Friday, June 29, 2007
What's on: Friday
New tonight: Standoff on Fox; 20/20 on ABC; Smackdown on CW; Best Week Ever on VH1; The Soup and The Hum on E!; Painkiller Jane on Sci-Fi.
Quick reviews
Couple of new shows to update you one... one I'm a little behind in reviewing, but you're over it, right?
HEARTLAND: TNT says it knows drama. This show is proof that at least it knows drama from 18 years ago. It looks and feels like a show my parents may have watched while I was being put to bed at 7:30 p.m. ... or maybe playing with my He-Man toys. Remington Steele-era stuff with GE sing-songily bringing good things to life for you.
It's a medical drama set in a transplant clinic, so it has "overdone" written all over it. And it does lay it on pretty heavy, but it's not a horrible piece of cable crud. It's biggest problem is likely that it's compartmentalized itself in a specific area with a small cast. The cast is strong though, despite the merely tolerable dialogue it's faced with.
If you're a medical drama fan or into really heart-tugging stories then this one's for you. IT doesn't take much thought, just a hope for an easy to follow story. If you're looking for excitement or suspense or even thoughtfulness, then move on. If I had a rating system, I'd give it a 2 out of 5.
BURN NOTICE: This is what you get when you try to infuse a spy show with the same cleverness as USA's big shows Monk and Psych. Lead (Jeffrey Donovan) isn't as strong as the guys in those other shows, and the show's obviously not that confident in itself, considering the amount of skin that crosses the screen in a given 10 minute period. But it's Miami and everyone walks around in a bathing suit 24/7, right?
Anyway, it's still entertaining and has some potential. It's a very different type of spy story. Mike can't leave Miami and he's doing odd jobs (solving a framing and stopping a kidnapping in the pilot) to make some cash so he can figure out why he's been blackballed by the government.
I'm going to give it a few more weeks. I have a bit of confidence that with some investment, it'll be a very likable show.
HEARTLAND: TNT says it knows drama. This show is proof that at least it knows drama from 18 years ago. It looks and feels like a show my parents may have watched while I was being put to bed at 7:30 p.m. ... or maybe playing with my He-Man toys. Remington Steele-era stuff with GE sing-songily bringing good things to life for you.
It's a medical drama set in a transplant clinic, so it has "overdone" written all over it. And it does lay it on pretty heavy, but it's not a horrible piece of cable crud. It's biggest problem is likely that it's compartmentalized itself in a specific area with a small cast. The cast is strong though, despite the merely tolerable dialogue it's faced with.
If you're a medical drama fan or into really heart-tugging stories then this one's for you. IT doesn't take much thought, just a hope for an easy to follow story. If you're looking for excitement or suspense or even thoughtfulness, then move on. If I had a rating system, I'd give it a 2 out of 5.
BURN NOTICE: This is what you get when you try to infuse a spy show with the same cleverness as USA's big shows Monk and Psych. Lead (Jeffrey Donovan) isn't as strong as the guys in those other shows, and the show's obviously not that confident in itself, considering the amount of skin that crosses the screen in a given 10 minute period. But it's Miami and everyone walks around in a bathing suit 24/7, right?
Anyway, it's still entertaining and has some potential. It's a very different type of spy story. Mike can't leave Miami and he's doing odd jobs (solving a framing and stopping a kidnapping in the pilot) to make some cash so he can figure out why he's been blackballed by the government.
I'm going to give it a few more weeks. I have a bit of confidence that with some investment, it'll be a very likable show.
Thursday, June 28, 2007
What's on: Thursday
OK. I should be leading with something else, but honestly STUDIO 60 ON THE SUNSET STRIP (NBC/10 p.m.) wraps up its first and only season tonight after being kicked in the teeth a few times by the network. This was the 2006/07 season's best new show and could be the best written show on TV right now (not that it's actually on TV at this point, but whatever). It's the fourth part in a well done story arc. Aaron Sorkin, please come back soon.
USA comes out firing with a new show tonight -- BURN NOTICE (10 p.m.) is about a spy bounced from the CIA and left with nothing... he takes up private investigating... I think. It's not really clear. That follows the finale of THE STARTER WIFE (9 p.m.), which I never had the energy to pick up.
Oh, and I can't forget HEY PAULA (Bravo/10 p.m.) ... a new reality series about American Idol judge and ex-pop star Paula Abdul. The first two of seven episodes are on tonight. This should play well to the Girls Next Door crowd...
Also new: Pirate Master on CBS; 5th Grader on Fox; TNA Impact on Spike; the NBA draft on ESPN.
USA comes out firing with a new show tonight -- BURN NOTICE (10 p.m.) is about a spy bounced from the CIA and left with nothing... he takes up private investigating... I think. It's not really clear. That follows the finale of THE STARTER WIFE (9 p.m.), which I never had the energy to pick up.
Oh, and I can't forget HEY PAULA (Bravo/10 p.m.) ... a new reality series about American Idol judge and ex-pop star Paula Abdul. The first two of seven episodes are on tonight. This should play well to the Girls Next Door crowd...
Also new: Pirate Master on CBS; 5th Grader on Fox; TNA Impact on Spike; the NBA draft on ESPN.
De Niro plays the bull...
Fine, you don't want to weigh in, then you'll just have to listen to me... or just comment later... Either way, I'm gonna blow some big plot points so if you haven't watched Wednesday's Rescue Me yet, STOP HERE.
Big week for the best show on TV through this lame-o summer. And it didn't seem that way at the beginning of what would have been a pretty standard episode if not for the chief's storyline. Even Tommy's psycho-dad bit was relatively normal for this show. (I was really prepared for a nose-ring tearing that would have sent me screaming into the early morning, rain-soaked streets.)
It was, however, interesting to see that the boyfriend is a nice guy and to have a solid example of Tommy being totally, shamelessly unreasonable and self destructive in front of his friends. But Leary does play an awesome crazy dad, doesn't he?
While trashing his relationship with his daughter, Tommy's also having trouble getting together with his rescuer (whose name i forgot to jot down and I can't find on imdb). The nice lady carried him out of the burning house, saving his life, and the show would have us believe that this has him emasculated enough to turn her down, which is a common trend in Leary's work. I tend to think Janet has more to do with it than Tommy's letting on -- and so does his general fear of finding another strong woman who won't put up with him or another crazy woman like Sheila (who he's ALSO still holding out hope for). And this new woman's honestly the best shot he probably has at being happy. But Tommy's destined to crash every single relationship he has.
As great a character as I think Franco is and as hilarious as Teddy can be, I really don't care about their respective storylines right now... anyone else? Teddy's off on a silly tangent trying to get away from his new wife and intruding on a corrections officer who talked him into the wedding... and Franco's busy blowing a good relationship for no apparent reason. Yawn.
And don't even get me started on how the probie's story went nowhere. I had high hopes for the show to honestly tackle assisted suicide instead of having it peter out. It's sad that Shawn had the most interesting developments this week -- finally standing up to Tommy, though weakly, in regards to the fight with the emo kid, and making headway toward a normal conversation with him.
Then there's the chief, and the sad conclusion. I hate saying "I saw this coming," because no one ever believes anyone who says that, but it seemed pretty obvious to me, especially after he risked his new position to quickly scuttle away Tommy's problem and made a heartfelt toast in support of his gay son who had dealt him a staggering disappointment.
I was cringing for the entire second half of the episode because I was afraid that it was coming. The chief has been the most human character on the show, and his stories over the past few years (his wife's Alzheimer's, his son, his health problems, and most recently his job loss) have been the show's real grounding in reality. The depression of all these things finally weighed down on him, and his decision to kill himself is not surprising after getting to a point where he'd lost absolutely EVERYTHING he held dear.
His wife is no longer the same person; his son's never going to change; his career as a firefighter is reduced to sitting at a desk, and he can't be with his crew, which is all he really wants. It's a sad and scared but artistically acceptable end for Jerry.
Sadly, that's not even the most disturbing thing in this week's episode. Nope. More disturbing is that I was actually AT the man-date restaurant with a group of guys on Saturday night... good salmon.
Big week for the best show on TV through this lame-o summer. And it didn't seem that way at the beginning of what would have been a pretty standard episode if not for the chief's storyline. Even Tommy's psycho-dad bit was relatively normal for this show. (I was really prepared for a nose-ring tearing that would have sent me screaming into the early morning, rain-soaked streets.)
It was, however, interesting to see that the boyfriend is a nice guy and to have a solid example of Tommy being totally, shamelessly unreasonable and self destructive in front of his friends. But Leary does play an awesome crazy dad, doesn't he?
While trashing his relationship with his daughter, Tommy's also having trouble getting together with his rescuer (whose name i forgot to jot down and I can't find on imdb). The nice lady carried him out of the burning house, saving his life, and the show would have us believe that this has him emasculated enough to turn her down, which is a common trend in Leary's work. I tend to think Janet has more to do with it than Tommy's letting on -- and so does his general fear of finding another strong woman who won't put up with him or another crazy woman like Sheila (who he's ALSO still holding out hope for). And this new woman's honestly the best shot he probably has at being happy. But Tommy's destined to crash every single relationship he has.
As great a character as I think Franco is and as hilarious as Teddy can be, I really don't care about their respective storylines right now... anyone else? Teddy's off on a silly tangent trying to get away from his new wife and intruding on a corrections officer who talked him into the wedding... and Franco's busy blowing a good relationship for no apparent reason. Yawn.
And don't even get me started on how the probie's story went nowhere. I had high hopes for the show to honestly tackle assisted suicide instead of having it peter out. It's sad that Shawn had the most interesting developments this week -- finally standing up to Tommy, though weakly, in regards to the fight with the emo kid, and making headway toward a normal conversation with him.
Then there's the chief, and the sad conclusion. I hate saying "I saw this coming," because no one ever believes anyone who says that, but it seemed pretty obvious to me, especially after he risked his new position to quickly scuttle away Tommy's problem and made a heartfelt toast in support of his gay son who had dealt him a staggering disappointment.
I was cringing for the entire second half of the episode because I was afraid that it was coming. The chief has been the most human character on the show, and his stories over the past few years (his wife's Alzheimer's, his son, his health problems, and most recently his job loss) have been the show's real grounding in reality. The depression of all these things finally weighed down on him, and his decision to kill himself is not surprising after getting to a point where he'd lost absolutely EVERYTHING he held dear.
His wife is no longer the same person; his son's never going to change; his career as a firefighter is reduced to sitting at a desk, and he can't be with his crew, which is all he really wants. It's a sad and scared but artistically acceptable end for Jerry.
Sadly, that's not even the most disturbing thing in this week's episode. Nope. More disturbing is that I was actually AT the man-date restaurant with a group of guys on Saturday night... good salmon.
House on fire
I'm too sleepy to get my head fully around last night's Rescue Me right now. But I'll use this post and hopefully get some discussion started on this blog (I know you're reading, so put in a cent or two on...
...the chief
...Tommy's sad reluctance to be with his rescuer
...Tommy warming up to Shawn
...Tommy's relationship with Colleen
...the show's dialogue
Anyone?
Full post this afternoon.
...the chief
...Tommy's sad reluctance to be with his rescuer
...Tommy warming up to Shawn
...Tommy's relationship with Colleen
...the show's dialogue
Anyone?
Full post this afternoon.
Wednesday, June 27, 2007
What's on: Wednesday
I don't preach wrestling very often because I know it's a mindless fixation of mine, but if you're a fan, you should be aware of WWE's MSG CLASSICS (MSG/8 and 9 p.m.). The WWE opens up its massive video vault to put together hourlong presentations of old events at Madison Square Garden. I'm pretty sure these are new episodes, but it's all old content, so it really doesn't matter. Tonight's main events are Hulk Hogan vs. Kamala and Roddy Piper vs. Rick Rude.
Even more obscure is PBS' presentation of the ceremony awarding Paul Simon the inaugural Library of Congress Gershwin Prize (9 p.m.).
Also new: Last Comic Standing and Dateline on NBC; So You Think You Can Dance on Fox; Next Best Thing, American Inventor and Traveler on ABC; two hours of Hidden Palms on CW; Bear Island on PBS; Lil' Bush on Comedy Central; Rescue Me on FX; Top Chef on Bravo; Ghost Hunters and Destination Truth on Sci-Fi; and two episodes of Tyler Perry's House of Payne on TBS.
Even more obscure is PBS' presentation of the ceremony awarding Paul Simon the inaugural Library of Congress Gershwin Prize (9 p.m.).
Also new: Last Comic Standing and Dateline on NBC; So You Think You Can Dance on Fox; Next Best Thing, American Inventor and Traveler on ABC; two hours of Hidden Palms on CW; Bear Island on PBS; Lil' Bush on Comedy Central; Rescue Me on FX; Top Chef on Bravo; Ghost Hunters and Destination Truth on Sci-Fi; and two episodes of Tyler Perry's House of Payne on TBS.
I have no more clever Lot headlines...
It seems to me the contest they're putting together is uneven if they're going to split the contestants into groups and hand each group different tasks (comedy this week, ... it becomes luck of the draw. Most of these people are pretty good, too, which disappoints me.
Luckily, Jessica got dumped in the pre-taped ousting -- another change due to declining ratings. I hate that the show is being so inconsistent.
Doctor in Law (Shalini): For someone with no confidence, she hit a home run! Clever idea, well executed and overall pretty strong. I wish it could have been longer and more developed, but for two minutes, she gets high marks.
Discovering the Wheels (Adam): Sort of dumb idea that came off better than it probably was. There were a few good laughs, but nothing hilarious. First time I actually recognized an actor in any of these flicks... but that's not the point.
Nerve Endings (Will): The silent film gags Will uses continue to make me laugh. He's got to be the best storyteller in the bunch. I'm worried he may fall on his face when forced to work some dialogue in, but he's still gotta be safe at this point.
Under the Gun (Hillary): I haven't liked anything she's done yet, I don't believe. She seems to slip by every week. And... oh, look... she's filmed crap again. The whole idea here was completely lame, and I don't think I noticed a laugh at all.
(Open side note to Fox: Please, please, PLEASE make Gary Marshall stop trying to be funny.)
How to Have a Girl (David): Last week went kind of rough for him. This was a million times better (and included TWO actors I know this time). The judges are dummies. I laughed more during this than any of this week's other flicks.
Die Hardly Working (Zack): Cute, kinda funny, but not as much as I expected. I think it could have gone even a little farther... maybe if he'd had more time to stretch the idea out. Anyway, I can't trash it, because I liked it a lot. Man this reminds me of my college job managing a movie theater...
I worry that David will go home, but honestly I don't think it would be absolutely terrible. Adam was cruddy, but not as cruddy as Hillary.
Darn -- I wish this show were longer. It's really getting short changed. While America's Got Talent gets two-hour jaunts every week, the show about something people actually care about (movies) is being completely ignored. (Homework: I'm looking for thoughts on why this is...)
Luckily, Jessica got dumped in the pre-taped ousting -- another change due to declining ratings. I hate that the show is being so inconsistent.
Doctor in Law (Shalini): For someone with no confidence, she hit a home run! Clever idea, well executed and overall pretty strong. I wish it could have been longer and more developed, but for two minutes, she gets high marks.
Discovering the Wheels (Adam): Sort of dumb idea that came off better than it probably was. There were a few good laughs, but nothing hilarious. First time I actually recognized an actor in any of these flicks... but that's not the point.
Nerve Endings (Will): The silent film gags Will uses continue to make me laugh. He's got to be the best storyteller in the bunch. I'm worried he may fall on his face when forced to work some dialogue in, but he's still gotta be safe at this point.
Under the Gun (Hillary): I haven't liked anything she's done yet, I don't believe. She seems to slip by every week. And... oh, look... she's filmed crap again. The whole idea here was completely lame, and I don't think I noticed a laugh at all.
(Open side note to Fox: Please, please, PLEASE make Gary Marshall stop trying to be funny.)
How to Have a Girl (David): Last week went kind of rough for him. This was a million times better (and included TWO actors I know this time). The judges are dummies. I laughed more during this than any of this week's other flicks.
Die Hardly Working (Zack): Cute, kinda funny, but not as much as I expected. I think it could have gone even a little farther... maybe if he'd had more time to stretch the idea out. Anyway, I can't trash it, because I liked it a lot. Man this reminds me of my college job managing a movie theater...
I worry that David will go home, but honestly I don't think it would be absolutely terrible. Adam was cruddy, but not as cruddy as Hillary.
Darn -- I wish this show were longer. It's really getting short changed. While America's Got Talent gets two-hour jaunts every week, the show about something people actually care about (movies) is being completely ignored. (Homework: I'm looking for thoughts on why this is...)
Tuesday, June 26, 2007
What's on: Tuesday
Premiering tonight is SHAQ'S BIG CHALLENGE (ABC/9 p.m.). It's one of those feel-good "reality" shows... this time starring basketball star Shaquille O'Neal who will work with a group of overweight youngsters to get them in shape. It's supposed to be talking viewing kids into being healthy, too, though I think watching TV is probably an unhealthy way to learn...
New tonight: On the Lot on Fox; 48 Hours Mystery on CBS; two hours of America's Got Talent on NBC; Frontline/World and POV on PBS; Miami Ink on TLC; Dirty Jobs on Discovery; Kathy Griffin on Bravo; ECW on Sci-Fi.
New tonight: On the Lot on Fox; 48 Hours Mystery on CBS; two hours of America's Got Talent on NBC; Frontline/World and POV on PBS; Miami Ink on TLC; Dirty Jobs on Discovery; Kathy Griffin on Bravo; ECW on Sci-Fi.
Monday, June 25, 2007
What's on: Monday
With the hopes that those watching AGE OF LOVE (9 p.m.) will have nothing important to do for another hour, NBC's got an hourlong special SCIENCE OF LOVE (10 p.m.)... the network describes it as "an eligible bachelor dates two separate women -- one chosen by experts based on his biological and psychological makeup, and the other chosen by him based on raw attraction" -- then they see which one he chooses. I'm not sure what to even say about this.
Also new: Hell's Kitchen on Fox; Big Love on HBO; another three-hour WWE Raw on USA; The Closer and Heartland on TNT; Kyle XY on ABC Family.
Also new: Hell's Kitchen on Fox; Big Love on HBO; another three-hour WWE Raw on USA; The Closer and Heartland on TNT; Kyle XY on ABC Family.
Theater of the mindless
Television will never have the capability to challenge people to use their brains the way books do or even the way some radio does (or did, I suppose, before everyone got all oversensitive -- not to mention the old radio serials). But television's big minds have been trying harder, and all that needs to be posed to the audience is one simple question:
What the heck is going on here?
Thank the people behind Lost for making this a common occurrence in the boob tube medium and for proving that a lot of people actually like to be challenged to participate or at least use their imaginations when it comes to entertainment (though, the love-it-or-hate-it crowd surrounding Lost also proves there are quite a few people who DON'T like to be challenged).
Anyway, what I'm saying is that this is a good thing. Star Wars fans proved a long, long time ago that one basic story can plant the seeds in the mind of a fan and spawn thousands of galaxies worth of stories and ideas -- some good, some bad, but all products of an imagination that's being used. That's why I like Lost, and it's also why I'm starting to dig John from Cincinnati.
John is a simpler story, told in same methodically slow form that it's creators used with Deadwood to great success.But there's mystery there that's starting things up in my head, not the least of which surround John himself and the flapping-dead parakeet that can heal people. And all that surrounds a family more dysfunctional than Ben's "others" ever could be.
What's John? An alien? An angel? Or just "slow?" Is Zippy the one with the healing powers? Or is it Shawn? What did John do to Kai? Why is a drug dealer (Dayton Callie is genius in his Calamity Jane-ish character) flying in from Hawaii to keep an eye on the family and why is he babysitting a high-profile, shallow pocketed customer? Why the heck was Mitch floating? What're Luke Perry and his adorable protege up to?
It's refreshing to find another show that makes people think. Cuz most of the time they just follow the story (if there even is a story and not a bunch of dimwits trying to be the best whatever) and hope it gets them somewhere.
What the heck is going on here?
Thank the people behind Lost for making this a common occurrence in the boob tube medium and for proving that a lot of people actually like to be challenged to participate or at least use their imaginations when it comes to entertainment (though, the love-it-or-hate-it crowd surrounding Lost also proves there are quite a few people who DON'T like to be challenged).
Anyway, what I'm saying is that this is a good thing. Star Wars fans proved a long, long time ago that one basic story can plant the seeds in the mind of a fan and spawn thousands of galaxies worth of stories and ideas -- some good, some bad, but all products of an imagination that's being used. That's why I like Lost, and it's also why I'm starting to dig John from Cincinnati.
John is a simpler story, told in same methodically slow form that it's creators used with Deadwood to great success.But there's mystery there that's starting things up in my head, not the least of which surround John himself and the flapping-dead parakeet that can heal people. And all that surrounds a family more dysfunctional than Ben's "others" ever could be.
What's John? An alien? An angel? Or just "slow?" Is Zippy the one with the healing powers? Or is it Shawn? What did John do to Kai? Why is a drug dealer (Dayton Callie is genius in his Calamity Jane-ish character) flying in from Hawaii to keep an eye on the family and why is he babysitting a high-profile, shallow pocketed customer? Why the heck was Mitch floating? What're Luke Perry and his adorable protege up to?
It's refreshing to find another show that makes people think. Cuz most of the time they just follow the story (if there even is a story and not a bunch of dimwits trying to be the best whatever) and hope it gets them somewhere.
Sunday, June 24, 2007
What's on: Sunday
New tonight: Two episodes of The Loop on Fox, Dateline on NBC; John from Cincinnati, Entourage and Flight of the Conchords on HBO; 4400 and Dead Zone on USA.
Friday, June 22, 2007
What's on: Friday
OK, I can't attest to the quality of the show, since I've never had the pleasure... but the staying power of STARGATE SG-1 (Sci-Fi/8 p.m.) is reason enough for kudos. The series finale tonight is the end of an impressive 10 years.
New tonight: Standoff on Fox; National Bingo Night and 20/20 on ABC; Smackdown on CW; Best Week Ever on VH1; Stargate Atlantis and Painkiller Jane on Sci-Fi.
New tonight: Standoff on Fox; National Bingo Night and 20/20 on ABC; Smackdown on CW; Best Week Ever on VH1; Stargate Atlantis and Painkiller Jane on Sci-Fi.
Thursday, June 21, 2007
What's on: Thursday
David Spade wraps up another season of THE SHOWBIZ SHOW (10:30 p.m.) on Comedy Central. That's really the only thing out of the ordinary tonight.
I'd tell you to watch PIRATE MASTER (CBS/8 p.m.) but you've probably missed too much by now. It's still pretty good for a reality/competition show.
STUDIO 60 (NBC/10 p.m.) is wrapping up a 3-part arc that's been phenomenal. You don't have to believe me. I know.
Also new: Starter Wife on USA; So You Think You Can Dance and 5th Grader on Fox; TNA Impact on Spike.
Conan's been having the bestest guests lately, huh? Tonight it's John Krazanski and Louis C.K. that win him the best-talk-show-of-the-night title.
I'd tell you to watch PIRATE MASTER (CBS/8 p.m.) but you've probably missed too much by now. It's still pretty good for a reality/competition show.
STUDIO 60 (NBC/10 p.m.) is wrapping up a 3-part arc that's been phenomenal. You don't have to believe me. I know.
Also new: Starter Wife on USA; So You Think You Can Dance and 5th Grader on Fox; TNA Impact on Spike.
Conan's been having the bestest guests lately, huh? Tonight it's John Krazanski and Louis C.K. that win him the best-talk-show-of-the-night title.
In the bank
Here's where I have to offer the big SPOILER WARNING... and I'm too tired to even come up with a clever way to introduce it. So tired that I keep zoning out while staring at a movie on TV. And the commercials during that movie... which makes it not even a movie at all. Anyway, my despise for movies on television is a blog for another day. I think I've gone on long enough that I can now start to talk about Rescue Me without someone complaining I've ruined it for them.
Sheila has always irked me. Since the beginning of the show, she's been annoying and whiny and had that awful snotty air to her (proven again with the perfume spritzing because Tommy "smelled like baby"). It's because of that I think I need to finally acknowledge Callie Thorne's phenomenal performance throughout this show's life. Before I've always just shrugged her off for annoying me, but in this week's opening scene, I finally realized what a great job she's been doing.
It all comes down to the screwed up relationship between her and Tommy. She's in love with him. Completely. In love enough that she spent the bulk of last season drugging him so she could have sex with him, that she guilted him into (almost) having a baby and (almost) retiring, and that the drugging went on so long that it almost got both of them killed. He's still there, though, acting strong but in the passenger's seat whenever they're together. They both play their roles well in these instances.
A bigger testament (more to the writing here) is that she's still able to keep him coming back AND keep him in the dark about what really happened that night (that'll be a great exposition when it comes out). It makes her an amazing, though granted unlikely, villain at the same time she's that whiny chihuahua of a character. They cultivated her well.
She's not the only one who's that strong, either. It's uncanny how great the entire cast is -- Lou's character is really well written, but it's his unbeatable comic delivery that does the job; Shawn is the classic bully target and takes a mental and verbal beating better than most characters. Even the fringe characters are stellar -- this week alone Teddy's wife, Mike's mother; Tommy's date-to-be/savior; Adam Ferrara as Chief Nelson. All of them. You can't dispute how well this show's been cast and put together.
Another one of the show's big successes, aside from the ability I mentioned last week to hit a range of emotions in the span of 10 minutes, is it's ability to treat a throw away verbal jab at someone with the same weight and reverence as a paranoid delusion of a dead relative. Johnny showing up under the covers got even me, and I'm just watching this on TV. Cut to commercial. 13 minutes earlier, quip-quip-quip-tension-quip cut to commercial. Both deadpan. Both serious.
Then there's the pure awkwardness on display on this show is another big plus. Where The Office has bury-your-head-awkward moments, this show tackles moments that feel more real. No one digs themselves as big a hole as Michael does on The Office, but Tommy's deposition (in which he's forced to admit to some ... physical shortcomings) is a real life embarrassment. And don't get me started on Shawn's faux pas by mentioning Tommy's wife in the discussion they were having.
Sheila has always irked me. Since the beginning of the show, she's been annoying and whiny and had that awful snotty air to her (proven again with the perfume spritzing because Tommy "smelled like baby"). It's because of that I think I need to finally acknowledge Callie Thorne's phenomenal performance throughout this show's life. Before I've always just shrugged her off for annoying me, but in this week's opening scene, I finally realized what a great job she's been doing.
It all comes down to the screwed up relationship between her and Tommy. She's in love with him. Completely. In love enough that she spent the bulk of last season drugging him so she could have sex with him, that she guilted him into (almost) having a baby and (almost) retiring, and that the drugging went on so long that it almost got both of them killed. He's still there, though, acting strong but in the passenger's seat whenever they're together. They both play their roles well in these instances.
A bigger testament (more to the writing here) is that she's still able to keep him coming back AND keep him in the dark about what really happened that night (that'll be a great exposition when it comes out). It makes her an amazing, though granted unlikely, villain at the same time she's that whiny chihuahua of a character. They cultivated her well.
She's not the only one who's that strong, either. It's uncanny how great the entire cast is -- Lou's character is really well written, but it's his unbeatable comic delivery that does the job; Shawn is the classic bully target and takes a mental and verbal beating better than most characters. Even the fringe characters are stellar -- this week alone Teddy's wife, Mike's mother; Tommy's date-to-be/savior; Adam Ferrara as Chief Nelson. All of them. You can't dispute how well this show's been cast and put together.
Another one of the show's big successes, aside from the ability I mentioned last week to hit a range of emotions in the span of 10 minutes, is it's ability to treat a throw away verbal jab at someone with the same weight and reverence as a paranoid delusion of a dead relative. Johnny showing up under the covers got even me, and I'm just watching this on TV. Cut to commercial. 13 minutes earlier, quip-quip-quip-tension-quip cut to commercial. Both deadpan. Both serious.
Then there's the pure awkwardness on display on this show is another big plus. Where The Office has bury-your-head-awkward moments, this show tackles moments that feel more real. No one digs themselves as big a hole as Michael does on The Office, but Tommy's deposition (in which he's forced to admit to some ... physical shortcomings) is a real life embarrassment. And don't get me started on Shawn's faux pas by mentioning Tommy's wife in the discussion they were having.
Wednesday, June 20, 2007
What's on: Wednesday
I could say it every week, though I shouldn't have to. RESCUE ME (FX/10 p.m.). This year started off better than I could have ever imagined. Watch it.
CBS's tossing everything else tonight for a three hour special: AFI's 100 YEARS... 100 MOVIES (8 p.m.), where they'll again try to tell us what the most important movies are and we'll all just go watch Spider-Man again.
Also new: Last Comic Standing and Dateline on NBC; So You Think You Can Dance on Fox; Next Best Thing, American Inventor and Traveler on ABC; two episodes of Hidden Palms on CW; Lil' Bush on Comedy Central; Mythbusters on Discovery; Top Chef on Bravo; Ghost Hunters and Destination Truth on Sci-Fi; Tyler Perry's House of Payne on TBS.
CBS's tossing everything else tonight for a three hour special: AFI's 100 YEARS... 100 MOVIES (8 p.m.), where they'll again try to tell us what the most important movies are and we'll all just go watch Spider-Man again.
Also new: Last Comic Standing and Dateline on NBC; So You Think You Can Dance on Fox; Next Best Thing, American Inventor and Traveler on ABC; two episodes of Hidden Palms on CW; Lil' Bush on Comedy Central; Mythbusters on Discovery; Top Chef on Bravo; Ghost Hunters and Destination Truth on Sci-Fi; Tyler Perry's House of Payne on TBS.
Dumb
Cross platform entertainment continues to be dumb. Not since Goldeneye on N64 has an entertainment property been useful on a video game console. That this idea has even come up makes me nauseous. From Hollywood Reporter:
Ugh.
Publisher MumboJumbo has entered into a multiyear relationship with the Universal Pictures Digital Platforms Group to develop mass-market games based on the NBC series The Office.
Developed and published exclusively by MumboJumbo, The Office game will debut in the fall as a PC game sold at retail and available as an online digital download. Next year, the plan is to create additional games based on The Office license beginning with portable experiences for the Nintendo DS and PlayStation Portable.
MumboJumbo CEO Mark Cottam said the company is exploring additional avenues for games based on the Emmy-winning series, including digital distribution via Microsoft's Xbox Live Arcade and Sony's PlayStation Network Platform.
"We looked at the broad demographic that The Office attracts and see this as a TV property that's growing in popularity," Cottam said. "We believe this is a property we can build a franchise around with multiple games across multiple devices for many years to come."
Mike Suarez, vp product development at MumboJumbo, said the first "Office" game would be classified as a task-management game like "Diner Dash." Players will assume the role of Jim Halpert (John Krasinski in the show) and interact with such other characters as Pam Beesly (Jenna Fischer) and Michael Scott (Steve Carell).
Suarez said the game introduces a rival notion that hasn't been seen in the genre, which pits Jim against characters like Dwight Schrute (Rainn Wilson) and brings tension to the gameplay
Tuesday, June 19, 2007
Best of the Lot
As if they listened to me, they got the ousting out of the way quickly. Sadly, they tossed Marty. Bad move with Kenny among the group. America, I'm tired of letting you make decisions for me. Honestly.
Another happy note: They got a real director to guest judge tonight -- Wes Craven
Glass Eye (Will): Neat little game with camera work. Like last time he, will owes a ton to the old black and white, slapstick-type silent films. I think his vision works despite what Carrie Fisher had to say.
Blood Born (Jason): What started as seemingly a drug-free America commercial... ended much better than I could have imagined. I don't like that the judges don't like him. He's a good filmmaker.
Sunshine Girl (Zach): It's hard not to feel for a little kid afraid of the dark. I'm not sure this worked as a full story like the other ones so far, but I liked it just fine.
Lost (Mateen): A bit depressing but another good movie. My only argument is some of the acting was off. But it's nothing that most big budget love stories don't stumble over either. He could be the most in trouble so far if only because of the subject matter.
The Orchard (Jessica): She didn't deserve to make it to this round as I recall. How she got Geraldo Rivera to do her film is beyond me (watch the show and you'll get the joke). As for the movie, I didn't get it at ALL.
America, watch this show. Despite Jessica's cruddy effort weighing it down, this was the best bunch of flicks yet. Don't make me come after you.
Jessica should be headed home, though I'll bet it's more likely Mateen gets the boot. Silly voters.
Another happy note: They got a real director to guest judge tonight -- Wes Craven
Glass Eye (Will): Neat little game with camera work. Like last time he, will owes a ton to the old black and white, slapstick-type silent films. I think his vision works despite what Carrie Fisher had to say.
Blood Born (Jason): What started as seemingly a drug-free America commercial... ended much better than I could have imagined. I don't like that the judges don't like him. He's a good filmmaker.
Sunshine Girl (Zach): It's hard not to feel for a little kid afraid of the dark. I'm not sure this worked as a full story like the other ones so far, but I liked it just fine.
Lost (Mateen): A bit depressing but another good movie. My only argument is some of the acting was off. But it's nothing that most big budget love stories don't stumble over either. He could be the most in trouble so far if only because of the subject matter.
The Orchard (Jessica): She didn't deserve to make it to this round as I recall. How she got Geraldo Rivera to do her film is beyond me (watch the show and you'll get the joke). As for the movie, I didn't get it at ALL.
America, watch this show. Despite Jessica's cruddy effort weighing it down, this was the best bunch of flicks yet. Don't make me come after you.
Jessica should be headed home, though I'll bet it's more likely Mateen gets the boot. Silly voters.
What's on: Tuesday
Watch ON THE LOT (Fox/8 p.m.). If you like movies, you'll love this show. I think I'm the only one watching it.
Also new: 48 Hours Mystery on CBS; America's Got Talent on NBC; Fast Cars & Superstars on ABC; Miami Ink on TLC; Kathy Griffin on Bravo; Deadliest Catch and After the Catch on Discovery; ECW on Sci-Fi.
Best talk? Conan has Steve Carrell and Flight of the Conchords.
Also new: 48 Hours Mystery on CBS; America's Got Talent on NBC; Fast Cars & Superstars on ABC; Miami Ink on TLC; Kathy Griffin on Bravo; Deadliest Catch and After the Catch on Discovery; ECW on Sci-Fi.
Best talk? Conan has Steve Carrell and Flight of the Conchords.
Late night bores
Everyone's gabbing about the late night talk show jobs that will be changing hands over the next few years... here's that TV.com has to say about everything....
NBC has the most to pay attention to, with Jay Leno leaving The Tonight Show in 2009 and handing over the reigns to Late Night host Conan O'Brien.Full story here.The network has undergone a series of personnel changes in an effort to right its sinking ratings ship and could be eyeing The Daily Show's wildly popular host Jon Stewart, says the Web site Broadcasting & Cable.
Citing a network source, the site claims that NBC Universal head Jeff Zucker recently "wined and dined" Stewart and his agent over some "exploratory" talks. Zucker is apparently interested in pulling Stewart away from Comedy Central, who has Stewart on contract until 2008.
Meanwhile, online The Howard Stern Show stenographer MarksFriggin.com gave highlights of this morning's show, in which Saturday Night Live alum Jimmy Fallon allegedly told Stern about his future late-night plans. Fallon, who has long been rumored to be the successor to O'Brien's late-night chair, says a contract has actually already been signed between him and NBC.
This seems to be all bad news to me. Not only does Stewart leave the Daily Show if Zucker gets his way, but if Fallon's telling the truth, there's just another lame talk show host on late night TV.
Monday, June 18, 2007
What's on: Monday
Aside from the premiere of THE CLOSER (TNT/9 p.m.), TNT also has a brand new offering tonight: HEARTLAND (10 p.m.), a drama centered at a transplant facility in Pittsburgh.
Then, as if television could actually get more inane, AGE OF LOVE (NBC/9 p.m.) premieres. Yes, will the rich, eligible bachelor fall for the young, gold-digging 20-somethings or the 40-something gold-digging cougars. And do you care? I'd like to think you don't, but I'll bet you do.
Also new: Creature Comforts on ABC; Deal or No Deal and Dateline on NBC; Hell's Kitchen on Fox; Big Love on HBO; Oil, Sweat and Rigs on Discovery; WWE Raw on USA; Kyle XY on ABCFamily.
Then, as if television could actually get more inane, AGE OF LOVE (NBC/9 p.m.) premieres. Yes, will the rich, eligible bachelor fall for the young, gold-digging 20-somethings or the 40-something gold-digging cougars. And do you care? I'd like to think you don't, but I'll bet you do.
Also new: Creature Comforts on ABC; Deal or No Deal and Dateline on NBC; Hell's Kitchen on Fox; Big Love on HBO; Oil, Sweat and Rigs on Discovery; WWE Raw on USA; Kyle XY on ABCFamily.
Put your Close back on
Television has no shortage of cop shows and procedural dramas -- some good, some bad, most on CBS. But with the summer here and fewer young people likely watching television, it's surprising that many networks are ignoring this staple formula for silly reality/competition type shows that run cheap but can't expect to pay off (save the odd Talent) like a scripted show does.
In watching the third season premiere of The Closer tonight (TNT/9 p.m.), I see why TNT gets so much credit for this one. Ignoring Standoff -- which is merely a regular season castaway -- The Closer, by my calculations anyway, is the only procedural crime drama cranking out new episodes at this time of year. And it's a pretty good one.
As this season opens, the LAPD's priority homicide division faces budget cuts that lead them to the loss of all overtime funding (join the club, detectives...) and the loss of one of their own to either retirement or transfer in order to save some extra cash. Deputy Chief Johnson's pretty busy with the murder of almost an entire family -- mom, dad and a 12-year-old girl -- while the 17-year-old son is found nearby and stoned off his gourd (homework: please explain this colloquialism to me).
This type of show isn't necessarily different than your everyday procedural with a brilliant leader (though this time it's a woman) and a team that mixes luck, intelligence, sneaky smarts and bumbling to get the job done. It's much more contingent on its writing than the others are, and, like House, needs that strong personality or it would fall right apart. Luckily, that writing is there and so is that personality. Without them, the show's core -- Johnson's interrogations that always seem to end her way, though she doesn't catch hell in the media like Jack Bauer seems to -- wouldn't be nearly as believable. It helps that the supporting cast has a good number of relatively strong personalities, too.
Seriously, if J.K. Simmons is in something it's worth seeing on principle.
If you're looking to fill the summer procedural void and CSI and House reruns aren't cutting it, this is a strong candidate for your time. I'd never caught an episode before for the simple fact that the idea of TNT, the network I used to go to for my Bugs Bunny fix as a child, couldn't possibly have put together a strong original scripted series. I was wrong.
In watching the third season premiere of The Closer tonight (TNT/9 p.m.), I see why TNT gets so much credit for this one. Ignoring Standoff -- which is merely a regular season castaway -- The Closer, by my calculations anyway, is the only procedural crime drama cranking out new episodes at this time of year. And it's a pretty good one.
As this season opens, the LAPD's priority homicide division faces budget cuts that lead them to the loss of all overtime funding (join the club, detectives...) and the loss of one of their own to either retirement or transfer in order to save some extra cash. Deputy Chief Johnson's pretty busy with the murder of almost an entire family -- mom, dad and a 12-year-old girl -- while the 17-year-old son is found nearby and stoned off his gourd (homework: please explain this colloquialism to me).
This type of show isn't necessarily different than your everyday procedural with a brilliant leader (though this time it's a woman) and a team that mixes luck, intelligence, sneaky smarts and bumbling to get the job done. It's much more contingent on its writing than the others are, and, like House, needs that strong personality or it would fall right apart. Luckily, that writing is there and so is that personality. Without them, the show's core -- Johnson's interrogations that always seem to end her way, though she doesn't catch hell in the media like Jack Bauer seems to -- wouldn't be nearly as believable. It helps that the supporting cast has a good number of relatively strong personalities, too.
Seriously, if J.K. Simmons is in something it's worth seeing on principle.
If you're looking to fill the summer procedural void and CSI and House reruns aren't cutting it, this is a strong candidate for your time. I'd never caught an episode before for the simple fact that the idea of TNT, the network I used to go to for my Bugs Bunny fix as a child, couldn't possibly have put together a strong original scripted series. I was wrong.
Sunday, June 17, 2007
What's on: Sunday
Hopefully many of you will agree with me that the most important piece of television to be watching tonight is FLIGHT OF THE CONCHORDS (HBO/10:30 p.m.). Cool music, dry humor and a combination of the two. I'm praying these guys last as long as my next suggestion -- ENTOURAGE (HBO/10 p.m.), which is back for a new season after a week off (don't make me explain the logistics of that to you).
Speaking of funny, the creators of ROBOT CHICKEN (TOON/10 p.m.) hit the geek jackpot and got to team up with George Lucas, Mark Hamill and others for a half-hour Star Wars special.
Also, I've only just found out about this, but THE LOOP (Fox/8:30 and 9:30 p.m.) is pretty darn funny, too.
For some drama, there's premieres of two USA originals: THE 4400 (9 p.m.) and THE DEAD ZONE (10 p.m.).
Also new: Fast Cars & Superstars on ABC; John from Cincinnati on HBO; Army Wives on Lifetime.
Oh, and if you don't believe me about Flight of the Conchords...
Speaking of funny, the creators of ROBOT CHICKEN (TOON/10 p.m.) hit the geek jackpot and got to team up with George Lucas, Mark Hamill and others for a half-hour Star Wars special.
Also, I've only just found out about this, but THE LOOP (Fox/8:30 and 9:30 p.m.) is pretty darn funny, too.
For some drama, there's premieres of two USA originals: THE 4400 (9 p.m.) and THE DEAD ZONE (10 p.m.).
Also new: Fast Cars & Superstars on ABC; John from Cincinnati on HBO; Army Wives on Lifetime.
Oh, and if you don't believe me about Flight of the Conchords...
Friday, June 15, 2007
What's on: Friday
Bob Barker says goodbye in a rerun of this afternoon's THE PRICE IS RIGHT (CBS/8 p.m.). It's the host's final episode before slipping off into retirement after doing the show for longer than I've been alive. It's a nice lead-in to the DAYTIME EMMY AWARDS (9 p.m.). It's gotta be great to have your profession's big awards show on Friday night television...
New tonight: National Bingo Night and 20/20 on ABC; Standoff on Fox; Smackdown on CW; Edge of Existence and Man vs. Wild on Discovery; The Soup on E!; Stargate SG-1, Stargate Atlantis and Painkiller Jane on Sci-Fi; Ultimate Fight Night on Spike.
Important talk show guests: Letterman's got a good show with Michael Moore and hilarious comedian Bill Burr.
New tonight: National Bingo Night and 20/20 on ABC; Standoff on Fox; Smackdown on CW; Edge of Existence and Man vs. Wild on Discovery; The Soup on E!; Stargate SG-1, Stargate Atlantis and Painkiller Jane on Sci-Fi; Ultimate Fight Night on Spike.
Important talk show guests: Letterman's got a good show with Michael Moore and hilarious comedian Bill Burr.
Thursday, June 14, 2007
Quick reviews
Rescue Me: I can't even express how gleeful this show makes me. I was nice to the show in my post yesterday, but the premiere episode hit me a lot harder than I even expected. I don't even want to discuss the plot so as not to give it away and waste another one of my clever spoiler warnings. But there are no other hourlong dramas that consistently cause me to pause the TiVo so I can stop laughing -- then five minutes later have me gasping or tearing up or agape at the brilliant story they're telling me.
The only thing that really annoyed me was the first five minutes the TiVo recorded were red carpet interviews with the cast at the premiere. There's no need for that. I'll watch it on the DVD or the TV Guide channel if I even wanted to watch it at all.
Last Comic Standing: I'm really mad at NBC for what they did to this show in seasons three and four. It was an abomination. Seriously. Season three destroyed the show and sent (the genius of the show) creator Jay Mohr away. Season four was just filled with pretty lame comics and the voting system stunk (not that any voting system that would allow Dat Phan to win a comedy contest is stellar by any means).
BUT! After the first episode of this season, I'm happy with the show again. The audition process is always entertaining, so I'm not overly excited. And I'm not really happy with the addition of Bill Bellamy as host and former contestant Ant as a talent scout (I'm cool with Alonzo and Kathleen, but I think you need to be funny to judge comics).
Anyway, I like stand up and I like the base premise of this show. Even Ant's tolerable when he's not doing the stereotypical flamboyant thing for his act. This is a good show if you do, too. Just pray that the funny people get through, because after season four, I was worried that maybe the show had found every funny person and thrown them asunder. OK, I've used the word asunder. I should move on.
Lil' Bush: Here's my problem: The jokes are all played out already. There are some cute moments and some funny gags, but what Bush joke hasn't been told already. That's My Bush was fresh and funny. This is old and a South Park ripoff.
The only thing that really annoyed me was the first five minutes the TiVo recorded were red carpet interviews with the cast at the premiere. There's no need for that. I'll watch it on the DVD or the TV Guide channel if I even wanted to watch it at all.
Last Comic Standing: I'm really mad at NBC for what they did to this show in seasons three and four. It was an abomination. Seriously. Season three destroyed the show and sent (the genius of the show) creator Jay Mohr away. Season four was just filled with pretty lame comics and the voting system stunk (not that any voting system that would allow Dat Phan to win a comedy contest is stellar by any means).
BUT! After the first episode of this season, I'm happy with the show again. The audition process is always entertaining, so I'm not overly excited. And I'm not really happy with the addition of Bill Bellamy as host and former contestant Ant as a talent scout (I'm cool with Alonzo and Kathleen, but I think you need to be funny to judge comics).
Anyway, I like stand up and I like the base premise of this show. Even Ant's tolerable when he's not doing the stereotypical flamboyant thing for his act. This is a good show if you do, too. Just pray that the funny people get through, because after season four, I was worried that maybe the show had found every funny person and thrown them asunder. OK, I've used the word asunder. I should move on.
Lil' Bush: Here's my problem: The jokes are all played out already. There are some cute moments and some funny gags, but what Bush joke hasn't been told already. That's My Bush was fresh and funny. This is old and a South Park ripoff.
What's on: Thursday
There's nothing new premiering tonight. But if you like unexciting sporting events, there's always game 4 of the NBA FINALS (ABC/9 p.m.). My lack of excitement for pro basketball is compounded by the fact that this may be the worst championship series in sports ever.
Also new: Fast Cars & Superstars on ABC; Pirate Master on CBS; 5th Grader and So You Think You Can Dance on Fox; Studio 60 on NBC; Showbiz Show on Comedy Central; TNA Impact and Ultimate Fighter on Spike.
Talk show? Watch Leno, who has a killer band, Bloc Party, performing.
Also new: Fast Cars & Superstars on ABC; Pirate Master on CBS; 5th Grader and So You Think You Can Dance on Fox; Studio 60 on NBC; Showbiz Show on Comedy Central; TNA Impact and Ultimate Fighter on Spike.
Talk show? Watch Leno, who has a killer band, Bloc Party, performing.
Wednesday, June 13, 2007
What's on: Wednesday
Good new stuff tonight. First, the continuing fall of LAST COMIC STANDING (NBC/9 p.m.). When this show started, it was filled with (mostly) amazing comics and an interesting way of presenting them. Now it's American Idol for bad comedians. Still probably better than anything else on the networks tonight.
We've already spoken about RESCUE ME (FX/10 p.m.). It's the best thing you'll see all summer. I promise.
LIL' BUSH (Comedy/10:30 p.m.) premieres tonight. Think Muppet Babies meets C-SPAN.
And finally, Bravo brings back TOP CHEF (10 p.m.) for its third edition -- this time in Miami.
Also new: Next Best Thing, American Inventor and Traveler on ABC; Creature Comforts on CBS; So You Think You Can Dance on Fox; Deal or No Deal on NBC; Hidden Palms and One Tree Hill on CW; Mythbusters on Discovery; Ghost Hunters and Destination Truth on Sci-Fi.
We've already spoken about RESCUE ME (FX/10 p.m.). It's the best thing you'll see all summer. I promise.
LIL' BUSH (Comedy/10:30 p.m.) premieres tonight. Think Muppet Babies meets C-SPAN.
And finally, Bravo brings back TOP CHEF (10 p.m.) for its third edition -- this time in Miami.
Also new: Next Best Thing, American Inventor and Traveler on ABC; Creature Comforts on CBS; So You Think You Can Dance on Fox; Deal or No Deal on NBC; Hidden Palms and One Tree Hill on CW; Mythbusters on Discovery; Ghost Hunters and Destination Truth on Sci-Fi.
Your summer savior
I may do it every five posts, but I don't like to impose genius status upon people in entertainment. I try not to do so lightly. Argue that point as much as you'd like.
Either way, I have no problem placing Denis Leary among the best creative minds working in television today. Forget his stand-up act (which you've all heard -- and consequently forget the comparisons to Bill Hicks). Forget his amazing film performances (Suicide Kings and Wag the Dog are both pretty awesome). You only need to pay attention to his and Peter Tolan's last two television ventures -- The Job and Rescue Me -- to see what I'm talking about.
The Job fell to ABC's silly demands for actual viewership. But Rescue Me, like many other sweet shows, found a comfortable home on FX. Without that home, it wouldn't have the edge (or bite or whatever you want to call that trait) that compounds the brilliant writing and seriously strong ensemble performance and makes it as good as it is. And by good as it is I mean among the top three shows on television right now and without a doubt the best show on cable.
And thankfully, considering the heaping piles of stale or rotting muck that are filling out primetime lineups right now, it's back tonight. I'm assuming if you don't watch, you have no idea what's going on, so before I tell you that you need to be watching it, I'll get you caught up. (Also, seeing as it's been about 10 months since the big fire, you may need the memory jog even if you do watch.)
So where is everyone? Well, the massive split that had threatened the crew is essentially over -- Franco failed his lieutenant's exam on purpose; Lou's afraid of boats, so the at-sea retirement ain't gonna happen; Mike's transfer decision was never really a decision; Sean's now a Gavin (by marriage) and looks up to Tommy so much that he'll never leave; the chief may be gone, demented after his heart attack, but there's a new one in town. As for Tommy, he was left with Sheila in their burning beach house after she drugged him (AGAIN) and had a breakdown, setting the house on fire.
It seems the new season will open with Tommy defending himself against accusations he started the fire (it doesn't seem they've given away whether Sheila's still alive, but I'd assume not). His ex-wife is pregnant with the baby that could either be Tommy's or his dead-cop brother Johnny. She's not giving it up, either, still reeling from the loss of the family's middle child at the bumper of a drunk driver.
Then there's Tommy's Uncle Teddy, who's still in jail after killing said drunk driver -- and more miserable there than he could have possibly imagined -- and Tommy's dad, who's now apartment buddies with Lou's uncle.
You don't need me to tell you to watch if you already have, because you're either hooked or have been scared off by the show's sometimes-edgy content (though, I completely disagree with calling it edgy; it's realistic, is what it is). If you haven't watched it... well, just watch the show. It's dark and depressing and funny and powerful all at the same time and deserves your precious summer hours. Trust me on that one.
Either way, I have no problem placing Denis Leary among the best creative minds working in television today. Forget his stand-up act (which you've all heard -- and consequently forget the comparisons to Bill Hicks). Forget his amazing film performances (Suicide Kings and Wag the Dog are both pretty awesome). You only need to pay attention to his and Peter Tolan's last two television ventures -- The Job and Rescue Me -- to see what I'm talking about.
The Job fell to ABC's silly demands for actual viewership. But Rescue Me, like many other sweet shows, found a comfortable home on FX. Without that home, it wouldn't have the edge (or bite or whatever you want to call that trait) that compounds the brilliant writing and seriously strong ensemble performance and makes it as good as it is. And by good as it is I mean among the top three shows on television right now and without a doubt the best show on cable.
And thankfully, considering the heaping piles of stale or rotting muck that are filling out primetime lineups right now, it's back tonight. I'm assuming if you don't watch, you have no idea what's going on, so before I tell you that you need to be watching it, I'll get you caught up. (Also, seeing as it's been about 10 months since the big fire, you may need the memory jog even if you do watch.)
So where is everyone? Well, the massive split that had threatened the crew is essentially over -- Franco failed his lieutenant's exam on purpose; Lou's afraid of boats, so the at-sea retirement ain't gonna happen; Mike's transfer decision was never really a decision; Sean's now a Gavin (by marriage) and looks up to Tommy so much that he'll never leave; the chief may be gone, demented after his heart attack, but there's a new one in town. As for Tommy, he was left with Sheila in their burning beach house after she drugged him (AGAIN) and had a breakdown, setting the house on fire.
It seems the new season will open with Tommy defending himself against accusations he started the fire (it doesn't seem they've given away whether Sheila's still alive, but I'd assume not). His ex-wife is pregnant with the baby that could either be Tommy's or his dead-cop brother Johnny. She's not giving it up, either, still reeling from the loss of the family's middle child at the bumper of a drunk driver.
Then there's Tommy's Uncle Teddy, who's still in jail after killing said drunk driver -- and more miserable there than he could have possibly imagined -- and Tommy's dad, who's now apartment buddies with Lou's uncle.
You don't need me to tell you to watch if you already have, because you're either hooked or have been scared off by the show's sometimes-edgy content (though, I completely disagree with calling it edgy; it's realistic, is what it is). If you haven't watched it... well, just watch the show. It's dark and depressing and funny and powerful all at the same time and deserves your precious summer hours. Trust me on that one.
Tuesday, June 12, 2007
Lots to say
I've decided -- On the Lot would be great if it weren't for the host, the judges and the theme music. This show could be great in a half-hour form... or maybe on the Web... I should research that, because I think you can watch all the films there. That's probably why ratings are down. Networks don't seem to get that they put all this money into the Web and their viewership goes down BECAUSE of it.
Interesting lot tonight. Maybe not better than last week, but some really promising content. I'm really pining to see longer forms of some of the work of these directors.
Polished (Andrew): Brilliant! Beautifully shown, great miniature story. Only thing that worries me about this film is that they used the best of the week's fare first AGAIN.
Love at First Shot (David): Not thrilled by the look of this one, but I like the geek content, which probably went over the heads of many. I agree with Gary about the pacing being off.
Beeline (Shira-Lee): A good idea, a few cheap jokes and a cute little payoff at the end. Not amazing but not terrible at all.
(Side note A: Guest judge David Frankel is worse than Michael Bay. And if I see our sparsely dressed host at the fake concession stand with the extra dressed as a popcorn-selling teen again I may puke.)
Dance with the Devil (Marty): I like the way this was shot, though I may have done better without the onscreen text when the bad guy spoke and I feel like a lot got left out of any sort of story. In a longer form, I'd probably have loved it. I'm glad he fought back, but he needs a full story.
Edge on the End (Kenny): Looks more like a terrible early 90s music video. Like for a Candlebox song or something. He's got a neat way of showing things, but he's not the mainstream type of director they're looking for on this show. David Frankel said his only smart words of the night terming this a "visual poem."
Who's going? Probably Kenny, considering his competition, but there's room for David to fall off, too.
Interesting lot tonight. Maybe not better than last week, but some really promising content. I'm really pining to see longer forms of some of the work of these directors.
Polished (Andrew): Brilliant! Beautifully shown, great miniature story. Only thing that worries me about this film is that they used the best of the week's fare first AGAIN.
Love at First Shot (David): Not thrilled by the look of this one, but I like the geek content, which probably went over the heads of many. I agree with Gary about the pacing being off.
Beeline (Shira-Lee): A good idea, a few cheap jokes and a cute little payoff at the end. Not amazing but not terrible at all.
(Side note A: Guest judge David Frankel is worse than Michael Bay. And if I see our sparsely dressed host at the fake concession stand with the extra dressed as a popcorn-selling teen again I may puke.)
Dance with the Devil (Marty): I like the way this was shot, though I may have done better without the onscreen text when the bad guy spoke and I feel like a lot got left out of any sort of story. In a longer form, I'd probably have loved it. I'm glad he fought back, but he needs a full story.
Edge on the End (Kenny): Looks more like a terrible early 90s music video. Like for a Candlebox song or something. He's got a neat way of showing things, but he's not the mainstream type of director they're looking for on this show. David Frankel said his only smart words of the night terming this a "visual poem."
Who's going? Probably Kenny, considering his competition, but there's room for David to fall off, too.
Oops
Hey, sorry reader. I know the paper says I'm writing about On the Lot today, but it's not on till tonight, so I'll take care of it then.
Monday, June 11, 2007
What's on: Tuesday
So, I'm told ON THE LOT (Fox/8 p.m.) is struggling. Give it a look. The judges stink, but the films are entertaining.
TLC (no longer the Learning Channel, now the bikes and cars channel) has the premiere of season three of MIAMI INK (10 p.m.).
Also new: Fast Cars & Superstars and NBA Finals Game 3 on ABC; 48 Hours Mystery on CBS; America's Got Talent on NBC; Kathy Griffin on Bravo; Deadliest Catch and After the Catch on Discovery; ECW on Sci-Fi.
TLC (no longer the Learning Channel, now the bikes and cars channel) has the premiere of season three of MIAMI INK (10 p.m.).
Also new: Fast Cars & Superstars and NBA Finals Game 3 on ABC; 48 Hours Mystery on CBS; America's Got Talent on NBC; Kathy Griffin on Bravo; Deadliest Catch and After the Catch on Discovery; ECW on Sci-Fi.
Cin city
In hopes of putting together the massive, analytic, important review of the premiere of John from Cincinnati. I can't actually do that.
Yes I took a whole day to watch the show and I could have watched it 10 times. Truthfully, I watched it one and a half. It was tough to pick up on the first time so I restarted about half way through.
Here's what I know. It's about a family of surfing royalty -- three generations of the Yosts. The eldest, Mitch, hurt his knee and never surfed in public again. His son, Butchie, became famous and then followed drugs back to obscurity. And Butchie's son, Shaun, is a star rising faster than HBO board members' worries (about the executives, not the show... yet).
They're safely in the realm of dysfunctional. Enabling grandma Cissy wants Shaun to follow his dreams, but everyone else is worried he'll end up like his father. Their friend Bill is an ex-cop with what seems like PTSD. And then there's John, who arrives at the show's opening as if from nowhere. He picks up English quickly from his surroundings, but it's not clear why he only knows three phrases when he shows up or where he came from (the show's big mystery, it seems).
And that's it. There's some story and character development that I won't get into. It's really not important. The real problem is, the show is a little slow moving, and I can't judge it on just one episode. I'll continue watching (though I probably wouldn't if this show'd arrived during the regular season) and report back later. Until then, I honestly recommend you take a look at the show. You'll recognize some familiar faces if you're a displaced Deadwood fan. You'll also recognize a familiar writing style.
Yes I took a whole day to watch the show and I could have watched it 10 times. Truthfully, I watched it one and a half. It was tough to pick up on the first time so I restarted about half way through.
Here's what I know. It's about a family of surfing royalty -- three generations of the Yosts. The eldest, Mitch, hurt his knee and never surfed in public again. His son, Butchie, became famous and then followed drugs back to obscurity. And Butchie's son, Shaun, is a star rising faster than HBO board members' worries (about the executives, not the show... yet).
They're safely in the realm of dysfunctional. Enabling grandma Cissy wants Shaun to follow his dreams, but everyone else is worried he'll end up like his father. Their friend Bill is an ex-cop with what seems like PTSD. And then there's John, who arrives at the show's opening as if from nowhere. He picks up English quickly from his surroundings, but it's not clear why he only knows three phrases when he shows up or where he came from (the show's big mystery, it seems).
And that's it. There's some story and character development that I won't get into. It's really not important. The real problem is, the show is a little slow moving, and I can't judge it on just one episode. I'll continue watching (though I probably wouldn't if this show'd arrived during the regular season) and report back later. Until then, I honestly recommend you take a look at the show. You'll recognize some familiar faces if you're a displaced Deadwood fan. You'll also recognize a familiar writing style.
What's on: Monday
Only one premiere that really matters tonight: BIG LOVE (HBO/9 p.m.) returns for its second season. HBO's gonna need shows like this one to step up, and it seems to be building a following.
And, in the less-important cable station bracket, alien/teen angst show KYLE XY (ABC Family/8 p.m.).
Also new: Ex-wives Club on ABC; Creature Comforts on CBS; Hell's Kitchen on Fox; Dateline on NBC; Kyra Sedgwick is the guest on Inside the Actors Studio; Oil, Sweat and Rigs on Discovery; and a three-hour WWE Raw on USA.
And, in the less-important cable station bracket, alien/teen angst show KYLE XY (ABC Family/8 p.m.).
Also new: Ex-wives Club on ABC; Creature Comforts on CBS; Hell's Kitchen on Fox; Dateline on NBC; Kyra Sedgwick is the guest on Inside the Actors Studio; Oil, Sweat and Rigs on Discovery; and a three-hour WWE Raw on USA.
Salud
You would not believe what I went through today for a simple hour of television.
I knew walking in to work today that the wires would be abuzz with news of the Sopranos finale. Sure enough, the story's on our front page as you wake up today. Luckily, I was charged with another section of the paper, but still a simple message to the newsroom -- pointing out that my last name happens to end with a vowel and there could be consequences for ruining my evening that may or may not include me dreaming of the culprit as a fish at an inexplicable Asbury Park boardwalk fish market -- served as my meager protection from the only piece of news I was really interested in this evening.
I knew it was possible to make it through the evening, as someone had pulled off a full shift without finding out who'd won American Idol.
Things started getting behind and I was forced to work on the Sopranos story on my PC without actually looking at it -- moving it from e-mail to the page. I have my co-workers to thank for keeping me blissfully ignorant. Still, I didn't get out of the newsroom until about 12:30 a.m. and was then detoured to Wawa for bread so I could have a sandwich. I sang audibly along with "Girls Just Wanna Have Fun" in the store in case the many goofy looking meatheads in there decided it a great place to ruin my night.
I'm pretty proud of myself. I've never been successful at such a clean getaway. I've actually had multiple Survivor episodes/finales ruined in circumstances surrounding work. But I also haven't been so excited for an episode of the Sopranos since I was in college (not that that was eons ago or anything).
If this lead-in hasn't been long enough to slow you down, I'll now warn you that if you read any farther, you will encounter SPOILERS. (That may have been my lamest spoiler warning yet.) Anyway, I feel my excitement was warranted. And, of course, it was met with what I'm usually met with when the show's credits roll -- ambiguity.
Not that the show wasn't successful. Seriously, I don't think it could have ended any other way. The aggravation that's permeated the past few seasons may remain for some people. But if it is, I think that means you never really got the show. If you expected a big payoff, you REALLY never got the show.
In fact, the show closed on what may have been the most suspenseful moment in its history -- Tony, seated with his family for dinner, watching his back. Just like he always has. Fans are left with the same uncertain future as Tony is. Will he go to jail? Is New York still coming for him? Who knows. But he's as content as he ever could be. He's comfortable with his family's current place: Meadow's choices. AJ again saved from himself. And Carmella still... there.
We finally see his closeness to Janice. And, more importantly, he's done all he could at this late hour to make peace with Junior. And all this from a guy who's lost another best friend to this thing. But what's a thug to do when his life and his work are indistinguishable.
Yeah, the family's stories all folded up nice and tight -- though AJ's may take a bit more to swallow after all that buildup. Paulie, too, makes a sort of peace with the boss in another entertaining appearance, and he gets the respect he was begging for just a few years ago without even trying this time.
As for what I'd like to have seen, it's not important. Plus, I went in with fairly few expectations. But if you're reading, that's what I'd like to see comments on. I'm interested to know what disappointed anyone and what readers may have thought just HAD to happen. (OK, one of mine would have been to see Patsy get it after bailing on Sil like he did.)
The finale can certainly be remembered for some classic Sopranos scenes, too. Tony and Junior, specifically, if only that the great exchanges between the two get one more airing, even if it's a tragic one. Another AJ bashing scene (with a little yelling at Meadow for good measure). An extremely sad moment as Tony visits his comatose cosigliere/childhood friend.
Maybe the funniest moment in Sopranos history pops up as well: "We might actually win this thing!" coming out of the mouth of Agent Harris. And, of course, what will be the most memorable whacking of however many seasons there've been. (Fare ye well Philly... you annoyed the heck outta me.)
It was a fitting, entertaining finale to a show that may have gone on just a few episodes too long. That's OK, though, it'll still be remembered fondly by all it's fans -- most of us in New Jersey (seriously, what other show allows you to watch and at some point exclaim "Hey, I bought my car around there" or "I know that Quick Chek").
And there's good reason for that fondness: It was probably the most captivating show of its time. And who knows what happens at HBO now. You thought losing Six Feet Under and Deadwood was bad...
I knew walking in to work today that the wires would be abuzz with news of the Sopranos finale. Sure enough, the story's on our front page as you wake up today. Luckily, I was charged with another section of the paper, but still a simple message to the newsroom -- pointing out that my last name happens to end with a vowel and there could be consequences for ruining my evening that may or may not include me dreaming of the culprit as a fish at an inexplicable Asbury Park boardwalk fish market -- served as my meager protection from the only piece of news I was really interested in this evening.
I knew it was possible to make it through the evening, as someone had pulled off a full shift without finding out who'd won American Idol.
Things started getting behind and I was forced to work on the Sopranos story on my PC without actually looking at it -- moving it from e-mail to the page. I have my co-workers to thank for keeping me blissfully ignorant. Still, I didn't get out of the newsroom until about 12:30 a.m. and was then detoured to Wawa for bread so I could have a sandwich. I sang audibly along with "Girls Just Wanna Have Fun" in the store in case the many goofy looking meatheads in there decided it a great place to ruin my night.
I'm pretty proud of myself. I've never been successful at such a clean getaway. I've actually had multiple Survivor episodes/finales ruined in circumstances surrounding work. But I also haven't been so excited for an episode of the Sopranos since I was in college (not that that was eons ago or anything).
If this lead-in hasn't been long enough to slow you down, I'll now warn you that if you read any farther, you will encounter SPOILERS. (That may have been my lamest spoiler warning yet.) Anyway, I feel my excitement was warranted. And, of course, it was met with what I'm usually met with when the show's credits roll -- ambiguity.
Not that the show wasn't successful. Seriously, I don't think it could have ended any other way. The aggravation that's permeated the past few seasons may remain for some people. But if it is, I think that means you never really got the show. If you expected a big payoff, you REALLY never got the show.
In fact, the show closed on what may have been the most suspenseful moment in its history -- Tony, seated with his family for dinner, watching his back. Just like he always has. Fans are left with the same uncertain future as Tony is. Will he go to jail? Is New York still coming for him? Who knows. But he's as content as he ever could be. He's comfortable with his family's current place: Meadow's choices. AJ again saved from himself. And Carmella still... there.
We finally see his closeness to Janice. And, more importantly, he's done all he could at this late hour to make peace with Junior. And all this from a guy who's lost another best friend to this thing. But what's a thug to do when his life and his work are indistinguishable.
Yeah, the family's stories all folded up nice and tight -- though AJ's may take a bit more to swallow after all that buildup. Paulie, too, makes a sort of peace with the boss in another entertaining appearance, and he gets the respect he was begging for just a few years ago without even trying this time.
As for what I'd like to have seen, it's not important. Plus, I went in with fairly few expectations. But if you're reading, that's what I'd like to see comments on. I'm interested to know what disappointed anyone and what readers may have thought just HAD to happen. (OK, one of mine would have been to see Patsy get it after bailing on Sil like he did.)
The finale can certainly be remembered for some classic Sopranos scenes, too. Tony and Junior, specifically, if only that the great exchanges between the two get one more airing, even if it's a tragic one. Another AJ bashing scene (with a little yelling at Meadow for good measure). An extremely sad moment as Tony visits his comatose cosigliere/childhood friend.
Maybe the funniest moment in Sopranos history pops up as well: "We might actually win this thing!" coming out of the mouth of Agent Harris. And, of course, what will be the most memorable whacking of however many seasons there've been. (Fare ye well Philly... you annoyed the heck outta me.)
It was a fitting, entertaining finale to a show that may have gone on just a few episodes too long. That's OK, though, it'll still be remembered fondly by all it's fans -- most of us in New Jersey (seriously, what other show allows you to watch and at some point exclaim "Hey, I bought my car around there" or "I know that Quick Chek").
And there's good reason for that fondness: It was probably the most captivating show of its time. And who knows what happens at HBO now. You thought losing Six Feet Under and Deadwood was bad...
Sunday, June 10, 2007
What's on: Sunday
More new stuff than you can hope to watch, but it's the old that's the most important. Tonight, we say goodbye to THE SOPRANOS (HBO/9 p.m.). After all this time, here's hoping we get some resolution. It's a little longer than the customary hour, so check your TiVos.
The winner of the best-lead-in-ever lottery is the premiere of JOHN FROM CINCINNATI (HBO/10:05 p.m.). It's from the guys who made Deadwood, so there's a ringing endorsement right there. I'm ALMOST more excited about this than I am the Sopranos finale.
HBO's biggest competition is Broadway's big night -- the TONY AWARDS (CBS/8 p.m.).
Back in business on Fox tonight is THE LOOP with two new episodes (8:30 and 9:30 p.m.).
If you like funny people (which would be odd if you're reading this blog...) BRIAN REGAN: STANDING UP (Comedy/10 p.m.) is an hourlong special from one of the best comics alive.
Also new: Fast Cars and Superstars and Game 2 of the NBA Finals on ABC; Dateline on NBC; the debut of Building the Future on Discovery; The Tudors on Showtime; Army Wives on Lifetime.
The winner of the best-lead-in-ever lottery is the premiere of JOHN FROM CINCINNATI (HBO/10:05 p.m.). It's from the guys who made Deadwood, so there's a ringing endorsement right there. I'm ALMOST more excited about this than I am the Sopranos finale.
HBO's biggest competition is Broadway's big night -- the TONY AWARDS (CBS/8 p.m.).
Back in business on Fox tonight is THE LOOP with two new episodes (8:30 and 9:30 p.m.).
If you like funny people (which would be odd if you're reading this blog...) BRIAN REGAN: STANDING UP (Comedy/10 p.m.) is an hourlong special from one of the best comics alive.
Also new: Fast Cars and Superstars and Game 2 of the NBA Finals on ABC; Dateline on NBC; the debut of Building the Future on Discovery; The Tudors on Showtime; Army Wives on Lifetime.
Friday, June 8, 2007
ABC performs Burkectomy
From Hollywood Reporter:
Surprised? Don't be. The writers made it easy. Washington made it easy, too. His character was annoying anyway. The softspoken, brooding thing is really just... yech.
Luckily, Sandra Oh is still there to keep the annoying quotient at a tolerable level. What would cheesy primetime drama be without it?
Dr. Preston Burke packed his backs on the season finale of ABC's Grey's Anatomy last month. Now Isaiah Washington, the actor who has played him for the past three seasons, is dong the same.Full story... here.
On Thursday, ABC Studios, which produces Grey's, made a decision not to pick up Washington's option for next season.
In his reaction to the firing, Washington channeled Paddy Chayefsky. "I'm mad as hell, and I'm not going to take it anymore," he said in a statement released through his publicist.
The dismissal follows months of speculation about Washington's future on the show after the furor caused by his use of anti-gay slur in reference to his castmate T.R. Knight. Knight recently closed a deal to continue on the hit medical drama.
Surprised? Don't be. The writers made it easy. Washington made it easy, too. His character was annoying anyway. The softspoken, brooding thing is really just... yech.
Luckily, Sandra Oh is still there to keep the annoying quotient at a tolerable level. What would cheesy primetime drama be without it?
Walls back up
It's official, from Zap2it.com:
The woman makes a great point. It would be exceedingly hilarious if the show comes back in January and ends up not getting picked up. Seriously. I'll start. WATCH JERICHO. Watch the reruns. Watch the Web content. And be ready to watch when it comes back.
CBS has officially given Jericho new life, but the network is also challenging the show's fans to make it worth the network's while.Full story here.
Following a fan-led crusade that included buying ads in the showbiz trade magazines and sending some 20 tons of nuts to CBS executives, the show has been given a seven-episode order for midseason. CBS Entertainment president Nina Tassler, writing on the show's message board, acknowledged the campaign was a primary force in the decision.
"Wow! Over the past few weeks you have put forth an impressive and probably unprecedented display of passion in support of a prime-time television series. You got our attention; your emails and collective voice have been heard," Tassler writes. "As a result, CBS has ordered seven episodes of 'Jericho' for midseason next year."
Tassler adds that "in success," there would be a chance to extend the show's life even further. But she also notes that for that to happen, the "loyal and passionate" audience that rallied around the show after its cancellation has to get bigger.
"We will count on you to rally around the show, to recruit new viewers with the same grass-roots energy, intensity and volume you have displayed in recent weeks," she says.
The woman makes a great point. It would be exceedingly hilarious if the show comes back in January and ends up not getting picked up. Seriously. I'll start. WATCH JERICHO. Watch the reruns. Watch the Web content. And be ready to watch when it comes back.
What's on: Friday
New tonight: Standoff on Fox; National Bingo Night and 20/20 on ABC; Friday Night Smackdown on CW; My Daddy the Crocodile Hunter on Animal Planet; Edge of Existence on Discovery; The Soup on E!; Stargate SG-1, Stargate Atlantis and Painkiller Jane on Sci-Fi; Best Week Ever on VH1.
Again. Watch Standoff.
Again. Watch Standoff.
Not to be Standoffish...
... but... OK, look. I'm extremely honest when I post here. But I also have a tendency to purposefully, though usually subconsciously act too cool for the room.
The reason I tell you this is that I want you to know that I know that I recognize both of these extremes before I say what I'm going to say, because what I'm going to say may set a few people off (considering the number of responses I've gotten in the last week or so to a post from about three weeks ago).
What's funny is the only Standoff mention in the post was that it's been canceled -- which it has for all intents and purposes. Then a few people from some message board or Web site somewhere found it and started singing the show's praises and campaigning for my three or four readers to watch it and save it. Of that I'm glad -- I've probably gotten more hits in the past week than I have since starting in January. I wish more people would come here to discuss TV. I think I've set up a fairly welcoming abode.
Anyway, that's why I'm dedicating these few grafs to Standoff, which returns on Fox tonight at 9 p.m. (after a Bones rerun) to burn off the remaining episodes the network paid for but really doesn't trust with serious, important time slots. Nah, Fox has shows like So You Think You Can Dance and Hell's Kitchen to save those posh 8 p.m. weeknight time slots for.
When you can't even get a weeknight spot in the summertime, well... that's a bad sign. Much like my beloved and underappreciated Studio 60 (which, since I'm on the subject, was awesome again this week), Standoff got a bad time slot even post-sweeps.
See, I like Standoff fine, but -- and I fully encourage disagreement here -- it's nothing spectacular and it's gone.
Get over it.
Seriously, it's a procedural show, same as CSI, Law & Order and House. Standoff IS A PROCEDURAL SHOW. It's masked as a romantic comedy, but that's all it is.
I give it credit for being funny and entertaining; I give it credit for having some amiable characters; I give it credit for keeping my interest. But it's far from being as good as other new shows this season like Heroes and Ugly Betty. Heck, new shows that got canned, like Six Degrees, Jericho* and Studio 60, topped it. Fox just doesn't make good original content. And why should it? No one watches good original content. They watch American Idol, Dancing with the Stars and Shark (couldn't resist my chance to take another swing at that piece of junk).
If you've read this far, it's probably time for me to tell you I'm going to be watching Standoff tonight. I DO enjoy the show. Thoroughly. And I'm sad it's going away. I would love for 30 million people to watch it tonight and the network eat its words and pick the show up again. Or maybe to have all the Internet fans come up with a clever campaign like the Jericho thing. But it won't happen. But that won't happen when the show's on at 9 p.m. on a Friday. I'll be at work putting out the paper for Saturday morning. And if I wasn't, I'd be at a bar on the boardwalk. I'm just being honest about the big picture here.
Standoff is fun and entertaining and cool, but it's really nothing original and there'll be another procedural that can campaign on how it's slightly different than all the rest and how its overall story is better than House's drug problems or Grissom, Mac or Horatio's leadership skills. It's only three months away. Two and a half, really. Unless you're only watching Fox. Then you have to wait until baseball's over.
* I contend Jericho counts in this argument. If you disagree... well... don't disagree.
The reason I tell you this is that I want you to know that I know that I recognize both of these extremes before I say what I'm going to say, because what I'm going to say may set a few people off (considering the number of responses I've gotten in the last week or so to a post from about three weeks ago).
What's funny is the only Standoff mention in the post was that it's been canceled -- which it has for all intents and purposes. Then a few people from some message board or Web site somewhere found it and started singing the show's praises and campaigning for my three or four readers to watch it and save it. Of that I'm glad -- I've probably gotten more hits in the past week than I have since starting in January. I wish more people would come here to discuss TV. I think I've set up a fairly welcoming abode.
Anyway, that's why I'm dedicating these few grafs to Standoff, which returns on Fox tonight at 9 p.m. (after a Bones rerun) to burn off the remaining episodes the network paid for but really doesn't trust with serious, important time slots. Nah, Fox has shows like So You Think You Can Dance and Hell's Kitchen to save those posh 8 p.m. weeknight time slots for.
When you can't even get a weeknight spot in the summertime, well... that's a bad sign. Much like my beloved and underappreciated Studio 60 (which, since I'm on the subject, was awesome again this week), Standoff got a bad time slot even post-sweeps.
See, I like Standoff fine, but -- and I fully encourage disagreement here -- it's nothing spectacular and it's gone.
Get over it.
Seriously, it's a procedural show, same as CSI, Law & Order and House. Standoff IS A PROCEDURAL SHOW. It's masked as a romantic comedy, but that's all it is.
I give it credit for being funny and entertaining; I give it credit for having some amiable characters; I give it credit for keeping my interest. But it's far from being as good as other new shows this season like Heroes and Ugly Betty. Heck, new shows that got canned, like Six Degrees, Jericho* and Studio 60, topped it. Fox just doesn't make good original content. And why should it? No one watches good original content. They watch American Idol, Dancing with the Stars and Shark (couldn't resist my chance to take another swing at that piece of junk).
If you've read this far, it's probably time for me to tell you I'm going to be watching Standoff tonight. I DO enjoy the show. Thoroughly. And I'm sad it's going away. I would love for 30 million people to watch it tonight and the network eat its words and pick the show up again. Or maybe to have all the Internet fans come up with a clever campaign like the Jericho thing. But it won't happen. But that won't happen when the show's on at 9 p.m. on a Friday. I'll be at work putting out the paper for Saturday morning. And if I wasn't, I'd be at a bar on the boardwalk. I'm just being honest about the big picture here.
Standoff is fun and entertaining and cool, but it's really nothing original and there'll be another procedural that can campaign on how it's slightly different than all the rest and how its overall story is better than House's drug problems or Grissom, Mac or Horatio's leadership skills. It's only three months away. Two and a half, really. Unless you're only watching Fox. Then you have to wait until baseball's over.
* I contend Jericho counts in this argument. If you disagree... well... don't disagree.
Thursday, June 7, 2007
What's on: Thursday
I will not type out the entire name of tonight's first new summer show. The shortened version is annoying enough. FAST CARS & SUPERSTARS (ABC/8 p.m.) debuts right before the NBA finals kick off tonight. If reality TV wasn't bad enough it heads off to Middle America's favorite pastime -- NASCAR. The show brings celebrities like Jewel, William Shatner, Tony Hawk and WWE champ John Cena with it. Pro drivers will try to teach the stars to race.
STARTER WIFE (USA/9 p.m.) runs its third hour tonight. Sorry, I planned on reviewing this one I just haven't had time. I think anyone who would have picked it up didn't need my opinion though.
Also new: Pirate Master on CBS; 5th Grader and So You Think You Can Dance on Fox; Studio 60 on NBC; Showbiz Show on Comedy Central; TNA Impact and Ultimate Fighter on Spike.
STARTER WIFE (USA/9 p.m.) runs its third hour tonight. Sorry, I planned on reviewing this one I just haven't had time. I think anyone who would have picked it up didn't need my opinion though.
Also new: Pirate Master on CBS; 5th Grader and So You Think You Can Dance on Fox; Studio 60 on NBC; Showbiz Show on Comedy Central; TNA Impact and Ultimate Fighter on Spike.
Payne, lack of innovation and ... well, just read.
Tyler Perry's House of Payne: I realize I'm not in this show's main demographic. I'm nowhere near it. But, there's still a difference between good TV and bad TV. Tyler Perry's House of Payne is bad TV.
I can't tell if the show is supposed to be making fun of archetypal sitcoms, but it'd be bad either way. The show's dripping with bad acting, lame joke writing and laugh track. It's hard to make a sitcom original, but I would have thought it really hard to make one so unoriginal. Apparently you can take random characters from various sitcoms and fill their mouths with random lines from other various sitcoms.
I'm not familiar with Tyler Perry's film work, which is very popular, but I would hope it would be more original and/or entertaining than this...
American Inventor: Is there no way to make this type of show any different? I'm not even going to bother, and I'd hope you won't expect me to. I would never ask you to watch it either.
Destination Truth: FINALLY! Something worth your time (and mine). I love when they give a bunch of geeks some cameras and a show, and this one (in a time of desolate television landscape) is especially sweet.
These geeks (with full on Blair Witch-type camera work -- which may be a drawback for some people) open the show with a trip to Papua New Guinea to search out reports of a dinosaur in a village on a remote island. The village brought out the cavalry for this thing as the host explains, which is why they take this report as credible. (They also check out reports of a mermaid-type creature.)
It's a little bit documentary, a little bit corny(the narration is cheesier than it needs to be, but tolerable), and extremely dweeby (they've already referenced Lost). Obviously, if they'd found something significant, the news would have already picked up the story, but it's still really cool and better than anything else that was on Wednesday night.
If you like stuff like Mythbusters or Ghost Hunters, block out an hour on the TiVo for this one.
I can't tell if the show is supposed to be making fun of archetypal sitcoms, but it'd be bad either way. The show's dripping with bad acting, lame joke writing and laugh track. It's hard to make a sitcom original, but I would have thought it really hard to make one so unoriginal. Apparently you can take random characters from various sitcoms and fill their mouths with random lines from other various sitcoms.
I'm not familiar with Tyler Perry's film work, which is very popular, but I would hope it would be more original and/or entertaining than this...
American Inventor: Is there no way to make this type of show any different? I'm not even going to bother, and I'd hope you won't expect me to. I would never ask you to watch it either.
Destination Truth: FINALLY! Something worth your time (and mine). I love when they give a bunch of geeks some cameras and a show, and this one (in a time of desolate television landscape) is especially sweet.
These geeks (with full on Blair Witch-type camera work -- which may be a drawback for some people) open the show with a trip to Papua New Guinea to search out reports of a dinosaur in a village on a remote island. The village brought out the cavalry for this thing as the host explains, which is why they take this report as credible. (They also check out reports of a mermaid-type creature.)
It's a little bit documentary, a little bit corny(the narration is cheesier than it needs to be, but tolerable), and extremely dweeby (they've already referenced Lost). Obviously, if they'd found something significant, the news would have already picked up the story, but it's still really cool and better than anything else that was on Wednesday night.
If you like stuff like Mythbusters or Ghost Hunters, block out an hour on the TiVo for this one.
Wednesday, June 6, 2007
What's on: Wednesday
ABC premieres another search-for-the-best show: AMERICAN INVENTOR (9 p.m.), with judges Sara Blakely, Pat Croce and George Foreman. I may not even bother considering this show for review purposes. If you disagree, let me know.
Then, on Bravo, skip over season three and jump right to TOP CHEF: 4-STAR ALL-STARS (10 p.m.), where four each from seasons one and two compete. Season three starts next week.
I don't really check out TBS much, but they're ramping up with more and more original content. Tonight brings the premiere of TYLER PERRY'S HOUSE OF PAYNE (9 p.m.). Two episodes will kick off the show by the guy who's made millions in films and is probably headed for TV success just because of that.
And then there's the premiere of DESTINATION TRUTH (Sci-Fi/10 p.m.), which focuses on the search for answers to Bigfoot/Loch Ness type mysteries.
Also new: Ghost Hunters on Sci-Fi; an HBO Sports doc on Barbaro; Mythbusters on Discovery; Hidden Palms and One Tree Hill on CW; So You Think You Can Dance on Fox; Next Best Thing and Traveler on ABC.
Then, on Bravo, skip over season three and jump right to TOP CHEF: 4-STAR ALL-STARS (10 p.m.), where four each from seasons one and two compete. Season three starts next week.
I don't really check out TBS much, but they're ramping up with more and more original content. Tonight brings the premiere of TYLER PERRY'S HOUSE OF PAYNE (9 p.m.). Two episodes will kick off the show by the guy who's made millions in films and is probably headed for TV success just because of that.
And then there's the premiere of DESTINATION TRUTH (Sci-Fi/10 p.m.), which focuses on the search for answers to Bigfoot/Loch Ness type mysteries.
Also new: Ghost Hunters on Sci-Fi; an HBO Sports doc on Barbaro; Mythbusters on Discovery; Hidden Palms and One Tree Hill on CW; So You Think You Can Dance on Fox; Next Best Thing and Traveler on ABC.
Real crap
I don't think I can watch another reality show this summer. Someone help me out. What makes it worse is both of these are back for sequel seasons. I think it's time to forgo the TiVo for a few months and just rely on British TV. Ahhh... Life on Mars.
America's Got Talent: Okay, so my first thought when I turned this show on is: WORST PRODUCTION VALUE EVER. It hasn't even actually started and I already don't care. I just wanted to put that out there in case I don't get through two hours of this. Back in a second.
Right. I got five minutes farther and they called Hasselhoff "one of America's greatest entertainment legends" in front of the tune from the Kill Bill trailer. Talk about blasphemy. That's like saying something nice about Gwen Stefani over a bed of Zeppelin or Hendrix. Okay, despite my disgust, I'm really going to try to watch now.
Okay, it's me again. Ten minutes later. This is no different than any search-for-the-best-whatever show. And Hasselhoff just used the word "rubbish." I'm officially done. Sorry. Call me a bad TV writer. I call me a human with a brain.
Drat, and now I've just noticed this is my 300th post. What a waste.
Hell's Kitchen: The things I watch for this blog. Seriously. Somehow, Fox figured out a way to make reality television even more ridiculous. It is not a "saga" as the announcer says. None of the contestants will "wish they were never born." I will also not "tune in next week."
I get it: He's mean. They're learning. The show's editors are clever. And everyone's acting goofy.
I watch enough TV to know what I'm getting from these two presentations, so please excuse me if I don't actually finish watching any of them. I'll pay you back, I swear.
America's Got Talent: Okay, so my first thought when I turned this show on is: WORST PRODUCTION VALUE EVER. It hasn't even actually started and I already don't care. I just wanted to put that out there in case I don't get through two hours of this. Back in a second.
Right. I got five minutes farther and they called Hasselhoff "one of America's greatest entertainment legends" in front of the tune from the Kill Bill trailer. Talk about blasphemy. That's like saying something nice about Gwen Stefani over a bed of Zeppelin or Hendrix. Okay, despite my disgust, I'm really going to try to watch now.
Okay, it's me again. Ten minutes later. This is no different than any search-for-the-best-whatever show. And Hasselhoff just used the word "rubbish." I'm officially done. Sorry. Call me a bad TV writer. I call me a human with a brain.
Drat, and now I've just noticed this is my 300th post. What a waste.
Hell's Kitchen: The things I watch for this blog. Seriously. Somehow, Fox figured out a way to make reality television even more ridiculous. It is not a "saga" as the announcer says. None of the contestants will "wish they were never born." I will also not "tune in next week."
I get it: He's mean. They're learning. The show's editors are clever. And everyone's acting goofy.
I watch enough TV to know what I'm getting from these two presentations, so please excuse me if I don't actually finish watching any of them. I'll pay you back, I swear.
I'm getting tips now...
So after a text message expressing disappointment in my lack of journalistic go-gettiveness, I awoke from my PlayStation-induced hibernation and found this on the wires... the most comprehensive and attributed story from TV Guide/LA Times, via TV.com:
Needless to say... yay.
If TVGuide.com's Michael Ausiello is correct, it appears that CBS executives may be listening to the pleas of its viewers. The gossip hound says that "multiple sources" have indicated that CBS is very close to greenlighting a deal to bring the Skeet Ulrich vehicle back to the airwaves. The agreement would allegedly bring the show back for eight episodes, possibly as soon as mid-season.
When CBS left Jericho off its 2007-2008 schedule, fans of the show went ballistic. Online petitions were signed, message boards were flooded, and CBS execs had their e-mail boxes bloated with pleas to renew the show. But the most creative ploy saw fans sending nuts to the corporate offices in defiance. The idea was spawned from the show, when Ulrich's character replied "Nuts!" to a neighboring city offering the post-apocalyptic town a surrender.
*snip*
As far as extending the number of episodes, eight would not be enough for Jericho producer and creator Carol Barbee, according to the Los Angeles Times.
"The idea would not be to bring it for eight and out, but to bring it back for eight with the hope that it would keep going," Barbee told the LA Times. "They're making deals with the actors and there's other logistical stuff to work out, too. Swingtown was supposed to take over the same stages so it's a lot about the logistics of how to work out a schedule that works for all of us."
Full article here. Or, for the AP's version, try here.
Needless to say... yay.
Direct to TV...
So three weeks of five-way competition seems like the track for On the Lot for the next few weeks. Doesn't sound like a bad idea to me. In fact, it makes it a little more interesting that chances you'll go home increase significantly.
Broken Pipe Dreams (Sam): Seriously well done. I hate to hand out a best-flick-of-the-night this early... I always hate to do that with a show like this because I don't know what else is coming. But I'd bet right now that it will be. I really felt bad for the character, more empathy than suspense. And it still worked.
I'd hate to think he would take cues from Michael Bay on editing or any type of good filmmaking (that any one of them would take cues from Michael Bay). I'm ignoring everything he says. I'd rather listen to Carrie Fisher. And Carrie Fisher really irks me.
Teri (Trevor): Trevor annoys me. That didn't help his film. But I don't really think anything could have. Stupid joke dragged out too long and done before. Please send this guy home.
The First Time I Met the Finkelsteins (Hillary): Based on previous performance
I'd expect little from this one. Bad acting really made it pretty lame. I was happy to see someone skew a bit edgy, but despite a couple good lines it wasn't really funny.
Dough: The Musical (Adam): Nearly no plot. Writing helped, but I didn't even care about the two characters. I just wanted it to end.
I don't think Gary Marshall knows where he is half the time. He didn't get the joke in the last flick (saying they should look at each other without realizing she wanted nothing to do with him) and he liked the movie. Maybe I should stop paying so much attention and I'll enjoy these more.
Laughing Out Loud (Shalini): I think this will hurt her. Amazingly good docu-short. I like the subject and I like that it's different. If she goes home, I'll be convinced America really doesn't understand movies. Wait, what am I talking about... America likes Borat. All is already lost.
If Gary Marshall mentions how important female filmmakers are again, I'm going to drive to Hollywood and smack him.
I say Hillary should and probably will go home. Though, I wouldn't be sad at all if Trevor goes. Anyone else?
Broken Pipe Dreams (Sam): Seriously well done. I hate to hand out a best-flick-of-the-night this early... I always hate to do that with a show like this because I don't know what else is coming. But I'd bet right now that it will be. I really felt bad for the character, more empathy than suspense. And it still worked.
I'd hate to think he would take cues from Michael Bay on editing or any type of good filmmaking (that any one of them would take cues from Michael Bay). I'm ignoring everything he says. I'd rather listen to Carrie Fisher. And Carrie Fisher really irks me.
Teri (Trevor): Trevor annoys me. That didn't help his film. But I don't really think anything could have. Stupid joke dragged out too long and done before. Please send this guy home.
The First Time I Met the Finkelsteins (Hillary): Based on previous performance
I'd expect little from this one. Bad acting really made it pretty lame. I was happy to see someone skew a bit edgy, but despite a couple good lines it wasn't really funny.
Dough: The Musical (Adam): Nearly no plot. Writing helped, but I didn't even care about the two characters. I just wanted it to end.
I don't think Gary Marshall knows where he is half the time. He didn't get the joke in the last flick (saying they should look at each other without realizing she wanted nothing to do with him) and he liked the movie. Maybe I should stop paying so much attention and I'll enjoy these more.
Laughing Out Loud (Shalini): I think this will hurt her. Amazingly good docu-short. I like the subject and I like that it's different. If she goes home, I'll be convinced America really doesn't understand movies. Wait, what am I talking about... America likes Borat. All is already lost.
If Gary Marshall mentions how important female filmmakers are again, I'm going to drive to Hollywood and smack him.
I say Hillary should and probably will go home. Though, I wouldn't be sad at all if Trevor goes. Anyone else?
Tuesday, June 5, 2007
Quick review
Take interviews with the best and brightest middle America has to offer and make it look like they're coming out of the mouths of claymation animals. That's CBS's Creature Comforts.
It's based on a British show (that was based on a film) and run by the guy who did Wallace and Grommit and Flushed Away. Good start for a little half-hour throw away type show. It's helped by the fact that it can be really funny at times (and even funnier when you're picturing the people who're actually saying this stuff).
For an easy visual, imagine a discussion about the type of nose a certain wine has -- but coming out of the mouths of a pair of dogs sniffing another dog. Or a laboratory rat discussing medical care. Or a pair of horses talking about pheromones.
It's cute and funny and is on the brink of being OK for families. Most of the time the entire atmosphere they create on screen has a lot to do with the comedy. I'll continue to watch, though its potential for consistency is questionable.
It's based on a British show (that was based on a film) and run by the guy who did Wallace and Grommit and Flushed Away. Good start for a little half-hour throw away type show. It's helped by the fact that it can be really funny at times (and even funnier when you're picturing the people who're actually saying this stuff).
For an easy visual, imagine a discussion about the type of nose a certain wine has -- but coming out of the mouths of a pair of dogs sniffing another dog. Or a laboratory rat discussing medical care. Or a pair of horses talking about pheromones.
It's cute and funny and is on the brink of being OK for families. Most of the time the entire atmosphere they create on screen has a lot to do with the comedy. I'll continue to watch, though its potential for consistency is questionable.
What's on: Tuesday
NBC has the only premiere tonight, with the two-hour kickoff of AMERICA'S GOT TALENT (9 p.m.) with new judge Sharon Osbourne (whose 15 minutes continue inexplicably) and new host Jerry Springer (who deserves another 15 minutes or so just for comedy's sake).
Eva Longoria hosts the ALMA AWARDS (ABC/9 p.m.) -- that's the American Latino Media Arts in case the MTV movie awards didn't satisfy your need for Hollywood back-patting.
Please don't think I'm supporting this show's existence, but I feel it's my journalistic duty to point out the premiere of KATHY GRIFFIN: MY LIFE ON THE D-LIST (Bravo/10 p.m.) season three. It follows an hourlong comedy special from comedy's resident chihuahua.
THE SHIELD (FX/10 p.m.), at the same time, wraps up its 6th season with Vic headed to a review board hearing. Sadly I've just missed another whole season of this well-liked show. It's an hour and a half long in case you'd like to check on your TiVo.
Also new: Deadliest Catch and After the Catch on Discovery; ECW on SciFi.
Talk show pick? How about Paul Rudd on The Daily Show.
Eva Longoria hosts the ALMA AWARDS (ABC/9 p.m.) -- that's the American Latino Media Arts in case the MTV movie awards didn't satisfy your need for Hollywood back-patting.
Please don't think I'm supporting this show's existence, but I feel it's my journalistic duty to point out the premiere of KATHY GRIFFIN: MY LIFE ON THE D-LIST (Bravo/10 p.m.) season three. It follows an hourlong comedy special from comedy's resident chihuahua.
THE SHIELD (FX/10 p.m.), at the same time, wraps up its 6th season with Vic headed to a review board hearing. Sadly I've just missed another whole season of this well-liked show. It's an hour and a half long in case you'd like to check on your TiVo.
Also new: Deadliest Catch and After the Catch on Discovery; ECW on SciFi.
Talk show pick? How about Paul Rudd on The Daily Show.
The long con
THERE'S SPOILERS IN THIS HERE BLOG. YOU'RE WARNED.
I thought I had it in me to sit here and pontificate about the greatness of The Riches to you for a while. And I could, but it would probably sound just like it does every other time I blog about a show I really enjoy. In brief: FX, yay... strong characters, yay... brilliant writing, double yay. It's not the greatest, but for the past three months I've looked forward to watching every week.
When The Riches premiered, it as simply another cool FX show. I don't think I'm the only one who'd never heard of Travelers -- American gypsies of Irish decent -- and was pretty intrigued by the idea of a show about such a group. Con artists are entertaining characters to begin with.
Anyway, to keep you from falling asleep thanks to a long post, for this look back on season one there's only a one point that needs to be made to best highlight the show (which, for the record, didn't need to leave a cliffhanger to bring people back next season).
Here goes: The show is nothing like anything else on television. It's constantly changing, going from what seemed to be about a family of con artists to a story about a family that just wants to be accepted. This is a good thing, and a bad thing for the show. It's kept things fresh, without a doubt, but things moved fast through the season as the family has assimilated into their new lives. That leaves a number of milestones in their journey in the rear-view.
If things stay as they are, the show will need a short run to be considered strong. They're running deep into the well of bad stuff that could happen to the Malloys in their current situation. But then, I should probably have faith in the creative minds behind the show working a little more magic and redefining everything one or twelve more times.
As far as the finale goes, I was a bit disappointed. The real Doug Rich's friend Pete is more annoying than anything (he may even deserve the brutal beating it seems is coming from Dale if it makes him stop the whining). I get the feeling he'll eventually learn the whole truth and latch on... even more annoyingly. Dale on the other hand may end up with more power than most viewers might want him to.
(Side note: Eddie Izzard and Minnie Driver are absolutely amazing in this show. Their play off each other alone is worth applause, but they've each crafted a pair of characters -- and together crafted a relationship -- that is beyond what anything on television is doing right now. And I used to hate Minnie Driver.)
(Side note two: I'm extremely happy that the show never made the kids superficial. They're as much in this situation as Wayne and Dahlia, and they've shown up and stepped up accordingly.)
I thought I had it in me to sit here and pontificate about the greatness of The Riches to you for a while. And I could, but it would probably sound just like it does every other time I blog about a show I really enjoy. In brief: FX, yay... strong characters, yay... brilliant writing, double yay. It's not the greatest, but for the past three months I've looked forward to watching every week.
When The Riches premiered, it as simply another cool FX show. I don't think I'm the only one who'd never heard of Travelers -- American gypsies of Irish decent -- and was pretty intrigued by the idea of a show about such a group. Con artists are entertaining characters to begin with.
Anyway, to keep you from falling asleep thanks to a long post, for this look back on season one there's only a one point that needs to be made to best highlight the show (which, for the record, didn't need to leave a cliffhanger to bring people back next season).
Here goes: The show is nothing like anything else on television. It's constantly changing, going from what seemed to be about a family of con artists to a story about a family that just wants to be accepted. This is a good thing, and a bad thing for the show. It's kept things fresh, without a doubt, but things moved fast through the season as the family has assimilated into their new lives. That leaves a number of milestones in their journey in the rear-view.
If things stay as they are, the show will need a short run to be considered strong. They're running deep into the well of bad stuff that could happen to the Malloys in their current situation. But then, I should probably have faith in the creative minds behind the show working a little more magic and redefining everything one or twelve more times.
As far as the finale goes, I was a bit disappointed. The real Doug Rich's friend Pete is more annoying than anything (he may even deserve the brutal beating it seems is coming from Dale if it makes him stop the whining). I get the feeling he'll eventually learn the whole truth and latch on... even more annoyingly. Dale on the other hand may end up with more power than most viewers might want him to.
(Side note: Eddie Izzard and Minnie Driver are absolutely amazing in this show. Their play off each other alone is worth applause, but they've each crafted a pair of characters -- and together crafted a relationship -- that is beyond what anything on television is doing right now. And I used to hate Minnie Driver.)
(Side note two: I'm extremely happy that the show never made the kids superficial. They're as much in this situation as Wayne and Dahlia, and they've shown up and stepped up accordingly.)
Monday, June 4, 2007
What's on: Monday
Few new shows tonight, starting with claymation show CREATURE COMFORTS (CBS/8 p.m.). A new summer show that's NOT a reality show from the guy who did Wallace & Grommit. Sweet.
Fox's HELL'S KITCHEN (9 p.m.) returns tonight, and includes a New Jersey caterer Vincent Fama, 30, of Milltown. The contestants will be split up into teams of men and women and one will go home before the premiere is over.
Even more important is the season finale of FX's THE RICHES (10 p.m.). A seriously amazing drama that I've been hooked on. We'll talk more about it tomorrow.
Also new: Inside the Actors Studio with Julia Louis-Dreyfus; Oil, Sweat and Rigs on Discovery; Monday Night Raw on USA.
Late night? Try CONAN (NBC) who has Paul Rudd and Kings of Leon.
Fox's HELL'S KITCHEN (9 p.m.) returns tonight, and includes a New Jersey caterer Vincent Fama, 30, of Milltown. The contestants will be split up into teams of men and women and one will go home before the premiere is over.
Even more important is the season finale of FX's THE RICHES (10 p.m.). A seriously amazing drama that I've been hooked on. We'll talk more about it tomorrow.
Also new: Inside the Actors Studio with Julia Louis-Dreyfus; Oil, Sweat and Rigs on Discovery; Monday Night Raw on USA.
Late night? Try CONAN (NBC) who has Paul Rudd and Kings of Leon.
Endgame
LET THIS BE A WARNING. IF YOU LOOK BELOW THIS LINE I'LL HAVE RUINED THIS WEEK'S SOPRANOS FOR YOU. PLEASE DON'T MAKE ME THE TiVO POOPER.
So after years and months and weeks (in whichever order of those you choose) it's here.
Something is HAPPENING on the Sopranos. And, so far anyway, it looks like the big action packed ending that fans are likely waiting for. After a slow plod through the last three seasons the Soprano family is at war with New York. We lose two characters that I don't believe anyone could have seen losing.
But, oh, wait, we have to deal with Dr. Melfi first. Tell me if I'm wrong, but does she bring the show down or what?! Not only is she my least favorite character (and actor) on the show, but her stories are always so boring and useless.
But she's got guilt and that's our problem, apparently. It's caught up with her after seven years. Finally. She abandons Tony after finding out she may just be enabling him and not helping. I mean, he fits everything in her medical journal to a T. Sure took her a while to notice didn't it? Anything he may do in next week's finale will still be on her head.
Of course, losing his 2nd Carmella (as he pointed out she really was) set him off more than anything else. Speaking of Carmella, she's been pretty annoying, too. Both of them have succeeded in enabling Tony more than enough throughout the years.
On the fringes this week: The sage Agent Whatshisname was more entertaining than ever; Paulie being in charge of the hit is an obvious recipe for disaster, but there's never been such on odd place for comic relief on this show; Janice, while useful to the story for once in her life brought the buzz down yet again (though the Junior storyline is intriguing, though it won't ever really go anywhere... it'll be sad when he's in public housing, but his story closed up a few weeks ago); Meadow remained blissfully unused (besides fodder for the boorish Tony/Melfi story).
Anyway -- the real story. (Which, side note, seems to be really crammed into this episode. It's almost like it doesn't belong after all this time. Even the editing of the show suggests a cramming of content.)
Phil puts a hit on Tony, Bobby and Silvio. Tony puts a hit on Phil. Tony's crew fails miserably. Phil's goes two for two with another at-bat on its way, it seems. What looked like a good position for the Jersey boys turned out to be a big wash. It had me going, I'll admit. But with Tony holed up in a house somewhere, surrounded by what's left of his crew, the odds are pretty staggeringly grim.
As far as Bobby and Sil go -- I don't think they could have picked anyone else that would have made me sadder. They've consistently been strong characters for the show and, seriously, who doesn't love Bobby? Their deaths were both sadly ominous and messy. It's sad to see them both go out like punks -- no chance to defend themselves, Bobby innocently just buying a set of train cars like the big teddy bear he is -- but that's how things are in their world. I'm glad at least they let Bobby be himself and didn't try to bulk him up by inserting him into the battle that's coming. He really never was a thug. Neither was Silvio, to be honest. He was more of a smooth hit man type. He just wasn't prepared.
It's been a long time since the end of a Sopranos episode has had me on the edge waiting for next week. I suppose it's as good a time as any. At the beginning of the season I would have easily bet you there'd be no payoff next week. Now I'm not so sure. The show has painted a beautiful picture and it's ready to smash it over its viewers' heads like a coffee pot (season one or two, I think... great scene).
It seems everyone may have a part in this ending. (Side note 2: It's odd and somewhat fitting that the biggest headache as far as loyalty goes that Tony has had up until now -- Paulie -- is the only right hand he has left). Even AJ, whose lame story up until now this season may turn out to have a point after all.
As far as exactly what's to come, I don't think it'll matter. I think what will matter is that there'll be some finality to the show. And that may be the most surprising thing of all to some people.
So after years and months and weeks (in whichever order of those you choose) it's here.
Something is HAPPENING on the Sopranos. And, so far anyway, it looks like the big action packed ending that fans are likely waiting for. After a slow plod through the last three seasons the Soprano family is at war with New York. We lose two characters that I don't believe anyone could have seen losing.
But, oh, wait, we have to deal with Dr. Melfi first. Tell me if I'm wrong, but does she bring the show down or what?! Not only is she my least favorite character (and actor) on the show, but her stories are always so boring and useless.
But she's got guilt and that's our problem, apparently. It's caught up with her after seven years. Finally. She abandons Tony after finding out she may just be enabling him and not helping. I mean, he fits everything in her medical journal to a T. Sure took her a while to notice didn't it? Anything he may do in next week's finale will still be on her head.
Of course, losing his 2nd Carmella (as he pointed out she really was) set him off more than anything else. Speaking of Carmella, she's been pretty annoying, too. Both of them have succeeded in enabling Tony more than enough throughout the years.
On the fringes this week: The sage Agent Whatshisname was more entertaining than ever; Paulie being in charge of the hit is an obvious recipe for disaster, but there's never been such on odd place for comic relief on this show; Janice, while useful to the story for once in her life brought the buzz down yet again (though the Junior storyline is intriguing, though it won't ever really go anywhere... it'll be sad when he's in public housing, but his story closed up a few weeks ago); Meadow remained blissfully unused (besides fodder for the boorish Tony/Melfi story).
Anyway -- the real story. (Which, side note, seems to be really crammed into this episode. It's almost like it doesn't belong after all this time. Even the editing of the show suggests a cramming of content.)
Phil puts a hit on Tony, Bobby and Silvio. Tony puts a hit on Phil. Tony's crew fails miserably. Phil's goes two for two with another at-bat on its way, it seems. What looked like a good position for the Jersey boys turned out to be a big wash. It had me going, I'll admit. But with Tony holed up in a house somewhere, surrounded by what's left of his crew, the odds are pretty staggeringly grim.
As far as Bobby and Sil go -- I don't think they could have picked anyone else that would have made me sadder. They've consistently been strong characters for the show and, seriously, who doesn't love Bobby? Their deaths were both sadly ominous and messy. It's sad to see them both go out like punks -- no chance to defend themselves, Bobby innocently just buying a set of train cars like the big teddy bear he is -- but that's how things are in their world. I'm glad at least they let Bobby be himself and didn't try to bulk him up by inserting him into the battle that's coming. He really never was a thug. Neither was Silvio, to be honest. He was more of a smooth hit man type. He just wasn't prepared.
It's been a long time since the end of a Sopranos episode has had me on the edge waiting for next week. I suppose it's as good a time as any. At the beginning of the season I would have easily bet you there'd be no payoff next week. Now I'm not so sure. The show has painted a beautiful picture and it's ready to smash it over its viewers' heads like a coffee pot (season one or two, I think... great scene).
It seems everyone may have a part in this ending. (Side note 2: It's odd and somewhat fitting that the biggest headache as far as loyalty goes that Tony has had up until now -- Paulie -- is the only right hand he has left). Even AJ, whose lame story up until now this season may turn out to have a point after all.
As far as exactly what's to come, I don't think it'll matter. I think what will matter is that there'll be some finality to the show. And that may be the most surprising thing of all to some people.
Sunday, June 3, 2007
What's on: Sunday
So the networks have nothing for you tonight. Nothing at all, unless you're looking for a commercial-laden Bad Boys II. But no one watches movies on TV anymore.
Let's see. Comedy Central has the premiere of LARRY THE CABLE GUY: MORNING CONSTITUTIONS (8 p.m.)... an hourlong comedy special. If you wanna call what Larry does "comedy."
Then, obviously, there's the penultimate THE SOPRANOS (HBO/9 p.m.) and the season finale of ENTOURAGE (10 p.m.). Don't worry. Entourage is only taking a week off for the premiere of John from Cincinnati. If you want to get technical this is the end of the second half of the third season of Entourage and you'll see the fourth season kick off on June 17. As for Sopranos, there's nothing I can do to make you feel better. There's only two episodes left.
Oh, yeah. The MTV MOVIE AWARDS (8 p.m.) are back tonight, too. Live for the first time incidentally. That's the only reason I'm TiVoing it. This stopped being a viable television watching option to me years ago. I quit my job to get the night off to see this when I was 15. Wow, what a dweeb I was.
Also new: The Tudors on Showtime... and... um. Yeah, that's all
Let's see. Comedy Central has the premiere of LARRY THE CABLE GUY: MORNING CONSTITUTIONS (8 p.m.)... an hourlong comedy special. If you wanna call what Larry does "comedy."
Then, obviously, there's the penultimate THE SOPRANOS (HBO/9 p.m.) and the season finale of ENTOURAGE (10 p.m.). Don't worry. Entourage is only taking a week off for the premiere of John from Cincinnati. If you want to get technical this is the end of the second half of the third season of Entourage and you'll see the fourth season kick off on June 17. As for Sopranos, there's nothing I can do to make you feel better. There's only two episodes left.
Oh, yeah. The MTV MOVIE AWARDS (8 p.m.) are back tonight, too. Live for the first time incidentally. That's the only reason I'm TiVoing it. This stopped being a viable television watching option to me years ago. I quit my job to get the night off to see this when I was 15. Wow, what a dweeb I was.
Also new: The Tudors on Showtime... and... um. Yeah, that's all
Friday, June 1, 2007
Sorry geeks.
Another show to complain about not having anymore...
The upcoming fourth season of Sci Fi Channel's "Battlestar Galactica" will be its final one after all.Full article here. I've never had the chance to watch the show, but I've heard great things about it and it's on my list of shows to Netflix this summer. This will make catching up easier.
After months of speculation, the show's producers will make the announcement at a press conference Friday.
Ending "Battlestar" with the upcoming 22-episode fourth season was a creative decision made by the show's executive producers Ronald Moore and David Eick.
"This show was always meant to have a beginning, a middle and finally, an end," Eick and Moore said in a statement Thursday. "Over the course of the last year, the story and the characters have been moving strongly toward that end and we've decided to listen to those internal voices and conclude the show on our own terms. And while we know our fans will be saddened to know the end is coming, they should brace themselves for a wild ride getting there - we're going out with a bang."
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