Author: John Paulsen (Page 13 of 79)

A few updates from Ausiello’s cheat sheet

Michael Ausiello is keeping track of all the cancellation and renewal news. Here are a few updates:

Castle: Could go either way. Now a safe bet.
The Unit: A long shot. Now hearing it’s a goner. Back to being a long shot.
Dollhouse: Could go either way. Now hearing it’s a long shot.
Fringe: Sure thing. Now officially renewed.
Chuck: Could go either way. Now a safe bet. (Yay!)
Life: A long shot. Now hearing it’s a goner. Now officially canceled.
Medium: Safe bet. Reportedly renewed for 13-16 episodes.
Southland: Sure thing. Officially renewed for 13 episodes.

I gave up “Life” last season when it failed to stand out, and I gave up on “Chuck” this season as it got too repetitive and silly. I know that there are a lot of “Chuck” fans out there that will be happy to see that it will likely return in the fall. “Medium” has been good this season and deserves renewal, as does “The Unit,” though it’s worrisome to hear that it’s a long shot.

Great Actors: Callie Thorne

A couple of years ago, when I wrote a post entitled “Bad Actors: Tina DiJoseph,” which was dedicated to the “Medium” actress who plays Lynn DiNovi, a few readers (mostly her friends and family) said I was “negative” and “cruel,” but I just call ’em like I see ’em.

And when I watched this week’s episode of “Rescue Me,” I saw one of the best performances I’ve seen in a long time. I’ve admired Callie Thorne’s work on the show since the start, and now that her (wonderfully nutty) character, Sheila, is no longer dating and/or sleeping with Tommy Gavin, she hasn’t gotten as much screen time over the past couple of seasons, and the show has suffered because of it. (Don’t get me wrong — this season has been great, but there was a stretch there when I was wondering if the creators had a plan to wrap things up.)

Anyway, on this week’s episode, appropriately titled “Sheila,” Thorne is a tour de force. Her first scene is with her son, Damien (played by Michael Zegen), and the two are having lunch in a restaurant discussing Damien’s decision to become a fireman instead of finishing his studies at NYU. Sheila is understandably concerned and frustrated with this decision, and she hides those emotions for a while under the guise of “new Sheila.” But when Damien insists that Tommy guide him through the academy (instead of Mike the Probie), she flips out and goes on a minute-long rant about how spoiled and ungrateful he is.

Later on, she’s at the firehouse and runs into Tommy. She starts off by not speaking to him (because she’s angry about his failure to tell her about the news footage that proved that her husband died in the second tower, not the first), but with Tommy being Tommy the two start to argue. She goes off on him for being a closed-off prick and punctuates the scene by kneeing him in the balls.

Finally — and this scene is really the kicker — Sheila does an interview for a French journalist about what was going through her mind on 9/11. The revelation that her husband died in the second tower almost has a calming effect on her, and she dives into a four-minute monologue that is as touching, emotional and well-acted as any four minutes that I’ve seen in a long time.

For the first few seasons, I was rooting for Tommy and Sheila to end up together, mainly because I wanted to see her character find happiness, but now I hope she finds it somewhere else. It’s clear that Tommy just isn’t loyal or dependable enough for her, and her story arc this season has been about her exploration into why she is (or was?) so obsessed with him. Yes, Sheila has her flaws — after all, she drugged and (pretty much) raped Tommy and almost killed him in the house fire — but, hey, she just has a lot of love to give, right?

Unfortunately, the episode isn’t up on Hulu yet, but it’s an Emmy worthy performance, so catch it if you can.

Producers of “The Wire” focus on New Orleans

HBO is ironing out the details on a deal for “Treme,” the latest project by “The Wire” producers David Simon and Eric Overmyer.

“Treme” centers on New Orleans residents – including musicians and a restauranteur – living in the city’s Treme district. Show follows the characters as they look to reclaim their lives as the city continues to rebuild.

Simon said he and Overmyer, who lives in New Orleans, had been in love with the city long before the storm — but post-Katrina, knew there was a story to be told.

But, he warned, “Treme” is not “The Wire: New Orleans.”

“We don’t intend to make ‘The Wire’ twice,” Simon said. “This is about people reconstituting their lives after their town was mostly, effectively destroyed… It’s not entirely a political show. We’re trying to be very intimate with people. And New Orleans is completely unique, there’s nothing in the world like it.”

While I’d love to see “The Wire: New Orleans,” I’d be almost as excited about anything this duo produces, especially if it’s on HBO. Production won’t begin until fall, so the network is targeting a spring premiere.

NBC releases fall schedule, no mention of “Chuck” or “Medium”

It looks like we’re not going to find out the fates of “Chuck” and “Medium” until May 19.

NBC unveiled its fall lineup this morning, but conspicuously missing was any mention of bubble shows Chuck, Law & Order, Medium, Life, or My Name is Earl. According to a Peacock insider, a final ruling on the fate of all five shows will come on May 19. (Medium and Law & Order are both expected back; insiders say NBC execs are just finalizing the episode counts.)

The network gave the go-ahead to four new dramas: “Parenthood” (a re-imagining of the film starring Peter Krause), “Trauma” (which follows first-responder paramedics), “Mercy” (a hospital drama that focuses on the nurses) and “Day One” (a post-apocalyptic tale of survival). Of the four, I’m most interested in “Day One.” (After all, is the world really clamoring for more medical dramas?) Here’s the pitch:

From executive producer/writer Jesse Alexander (Heroes, Lost, Alias) and director Alex Graves (Fringe, Journeyman), Day One tells the story of life on earth following a global catastrophe that has devastated the world’s infrastructures. Beginning with the immediate aftermath of the cataclysmic event, an eclectic band of survivors — played by Adam Campbell (Date Movie), Catherine Dent (The Shield), Julie Gonzalo (Eli Stone), David Lyons (ER), Derek Mio (Greek), Carly Pope (24), Thekla Reuten (Sleeper Cell) and Addison Timlin (Cashmere Mafia) — strives to rebuild society as they unravel the mysteries of what happened and face their uncertain future. The group, all residents of one apartment building in suburban Van Nuys, Calif., embarks on a quest for survival and discovers that hope is found in small victories — and heroes are born every day.

Sounds interesting.

The network also greenlighted the sitcom “Community,” which stars “The Soup” host Joel McHale and focuses on a group of community college students.

Prison Break 4.19: “S.O.B.”

I’ve been starting the last few blog entries by examining the name of the episode and how it relates to what went on. This week we have “S.O.B.,” which I believe is aimed at the fact that Mama Scofield is a stone cold bitch.

She was pretty evil this episode, setting up her (adopted?) son Lincoln for the assassination of what’s-his-name. It seems like an awfully elaborate and risky plan when it appears that her goal was to simply get out of the city with Scylla. Why go to all this trouble to frame Lincoln and his cohorts for what’s-his-name’s assassination? She has the secret to unlimited, renewable energy in her pocket and she’s worried about these schmucks?

Midway through Mama’s conversation with Michael, after she dropped the adoption bomb, his focus went from finding Scylla to finding Linc, and I have no Earthly idea why. What’s he going to do, give him one of those Robin Williams/Will Hunting hugs and tell him — “it’s not your fault” — over and over?

“Please, just scratch out my eyes so I don’t have to watch this show anymore.”

It’s nice to have T-Bag back on the opposing team again. He’s just too dastardly to ever be a “good guy,” so this whole audition-to-be-a-Company-liason bit should keep him busy for the rest of the series run. I’m guessing that, at some point, he’ll have an opportunity to redeem himself and will have to make a choice — help himself, or do something positive in this world.

Sara needs to go ahead and tell Michael she’s pregnant. I doubt anyone really thought that Mama was going to shoot her in the back of the head after she went to the trouble of duct taping her hands together. I mean, if you’re going to execute someone, does it really matter if their hands are free?

Anyway, I almost fell asleep during the 15-minute chase scene where Lincoln, Mahone and Don were driving (then jogging) after Mama’s right hand man. It’s amazing that they weren’t able to catch up to him that entire time. After all, the guy was carrying a giant metal briefcase. I stayed awake long enough to see that Mahone called it as a setup, so I’m guessing the next episode or two will be about getting Lincoln out of this jam. We were treated to a few long shots of the bullet casing, so I’m sure that will be the key. (By the way, Linc was right there when the guy placed the casing next to the gun, wouldn’t it occur to him that maybe the sniper was setting him up? Forget about the fact that neither Don nor Mahone elected to call Linc after they figured out the whole thing was a set up. That would be too simple.)

Anything else to cover? I don’t think so. See you next week.

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