K Street Cop-Out

Just finished watching this week’s K Street, and I must say, I was a bit disappointed, for two reasons. First, the entire episode takes place two and a half months ago — which means that aside from some references to the California election (remember, Californians, vote Robert Anton Wilson on Tuesday), there was little to tie it to the events of the day. Which, frankly, is part of the unique allure of the series; I can’t help but feel a bit cheated this week.

And second, another fundamental element of this show is the ability to — at least a little bit — pretend it’s all real. Maybe it’s because I’m working in Washington, maybe because I’ve become a bit of a political junkie (well, since starting this weblog, anyway), but I was really getting into it. And suddenly I’m ripped out of my belief suspension when I see Robert Prosky and Elliot Gould. Great actors, both of them, but they’re too prominent, too identifiable as actors. It’s great that they were able to get them (Gould, of course, worked with Soderbergh on Ocean’s Eleven, and Prosky lives here in D.C.), but for this project, better to stick with more obscure talent (hey, Steven, I’m available).

Still, I’m loving the concept, the story, and Soderbergh’s cinematographic efforts (or should I say “Peter Andrews’,” Soderbergh’s nom de plume when serving as cinematographer); his use of color tinting was irritating at first (D.C. ain’t nearly that blue), but it’s gradually starting to become apparent what he’s trying to say with color (gradually, I said — I ain’t ready to give a talk on it just yet).


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