I’m a member of a pretty downmarket gym here in Mexico City; a gym so downmarket that its sound system — when not eclipsed by Telehit, Mexico’s answer to MTV — rotates daily through the same two scratched up CD-Rs of salsa music and High NRG megamixes. Imagine my delight, early yesterday morning, when one of the gym’s owners regaled her clientele with a new acquisition. It began innocently enough, with a few choice Gorillaz tracks. Inexplicably, though, (before we got to Mellon Collie era Smashing Pumpkins) the CD veered off into Jim Carrey’s rendition of “Somebody to love” from the movie Cable guy. For anyone who may have forgotten, the almost unanimously underappreciated film was Ben Stiller’s directorial debut way back in 1996, years before his fling with Cameron Diaz and her comely hair. (I maintain, despite a decade of vehement protests to the contrary from certain otherwise friendly quarters, that Cable guy is actually just short of brilliant. It is also without a doubt the best performance* Jim Carrey has ever contributed to anglophone popular culture. And that includes Eternal sunshine, Gondryfans.)
*Note to Thumbu and Emily V: which of you wants to sign up for a ‘TubaTV remembers: In living color‘ post?
I decided to take this freak occurrence as a sign: it’s high time TubaTV pay homage to a similarly underappreciated televisual gem, The Ben Stiller show. In spite of his post-Mary oeuvre, I suspect that Ben Stiller is actually a very funny dude. Anyone who doubts me need only check his pedigree: The Ben Stiller show combined the talents of Bob Odenkirk (whose genius is indisputable), Judd Apatow (whose talents frankly hit or miss), Andy Dick (whom I always thought was really funny, freakouts and all) and Janeane Garofalo (whose ill-advised semi-dramatic turn on 24 has admittedly tarnished what might otherwise have been fonder memories of her early 90s prime).
While the show parodied pop cultural artifacts that were very much of a particular moment in time, it also tended to require a certain pop culture competency that comparable sketches on SNL or early MADTV didn’t. Here’s a classic example:
With this sketch, the show’s aesthetic choices — appropriating the ubiquitous 90s-era MTV camera angles, the jagged, calculatedly “accidental” edits — buttress a critique that aims to demystify or demythologize pop culture heroism. Stiller & co. are not simply making fun of pop culture for its own sake; in this case they’re also calling Bono a sellout. (Yes, Thumbu, I’m baiting you.) The set of subversions at work operates on an almost subcultural level from within the machinery of 20th Century Fox. Of course the show could only ever have been short-lived, but the 13 episodes Stiller managed to produce are all fine examples of the political charge that any good satire should carry.
In lieu of further interpretation, I’ll instead offer a sketch for TubaTV’s least prolific and yet most popular contributor…
… as well as an early cameo of a young David Cross (in what has to be the show’s most bizarre sketch, and also a possible source of inspiration for Armen Meiwes)…
… and finally my all time favorite Ben Stiller moment:
The GOLs abound.
— J.C. Freñán