Category: TV Action (Page 109 of 145)

“We decapitate and do business with whatever’s left”

The Sopranos Sil

There’s a part of me that doesn’t even want to blog about this episode. I don’t want to ruin it. I don’t want to overanalyze it. I don’t want to pick it apart. It was a brilliant 50-plus minutes of television, setting things up for what looks to be one helluva memorable finale next week, and that’s really all that needs to be said. The episode speaks for itself.

But what kind of blog would this be if we didn’t actually blog? So let’s start by saying: Here we go. Seems the bloody, shoot-em-up ending that so many viewers wanted has come to be. That early scene with Phil and his two cronies was one of the best scenes of the season, maybe the series. “The Sopranos are nothing more than a glorified crew,” Phil says, quoting Carmine. “We decapitate and do business with whatever’s left.” Seems Phil doesn’t think all that much of his NJ counterparts, or at least, that’s what I gathered when he called them a “Pigmy tribe.” He wants the top three guys gone: Sil, Bobby and, of course, Tony.

A couple of interesting notes here, the first coming from one of the guys from the NY group. Bobby is Tony’s #3. We’ve kinda known it for a while but, as the NY guy pointed out, Bobby used to be Junior’s driver. Then he marries Janice and a couple years later he’s T’s #3? That always seemed strange to me. Turns out they promote everybody, as Phil says, and Bobby’s a very large piece of evidence. But would Bobby be in that position if Chris had still been around? Probably not. Or, at least, you can bet Phil would’ve made Chris a priority over Bobby because he understood that Chris would’ve hurt T more. But Tony gives Chris a friendly push toward his dirt nap a few episodes ago and poor Bobby pays for it. In a hobby store buying an $8,000 train, no less.

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Next season will be Battlestar Galactica’s last

This morning the Sci-Fi Channel announced that the upcoming fourth season of “Battlestar Galactica” would be the show’s swan song. But it was not the decision of the network. Executive Producers Ronald D. Moore and David Eick just feel like the time is right:

“This show was always meant to have a beginning, a middle and, finally, an end,” Eick and Moore said in a statement on May 31. “Over the course of the last year, the story and the characters have been moving strongly toward that end, and we’ve decided to listen to those internal voices and conclude the show on our own terms. And while we know our fans will be saddened to know the end is coming, they should brace themselves for a wild ride getting there: We’re going out with a bang.”

Season four will consist of 20 episodes that will begin in early 2008, but to tide fans over, there is a two-part set to air in November, “Battlestar Galactica: Razor,” that will tell some of the backstory of the Pegasus before it joined the refugee fleet.

I was able to sit in on a conference call this afternoon, and while most of the questions asked were about the decision to end the show, the duo didn’t deviate much from the statement above. I did get a chance to pose one question before the call ended.

JP: I’d like to ask you about your decision to use a contemporary song, “All Along the Watchtower,” in the season three finale and is there any plan to explain how the song popped up in deep space in season four?

RDM: We will touch on it again probably later on in the fourth season, to explain it within the context of the show. It was something I thought about doing in an earlier season –

DE: Before that we talked about it being in the mini-series.

RDM: Oh, yeah.

DE: We were going to open up with Simon and Garfunkel’s…was it “America?”

RDM: It was “America.”

DE: Yeah, and we talked ourselves out of it because we felt that we were making such a re-invention as it was that it might be a little bananas on bananas. Then, we were talking about playing around – I think it was in episode five of season one – when Helo and Sharon end up in a diner, that maybe there’s a jukebox and maybe it still works and maybe Helo’s screwing around with it and maybe suddenly he hears the song “Yesterday.” And maybe we just don’t explain it. We just kind of go on and, you know, it just felt like one of these ideas that was good enough and big enough to require its own story point and it just took us until now to figure out how to do it really well.

I have to applaud the duo for finishing the show on their terms. So many shows either stay around too long or get cutoff midstream with no opportunity for appropriate closure that, while sad, it’s refreshing for a series to identify and properly plan for an end date. Fans know that this is how the story was meant to go, and that’s vitally important. Also, it frees up Moore and Eick to work on other projects (the show’s spinoff, “Caprica” is still alive, buf for some reason isn’t a done deal) without having to spread themselves too thin. “Alias” really suffered when J.J. Abrams was trying to launch “Lost” and there are those (myself included) that would argue that “Buffy the Vampire Slayer” and “Angel” suffered when Joss Whedon was putting the first season of “Firefly” together. It’s sad when great shows go out with a dud (“Alias” was pretty brutal the last few seasons, but Whedon did a nice job with “Buffy” and “Angel”) so this news is exciting from the standpoint that Moore and Eick will be putting a lot of their creative effort into making season four a great one.

NBC streams remaining episodes of “The Black Donnellys”

The network only aired six episodes of “The Black Donnellys,” but for those that are interested to see how things shook out with the four brothers, there are six more episodes available at NBC.com. I’m pretty sure the creators knew of the show’s fate before the final few episodes were shot, so they had an opportunity to wrap up the current story arcs and provide an appropriate ending to the show.

Shame on NBC for canceling the show, but kudos to the network for giving fans some closure to the series.

The Music of the Sopranos

HBO has been running a 15-minute documentary entitled “The Music of the Sopranos,” which features interviews with creator David Chase, Steven Van Zandt and others. Chase describes the methodology he uses to choose a song for a particular scene or montage, including how he decided on A3’s “Woke Up This Morning” as the show’s theme song.

They’re running it one more time this week: tonight at 11:45 PM ET. For fans of the show (or fans of music), it’s time well spent.

“24,” Hours 23 and 24: You’re my favorite waste of time

A couple titles for this blog went through my head. The runners-up:

“This is my mistake; let me make it good.” That sprang to mind when Senator Roark was planning to bomb the oil rig.

“What a lovely way to say ‘I love you’.” Chloe. ‘Nuff said.

In the end, I chose the title above because, as unhappy as I am with the show this season, and as ridiculous as things got as the day progressed…I will not stop watching “24.” I mean, the day is now over, and I’m still wondering:

– What Wheelbarrow Wayne had to do in order to secure Jack’s release from Chinese custody in the first hour.
– How Jack’s hand got so horribly scarred. Yes, the torture, but through what means? By whose hand? They spent far too much time focused on his hand to just let that go.
– Who gave Mister Swank the orders to kill Assad and Palmer. They showed Swank talking to someone who was pulling the strings. Who was that man?
– Why Jack’s father was allowed to tamper with evidence at CTU and then leave after his son confessed to assassinating a President of the United States.
– If President Buck Buck Brawwwwwk actually died in the ambulance. I’m assuming so, but there wasn’t another word about him after that cliffhanger.
– Why Milo’s hair looked so drastically different in the episode where he was killed than it did in any other episode up to that point. Was his death a last-minute re-shoot?
– How our country’s counter-terrorist unit has the most hackable network in the world.
– Who Jack Jack’s real father is. That was pure speculation on my part, but I wonder if the writers got wind of the bloggers catching on to their plan and changed their tune mid-season. You gotta admit, they made it pretty obvious that Josh was not Grame’s son. Strained relationship between Jack and Heidi Petrelli, etc. Maybe they’re saving that for next season, now that Audrey’s a vegetable.

Despite all of this, I will still watch the show next year. It didn’t flick the ‘Off’ switch in my head that, say, last Wednesday’s “American Idol” did. “24,” on the other hand, can be saved. But we’ll get to that in a minute.

As Senator Roark is trying to save both his face and ass with the Russian president and American public respectively, I nearly laughed out loud at the proposition that he was giving them, his last-ditch effort to avoid a war.

“What is your proposal, Mr. Vice President?”
“Basically, I’m gonna blow everything within a quarter mile of the component sky-high. There will be no evidence that we actually destroyed the chip, but there will be no one left to confirm that we didn’t destroy it.”
“Mr. Vice President, I find your plan acceptable.”

Wow. Hey Suvarov, I have this great plan to make money quickly. First, you give me $5,000 to join our group, then find three people to give you $5,000….What a gulli-bull.

Meanwhile, Nadia gets a taste of the dark side by not following orders but ultimately doing the right thing, and the Ricker, as my wife was fond of pointing out, was blinded by science. Ow. On the bright side of life, Chloe’s pregnant, Karen and Big Balls Bill Buchanan (did I get that right, Giant Gary?) get to retire with their reputations intact, and Jack, once again, has to disappear, but not before saying goodbye to a sleeping Audrey. How many arrestable offenses did he commit today, six? Ten? More than one, no question.

So how do you save “24” from itself? Well, due to the title, there is no shortening the episode slate, like “Lost” will from now on. I do think they were on to something, though, when they shifted the focus from one villain to another. The problem was they did it too late. Had they shifted focus closer to the midway point, they may have pulled it off. Either that or have one villain, a compelling villain, dominate the whole show.

Here’s another idea: get out of Los Angeles. Spend some time on the left coast, maybe have some fun on South Padre Island (does anyone go there on spring break anymore? It was wicked popular when I was in college). Or, if you insist on staying in L.A., accept the consequences that your plot device gives you. They dropped a bomb on Los Angeles this year, yet continuously put its men in the field with little regard for the fallout. Maybe next year should be “24 Hours Later,” where the rage virus hits a major metropolitan area (don’t laugh, Fox owns the rights to that franchise), and it ends with Jack having to kill an infected Audrey.

Whatever they decide to do with “24” next season, I’ll be waiting for them, hoping that they’ve changed, like a battered spouse. Until then, I have seven sweet, sweet months of blog-free Mondays to look forward to. Sweet dreams.

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