This "Summer" Is Worth Savoring

The summer may be winding down, but on Netflix, it's just getting started. That's right, fellow campers: "Wet Hot American Summer" has returned. The beloved 2001 indie film, which featured a sprawling comedic cast playing some of the most irresponsible and self-absorbed counselors in history, was set on the last day of camp in 1981. Rather than producing a traditional sequel, creators Michael Showalter and David Wain have opted to bring us an eight-episode prequel series. Given that so much time has passed since the original, "First Day Of Camp" is a bold experiment, but it more than pays off for fans of the movie and for newcomers to the story and its wacky assortment of characters.

Despite never finding critical or commercial success upon its initial release, "Summer" as a movie managed to succeed in other vital ways, attracting a loyal cult following over the years. The obvious, surface-level enjoyment comes from its thoroughly detailed parody of the '80s all-star sex comedy, right down to the wardrobe, hairstyles, and music cues. Much of the humor, both verbal and situational, is derived from the fact that most of these actors are entirely too old to play teenage counselors. By adding the awkward, almost cringe-worthy moments that would make attending (or working at) a summer camp so uncomfortably real, you have a recipe for something that's brutally honest and painfully funny.

Those ingredients were flavored by a well-formed cast that was assembled at the perfect time, making exemplary use of established stars as well as actors that were on the rise and poised for future success. Janeane Garofalo, mainly known for her acerbic supporting roles, led the cast as the camp director. Christopher Meloni, who starred in the gritty TV dramas "Oz" and "Law & Order: SVU," showed his silly side as the unstable cook. David Hyde Pierce, most recognizable as uptight Niles on the sitcom "Frasier," brought his fussy charm to the role of a depressed neighbor. Last but certainly not least, "Saturday Night Live" scene-stealer Molly Shannon offered an unusually reserved performance as the seriously unlucky-in-love arts and crafts counselor. Among the other counselors were soon-to-be-famous names like Elizabeth Banks, Bradley Cooper, Amy Poehler, and Paul Rudd, all of whom had amassed smaller credits but would go on to higher-profile projects in the years that followed.

As a series, "Summer" has more time to spend with these characters as well as more ways to fill that time. Every single main character from the movie is back (some for only an episode or two, but it still counts). There's also a whole slew of new characters played by current comedy go-to's -- yes, Kristen Wiig should just be in everything -- plus celebrity cameos that are too funny to spoil how they factor into the plot. These additions practically double the size of the cast without ever feeling overcrowded. That in itself is a special achievement, considering that many current series with large ensembles (I'm looking at you, "Grey's Anatomy") feel bloated and scattered with disproportionate focus. The succinct episode count (eight half-hour installments) also keeps the story sharper and moving forward, especially when compared to a standard network comedy season of anywhere from 12 to 24 episodes.

This time around (roughly two months prior to when we last saw them in the story's chronology), the counselors at Camp Firewood have their hands pretty full. Even on the first day with every resource at their disposal, they're certainly no better equipped to handle things. On top of new hires, blossoming and fading relationships, a staff musical, an inter-camp rivalry, at least one wedding ceremony, and something suspicious happening in the woods, the fact that campers are settling in means they're just getting in the way. "Summer" amusingly inverts the camp/coming-of-age trope to say that it's the (alleged) authority figures who need to think and/or grow up. Though the inclusion of the kids is minimal, they are ultimately the surprisingly well-adjusted voices of reason for their temporary guardians.

This sentiment was carried over perfectly intact from the movie, and thankfully, so were its strengths and its sense of humor. Though "Summer" is patently a spoof, the actors deadpan the material with a straight face -- rather than go wildly over-the-top -- to keep the dry, quirky spirit afloat. Overall, the show's attention to detail is what impressed me; they are eager to revisit (rather than ignore) even the smallest of things to explain how they ended up the way they did by the end of that summer. Two words: vegetable can... fans of the movie will get it! There's also a spectacularly clever introduction (I won't say who, but you'll definitely know when it happens) to a character with very little to do in the original that ends up becoming one of the series' most spot-on and hilarious scenes. Further merit, without giving anything away, can be found in the development of Banks' character, Lindsay. Right from the start, we see her as a motivated, three-dimensional person instead of the bimbo that the movie tried to make her. The show not only completes her individual arc but also proves that it's never too late to fix something (in this case, stereotypical character traits) that would have weakened the finished product.

Meanwhile, the film's setting was relatively confined to the camp, save for a brief, mid-day jaunt into town for "supplies," but the series thinks bigger. The idea of broadening the scope so that some of the main action takes place away from the camp threatened to pull focus, but the actors and their impeccable timing knowingly poke fun at the absurdity of the single-day concept while managing to keep even the most ludicrous plot developments grounded. Well, mostly. President Reagan, is that you? Even an actor as talented as Showalter couldn't quite pull off that imitation. But don't let that stop you from embracing the show, especially if you're already a fan! I would humbly advise you to watch (or re-watch) the movie first... just to respect the order and to keep certain moments fresh for later (technically, earlier) exploration.

If the movie and the series just aren't wet or hot enough, Showalter and Wain have given us even more reason to spend time with the Camp Firewood gang. To coincide with the release of the show, a behind-the-scenes documentary about the original film is also available on Netflix. "Hurricane Of Fun" is about an hour long (whittled down from the 25 hours that were shot), and it unveils never-before-seen footage of the cast and crew as they made the movie. Sure, we get the standard on-camera interviews and candid, off-camera antics, but we also get sweet moments like the cast reflecting on the experience with no idea what fame has in store for them. To think that there was a time when Poehler was still on the verge of her big "SNL" break and Cooper was fresh out of acting school! Not to mention that we see the entire cast and crew eat, sleep, and breathe nothing but camp (a real-life retreat was used as the filming location).

At the time of this posting, there are no immediate plans to continue the "Wet Hot" franchise. True, future seasons could fill in the gaps between the end of the first day and the beginning of the last, but is that really necessary? (One delightful throwaway line jokes that by the end of the summer, everyone will look 15 years younger). Sometimes, even with all the dots seemingly connected, not knowing how every little detail transpired makes the wild scenarios that we imagine even funnier than what could ever be committed to film. At the same time, another movie (likely direct-to-Netflix) could show us these dysfunctional counselors' lives and careers in the future, which is suggested in the original by a memorable chunk of dialogue and a brief post-credits scene.

Either option runs the risk of taking away what makes this property so special: a spontaneous, under-the-radar sense of discovery and joy. Besides -- much like the revival of "Arrested Development" that took seven years between seasons -- when will a cast that's this busy and in-demand be able to assemble again in its entirety? When it comes to this kind of "Summer," it has to be all or nothing. Thankfully, the creators and the cast know how (and when) to give that all.

Give Us This Day Our "Daily" Stewart

Well, folks: it's the end of an era. Jon Stewart has left the building after 16 years as the host of Comedy Central's "The Daily Show." On paper, the basic concept and execution of the program is pretty straightforward, but who knew how influential and groundbreaking it would be over the years? Stewart and "Daily" have become practically synonymous; the success of the show and (I dare say) the legitimization of Comedy Central as a prestigious network owe an incredible debt to Stewart and his incisive blend of smarts and snarks.

When "The Daily Show" first premiered in 1996 with Craig Kilborn at the helm, it offered a more pop culture-based skewering of entertainment-related news. Kilborn's departure in 1998 opened the door not only for a new host but also for a new format centered around the circus of politics. By the time Stewart took over the desk in 1999, he was hardly a household name. Sure, he had an easy-going, charming delivery style and he was quite easy on the eyes (he still succeeds at both), yet his potential for greater things was increasingly apparent. The comedian only had a few Comedy Central and MTV hosting gigs as well as smaller film and television roles to his credit, so "Daily" was arguably the first platform where Stewart and his knack for artfully exasperated observations were truly front-and-center.

At this point, Comedy Central was busy grabbing headlines and critical acclaim thanks to "South Park," the irreverent cultural satire disguised as a cartoon, so it was only a matter of time before something else would come along to help distinguish the network among its peers and competitors. To many fans and critics, the turning point that began to define the impact and eventual legacy of "The Daily Show" was "Indecision 2000," a recurring segment that pointedly satirized the myriad of problems surrounding that year's presidential election. This coverage earned "Daily" its first Peabody Award (its second was for the next round of "Indecision" in 2004), and the show was on its way to 18 Emmy wins over the next decade. Not too shabby for a show that, on several occasions, featured a segment (however hilarious) with the word "clusterf*ck" in its name!

In addition to Stewart's no-holds-barred critiques of current events and public figures, "The Daily Show" made exemplary use of its correspondents when stories called for travel and/or interviews. Many of these relative newcomers were able to parlay their early promise into future stardom. "Daily" was a launching pad for the current career booms of Steve Carell, Stephen Colbert, and John Oliver, while other key players such as Rob Corddry and Rob Riggle have found steady work in other comedic avenues. When all is said and done, though, it's Stewart's name that appears below the title. The passion and energy with which he dove into every topic -- no matter how big or small -- kept the show timely and relevant, even when the news cycle ran low on political material.

Even more impressive is the growing reputation that "Daily," still in its prime with no signs of stopping, carries within the TV news industry. Viewers may tune in for laughs, but they're also being challenged to really think about the issues at stake. Traditional news outlets tend to go for either a just-the-facts approach or an extreme, party-line slant. "Daily" is one of the few news sources that, despite its liberal leanings, manages to juggle the spectrum and paints a complete picture of the political landscape, even when the results are less than flattering on either side. Furthermore, the show encourages people to make informed, thoughtful decisions about how they absorb information from elected officials and the media. It also helps that many of the show's easier targets essentially set themselves up for lampooning; the "Daily" writers barely have to stretch the truth to drive home the majority of their jokes.

Considering its network, "The Daily Show" always was and always will be considered first and foremost a comedy series. However, its honest and intelligent commentary on not only the political arena but also the agendas of various media outlets makes "Daily" a rare breed: the human side of the news with full use of its brain, heart, and smile. True, the show will live on under the guidance of new host Trevor Noah, but it wouldn't have gotten nearly this far without Stewart and his team of writers and correspondents being willing to "go there" and absolutely nail what no one else was saying.

One of Stewart's many hallmarks was ending each broadcast with a "moment of Zen," a clip, quote, or otherwise memorable moment that was meant to be a parting thought as well as a reminder of life's little quirks, for better or for worse. While I wasn't a daily viewer of every single episode of "The Daily Show," the countless times when I did watch were always reliably entertaining and thought-provoking experiences. And of course, I'll continue to watch. But as strong as it is on its own merits, hopefully Noah and the producers won't try to artificially force the wholly irreplaceable dynamic that Stewart brought to the screen and to the stories. My personal moment of Zen will be unabashedly supporting whatever he decides to tackle next.

To Diva Or Not To Diva?

A lot has happened to Idina Menzel since the last time I saw her in concert. In 2011, she was still mostly known only among Broadway fans for a big ol' voice that augmented her starring roles in "Rent" with a Tony nomination and in "Wicked" with a Tony win. Word was getting around, however, that she could do more than just sing her head off. Menzel was previously featured in the Disney comedy "Enchanted," and when I saw her last show, she had just completed several guest appearances on the hit Fox series "Glee."

Now, four years later -- at the same venue, no less -- Menzel takes the stage as a bona fide, mainstream superstar. So what changed? It's thanks in large part to the monumental, global success of 2013's "Frozen" (an animated movie that you've undoubtedly heard about if you've spent any time around children recently). By voicing Queen Elsa and performing the film's award-winning anthem "Let It Go," Menzel is officially on the map and has become a hero to even more millions of fans worldwide. If that didn't make her a household name, the whole John Travolta thing probably did; thankfully, she had a sense of humor about it.

This humor serves Menzel well and makes her very accessible. She's the people's diva, if you will, unlike the standoffish behaviors of the old-guard grande dames like Streisand and LuPone. From the start of Tuesday night's concert at Red Rocks -- the latest stop on her world (yes, world) tour -- she possessed a genuinely appealing stage presence. After opening with the show-stopping "Defying Gravity" from "Wicked" (hard to sing at any point, let alone right at the beginning), she joked about her inability to sing as well at a higher altitude. Menzel described herself as too competitive to let something like altitude keep her down, so she would hold the notes for even longer if she had to. Though she did sound a bit winded during her first few numbers, she powered through and achieved her usual resonance as the night went on.

Her banter with the crowd kicked into high gear after admitting she likes saying she's from Denver, despite never living here, because she has a lot of family in the area ("more specifically Boulder... most specifically, Louisville"). Quirky moments like being surprised to see herself on the video monitor and having to move her own chair up and down the stage would seem awkward or even desperate from other entertainers, but Menzel pulled them off with self-deprecating flair.

Part of me was worried that this show would be a replica of the aforementioned 2011 Red Rocks concert, where she was backed by the Colorado Symphony Orchestra and guest-conducted by legendary composer Marvin Hamlisch. As great as that show was, this one would need to be different enough to indicate her ongoing growth as an artist. While there was some carryover in the selections (mainly the Broadway standards and her "Wicked" repertoire), this performance felt almost entirely new in light of her rapport with the audience and her endearingly unfiltered personality. She even let her hair down and swore very briefly -- advising small children in sparkly blue dresses (a.k.a. "Frozen"/Disney fans) to cover their ears occasionally -- but the mild profanity made her seem more down-to-earth and more legitimate as a live performer.

In addition to her Broadway pedigree, Menzel's set list offered up several surprises. A few of her original songs found their way into the show (from her solo albums "Still I Can't Be Still" and "I Stand"), and it was good to see another side of the multi-faceted singer. During her famous "Rent" duet, "Take Me Or Leave Me," she borrowed various members of the audience to fill the second voice, making the evening both interactive and unpredictable.

Perhaps most impressive were her unique choices for popular songs to cover. Although Menzel is known for a voice that could quite literally bring down the house, she demonstrated lovely restraint and lush vocal runs during her version of Joni Mitchell's "River." After telling a witty story about an upcoming medley's inception during her vocal interpretation class in college, she breathed new life into the classic Cole Porter tune "Love For Sale" by mixing it with The Police's "Roxanne." While this particular mash-up was in fact part of her 2011 set list, the added origin story and the motivation behind it made this rendition more engaging.

The true highlight of the show was an unplanned moment that allowed Menzel to shine both musically and personally. During her grand, stunning cover of Radiohead's "Creep" (complete with the original F-bombs), she was kneeling dramatically on the stage and hitting the big notes of the song's bridge when the wind blew right up her dress. While nothing delicate was actually seen beyond her upper thighs, a visibly flustered Menzel made several jokes at her own expense, assuring the crowd that she was indeed wearing underwear and laughing about her forthcoming infamy on YouTube. Undeterred, she and her band took the song back a few measures and finished it perfectly like nothing had happened. Her ability to laugh at herself is one of many winning attributes that sets her apart from the perfectionist demands of the industry, and she is a better entertainer because of it.

Near the end of the show (before closing with the earworm of "Let It Go," of course), Menzel took a few minutes to give a touching tribute to the late Jonathan Larson, the creator of "Rent." She thanked him for giving her a chance and ultimately giving her a career, and it was nice to see someone who has accomplished so much still be in touch with their roots and give credit where it's due. Menzel may be the people's diva, but she's still just a person as human as the rest of us.

In case you were worried that I hadn't gotten my fill of Menzel (which I probably never will), Denver theatergoers will be able to see her perform the lead role in "If/Then," a musical that was written with her in mind, when it launches its national tour here this fall. As a Denver Center subscriber, I was already thrilled that such a new production was part of the regular season package, but that thrill quickly turned ecstatic when it was later announced that she had been booked for those performances. You can expect to hear a lot more about Menzel and "If/Then" when she rolls through town again in October. And for the record: yes, Operation Meet Idina is already in motion!