When: February 2008
Where: DBTI Trad Lab
Who: Wyatt Nugent
2007 may have been the greatest year in the history of American television. The Sopranos ended, The Wire reached its peak, Mad Men turned the critics on their heads, and dozens of brilliant shows came into existence, though they may not have always fulfilled their potential. And the Writers Strike hadn’t put a dent in it at all– we had more than three months with nothing on, three months to catch up on everything we’d missed. And so I found Flight of the Conchords.
In a year dominated by groundbreaking dramas, Flight of the Conchords perfectly encapsulated the future of sitcoms. It fulfilled the promise of It’s Always Sunny in Philadelphia: lovable lowlifes, an ever-expanding mythology, and balls-to-the-wall silliness, made better by the fact that it was an HBO show, no ratings, no pressure. And it was a musical that I didn’t find unbearable.
I came by the show the same way I imagined most people did, but most people didn’t trek out to Glendale in the cold, dark night to find a store that had the DVD in stock. It was totally worth it, and the following Monday I extolled its virtues to Wyatt.
Wyatt was a strange guy; at school he was a blank slate, but every once in a while I got to peer into his real, secret life– making Warhammer parody videos on YouTube, seeing his girlfriend (who I knew!); it was a total contrast with the terse, reclusive narcolept I knew and loved. So it wasn’t a huge surprise to learn that he was an even bigger fan than me.
From that day to the end of school, every day I’d come into Design class, and I’d ask him: “Are you okay Bowie, what was that sound?”
“I don’t know man I’ll have to turn my ship around…”
Next: Ed Sullivan is still alive.