Author: John Paulsen (Page 26 of 79)

Which “Heroes” star wants off the show?

Is it Ali Larter or Hayden Panettiere?

Michael Ausiello of EW.com has confirmed an earlier report that one of the two actresses asked out of her contract with NBC.

TV.com goes on to speculate about who it might be.

The actress’ discontent allegedly stems from a lack of camera time, and writers have acquiesced and written in a death scene for the actor’s character should she fly the coop. However, if negotiations don’t work and the actor is retained, writers also have a plan to easily bring back the actress through one of Heroes’ death loopholes (in this case, Claire Bennett’s regeneration abilities and Tracy Strauss’ wonder twin powers).

One would assume that the actress in question would be Larter, who has seen her character be little more than a throw-in this season (ice powers? Boooooring!). On the other hand, red-hot Hayden would stand to gain the most from moving on given her popularity.

My money is on Panettiere. Larter is 32 and has been around the block a few times, at least enough to know that steady, high-profile gigs like “Heroes” don’t grow on trees. Panettiere is just 19 and probably thinks that she’s destined to be the next Reese Witherspoon. TV.com speculated that it might be Larter because she hasn’t gotten very much screen time lately, but the cheerleader’s screen time is down as well from the first two seasons as the show has added more characters and delved into many different storylines. The show is no longer “save the cheerleader, save the world,” is it?

And given the way she treated fellow Premium Hollywood writer Will Harris at a press event, it wouldn’t be any surprise that she’d be acting like a diva.

What I want to know is why is Ausiello playing coy? Why doesn’t he just break the news?

Hmm…maybe he doesn’t know.

“Flight of the Conchords” picks up where it left off

Judging by the first two episodes of the second season of “Flight of the Conchords,” there will be no sophomore slump from the New Zealand folk duo struggling to make it big in New York City. In the second-season premiere, “A Good Opportunity,” Bret and Jemaine fire their manager, Murray, because he’s too busy dealing with another (more successful) band. They immediately get a gig writing a jingle for a commercial and hilarity ensues. Literally.

The second episode — “New Cup” — might have been the best yet. It focuses on all the repercussions of Bret’s decision to purchase a $2.79 mug so that the duo could both have a cup of tea at the same time.

Thus far, it appears that there is a bigger focus on the writing and less of a focus on the music in the second season. The humor was always there, but the writing seems sharper and more directed. While in the first season the musical interludes were quite memorable, they’ve been sort of an afterthought this season. Murray seems to be getting more screen time, and given the hilarious dynamic between he and the duo, it’s definitely not a bad thing. Hell, I chuckle whenever he says the word “Bret.”

If you haven’t checked out “Flight of the Conchords,” the first season is available on DVD. To me, it just may be creeping up on “The Office” as the best comedy on TV.

ABC greenlights “V” pilot

When I was a kid, one of my favorite miniseries was “V,” the story about an alien invasion of Earth. I remember thinking that it was the coolest thing I had seen since “Star Wars.” I watched it again a few years ago and thought it was brutal. Ah, the innocence of childhood!

Anyhoo, according to Variety, ABC has given the go-ahead to a pilot that will re-imagine the ’80s miniseries.

New adaptation of the franchise was written by “The 4400” co-creator/exec producer Scott Peters. Peters is aboard to exec produce along with HDFilms principal Jason Hall. Warner Bros. TV, which was behind the original longform, is producing.

The new “V” centers on Erica Evans, a Homeland Security agent with an aimless son. When the aliens arrive, her son gloms on to them — causing tension within the family.

Like the original, show centers on visitors who say they’ve come to help the Earth — but their motives are nefarious.

“Battlestar Galactica” has set the bar for re-imagined series and I have a feeling that the new version of “V” will be a disappointment. I could never get into “The 4400” — and I love sci-fi — so Scott Peters’ involvement doesn’t fill me with warm, fuzzy feelings. Also, ABC has already bailed on a good alien invasion story — “Invasion” — that had a great cast, so I don’t have confidence that the network knows how to make this kind of story work.

But then again, they gave us “Lost,” so you never know.

Battlestar Galactica 4.14: A Disquiet That Follows My Soul

Politics has always played a major role in this series, but lately it has taken a back seat to the more spiritual storylines as the fleet sought out Earth. But as is often the case, when there’s a spiritual crisis, there are people who would seek to capitalize and attempt to seize power, and that’s just what Tom Zarek tried to do this week.

The disagreement revolved around an FTL upgrade that would require Cylons to board all of the ships in the fleet. The upgrade would (at least) triple the chances of the fleet finding a suitable planet to colonize, but the Cylons want full citizenship in return. Zarek and his supporters don’t want the any part of a permanent alliance with the Cylons.

Strictly speaking, this felt like a setup episode, and was a bit tedious at times. However, there were a couple of major plot points. First, we learned that Tyrol is not Nicholas’ father. I thought for a moment that the father would turn out to be another major (or minor) character, but it turned out to be some dude we’ve never seen before a very minor character, Hot Dog, so it was kind of a letdown. I wonder if this was the plan all along with Nicholas or if it was a last-minute decision by the creators to wrap up his storyline.

The other major revelation was Gaeta’s decision to align himself with Zarek. After Bill nimbly tricked Zarek into giving up the position of the fuel ship, I thought the politicking might be over for a while, but it looks as if Gaeta intends to lead some sort of an uprising. It’s kind of surprising, really – Felix has never been all that popular with the crew, but now he’s going to rally the troops? It just seems odd is all.

Meanwhile, it appears that Roslin has checked out. Given the show’s penchant for twists and turns, it has always been in the back of my mind that she was in fact not the “dying leader” that found a home for the fleet. It will be interesting to see how this storyline shakes out, because more and more it looks as if Bill is taking over control of the fleet’s direction.

Two more things about this episode…

– I loved Baltar’s line at the beginning of his speech: “Are you all just children? Well, obviously, you’re a child.”

– Something is going on with the nurse in the infirmary. When Tigh and Six were looking at the ultrasound and talking about the “future of the Cylon race,” the nurse was looking awfully suspicious. It’s possible that her reaction was meant to characterize the uncertainty of the fleet about its association with the enemy, but I wouldn’t be at all surprised if she tries to do something to Six’s baby.

It wasn’t a bad episode; it was just kind of slow and lacking drama. Based on the scenes from next week, it looks like things will pick up very soon.

“Lie to Me” beats “Lost” premiere

I’m stunned.

Lie to Me pulled in 12.4 million viewers and a 4.9 rating/12 share among the 18-49 demo, but lost a substantial amount of viewers over the course of its 60 minutes. I guess people were waiting for Tim Roth to sing “Somewhere Over the Rainbow.” Lost’s two-hour premiere averaged 11.4 million viewers but grabbed a 5/12 in the 18-49 demo–just barely topping Lie to Me.

Lost’s premiere was down 25 percent from last season in the prized demo, but had more competition in the form of whatever-is-on-behind-American Idol. Surprisingly, the one-hour clip-show of Lost fared fairly well against Idol, raking in 8.4 million and a 3.3/9. Lost’s numbers are expected to go up dramatically thanks to those people in your office who are running around with their hands clasped over their ears screaming, “Don’t tell me! Don’t tell me!” because they’re going to watch it tonight on their DVRs.

This is a classic battle between a procedural show and one with a serialized format. It sounds like “Lie to Me” lost a good portion of its viewers throughout the hour, so it will be interesting to see how the show does next week. Many people watch the premiere of a new show (especially one with as much pub as “Lie to Me” received from Fox) and decide then if they’re going to return the following week. Sounds like more than a few people decided midstream that it wasn’t for them.

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