Author: Christopher Glotfelty (Page 7 of 17)

Dancing with the Stars 9.12 — Round Six

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Last week, one of the stronger dancers was eliminated because America likes to reward inadequacy. It’s troubling to a new viewer such as myself who is more interested in the show’s competitive aspects. When Natalie Coughlin got the boot, I realized this show couldn’t be both entertaining and fair. If the producers wanted to acknowledge talent, the judges would decide the outcomes. Voters calling in currently affect half the decision, and this was enough to eliminate Natalie Coughlin before a weaker dancer like Kelly Osbourne. It was sad and stupid. The judges looked betrayed. They had probably expected Natalie to face Mya in the finals. Now, because America consistently roots for the underdog, that won’t happen. The show should lower the influence on the voter’s percentage and reduce the number from 50 percent to 25 percent. Don’t even tell the viewers. Just do it. I can’t believe Michael Irvin is still in this competition. I mean, what is wrong you people? You really wanted to watch him dance over Natalie? Give me a break.

Nine couples remain. At this rate, we should be done by the Super Bowl.

Team Dances

Mya with Dmitry Chaplin (jitterbug)

Here’s the problem. The judges actually give the talented dancers harsher criticism. When the weaker celebrities perform, they pepper their low scores with compliments. The viewers aren’t really paying attention to the scores, but to what the judges say. Therefore, when they hear negative comments, they automatically assume the dance was bad. This constantly happened with Natalie Coughlin and she was prematurely sent home. Mya is easily the most skilled dancer out of the celebrities. The judges know it, but they’re not expressing it clearly enough. If they want Mya to stay, they need to voice their praise.

Melissa Joan Hart with Mark Ballas (waltz)

Man, Natalie Coughlin would have owned this dance. Melissa is so stiff. Her partner is pulling her along like she’s on a rope.

Mark Dacascos with Lacey Schwimmer (jitterbug)

The judges better give this one high scores. The dance had character, energy, chemistry, and humor. I don’t know. Of all the dances I’ve seen this season, this was my favorite.

Aaron Carter with Karina Smirnoff (waltz)

They’re dancing to “Once, Twice, Three Times a Lady” by the Commodores. Seems like a strange choice to me. Carter did a good job with the steps, which appeared complicated. He just takes this show so seriously. I always feel like he’s going to burst into tears when he gets a negative comment.

Michael Irvin with Anna Demadova (waltz)

Why was this dance so funny? Was it because he kept smiling while performing a dumbed-down version of the waltz? He legitimately looks like he’s enjoying himself out there, but his dances are never impressive.

Kelly Osbourne with Louis Van Amstel (jitterbug)

I agree with what the judges said. Kelly is never completely confident or comfortable. It’s a little too late to harness her talent. Still, I don’t think she has the ability to compete with Mya, Mark, or Donny.

Louie Vito with Chelsie Hightower (jitterbug)

I thought Louie would be dominating by now. He was very entertaining in the first two rounds, but has lost some steam. Like Kelly, he is one of the crowd favorites, but that means less and less at this point in the competition. This jitterbug was all over the place. I was fond of all the acrobatics, but not the occasional sloppiness.

Joanna Krupa with Derek Hough (waltz)

Somebody please tell me who originally performed this song! It feels very familiar to me. As for the dance, I appreciated it. Joanna and Derek reminded me of an old married couple rather than two bubbly youngsters.

Donny Osmond with Kym Johnson (jitterbug)

Each week, I’m surprised by Donny’s performance. I always expect an unenthusiastic and stiff routine, but that never happens. He knows how to entertain a room in a way the other celebrities are yet to master. You forget about his footwork because you’re watching Donny and Kym as a team. They work and dazzle as a unit. It’s hard to critique Donny when you’re focused on both dancers.

Group Mambo

All of the couples will start on the floor together. The judges will gradually eliminate the couples until the best remains.

Below is the order of elimination, which affects their overall score.

1. Michael and Anna
2. Louie and Chelsea
3. Melissa and Mark
4. Kelly and Louis
5. Mark and Lacey
6. Donny and Kym
7. Aaron and Karina
8. Mya and Dmity
9. Joanna and Derek

Did anybody notice the move where Derek bent Joanna in an awkward position, then thrust her up and down as if she were (you know)? I can’t believe they put that on camera.

Michael Irvin or Melissa Joan Hart are finished tomorrow. It’s time.

Curb Your Enthusiasm 7.6 — The Bare Midriff

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I’ve seen every second of “Curb Your Enthusiasm” and I can easily say that this was the most ridiculous episode yet. I don’t mean “ridiculous” as in “stupid,” but as in “incredibly zany.” During the filming of “The Bare Midriff,” I’m sure the cast and crew thought to themselves, This is too bizarre — even for us.

“Curb” has always wrapped up its seasons after 10 episodes, so we expected this one to tap back into the “Seinfeld” reunion. Larry only has five more episodes to destroy everything in sight.

Larry’s still trying to win Cheryl back, and part of the plan involves casting her as George’s ex-wife. As luck would have it, Meg Ryan has dropped out due to scheduling conflicts. Larry suggests using Cheryl, but Jerry isn’t too keen on the idea. He wants her to read for the part.

In walks their young secretary, who’s tiny shirt exposes her bare, flabby midriff. While fixing a tricky air vent, her paunch seems even more inappropriate. It’s decided that Larry needs to tell her to cover up. He does, but manages to completely offend her in the process, so she quits.

The two friends leave to meet Richard Lewis for lunch. After Jerry is cut off while driving, he gives the other driver a gentle honk. Bad idea. The guy get out of his car and rips into Seinfeld.

Over at the restaurant, Lewis shows up after Jerry and Larry have already finished eating. Lewis still wants to order, but his friends are in the midst of an inane discussion about who should have to move over to make room. Lewis gets fed up and leaves. Nobody wants to be around these jokesters.

After an awkward encounter with Cheryl outside the studio, Larry has to face an upset Julia Louis-Dreyfuss. The girl who quit, Maureen, is the daughter of one of Julia’s past nannies. The woman has suffered some kind of breakdown and doesn’t need the added stress. Ever the peacemaker, Larry goes to set things right. Maureen agrees to come back to work, even though they don’t resolve the issue of the flab. Maureen’s mother soon returns from the market and nearly faints when she notices Larry. She thinks he looks exactly like her first husband who, in fact, was murdered on their honeymoon after honking at the wrong driver. (Wasn’t Jerry lucky?) Larry inspects an old photo of the guy and isn’t convinced: Not all bald men look alike. He excuses himself to the bathroom. Due to a new pill, his urine stream is uncontrollable and liquid is splashing everywhere. One sneaky drop even manages to land on a portrait of Jesus, just under an eyelash. Larry senses disaster.

Richard Lewis calls Larry to sound off about the restaurant catastrophe. He had wanted to give Larry a signed bat from Joe DiMaggio. While exchanging some final pleasantries, Larry loses his cell phone connection. Lewis expects a call back, but Larry doesn’t think it’s necessary. I wouldn’t call back. Guys don’t need to hear the “goodbye.” I’d be fine if everyone finished their conversations by saying, “end.”

Sure enough, Maureen and her mother interpret the wet portrait of Jesus as a miracle. Maureen informs Jerry and Larry that she is quitting in order to devote her life to Jesus. Larry knows what’s up: I think every erection is a miracle.

At a local Italian restaurant, Larry orders a sandwich and jams a bunch of napkins into the to-go bag. The owner limits all his customers to two napkins and instructs Larry to return the extras. When the owner’s back is turned, Larry takes them anyway. Unfortunately, he’s pulled over by a cop who had heard of the “theft.” Larry is taken to the police station and is forced to stand in a line-up. Apparently, all bald men do look alike as the owner can’t distinguish Larry from another bald man, who is African American.

Larry is late in meeting up with Maureen and her mother. He was supposed to co-sign on the RV papers so they could travel across the country on their religious mission. Maureen’s mother has let him drive her deceased husband’s car. On the road, Larry notices Richard, and honks at him to pull over. Naturally, she starts to panic. When Richard takes out the DiMaggio bat — his gift to Larry — she rams him with the car. Don’t worry, Richard is fine.

It is the final scene which is bit too wacky for my taste. Larry can’t get back into the studio to use the bathroom, so he is forced to pee outside. When Maureen and her mom show up to grab some things from the office, they instantly hear the strange noise. They follow the sound and discover Larry hosing down a bush. A wayward drop smacks Maureen in the face and it’s a thing of beauty. The family quickly realizes what happened with the Jesus portrait. Of course, Larry pissed on Jesus.

The unstable mother can’t take it. She somehow gets on the roof and walks to the ledge. Larry and Maureen also scale the building, despite their physical misgivings. Larry saves the mother, but loses his balance in the process. He fumbles over the side of the building, but latches onto something. It’s Maureen’s stomach.

NBC wants more comedies?

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In these tough economic times, networks are looking to the sitcom to boost both the American spirit and their ratings (not necessarily in that order). NBC one again rules as the comedic king of Thursday nights with a solid lineup consisting of “Community,” “Parks and Recreation,” “The Office,” and “30 Rock.” I’m reminded of NBC in the 90s, when Thursday nights featured “Frasier,” “Mad About You,” “Friends,” and “Seinfeld.” Comedy has always been NBC’s forte, so the network’s recent moves come as no surprise. Discounting “The Jay Leno Show,” NBC only airs comedy during primetime on Thursday. Given their success in that genre, the network has inked deals with Adam Carolla (“The Man Show”), Bill Oakley (“The Simpsons”), and Aaron McGruder (“Boondocks”).

The Carolla project will feature the comic as a contractor and father whose life is turned upside down when his wife leaves him. Carolla is set to exec produce the multicamera sitcom along with Kevin Hench, as well as Jimmy Kimmel, Daniel Kellison, Gail Berman and Lloyd Braun.

Comedian also knows a thing or two about being a contractor, having worked in the construction industry before his big break as a radio personality on radio station KROQ. Universal Media Studios is behind the project, along with Jackhole Industries and BermanBraun.

As for the Cheadle/McGruder comedy, project revolves around mismatched brothers who reunite to open a private security company.

Universal is producing, along with Cheadle’s Crescendo Prods. label (which includes partner Kay Lieberman). McGruder, who’s writing, is EP with Cheadle and Lieberman. Project has a script order at the Peacock.

For the Oakley project, scribe will exec produce along with Dave Bartis and Doug Liman. Laffer centers on the youngest judge in a circuit courthouse.

I don’t know where NBC is going to find room for these shows. Obviously, Thursday nights are out of the question. The network can try their hand at competing with the CBS comedies on Mondays or the ABC comedies on Wednesdays. I would say Tuesday nights, but “The Biggest Loser” already takes up the two-hour block.

Rob Corddry has his day

During it’s preliminary run, Rob Corddry’s “Children’s Hospital” was hosted by TheWB.com and drew admiration from critics and fans alike. Now the sitcom is getting picked up by Cartoon Network, which plans to air the first season and subsequent new episodes during its Adult Swim block.

Although “Children’s Hospital” is heading for greener pastures, the WB has still decided to tap Corddry for other projects.

Under terms of the exclusive deal, Corddry will create, exec produce and star in a pilot presentation for the studio.

Warner Bros. has set aside money for Corddry to shoot a project, which would then be shopped to the networks.

Corddry said he’s penning an “unconventional family comedy” in which he’ll play the father; the show will be set in an off-kilter world. Like his hit Web series “Children’s Hospital,” which parodied hospital dramas like “Grey’s Anatomy,” the show also will be a parody, this time on the family laffer.

As for “Children’s Hospital,” which earned critical acclaim during its original 10-episode run on TheWB.com, the sitcom is about to make the transition to the TV screen.

Cartoon Network’s adult-targeted Adult Swim latenight block has picked up the show’s Web run — 10 episodes at five minutes each — and has ordered a second season of 12 new episodes (at an extended 11 minutes each) to run next year.

Meanwhile, Warner’s TheWB.com digital platform has ordered a new Web series from Corddry and his brother Nate (“Studio 60 on the Sunset Strip”) that center on the siblings as an unlikely rock band.

The mockumentary will feature the brothers as they decide to exit show business in order to pursue their real passion as rock stars — in the style of the Bacon Brothers.

Good to hear that Corddry is back on his feet after “The Winner” bombed. I really enjoyed the first ten episodes of “Children’s Hospital,” which showcased his clever, strange, and goofy sense of humor.

Dancing with the Stars 9.11 — Round Five Results Show

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Each team exceeded my expectations last night. The judges were the most generous they had been in weeks. For the first time all season, nobody received a score under 20.

Tonight’s results show will feature a tribute to Michael Jackson, which will be a bonus if you’ve never seen the professional dancers strut their stuff.

With last night’s powerful dance, Donny Osmond rose to the top of the leader board after receiving a 29 for his Argentine tango. Len Goodman has asked that Donny and Kym tango once more. Osmond’s progressing at the same pace as Mark Dacascos and I expect both of them to be in the final four.

I feel like I haven’t seen Norah Jones in at least 15 years. But here she is, playing a moody organ over a downtempo jazz beat. I’d like to date a cute female musician who sings beautifully and wears nice dresses.

I don’t know what dolts are calling in and voting. How could Micahel Irvin get more votes than Natalie Coughlin? I mean, does anybody notice how hot she is? No, really, she’s a way better dancer.

Norah Jones plays guitar, too. She’s actually pulling off some pretty sweet licks. “Come Away with Me” is one of her hits, but this is the first time I’ve heard it. It’s not half bad.

This “tribute in dance” to Michael Jackson is fun. It seems impossible to put something like this together in a week. On top of this big choreographed performance, the professionals also had to practice not one, but two routines for the previous night’s show. Whatever. I’m sure they get paid more than enough.

America, you are one giant idiot. How the hell did Aaron Carter and Natalie Coughlin wind up on that podium? The judges are shocked as well. Natalie quickly became one of my favorites, and not just because she’s extremely pretty. She’s easily the second-best dancer in this competition. Also, she’s gracious, kind, and really wants to be there. So, Michael Irvin, Melissa Joan Hart, and Kelly Osbourne are better dancers than Aaron Carter and Natalie Coughlin? Really? Fools. I’m going to be extremely disappointed if Natalie is sent home.

Natalie just got screwed. So stupid.

This show is a joke.

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