There have only been a tiny handful of TV shows worth watching over the past 30 years, and MST3K was the only one that gave a meaningful f*** you to the TV establishment. So I had a huge emotional investment in its Kickstarter-driven Netflix reboot—which turned out to be such a massive piece of crap that I wish they’d never even bothered.
I don’t think they could have gotten it any more wrong if they’d set out to screw it up on purpose. The host segments are too short and play it way too safe, Jonah Ray has no discernible personality, bot-voicers Baron Vaughn and Hampton Yount have proven adept at playing Tom and Crow in interviews and online videos but don’t get the chance to develop their personas at all in the series, (let’s not even talk about the new Gypsy), the delivery of every single line by every single cast member is so mechanical and forced it feels soulless, it should be a capital crime to make Patton Oswalt play second banana to somebody so obviously limited as Felicia Day, the movies don’t cover any new ground (don’t expect to see anything of the caliber of Manos here), the elaborate effort to cover up mid-segment screwups couldn’t be more lame, and trying to impose the original series’ commercial-break structure couldn’t be more forced. But forget all that—this whole obviously rushed effort just isn’t funny.
This is a series that deserves to be shot at dawn.
But that doesn’t mean it didn’t yield anything good. In a subsequent post, I’ll talk about how stuff Hodgson probably wasn’t even aware of gave bright examples of entertainment’s future, how the seemingly animated but lifeless carcass of this misguided MST3K gave shelter to some things that are actually pretty darn good.
Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review, Sound &
Vision, marketing, product design, a couple TV shows, some commercials, and now this.