing? She's a

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rious creature, and though Have you ever been the girl in
ight be quite the opposite the corner? Party foul. Creat-
lity, she looks like the kind ing a going-out persona isn't
that's down to get down. as simple as misting your hair
ple have been perfecting and putting on a glittery outfit.
t of partying for centuries. It takes time, preparation and
Henry VIII would hold dedication. Despite the C+ they
he would probably invite got on that exam, despite the boy
hose who were interesting who didn't call back, each week,
eautiful, and all those who without fail, girls gather them-
d the type that would cry selves up, put their best raised
handkerchief would be heel forward and act as if their
d. lives are going just the way they
want them to.
Sometimes, the art of partying
Hov is a seems to take a lot more than it
gives back, just like that messy
'rostitute like relationship you'll never get out
of. What's the point of painting
Ling Henry on a face and acting like a wild,
happy mystery girl for a night?
V III?Perfecting the art starts by
making a conscious decision to
go out. You can't have a party
without partiers. This is a bind-
shas, arguably the most ing contract that you strike with
nown party artists, turned your friends, your significant
a living. Each night they other or yourself that empha-
dance and sing in order to sizes the enjoyment of said party.
ain, creating a false sense Putting on a show for yourself
oyment. Most college girls and everyone else is crucial to
trying to be geishas, nor this art form - acting lessons are
ey trying to win the favor suggested, but not required.
ng, but the inherent need Those familiar with the art of
omething more, fueled by partying might feel it's effortless
y environment, is the same. - it comes naturally to smile, and
'thus, an art form is born get dressed up, and feel "really,
e complete with classic really happy - like, really." Ulti-
phrases such as, "This is my mately, any good piece of art
:e song," "I really just want should look like it takes time, but
ice" and "We need more not for the artist. It should feel
The art of partying hinges important and draw the viewer
etely on the partier's ability in, for both distinguishable and
both carefree and exciting indistinguishable reasons. The
takes time to craft. Girl might not have it all togeth-
'e you ever seen the girl in er, but from the outside looking
rner, drinking a watered- in, she's all glitter.

"Okay, so you be Katniss and I'l be Angus Young.
Failed 'Revo]

JJ. Abrams' new
cookie-cutter
drama is stale
By SAM CENZHANG
Daily Arts Writer
Let's just get the obligatory
joke out of the' way: This Revo-
lution really shouldn't be tele-
vised.
Executive
produced by
J.J. Abrams, Revolution
creator of
"Lost," "Revo-, Pilot
lution" is the Mondays at
latest in the Mondysa
lineage of 10p.m.
watered-down NBC
imitators and
follows in the footsteps of Fox's
"Terra Nova," ABC's "FlashFor-
ward" and previous NBC effort
(if it can really be called that)
"The Event" in both concept
and execution. That is to say, it's
a derivatively plotted, clumsily
delivered package of would-be
soft-sci-fi thriller that fails to
thrill and whose science col-
lapses under even cursory scru-
tiny. And this time, there aren't
even any dinosaurs.
"Revolution" opens with its
presentation of concept, which
it almost immediately botches.

mixed drink and sloppily
g to some guy she just met
her long list of unhappy
tic escapades? Party foul.

The premise of the show is a
world in which electricity no
longer exists because of the
machinations of some mysteri-
ous paragovernmental agency.
We are introduced to someone
who works for aforementioned
agency. He warns his family to
prepare for the apocalypse, and
then boom! Apocalypse! All the
electricity is gone, planes start
falling out of the sky, etc. Cut to
fifteen years later.
That this is a well-worn and
silly excuse to get people fight-
ing with swords and crossbows
in the ruins of recognizable cit-
ies is almost beside the point.
The offensive thing about
"Revolution" is how little effort
it expends to arrive there, or
to explore the concept once it.
does. Seeing the deterioration
of modern society into the main
setting of "Revolution," where
horse-riding militia groups con-
trol everything and there is no
toilet paper, might have been an
interesting way to introduce the
world with a flourish. Instead,
we are just offered the world
wholesale and asked to take it
or leave it, with no explanation
as to how we got there. With this
uncompelling premise, leav-
ing viewers in the dark simply
encourages them to stay away.
Sadly, the would-be high,
concept nonsense may be the
most palatable part of the show.
There's little to say about any of
the characters in "Revolution,"
except that they're not really
characters so much as newly
unwrapped archetypes freshly
delivered from Tropes 'R'- Us.
The cast is mostly unknown,
with the exception of Billy
Burke from "Twilight" playing
a gruff loner antihero. There's
also Giancarlo Esposito, a long
way down from "Breaking Bad,"

r
.ant
NBC
Lution'
trying his darndest with a part
that seems to be aiming for
Christoph Waltz in "Inglourious
Basterds" but not hitting much
of anything. Esposito earned a
lot of credit on "Breaking Bad,"
but even he seems stymied by
the featureless villain he's been
handed to animate, slipping in
and out of a weirdly off-South-
ern accent and appearing as not
entirely in control of his face
instead of coldly menacing.
Shows like this need to nail
the visuals to be even slightly
credible, and here "Revolution"
fails again. The concept of the
human world allowed to disinte-
grate opens the door for poten-
tially incredible effects, but
every shot of ruined cities and
recognizable but broken down
artifacts of our age simply looks
like CGI. Overly harsh artificial
lighting is completely counter-
productive to the conceit of a
world without electricity, and
gives the show an anesthetic feel
that serves it poorly. The action
sequences are just as tepid, and
the showrunners seem deter-
mined to challenge thh record
for how many times people get
shot in the back unexpectedly
during a fight.
The only element of "Revo-
lution" that could potential-
ly redeem it is the excellent
Giancarlo Esposito (albeit
excellent in other vehicles), but
there's no reason to sit through
the rest of this drivel for a few
moments of Gus Fring, espe-
cially given that his part, like
everything else in the pilot, is so
poorly written. "Revolution" is
ultimately a paint-by-numbers
show that fails to bring anything
conceptually innovative to the
table, and then fails to explore
its unoriginal concept either
thoroughly or well.

Sadovskaya is drowning
in sparkles. To save her,
e-mail asado ,tumich.edu.

THE FILTER NEEDS YOU!
Request an application for the Arts blog, The Filter, by
e-mailing kaylau@umich.edu.

RELEASE DATE- Wednesday, September 5, 2012
Los Angeles Times Daily Cr
Edited by Rich Norris and Joyce r
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