Ralph Bakshi’s “American Pop” is not so much about a story as it is about music and the power it holds. As trite as it is to say, Music is the soundtrack of our lives, and as such has a power over us to help us cope, help us think, and is the key to our memories and fates. “American Pop” is not so much the story of many men through history originating from a faithful Jewish man who refused to vacate his temple during the raiding of Russian Czars one day, it’s more the evolution of music and how the people in and around the transformation are but a mere microcosm. From a Canter to a Vaudevillian, to a piano player, “American Pop” may be the exploration of music but Bakshi also manages to convey how it’s served as a source of love and emotion for a long line of men craving some sort of love and affection in their lives.
Thank goodness for the writer’s strike, because let’s be honest here: Were it not for 80 percent of the series on primetime television going off the air thanks to a bunch of out of work writers, “The Sarah Connor Chronicles” wouldn’t have stood a chance in the ratings. I mean, come on, let’s look at the ingredients: It’s a serialized version of two very popular movies, the third of which has been lambasted by fans worldwide. It stars a barely memorable actor from “Heroes” as young John Connor, a cult actress from a cancelled television series as a cyborg sent to protect him, and an ad campaign that revolves around Lena Headey, a woman who is only popular with fan boys. Not to mention “The Sarah Connor Chronicles” completely forgets the horrific third installment of “The Terminator” series while also leaving a trail of continuity problems and plot holes in its wake.
