Year: 2006 (Page 7 of 228)

Trapped like an animal

Wow. I have to say that I totally didn’t see that coming. Michael killing Bodie, that is, but it definitely helps with keeping Marlo the boss for the time being. It doesn’t really matter how many bodies Lestor finds now, because he only needs one to put Marlo away for good, and it looks like he’s finally going to get the real help he needs with the return of Keema and McNulty to Major Crimes. Of course, Landsman would much rather Lestor stop adding red names to their clearance rate, but now that Chris and Snoop have been picked up by the cops, their luck might finally improve.

The return of McNulty is perhaps the bigger story, since fans have been clamoring for more of Dominic West since his unusual disappearance at the beginning of the season. Word is that he was off shooting the film “300” with Zack Snyder and will be back in full force for the final season. It certainly looks that way, anyhow, especially after finding out that he’s partly responsible for the death of Bodie, who was seen with McNulty by one of Marlo’s men. Of course, they didn’t really know that Bodie had agreed to snitch for McNulty, but their suspicions proved to not only be right, but it also set up Michael’s first kill. Now, Michael has been promoted, and has even been given his own corner to work.

To make matters worse, Marlo looks ready to move in and take control of Prop Joe’s co-op. After the stash was stolen by Omar last week (who then deals it back to Joe), Marlo doesn’t seem to believe the story and asks for a meet with the supplier. I’m not sure if anyone else was expecting this, but I had a sinking feeling that the Greek wasn’t done doing business in the city of Baltimore, and it seems to be true. Paul-Ben Victor is back as the Greek’s right-hand man, and it’ll be interesting to see what position he plays in the eventual downfall of Marlo Stanfield.

And in a twist of fate, it’s Duquan that seems to have hooked up with Michael as a corner boy, selling drugs instead of attending high school. I was almost certain that it would be Randy, since he’s so much like Stringer Bell, but he’s been thrown into a group home where everyone knows he’s a snitch. The future doesn’t look too bright for him. Then again, when has the future ever looked bright on “The Wire”?

Battlestar Galactica: “The Passage”

Before I dive into this week’s episode, I have to comment on what has become a growing (and disturbing) trend on television – overlay graphics. I’ve learned to live with the station identifier. After all, the Sci-Fi channel has a right to watermark “Battlestar Galactica” to give themselves some publicity if the show is recorded and traded over the internet. But this week, above the “Sci-Fi” overlay, there was another graphic – “The Lost Room: Premieres Monday” – that was there the entire episode. I’m not fond of advertisements during the actual episode, but I’ve also learned to live with the occasional in-show advertisement promoting another program, but this graphic was there for the entire show. Combined with the channel identifier, the two took up the bottom sixteenth of the screen, and that is simply too distracting to the eye.

Now, back to business. I had a feeling we were watching Kat’s epitaph once her storyline started and after Apollo explained how those radiation badges worked. At that point, I figured someone was going to die (or be on the brink of death), and it might as well be her. I’m not sure why she decided to basically commit suicide. It wasn’t to avoid telling the Admiral about her shady past, because she was willing to do just that when she was on her deathbed. Anyway, I’ve grown to like her character. She was the one person who could really get under Starbuck’s skin and she wasn’t afraid to call Cara out when she was being irresponsible. We’ll miss ya, Kat.

This episode was Gritty (with a capital “G”). Hunger, vomit, losing hair to radiation poisoning – you never saw this subject matter on Star Trek. I do wish that they had touched on the food shortage leading up to this episode. Last week, everyone looked pretty nourished as they punched each other over and over in the ring. I’m assuming more than a week passed between episodes, but it was still a little jarring to go from the boxing episode to a “gotta feed the fleet” episode.

Dr. Baltar returned this week and seems hell bent on discovering if he’s a Cylon. Xena keeps killing herself over and over so she can experience the time between death and rebirth, but all she has to show for it are a few Picasso-like sketches. Obviously, those scenes were just a setup for a future episode, so it will be interesting to see how that pays off.

It looks like next week is the “Fall Finale,” and the series will pick up again in late January and run thru March. The creators have always done a nice job with the season breaks, so it should be a good episode.

Tribeca giveaway: win tickets to see “The Good Shepherd” and “Charlotte’s Web”

Okay, you hip Noo Yawk kitties: your boy Bobby DeNiro is offering a chance to attend the screenings of both Bobby’s new flick “The Good Shepherd” (December 12) and “Charlotte’s Web” (December 16), which features the Biggest Star on the Planet, Dakota Fanning. To enter the contests, click here, but do it soon: the deadline for “Shepherd” is noon on 12/11 and the deadline for “Charlotte’s Web” is 12/13. Good luck, and give Bobby a playful kiss of death for us.

Ruben Studdard opens modeling agency for plus-size women

Based in his home state of Alabama, the former “American Idol” winner’s agency is said to specialize in what Ruben calls “real girls,” rather than the stick-thin creatures who appear in most ads and music videos.

Explaining the philosophy behind his new agency, the Velvet Teddy Bear replied, “I like big butts and I cannot lie/You other brothers can’t deny/That when a girl walks in with an itty bitty waist/and a round thing in your face/you get sprung…My anaconda don’t want none/Unless you’ve got buns, hon…”

Ruben then added that fat bottom girls make the rockin’ world go round.

Product placement at its finest

They have a product. Her need for that product couldn’t possibly be more apparent. And so, behind the scenes, a lucrative deal was clearly struck between a lingerie company and a fallen pop idol.

The result? This quote from Britney Spears, apologizing for frightening small children with her recent, omnipresent crotch shots, and implying (though not promising) that it won’t happen again:

“Every move I make at this point has been magnified more than I expected, and I probably did take my new found freedom a little too far. Anyway, thank God for Victoria’s Secrets’ new underwear line! I look forward to a new year, new music and a new me.”

Subtle, isn’t it? That’s how good product placement works: they slip that brand name right in there nice and casual-like, in a context that makes sense…so that no one in the audience takes the time to stop and wonder why Britney Spears is mentioning a major consumer retailer in her public pronouncements just in time for the holidays.

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