This is the dullest World Series in a while. How long?
Despite all the hype, this hasn’t been much of a competition, especially since Freddie Freeman’s grand-slam. Indeed, of the 18 innings played since then, the Yankees have trailed at the end of seventeen and been tied in just one. All told, of the 28 innings, they have led at the end of just two – the sixth and seventh in Game One. If the Dodgers complete the sweep tonight, it’ll be the first in the World Series since 2012, and if the Yankees lose by more than three, the run differential will be the worst in a World Series sweep since the Red Sox mauled the Rockies in 2007. Boston outscored Colorado by 19, though twelve of those came in Game 1.
If you go by innings led, the Yankees’ feeble two currently trails the Tigers in 2012 (three). Hell, even the Rockies led the Red Sox for the first three innings of their Game Two. So if the Yankees never have a lead in Game Four, it’ll be the most pitiful World Series performance by that metric since 2004, when the Red Sox swept the Cardinals, and never trailed at any point in any game. It’s been frankly embarrassing for the American League, to see their supposed best team dismantled, and batting .186 for the World Series so far. At least I won’t be around for tonight, as Mrs. SnakePit and I are off to see Jeff Lynne’s ELO, in their final concert ever on US soil.
- Yankees @ Dodgers (0-3), 5:08 pm, FOX
Dawn of the Dead (2004)
Rating: B+
Dir: Zack Snyder
Star: Sarah Polley, Jake Weber, Ving Rhames, Ty Burrell
The feature debut for Snyder is considerably less hyper-stylized than the movies he’d go on to make, such as 300 and Sucker Punch. Yet there is still no shortage of flair, perhaps most notably in the way this opens and closes. It’s barely five minutes before Ana (Polley) is being attacked by her infected husband. She eventually escapes, and we see her driving away from above. That shot reveals everything has indeed gone to shit, and we snap into a montage of news footage below the opening credits, while Johnny Cash croons about the second coming. Meanwhile, the end apparently sees an uncertain future for the survivors, sailing away on a boat. Not so fast. The credits start, only to be interrupted by further “found footage”, painting a far grimmer picture. These give this perhaps the best “book-endings” for any horror film, and what comes between them ain’t half bad, either.