Our last film is Kenny's. He tells us it's about a kid going through "momentary rage" after his dad dies of alcoholism. He sells us a bill of good about how he comes from a small town, where it's easy to turn to alcohol to "drown your sorrows," but he also has big dreams. He sees Marty as his biggest competition. His film, "Edge On The End," features: a hysterically unrealistic "corpse," a young man crying over said corpse, home-video-style footage of the young man trudging off into the snowy woods to drink beer and stare at waterfalls that sometimes fall up by the extremely cutting-edge technique of running the video backwards. There's fake-profound voiceover and fake-profound statements in teeny-tiny text, and tricksy low-fi camera work -- it's essentially the grunge-rock, navel-gazing equivalent to what Marty produced, with Gus Van Sant standing in for Tony Scott. Carrie correctly calls it "more like a rock video" than a short film, but she pulls a note-perfect Abdul and calls him a cute boy. Frankel admires Kenny's film, and in echoing Carrie's music-video critique, offers the kinder label of "visual poem." He thinks it shows a lot of talent. Garry pretty obviously has no idea what Kenny was trying to do, but to his credit, he recognizes it and tells Kenny to stay different, even if he doesn't end up winning this thing. Kenny then totally snubs an Adrianna kiss attempt, nearly falling over in the process of evading her lips. Hmmm.
Finally, we still have Trever and Hilary to deal with...and cute little Trever is going home! No! Okay, like I care, but still! Garry essentially blames the whole thing on casting, which has to sting a bit. We run down this week's five films, and if I had to guess, I'd say Andrew and David are the most at risk, with David being my prediction to go. Unless people totally didn't get Kenny's film at all. Of course, with three people nationwide watching this show, I'm sure anything is possible. Couch Baron will be here next week to tell me how it all shakes out.