Awards Picks | The Red Carpet Blog » Adam Spunberg

Hefner: Playboy, Activist and Rebel

Adam Spunberg — Thu, 29 Jul 2010 15:42:22 +0000

By Adam Spunberg

I left my screening of Brigitte Berman’s Hugh Hefner: Playboy, Activist and Rebel persuaded that Hugh Hefner was one of the most influential figures in American history. The Playboy Mansion? Just an erotic sideshow. Objectifying women? Irrelevant. Civil rights advocate? Nothing short of Martin Luther King. Perverted sex maniac? Try editorial workaholic.

Berman’s plan was to gather a slew of recognizable faces – many who had been touched by Hefner’s kindness – and let them campaign on his behalf. Then the camera would return to Hefner, who would dazzle the audience with sparkling stories of his unusual life (reminiscent of Philippe Petit’s stirring narrations in Man On Wire). It was a simple formula in theory, but the effect worked extremely well.

If you can accept Berman’s film as an ode to Hefner’s good works, then the documentary will resonate strongly with you. If you have reservations about Hefner’s exploitation of women (which he denies, and the film lets him get away with it), then you may leave dissatisfied. Berman fails to challenge Hefner on those gritty issues, partly because she recognizes it has been done numerous times. This is about Hefner the humanitarian, a title he most certainly deserves.

Among his accomplishments are rebelling against racism, sodomy laws, McCarthyism, and religious fanaticism. Those stands were often brave, putting his businesses at great risk, and his interests in these matters were highly cultural and intellectual. In a sense, Hefner was the epitome of anti-prejudice, defending against civil injustices because it seemed the natural thing to do. He was not a racist because he saw people as people. He did not judge sexual orientation or political belief. All he cared about was providing a haven for every kind of person, and there happened to be a bunch of gorgeous naked girls involved to finance the pot, to entertain the guests.

Most people see him now as the old geezer with multiple young girlfriends (how many depends on the year), but don’t discredit his achievements because he turned unconventionally adolescent in his twilight years. Hugh Hefner may have been a controversial figure, but as Berman’s quality documentary illustrates, he was also a great man.

Perhaps George Lucas summed it up best: “I create fantasies, Hef creates fantasies.” Hefner’s dream may have been a little different from the norm, but he helped a staggering number of people along the way, and Berman does a solid job of conveying that on screen.

Best Original Song of the Decade

Adam Spunberg — Fri, 23 Jul 2010 20:32:48 +0000

By Adam Spunberg

Best Song is arguably the least important Oscar category, at least from a film perspective. In some cases, the offered song is nothing more than an after-the-movie splash, like a cool toy in a cereal box or the throw-in “Graty” to Vince Offer’s “Slap Chop” (that’s a ridiculous infomercial, if you didn’t know). Some megastar is called upon to write a song – loosely based on the movie, usually – to gloss up the end credits and to play nonstop on a pop station near you.

There are other instances, however, when the song is absolutely essential to the movie, often to further character development or illuminate a defining moment. And in pictures where a strong musical element is already in place, the song can be the very fabric of the production. Egyptian cotton or sooty rags? (Or in the case of Uptown Girls, the song “Sheets of Egyptian Cotton” may have been a sooty rag to some.) Here are our rankings:

10. “If I Didn’t Have You” – Randy Newman: Monsters Inc (2001): Average score of 7.82
9. “I Need to Wake Up” – Melissa Etheridge, An Inconvenient Truth (2006): Average score of 7.73
8. “Al otro lado del rio” – Jorge Drexler, The Motorcycle Diaries (2004): Average score of 7.64
7. “It’s Hard Out Here for a Pimp – Three 6 Mafia, Hustle & Flow (2005): Average score of 6.45
6. “Things Have Changed” – Bob Dylan, Wonder Boys (2000): Average score of 5.91
5. “Into the West” – Annie Lennox, Lord of the Rings: Return of the King (2003): Average score of 5.55
4. “Jai Ho” – A.R. Rahman, Slumdog Millionaire (2008): Average score of 4.55
3. “The Weary Kind” – Ryan Bingham & T-Bone Burnett, Crazy Heart (2009): Average score of 4.36
2. “Lose Yourself” – Eminem, 8 Mile (2002): Average score of 2.82
1. “Falling Slowly” – Glen Hansard & Markéta Irglová, Once (2007): Average score of 2.00

And now for the usual statistical analysis:

1. “Falling Slowly” was the clear victor, with Eminem’s “Lose Yourself” posing a nominal challenge. “Lose Yourself” collected four of 11 first-place votes, but “Falling Slowly” gathered five and also registered three second-place tallies. That means nine of the 11 first-place votes went to these two songs; they are unquestionably the top two, despite being of very different natures.

2. “The Weary Kind” and “Jai Ho” were almost even. “Jai Ho” received five votes in the top three, but “The Weary Kind” took full advantage of a first-place tally. Both end-of-the-decade candidates experienced a wide array of support and consternation.

3. “Into the West,” “Things Have Changed,” and “It’s Hard Out Here for a Pimp,” three completely different songs, form an unlikely group in the middle. “Into the West” gains some popularity points for being attached to Lord of the Rings, but the song itself falls short for some voters. “Things Have Changed” gets a boost for featuring Bob Dylan, even if the song is somewhat flat. In the case of “It’s Hard Out Here for a Pimp,” however, we have the most controversial pattern. Three 6 Mafia’s shocker claimed a first-place vote, but it also finished last on three ballots. Chalk that up to its genre.

4. The cellar features the utterly unremarkable “If I Didn’t Have You,” along with Melissa Etheridge’s cry for global warming awareness (Note to Etheridge: perhaps our voters heard you, because your song got a pretty chilly reception). As for the song from The Motorcycle Diaries, the fact that it’s in Spanish probably contributed to its demise.

Now that we have scrutinized the will of the collective, it’s time for my personal rankings, along with the songs themselves. Instead of just posting the winners, I will also include the song that I think should have won, when applicable:

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10. “If I Didn’t Have You” – Randy Newman: Monsters Inc (2001)

This was a horrendous selection by the Academy. The song is uncreative, hokey, and lacking any sort of original insight. That it beat Enya’s “May it Be” from Lord of the Rings: The Fellowship of the Ring is a travesty. Just listen to both songs and then you can ponder – as I have – whether there was some crack affixed to the Best Song ballot in 2001.

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9. “Things Have Changed” – Bob Dylan, Wonder Boys (2000)

Now we get into respectable song territory (it’s as if we have nine competitors and one atrocity). I have nothing against Bob Dylan’s grungy reflection piece; I just don’t think the song quite achieves the level of the others, and it really lacks inventiveness in its musical exposition. I would give a slight advantage to Crouching Tiger, Hidden Dragon’s “A Love Before Time,” but only for its multicultural aspect. Essentially, 2000 was an extremely weak year for Best Song.

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8. “I Need to Wake Up” – Melissa Etheridge, An Inconvenient Truth (2006)

This was a classic case of three songs from the same movie (Dreamgirls) canceling each other out. I distinctly remember co-writer Nate Freiberg predicting exactly that to happen in our Oscar Pool, setting the standard for future Best Song strategies. “I Need to Wake Up” is pretty self-explanatory, although An Inconvenient Truth’s audience was presumably awake already, unlike its detractors who continue to doubt global warming as a real threat. The chords are adequate enough and the message clear, but I doubt it rattles your Ozone layer. Still, I share no more fervor for the Dreamgirls songs or “Our Town” from Cars, despite James Taylor’s legendary voice.

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7. “It’s Hard Out Here for a Pimp – Three 6 Mafia, Hustle & Flow (2005)

I fully expected to rank this lower, but I found something strangely appealing about this underdog effort. It played perfectly within the frame of the film, even if its style is a little less than traditional. However, this is the second time I find myself calling for random drug testing, as the Academy – in its attempt to gain street cred – completely blew it. Bird York’s “In the Deep” from Crash was a monumental portrait, which left a lasting impact on a Best Picture film and stirs something igneous inside its listeners. You tell me this isn’t beautiful:

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6. “Al otro lado del rio” – Jorge Drexler, The Motorcycle Diaries (2004)

There is no denying that this is a lovely song, wonderful to slip on in the background while you sip a margarita on a pleasant summer’s day. The soft guitar strums are mesmerizing beneath a relaxed, but still passionate voice. “Believe” from The Polar Express effectively captures the essence of its Christmas-themed film, but one cannot overlook the cheesiness, even if it is a nice listen. The most deserving candidate – at least in this admitted Francophile’s opinion – is “Voir Sur Ton Chemin” from Les Choristes, which manages to be both mysterious and magical at the same time, all while making fantastic use of an ensemble choir. You decide for yourself:

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5. “The Weary Kind” – Ryan Bingham & T-Bone Burnett, Crazy Heart (2009)

One of the few times the Academy got it right, “The Weary Kind” received my endorsement around Oscars time and still does, perhaps even more assuredly. There is something refreshingly genuine about the coarse voice and the sad, but still hopeful guitar ascensions. Only “Loin de Paname” from Paris 36 has a case for uprooting “The Weary Kind,” and that argument seems weaker as Crazy Heart’s opus gains appeal with age.

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4. “Into the West” – Annie Lennox, Lord of the Rings: Return of the King (2003)

Hear the words “you have come to journey’s end” in the first verse and let them ooze within your pores. Lord of the Rings needed a dramatic, after-the-thrill complexion to its closing song, and Lennox provides that sense of epic in her feverish choruses. Perhaps I am blinded by the virtuosity of Peter Jackson’s trilogy, which I feel indescribably in every listening session. I must admit, however, that Cold Mountain’s “The Scarlet Tide” is absolutely exquisite. Immerse yourself in the soft voice of Alison Krauss, which envelops you like satin sheets on sockless feet.

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3. “Jai Ho” – A.R. Rahman, Slumdog Millionaire (2008)

“Jai Ho” was another excellent choice by the Academy, although its two competitors were also outstanding. On some days, I can be persuaded that Slumdog Millionaire’s other flagship song, “O Saya,” is even better, since it projects the gritty realism of the film. On other days, I pop on Peter Gabriel’s enchanting “Down to Earth” from WALL-E and contemplate whether it also should have claimed the prize. In the end, however, it had to be “Jai Ho,” for its significance in the picture and the jewel of hope it conveys, Bollywood style.

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2. “Lose Yourself” – Eminem, 8 Mile (2002)

At first glance, there may be a tendency to group “Lose Yourself” with “It’s Hard Out Here for a Pimp,” but that would be doing Eminem’s magnum opus a disservice. There are few figures as controversial as Eminem, from his bad-boy reputation to his frequently misogynist lyrics, but in these five minutes of unprecedented artistry, we can see the brilliance behind the curtain. Even if you despise hip hop, you have to find inspiration in these magnificent lyrics, spouted with such deep-rooted passion and desperation. His struggle and triumph is wonderfully articulated through a medium he has mastered, as his only ticket out of a forsaken life, with adversities beyond our comprehension, yet transferable to the pettier hurdles in our own lives.

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1. “Falling Slowly” – Glen Hansard & Markéta Irglová, Once (2007)

Only something truly exceptional could top Eminem’s “Lose Yourself,” and that is what we have in Once’s pastry of a song, “Falling Slowly.” To fully appreciate the depths of this song, you must see the movie. Fortunately, enough Oscar voters grasped the right feeling (as did our pool of writers) and were breathlessly transported to the underground world of Dublin, where a down-on-his-luck songwriter poured every aorta in his heart, fervently, into verse. All the credit must go to Glen Hansard, who pixies the air with no-holding-back emotion, and does so with memorable melodies that accentuate his passion. Within the context of the story, the lyrical progression is immensely meaningful, but the song is quite incredible on its own two feet.

When Hansard and Irglová accepted the Oscar with unmistakable humility, John Stewart could not help joking about Hansard’s “arrogance.” It was appropriately funny, because such honors could not have fallen on a more deserving duo, who sang not with expectation but with the hope of making a meager contribution. Enjoy and savor their efforts.

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Additional note:

We have passed the halfway point in 2010 and some great candidates have already emerged. This one may not get the attention it deserves on Oscar night, but you might enjoy the Icelandic group, Jonsi’s, adrenaline-pumping “Sticks and Stones” from How to Train Your Dragon:

Oscar Decades Series

2000s Best Picture
2000s Best Actor
2000s Best Actress
1990s Best Picture
1990s Best Actor
1990s Best Actress
1980s Best Picture
2000s Best Supporting Actor
2000s Best Supporting Actress
1990s Best Supporting Actor
1990s Best Supporting Actress
2000s Best Original Song
Podcast

Oscar Winner Swinton Carries ‘I Am Love’

Adam Spunberg — Fri, 16 Jul 2010 23:15:24 +0000

By Adam Spunberg

I walked into I Am Love with anticipation, having heard whisperings of beautiful landscapes and superb acting. The rumors were right on both counts, but visual splendor and a remarkable performance from Tilda Swinton does not complete a picture. In certain moments, Luca Guadagnino’s film flirted with the word masterpiece, but the chaotic transitions and unintelligible ending leave it slightly short of its potential.

What stood out for me was the unique camerawork and masterful use of minimalist composer John Adams. You can sense the detail and effort that went into every scene, from frenetic shots of nature to unusual angles. There is one scene of carnal bliss where Guadignino shifts in and out of flesh and pollination – employing all sorts of lighting – to convey the earthly pleasure of the moment. That was magnificent.

Even more sensational was Swinton, speaking in fluent Italian (and scooped up from Russia by a wealthy Italian husband). At times stoic, in other instances swept up by romantic impulse, she dominates the picture with exceptional control. Her Oscar-worthy portrayal is reason enough to see this picture, and her sudden burst of passion invigorates beyond the screen.

Despite being a tale of an Italian bourgeoisie family facing internal conflict, the movie manages to address a number of wide-ranging subjects. Tackled are the inevitability of modernization, the loss of innocence, family loyalty, desire, and even lesbianism. Nothing is front and center, but rather the story evolves with these issues coloring the backdrop. The central plot develops swiftly and slowly, like an old phonograph that skips through time and then gets stuck in sequences of artistic significance. On the whole, the pacing is quite stunning, even if it pushes the line on coherence.

I will avoid commenting too directly about the conclusion, but I will say that it has a Bergman-esque quality that may or may not sit well with you. I found it damaging to the overall work, but I can imagine others who would embrace the quizzical approach. Either way, I recommend I Am Love for Swinton, the cinematography, and the artistic developments, which stumble a bit but still make for a compelling display.

Miniseries/TV Movie Supp. Actress

Adam Spunberg — Wed, 14 Jul 2010 08:44:10 +0000

By Adam Spunberg

The miniseries genre has not been America’s forte, at least not as long as the BBC continues to churn out quality renditions of classic novels. The results speak for themselves; BBC productions garner steady international acclaim while showings on TNT, A&E, etc. are lucky to get noticed. At one time, PBS set the American standard, but now HBO leads the west-of-the-Atlantic field by a wide margin. Consistently dominant, HBO strikes again with four of the five nominees in the Outstanding Supporting Actress category.

HBO often recruits recognizable actors for its miniseries productions, valuing quality over expense. Susan Sarandon was precisely that in You Don’t Know Jack, a portrait of euthanasia-endorser Jack Kevorkian. Sarandon’s work as Janet Good, a key aide to Kevorkian, has gotten favorable reviews, with critics praising her subtlety and nuance. Not only is she a big name among the nominees, but the positive reception should make her one of the favorites.

Also nominated from You Don’t Know Jack is Brenda Vaccaro, who played Kevorkian’s sister with selfless determination. Vaccaro will have a difficult time overtaking her celebrity co-star, but general opinion seems to endorse her performance. It could be argued that her contributions were more vital than Sarandon’s, and a win is certainly within possibility, but the odds have to favor Sarandon, simply based on reputation.

Temple Grandin is the other HBO production to claim two nominees for Outstanding Supporting Actress: Julia Ormond and Catherine O’Hara. Critics adored Temple Grandin, the biopic of an autistic woman (played by Claire Danes) who defied the odds and made advancements in the livestock handling industry. Ormond once dazzled the big screen in Legends of the Fall and Sabrina, but she has been surprisingly absent of late. Her limited role as Grandin’s resolute mother could put her back on the map, especially if she wins the Emmy. General consensus is that she made the most of her screen time and could very well come home with the statuette.

Catherine O’Hara, another well-known actress, plays the aunt who introduces Temple to the livestock industry. Much like Ormond, nobody has anything negative to say about O’Hara. Both candidates are worthy of their nominations and probably have about an equal chance of winning. It is worth noting, however, that Temple Grandin was universally loved, whereas You Don’t Know Jack had its fair share of detractors. That could also play in Ormond and O’Hara’s favor.

Lastly, we have the inexhaustible Kathy Bates in SyFy’s Alice, an unconventional remake of the famous Alice in Wonderland tale. This is a huge accomplishment for SyFy just to get to the Emmys, just as it was a major steal to lure Kathy Bates. Bates is compelling in any role she plays, but was she given enough material to deserve a victory? Some reviewers enjoyed her interpretation, but others wanted to see more complexity. The Academy Award winner will always stand a chance, but there are a few variables working against her.

My prediction is Sarandon, but Ormond and O’Hara were both excellent in a spectacular miniseries. Consider this one contest where anyone could win.

Road to the Emmys Series

July 5: Nomination Preview Podcast – Lilit Marcus, Andrew Payne, Rebecca Rose, and Phil Wallace

July 8: Nomination Analysis Podcast – Rebecca Rose, Dantzler Smith, Phil Wallace, and Bryce Van Kooten

July 12: Outstanding Host: Reality Show or Reality Competition – Adam Spunberg

July 14: Outstanding Supporting Actress in a Miniseries or Movie – Adam Spunberg

July 15: Outstanding Supporting Actor in a Miniseries or Movie – Phil Wallace

July 19: Outstanding Actor in a Miniseries or Movie – Phil Wallace

July 21: Outstanding Actress in a Miniseries or Movie – Gene Williams

July 26: Outstanding Variety, Music or Comedy Special – Savanna New

July 28: Outstanding Variety, Music or Comedy Series – Dantzler Smith

August 2: Outstanding Reality Program – Gene Williams

August 4: Outstanding Reality Competition Program – Savanna New

August 7: Outstanding Made for TV Movie – Savanna New

August 8: Outstanding Miniseries – Adam Spunberg

August 9: Outstanding Supporting Actress in a Comedy Series – Colin Campbell

August 10: Outstanding Supporting Actor in a Comedy Series – Kit Bowen

August 11: Outstanding Supporting Actor in a Drama Series – Rebecca Rose

August 12: Outstanding Supporting Actress in a Drama Series – Andrew Payne

August 16: Outstanding Actress in a Comedy Series – Phil Wallace

August 17: Outstanding Actor in a Comedy Series – Steve Neumann

August 18: Outstanding Actress in a Drama Series – Andrew Payne

August 19: Outstanding Actor in a Drama Series – Bryce Van Kooten

August 23: Outstanding Comedy Series – Kit Bowen

August 25: Outstanding Drama Series – Adam Spunberg

August 29: 62nd Annual Prime Time Emmy Awards

Who Will Win ESPYs? Listen to Our Podcast!

admin — Tue, 13 Jul 2010 03:48:25 +0000

The biggest awards show in sports will be held on Wednesday night in Los Angeles, as ESPN broadcasts the ESPYs. Tom Boorstein, Adam Spunberg, and Phil Wallace sat down to discuss the nominees and potential winners in this entertaining and memorable podcast.

Listen to internet radio with AwardsPicks on Blog Talk Radio

Road to the Emmys: Reality Host

Adam Spunberg — Sun, 11 Jul 2010 08:40:16 +0000

By Adam Spunberg

Whether people want to accept it or not, reality shows are as much a part of the television universe as sitcoms, scripted dramas, and late night comedy, if not more. Cheaper to produce, networks such as MTV, VH1, and Bravo have made reality television the main course of their programming, and the numbers continue to support the wisdom of their decisions. Perhaps some of these shows are train wrecks waiting to happen, but viewers delight in the pitfalls of their peers, just as they celebrate contest winners or the search for America’s best fill-in-the-blank.

Hosting these shows is more difficult than it looks, especially behind the scenes. A successful host exhibits charm when needed, prevents the show from turning chaotic, becomes friendly with the cast while also maintaining its respect, and knows when not to make the show about him/her instead of the contestants. Think of how Dodgers broadcasting legend, Vin Scully, famously stayed silent as Kirk Gibson trotted around the bases in the 1988 World Series; that restraint, along with the erudite commentary that followed, earned him enormous praise. He let the moment play out, then shared some unforgettable words. The challenge is similar for reality hosts (and really, seeking to emulate Scully is almost always a wise move. If you can, then “the impossible has happened!”).

The Emmys added the Reality Host category in 2008 in response to the growth of reality programming. As part of the splash, they had the reality hosts serve as the Emmys hosts, a decision ultimately met with a lukewarm response. To have waited for 2008 was a bit tardy, but we should still condone their willingness to adhere to modern trends and act on it; some other awards shows are not nearly as flexible.

Jeff Probst of Survivor was the inaugural recipient, a fitting choice considering how he pioneered the reality revolution. He then won it again in 2009. The five candidates for 2010 were also nominated in 2009, except 2009 included Padma Lakshmi and Tom Colicchio from Top Chef. Who knows what culinary catastrophe made them the unfortunate victims of an Emmys downsizing.

The nominees:

The Emmys have not been afraid to award the same nominee year after year, so Jeff Probst has an excellent chance of winning yet again. He always does a commendable job, mixing in a nice heterogeneousness of practical observation and emotional catalyst; for example, he often asks questions that stir the pot but also steers the dialogue away from too much melodrama. Probst was a star long before his Emmy, but that he continues to guide Survivor competently is remarkable. Show business is not supposed to be a permanent gig.

We also have to acknowledge the challenge of going to these remote islands, weathering many of the hardships that plague the show’s contestants while keeping everything in order. Based on his respectability and everyday workmanship, consider him a slight favorite.

Tom Bergeron has developed a familiarity with American audiences, having displayed his grinning face on their tubes for many years. Dancing With the Stars is immensely popular, which should bode well for his chances. Dance requires flair, and Bergeron is no stranger to dressing things up with some extra panache.

That being said, I am not his biggest fan. Probst, for instance, brings a certain genuineness to the role that Bergeron simply does not. His jokes are clearly staged, he laughs in a fake way, he panders to the audience far too much. First and foremost, he is a showman, and while that behavior might bring in good ratings, I would rather it be exhibited in Vegas than a quality TV program. I hope he loses, but he is a strong contender.

My personal choice would be the illustrious Phil Keoghan from The Amazing Race. Keoghan is the epitome of class, always treating the pairs of travelers with respect and stressing the cultural richness of each stop. He offers as much enthusiasm for a country like Burkina Faso as he would for Italy or France, and he does so with a humble wordliness. Imagine the arduousness of journeying from one international city to the next, prepping each leg on an instant’s notice without room for error. We all focus on the travelers’ obstacles, but Keoghan suffers through many of the same ordeals. He is unheralded.

He also just seems like an incredibly nice guy (which – if he isn’t – is a testament to his effectiveness as a host). When you factor in how much the Emmys have loved The Amazing Race over the years, I see Keoghan as a dark horse candidate to take home the prize.

And then there’s Ryan Seacrest. What to say about the guy? He knows how to work a crowd, appeases his target audience, and appears to enjoy the glamour of his position without taking it for granted. His odds depend on the direction the Emmys want to take this year; if it’s about appealing to Generation X and Y iTunes junkies, he has as strong a chance as anyone. If quality and professionalism are more the focal point, then I expect he would fall below Keoghan or Probst.

I do not mean to criticize Seacrest too forcefully, because he is excellent at what he does. It would just be improper to put him in the same league as some of the other contestants, at least in my opinion. American Idol is also in a little slump (although still widely popular) after suffering through a down year. That could hurt him as well.

Lastly, we have Heidi Klum from Project Runway, the only woman to make the grade this year (and she was pregnant! That has to count for something). Project Runway is a well-regarded show and Klum is very likable. Thousands of Americans hinge on her “in” or “out” declarations, which have become a marketable trademark for her and the network. She handles the role professionally and gracefully.

The biggest knock against her would be the extent of her influence. How much does she really bring to Project Runway, even if she does it well? On Survivor, Probst is critical to the show’s development and Keoghan’s exertions are ever associated with The Amazing Race’s tone. She would be fun to root for, and to have worked through pregnancy is astounding, but I don’t think she is quite as deserving as the aforementioned two.

The important thing to realize is that this particular award is still young, so we have little basis for making educated predictions. Any one of the five could home with the prize, with a minor advantage to Jeff Probst to repeat again.

Additional Mention: Andy Cohen may not be an on-the-scene host, but his influence is everywhere on the Real Housewives shows. Based on his weekly “aftershows” alone, he ought to get some recognition. Also, if Tim Gunn could qualify for a host award, he would deserve some acclaim too.

Extra note: If you want to see a phenomenal host, rent the first season of The Mole and watch Anderson Cooper before he became a CNN celebrity. He was superb.