Author: Will Harris (Page 178 of 261)

Will is a member of the Television Critics Association and has written for Decider.com, the Onion A.V. Club, The Dissolve, Indiewire, Rhino.com, TV Week Magazine, The Virginian-Pilot, Popdose.com, and EW.com along with writing for Bullz-Eye.com and Premium Hollywood.

TCA Press Tour: A Mad, Mad, Mad, Mad Party

There’ve been a lot of fun evenings provided by the various networks thus far on this press tour, but my personal favorite has probably been the one by American Movie Classics. It took place at the famous Friars’ Club, in Beverly Hills, and, in keeping with the theme of AMC’s new series, “Mad Men,” the waitresses wore short black dresses and bouffant wigs, offering up Old Fashioneds for the attendees. (I myself had several, and it may well now be my new drink of choice.) I didn’t really get to explore the club a great deal – the upstairs level was cordoned off after a short while in order to make a haven for the “Mad Men” cast – but I did pop up briefly and see the famous pool table on a bed of sand, so the members can smoke without incident, as well as several walls worth of photos of members. (In particular, I saw George Burns’s photo, which made me grin.)

I ended up speaking with “Mad Men” cast member Vincent Kartheiser for a few minutes – you probably best remember him as Angel’s son, Conor, on “Angel” – as he gnawed on a cigar and mused about things were better back in the ’60s for “guys like us.” I think he was kidding…but, then again, he seemed vaguely tipsy as, moments later, he spotted the absence of a drink in my hand and literally demanded that I remedy the situation. “Drink up! It’s free, right?”

True, that.

I also had a chance to speak with Charles Collier, AMC’s Executive VP and General Manager, and I had only one question for him: “How does a network called American Movie Classics reconcile itself with airing a film like ‘Catwoman’?”

Thankfully, Mr. Collier took it in the good-humored spirit in which it was intended, clapping me on the shoulder and saying, “I’ve got an on-the-record answer for you and an off-the-record answer for you.” Well, of course, I’m not getting myself in hot water by providing you with the off-the-record answer – although, to be fair, it was highly innocuous as off-the-record answers go – but as to the on-the-record one, basically, he said it helps the network fill out programming for things like, say, a Halle Berry week or a Sharon Stone week.

“Or,” I helpfully suggested, “an all-kitsch week?”

“Absolutely,” he said, with a grin.

The evening’s entertainment, by the way, was provided by Jeff Goldbum, who performed piano within a jazz quintet. There’s something markedly surreal about seeing the lanky Goldblum bouncing away at the keys as he bops his way through covers of TV themes like “77 Sunset Strip” and “Bonanza,” but they sure sounded good.

Naturally, a few people said something to the effect of, “Well, now that ‘Raines’ has been cancelled, at least he’s got the music to fall back on.” Well, that’s true. On the whole, though, I’d rather have “Raines” back. That show absolutely didn’t get a fair shake. I know it’s because people couldn’t figure out what was different between it and a show like, say, “Ghost Whisperer,” but, still, there was so much more to it that should’ve been explored. I’m still pissed it got buried as a mid-season replacement rather than be given a fall berth.

Oh, well. Too late now. Goodnight, everybody!

TCA Press Tour: USA! Sci-Fi! Bravo!

I’ve gotta give the USA Network their props: ever since they picked up that new slogan of theirs – “Characters Welcome” – they’ve really come up with some enjoyable series. “Monk” is great, of course, and “Dead Zone” is about ten times better than you’d ever have thought it’d turn out to be…and while I tend to find “Psych” annoying more often than not (it’s a great premise, but I just think that James Roday plays his character as obnoxious to the Nth degree), I’m really loving the network’s latest original, “Burn Notice.” But, then, what’s not to like about a series which includes Bruce Campbell in its cast, right?

Coming soon to the network is another series which looks like it’s got a lot of potential, possibly because it’s another series than seems to effortlessly blend comedy and action: “In Plain Sight.” Plus, in what’s turning into a very pleasant trend, it’s another series with a strong female lead. P.S. She’s cute, too!

Says Mary McCormack, who plays said heroine, “It’s a great tomboy role and I’ve been looking for it forever and ever and ever, so I’m thrilled with that and I can’t wait to beat a bunch of people up, but she’s not always good at it, which I think is really refreshing. I think she’s not a superhero, which is what I love about David’s writing: that he wrote sort of how an actual person might fight or, you know, an actual person in that job might be called upon to use their physical side, but she’s not always good at it, which I love. It’s sort of how David manages somehow to keep it based on reality, which is so refreshing, I think.”

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TCA Press Tour: History – Fact and Fiction-ish

The next two panels of Sunday were both historical in a way: The History Channel brought us “1968 with Tom Brokaw,” with the former NBC anchor popping in only for the duration of the panel (he had a flight to catch), while AMC brought us the retro stylings of their new ’60s-set drama about the advertising world, “Mad Men.”

First up, Mr. Brokaw:

Brokaw began with a laugh, offering the anecdote that, when he first mentioned to Garry Trudeau that he was planning to do a special on 1968, the “Doonesbury” cartoonist responded, “What are you going to call this, the worst generation?” As it happens, however, Brokaw doesn’t even remotely feel that way about ’68.

“I think that journalists should write about what they experience, what moves them,” explains Brokaw. “’68 — the 1960s — the book is really about the ’60s. ’68 is the nerve center of the ’60s. It’s been an emotional experience for me because I’ve had to review my own life in the course of all this and think about the changes that I’ve gone through. And you have to remember that I arrived in California, working for NBC in 1966, just four years off the Great Plains, working-class family in small towns, a real product of the ’50s, thinking here I am in California, which is on the cutting edge of change, having no idea about how much more change was to come — good, bad, tragic, and triumphant. It’s been tough. This is a big subject. And I want to caution all of you that neither this two-hour special that we do on History nor my book will be the defining history of the ’60s, because we’re still in passage from that time. I am treating this as a virtual reunion, the people who went through it, what they thought then, what they think now. You’ll hear lot of voices. Unfortunately, this is one of those times in American life when everyone has their own prism, and they think what they saw, what they experienced, is the defining experience.”

When it comes to defining the most important historical event of ’68, Brokaw is darkly philosophical, suggesting that it’s the mere fact that we survived at all. “I don’t say that lightly,” he assures us. “This country was up for grabs in many ways. We had this war going on, with kids in the street, marching in Washington, National Guardsmen that you saw there in gas masks, facing them down, that we came out of Chicago where was a breakdown in the streets, and that we were able to have elections, and that people were able to accept the results of those elections, and Richard Nixon was inaugurated, and a lot of the country was unhappy, but a lot of the country had voted for him. And those who had not voted for him, had voted for George Wallace. People forget what a factor George Wallace was in that election. For me, at the time, there were two big lessons. One was how quickly it can change, the fundamental assumptions that we have about society and our government. And then, two, the resilience of the American people. ’68 was the beginning of the — profound distress of the American government, and we’re still working our way through that. That was accelerated by Watergate, but ’68 had a lot to do with it.”

(The folks at The History Channel also had a panel for a new series called “The Human Weapon.” I didn’t stick around for it, but here’s the description of the show: “Human Weapon” follows host Jason Chambers, a top-fighting welterweight champion and Bill Duff, a former professional football player and wrestler, on a remarkable worldwide journey. Over the course of their travel, they reveal the history behind the time-honored tradition of hand-to-hand combat arts. Jason and Bill verse themselves in these fighting cultures, grueling and punishing, to prove that they are worthy by going face-to-face in the ultimate test of their skills. I know, as a guy, I’m supposed to go, “Fuckin’ A!” But it just makes me shrug. Sorry.)

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TCA Press Tour: IFC Gives You “The Business”…oh, yeah, and “Jackie Woodman,” too.

Sorry, that subject line sounds dismissive. I think Laura Kightlinger is hilarious, don’t get me wrong – in fact, she was throwing out great lines left and right during the IFC panel – but I just didn’t really get into the episodes of “The Minor Accomplishments of Jackie Woodman” that I screened…but, y’know, it’s probably just something to do with me being really sexist. On the other hand, however, I absolutely fell in love with “The Business,” which would explain why I was so excited to ask a few questions of Kathleen Robertson on this panel.

Robertson said that the opening credit sequence of “The Business,” where the cast sings and dances, was fun but scary because “I had to actually sing! It was typical in sort of the style that we shoot which is — Phil just basically came up to me one day and said, ‘You’re going into that room and you have to sing this song,’ like in 5 minutes, and I had to learn it. But it’s great for the show. It’s clever. We create these things on sort of a spontaneous, low budget, that it’s amazing what comes out of it.”

Robertson wasn’t willing to offer up any experiences she’d personally gone through with real life Vics, Tonys, or Rufuses, but she did confirm that, while the characters might seem extreme or heightened, “they’re not. There really is a Vic; there really is a Tony.” When pressed, however, she did finally relate a disturbing Hollywood anecdote of her own. “I probably shouldn’t be saying it without thinking about it,” she began, “but I did a movie in Bulgaria, and I showed up for the first night and there was a huge party that the producers were throwing and there were about eight girls that walked in, and they were about 12, and they were — they were basically gifts to the actors. Not particularly funny, but pretty gross.” (Quizzing her about specifics proved pointless; she merely smirked and replied, “I don’t remember the movie or the actors.”)

As far as who inspires her own character, Robertson unabashedly called out the show’s producer, Brandi Ann Milbradt. “Brandi is an independent film producer,” explained Robertson, “and my character coincidentally is an independent film producer. I was kind of pulling clothes off of her back and watching the way she would move and walk and her energy, and her personality is really sort of strong and really interesting, and she has all of these sort of interesting behavioral things, and I just kind of stole them. I kind of stole from her, and I also sort of — you know, female executives and female writers and producers and directors, unfortunately there aren’t as many as we wish and we hope that there will be in the future. You sort of have to look — I mean it’s so rare that you work with a female producer or director still in this day and age. It seems crazy, but that was one of the things that sort of drew me to the character and interested me about her, because I think that the sort of plights a young woman who wants to be a producer in this industry is very sort of different than what it is if you’re a man, unfortunately, still.”

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TCA Press Tour: BET = Best Entertainment Today

“Today,” of course, was actually Sunday, because, shockingly, I’m behind again. Ah, these things happen. At the least information’s continuing to come in at a relatively rapid clip.

I know I said the Dallas Cowboy Cheerleaders were inevitably going to go down as one of the most entertaining panel openings of the trip, and I stand by that statement…but, having said that, the beginning of BET’s luncheon wasn’t half-bad, either. The network provided a full gospel choir to sing us through our salad, then began the panels just as we were working our way through lunch. I couldn’t really tell how many others in the audience dug the music, but, at least for me, it was a case where the choir’s enthusiasm was downright infectious. The panels were introduced by Reginald Hudlin, who you probably know for his directing of “House Party” and Eddie Murphy’s “Boomerang.” Me, however, I’m kicking myself that I didn’t corner him to ask him when he’s gonna write a script for a “Black Panther” movie. Maybe I can get someone from BET to let me talk to him on the phone long enough to get that answer out of him…

But I digress. There were two panels on the BET plate: “BUFU,” an animated sketch comedy show from the minds of Orlando Jones (“Mad TV”) and Ali Leroi (“Everybody Hates Chris”). Now, personally, I love “Everybody Hates Chris,” and I’ve always thought that Orlando Jones was consistently funny, so I’m very psyched to check this out…especially since the clips were hilarious, particularly the one where they mercilessly mock Tyra Banks’ big forehead.

“I’m not saying anything that Tyra, herself, has not said,” swears Jones. “So we are not introducing the notion that Tyra has a big forehead to anybody. She’s said it. She said it to me. She said it on air. So, ultimately, we are just sort of picking up where she left off and taking the joke to the next level as opposed to the statement of fact, which is her going, ‘You know, I’m a model, but I have a big forehead, unlike the rest of you,’ which was essentially her comment. And we are at the next level, but I don’t consider her in any way a target.”

Other things you’ll see:

* “Is Bryant Gumbel street enough?”
* A sketch about Rev. Al Sharpton
* A “devastatingly funny” bit featuring Barack Obama and his hand puppet, Bam. “(He’s) kind of Barack’s alter ego,” explains Leroi, “who will not say things that are respectful and decent. Barack has to go, ‘Don’t say that, man.'”

There is not, however, a bit on Oprah. Why not? “We are afraid of Oprah,” admits Jones. “But we do have a bit on Gayle King, because we are not afraid of Gayle King.” (“That,” adds Leroi, “is the bit.”)

Still, this begged the question, “Why are you afraid of Oprah?” Leroi began to answer the question, throwing out things like her infinite supply of money and power, and started to indicate that, basically, she could make them disappear if she wanted…but Jones immediately shushed him. “Say nothing,” he ordered, telling the reporter, simply, “We are afraid of Oprah because we are afraid of Oprah.” (He then looked around in a panic before moving on to take the next question.)

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