Author: Will Harris (Page 194 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.

Jericho, Episode 16: Goodbye, April lady, you’ve done a lot for the folks in this town…

After taking a week off, “Jericho” returns with an episode that actually packed a bit of emotional heft.

We begin with Hawkins spending his evening doing what any newly-single fella would: digging a grave. He’s interrupted from his task, however, by the appearance of Deputy Jim, who’s inching closer and closer to being immortalized in the Dopey Deputies of Television trifecta alongside Barney Fire and Enos Strate. I mean, you’d like to think the guy’s got some Marge Gundersen in him and that we’re just underestimating him, but any hint of that vibe is depleting at a rapid pace. Jim’s looking for Sarah, but Hawkins hems, haws, and finally claims that she’s headed to New Orleans to visit family; after another drop-by visit, he then admits that his own family has jumped ship…but to help cast away some of Jim’s rising suspicion, Hawkins takes the deputy over to the shelter where Darcy and the kids are staying. There’s a little suspense about whether Darcy might just narc on her husband and get him out of her hair for good…though the implication that Hawkins might pop a cap in Jim’s skull (he grabbed his gun before heading over to the shelter) is so stupid that surely no-one really believed it was going to happen…but she finally decides to stick to the story for the sake of her daughter, a.k.a. the person who actually killed Sarah. And, once again, things end with the presumption that Hawkins will never see his family again. Yeah, right.

Inevitably, the most interesting subplot of the week was the death of April. I didn’t see it coming, I was actually depressed about it (Lord knows there were far more worthy candidates within the town to have shuffle off this mortal coil), and her last scene – when she tells Eric that she likes the name Tracy, even though he knows that their baby has already died – is gripping. We also get to see Dr. Dhuwalia again…and although it gets a little too CBS-y when he’s struggling with his whole “I just want to live a simple life” thing but suddenly comes around thanks to Jake’s pep talk, Aasif Mandvi is a great actor who manages to rise above the schmaltz. Indeed, the only up-side to April’s death is that we’ll see more of Dhuwalia.

The only other notable events of the week were the arrival of the wind turbine in town, Dale protecting his interest in Gracie’s store and, as a result, finally getting some long-deserved action from Skylar (though you can just about count on her shitty friends popping up again so they can convince her that he’s not good enough for her), and more annoyed interaction between Mimi and Bonnie. Okay, those scenes weren’t bad…but, God help us, we also got yet another gag-reflex-inducing scene between Stanley and Mimi, where they finally admit that they love each other.

Seriously, I really can’t believe they killed off April instead of one of those two.

Anyway, the episode ends with ten of Jericho’s best and brightest – including Eric and Stanley – heading off to New Bern to help build more wind turbines. Not a real cliffhanger.

Preview: “Sons of Hollywood”

We got our hands on the premiere episode of A&E’s new reality series, “Sons of Hollywood” – which begins on April 1st – and based on what we’re seeing here, we’re guessing that the network is going to have an uphill battle on its hands promoting this as a must-see show.

The series documents the lives of two famous celebrity offspring – Sean Stewart (Rod’s son) and Randy Spelling (Aaron’s son / Tori’s brother) – and their manager, David Weintraub, who’s also been their friend since childhood; basically, we watch as Sean and Randy careen through their lives of luxury, but with the exception of one subplot…and, frankly, it feels very weird referring to an actual event in someone’s life as a “subplot”…there’s very little for anyone to latch onto. Weintraub’s a professional who’s trying to keep his friends / clients on the straight and narrow, but they tend to be more interested in sleeping, golfing, drinking, and gambling. (Not necessarily in that order, you understand.) Given that the show’s slogan is “Real Life, Only Better,” one supposes that viewers are supposed to look at the goings-on and say, “Wow, I wish my dad was famous, because if he was, then my life would clearly be awesome!” But you can’t really look at these guys and imagine yourselves in their shoes. The only time you feel any sort of empathy towards either Sean or Randy is when Randy deals with the emotional turmoil of his father’s impending death; he knows he’s sick and that death is immiment, and for a few minutes, you can actually see past the spoiled rich kid exterior. But the moment is gone far too quickly…

We’re not going to completely write off “Sons of Hollywood” based on this single episode; we’ll definitely check it out and see where things go from here. After all, the show ends to the strains of The Thrills’ “Hollywood Kids” and its sarcastic lyric, “Those Hollywood kids got it made,” so maybe we’ll see David helping Sean and Randy shape up and actually do something halfway important with the power and money that’s attached to their name. But it had better happen pretty quickly.

If you have a half-hour to kill AND ABSOLUTELY NOTHING ELSE TO DO…

…then, say, why not consider watching this young man’s 30-minute-long monologue on the ’80s sitcom greatness that was “Gimme A Break,” which he delivers while lying on his stomach on a hardwood floor. Why is he lying on his stomach on a hardwood floor? You might as well ask why he spends 30 minutes giving such an in-depth look at a relatively pedestrian family sitcom…but, my God, it’s absurdly enthralling, particularly his renditions of the different versions of the theme song. Is it reading from a teleprompter? Does he have cue cards? Or, God forbid, can he really offer such a tremendous discourse off the top of his head…?!?

I’m sure you’ll never make it through the entire half-hour unless it just plays in the background while you’re doing something else, but every few minutes, you’ll hear something that’ll just make you go, “What the fuck…?” My favorite is his discussion of “an inside source” who knows the answer to the mystery of why the lyrics to the song were changed in a later season. I’m not exactly sure why this source chose to remain anonymous, but I’m theorizing that it’s something to do with Al-Queda…

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