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    Crazy '80s

    Peter Gabriel challenges lyric lovers with music's great white whale

    Jim Beviglia
    May 13, 2010 | 12:57 pm

    This is the fourth in a series of stories celebrating the unforgettable songs (even if you thought you've forgotten them you haven't, trust us) from arguably the craziest music era of all time: The '80s. Whether this was the music of your youth or long before your time, a little bit of the '80s surely lives in you.

    I’m a lyric guy. What can I say? Some people will tell you that they’re meaningless to whether or not a song is ultimately successful. I would respectfully disagree. (And by respectfully, I mean that I’ll refrain from calling you a blazing ignoramus.)

    I’m not saying that the words to a song have to be poetry; very few even come close. They are an art form all their own. And what’s neat about is that you don’t have to be hyperliterate to be a great lyric-writer. Bob Dylan and ElvisCostello are great lyric-writers and have an astounding command of the language. But I could list you dozens of other great rock lyricists whose approach their songs in different ways and get the job done and then some.

    With my love for lyrics established at an early age by being immersed in the Lennon/McCartney songbook, I quickly made it my mission to learn as many lyrics as humanly possible. I don’t know if I’m the best around, but I feel like I can hold my own in my lyrical knowledge, both in terms of accuracy and breadth of music.

    Credit Song Hits magazine for helping me develop this pretty worthless skill. Without an Internet to fall back on every time a lyric was in question, I relied on Song Hits, essentially a grab-bag of lyrics from the hits of the day, to be my resource. I would scoop up the new issues each month from the local supermarket and immerse myself in the new batch of songs included.

    Song Hits was the reason that I knew all the words to ridiculous hits like “Der Komissar,” allowing me to bewilder my Mom by busting out those goofy lyrics every time it came on in the car. Song Hits also delved into soul and country songs, giving me the ability to segue seamlessly from Juice Newton to Kool and The Gang in the bathtub.

    But, alas, Song Hits failed me when it came to the great white whale of my lyric search, Peter Gabriel’s enigmatic, allegorical tale of kids playing war games, “Games Without Frontiers.” Yes, I knew all the exotic kids’ names and the parts about baboons in the jungle. I could even sorta half-whistle along with that memorable hook.

    But just what in tarnaton was the line that female voice, which I later found out belonged to Kate Bush, singing throughout the song? “She’s so funky, yeah?” No? How about “She’s so popular?” Maybe? It sounded like that a little, even if it doesn’t work in the context.

    I hadn’t discovered Song Hits at the time of the song’s release in 1980, so there was no help for my 8-year-old self. Again, no Internet with the lyrics of every song imaginable available at the click of a key. I had to do this the old-fashioned way. I set up a recordable tape in the 8-track, waited for the song to come on the radio, and magnetized that sucker.

    Over and over, I listened to that damn song 'til I began hallucinating that baboons that sounded like Peter Gabriel were invading my bedroom. But still the whale eluded me. “She’s sells fondue yeah?” “She’s on front delay?” “I buried Paul?” For the love of sanity, WHAT WAS IT??? (Dramatic pause.)

    The Lyrical Grail

    Eventually, I gave up my quest. Too many other songs to learn, too little time. I would hear “Games Without Frontiers” time and again, but my furious puzzlement died down to a warm nostalgia for a time when the biggest crisis in the world was a missing song lyric.

    It was in college, the bastion of bullshit know-it-alls everywhere, when the search ended unexpectedly. I was in a car with a buddy of mine, and the song came on. My pride long since shattered by my quest, I gave up and asked my pal, who was a music nut just like me. “What is she saying there?”

    “It’s ‘Games Without Frontiers’ in French,” he nonchalantly replied.

    To quote Charlie Brown, “AAAAARGH!!!” French? That’s not fair. The sad thing is that I took two years of French in high school, and got A’s without ever really learning to say my name in the language. I guess that’s karma for you. (Or, as they say in France, Le Karma. I think.)

    “Jeux Sans Frontieres” is the lyric to be exact, apparently coming from some European game show that had inspired Gabriel. I never would have guessed it in a million years.

    But, I must admit, now that I know the lyric, I sing it like it’s been rolling off my tongue for years. In fact, one time somebody asked me about it, and I acted all big shot and nonchalant myself, explaining what it was and the origin of it as if I knew it all along.

    Hey, when you finally capture the great white whale, nobody really needs to know how you did it.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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