Category: TV Action (Page 51 of 145)

“Life On Mars” producers explain what happened

In an interview with TV.com, Scott Rosenburg and Josh Applebaum talk about tonight’s series finale and why the show didn’t work on a major network.

TV.com: When did you find out that Life on Mars was not going to get picked up, and how did that change the production process for you?

Scott Rosenburg: We were crafting the 17th episode, and we always knew what it was going to be. It was a big culmination episode for us in a lot of ways. We knew the ratings were grim, and we went to ABC and we said, “Look, we know the ratings were grim.” We always knew what our end point was for a season finale and for a series finale, and we basically said, “Listen, we have this thing, and we’d love to be able to shoot two Act Six’s, you know, one for a series finale and one for a season finale.” And they came back to us and they said, “You can do the series finale.” We were like, “Okay, but what about the season finale?” And they were like, “Just do the series finale,” and that was a pretty good indication right there.

But it’s not something that [networks] often do. They usually wait ’til May, but it was a general true affection for the show in the executive’s suites at ABC, and because of that they let us actually wrap it up–because it just would have sucked to be cancelled and to have the 17th episode and all these cliff hangers. And now it exists as a complete thought. It’s got a beginning, middle, and an end.

TV.com: So the finale does have a full resolution. We will see exactly what’s going on with Sam.

Scott Rosenburg: Yes. Yes.

The duo go on to discuss the series finale.

While it will be sad to see the show go, this is soooooooo much better than ending the season with a bunch of cliffhangers and holding out hope that the show gets picked up for another season. I applaud the producers for confronting the network about the show’s future and the network for making a quick decision and allowing the creators to properly bring the season to a close.

24 7.16: It’s a rat trap, Judy, and we’ve been caught

Tonight’s episode of “24” is the first one I can remember that didn’t have a ‘B’ story. I guess the ‘B’ story was Madame Prez’s boneheaded decision to appoint First Succubus Hillary Clinton as her temporary Chief of Staff until they find a replacement, but since that move won’t yield any (rotten) fruit until next week, it hardly counts as a subplot. Nope, tonight was all about the Feds getting their ducks in a row so they can keep Starkwood Country Club from committing the country’s most heinous act of treason since “24” parent company Fox released “From Justin to Kelly” in 2003. And it was all going so smoothly, too. Hey, the good guys are gonna win this time!

Uh, not quite. You have to admit, though, the amateur one-act play between Jonas Brother and Jonas Jr. was good for a laugh, right? Come on, there is no way Jonas Jr. — who looks like he could be the son of President Charles “Buck Buck Brawwwwwwk!” Logan — is going to speak of destroying the weapons in front of Tony, nuh-uh. And in any other episode in the history of “24,” Tony doesn’t fall for that ruse. Instead, he waits until the President is about to sign the immunity agreement and says, “Stop,” then beats the shit out of Jonas Jr. for an hour and a half. You know that Carlos Bernard read the script for this week’s episode and said, “Noooooooooooooooooooooo!” And to make matters worse, he’s probably going to die before the season’s over (just a hunch, that’s not based on any gossip), and for this to be one of his last acts would just be wrong. Tony should go out like Bill Buchanan, only bigger. AK-47 in one hand, flamethrower in the other, while snorting coke off a stripper’s ass. Make it happen, guys.

“Everything’s in place, boss.” “Thanks, lackey. You know I crap bigger than you, right?”

On the plus side, my wish to see Kiefer Sutherland do some Serious Acting is about to come true. It turns out that, shocker, Jack’s tested positive for the Starkwood bioweapon, which sounds like an accelerated strain of Mad Cow Disease. And there’s no cure, dunt dunt duuuuunh. Why was I tempted to laugh at Jacqueline’s single solitary tear when she heard the news? I believe that she is truly broken up about this, but she needs to remember that this is Jack freaking Bauer we’re talking about here. He’s not going to let some stinking virus take him down. Instead, he’ll go undercover as a smaller virus, infiltrate the Mad Cow virus, and roundhouse kick it until it leaves his body. And anyway, Sutherland begins shooting the next season of “24” in April, and I don’t think they’re pulling a Patrick Duffy to make that work. Man, does anyone under 30 even get that reference? God, I’m old.

I have to admit, even though I knew full well that the warehouse Dudley Do-Right and his merry men raided at episode’s end would be empty, I liked the Americans vs. Americans standoff, a la “The Rock.” I saw the guys on the roof, and immediately heard Ed Harris’ voice in my head. “Your unit is covered from an elevated position, Commander.” Still, the fact that Starkwood set up the Feds like this — is Jonas Jr.’s immunity agreement still binding if he lied through his teeth in order to get it? — has to be a dead giveaway that the real bioweapon is on the complete opposite end of the compound, right? Hell, I did that move in Stratego 30 years ago. Build a wall of bombs, take out a bunch of my opponent’s highest ranking men, and then when he came in with the miner (he was the 8 then; he’s the 3 now) to capture my flag, he’d realize that I was protecting…a 7, pow. Meanwhile, my flag would be in the opposite corner, guarded by one bomb and my 1. It was dangerous, but it was incredibly effective. Just sayin’, guys. If the Feds don’t know where the mad cows are with Starkwood’s bait-and-switch, then God help us all.

Next week (Mr. Paulsen, you may turn your eyes away now if you do not wish to see my “spoilers”): Hillary Clinton sleeps with her TV contact in order to get him to bury a story? In what universe is that the right play? Even if she gets her comeuppance at season’s end and goes to jail, it won’t be enough. She needs to die a slow death. I’m thinking flesh-eating beetles.

Heroes 3.21 – A Little More Conversation, A Little Less Action

So Peter saved his mother last week not so much because he loves her but because he wants answers, but the sequences with he and Mama Petrelli initially seemed designed solely for longtime fans who’ve been complaining about a lack of character development…and, indeed, it’s fair to say that’s what both of the Petrelli-centric storylines were tonight. Once the government agents arrived at the church, we were taken a little bit further into Mama’s past, making her seem more human than she ever has before. (HRG’s sigh before giving the fake all-clear sign to his men was awesome, by the way.) Still, in the end, we spent a whole lot of time watching Peter and Mama doing very, very little. As for Nathan and Claire, I can’t say I’ve ever heard of Patzcuaro, Mexico, but you have to respect any city where the hotel clerks are familiar with the old “unless you’re paying hourly” joke. How is it that Nathan didn’t think to get a stockpile of cash before heading off to Mexico? Maybe he didn’t think his plan through very well…or, more likely, the writers came up with the idea of a tequila-drinking contest and had to figure out how to make it come to fruition. I’m sure all the ladies in the “Heroes” viewing audience enjoyed seeing him dressed semi-spiffy and sporting a couple of days worth of stubble, and all the guys blew a blood vessel when Claire whipped off her shirt to take her dad’s spot in the game. Win-win, right? I admit that Nathan’s drunken confession to Claire helped make him seem a little more fatherly, but Claire’s “Superman” speech before her teary departure the next morning was too melodramatic for my tastes.

The use of Del Shannon’s “Runaway” tonight was inspired, with Sylar popping up in the back seat so abruptly. The tension between HRG and Zeljko was palpable this episode once Sylar turned up, but none were better than Zeljko’s reference to “the big book of letting (Sylar) slip through your fingers.” It didn’t occur to me that Sylar had been the one who offered up the Puppet Master, nor did I entirely imagine a scenario where Sylar would team up with Zeljko. The idea of having a head in a box hasn’t had the same impact since we imagined Brad Pitt got that very special package from Kevin Spacey in “Se7en,” but it was still a pleasantly macabre way of allowing Sylar to offer intel to Zeljko. The shapeshifter special effects probably didn’t break the bank, but they were delivered cleverly enough. The reveal that the shapeshifter had decided to take on Zeljko’s appearance was fantastic. Just when you think Zachary Quinto isn’t capable of looking any more evil or crazed, he surprises you, as he did with the look he offered up when Zeljko asked him if there was any way to take the shapeshifter’s abilities without leaving his traditional forehead slice.

So we close on The Animals’ “We Gotta Get Out Of This Place,” with HRG almost certainly not believing that Sylar’s really dead, Nathan and Claire are homeward bound, and Mama’s taking Peter to meet…his sister? Fair enough. But let’s hope there’s a little more action next week, huh? I’m all for character development, but for the most part, this week’s episode really dragged ass.

24 7.15: Infected

We had a surprisingly straight-forward hour of “24” tonight. Starkwood will stop at nothing to acquire their bioweapon, Hillary Clinton is in fact a vengeful succubus (as we knew she was), and Jack Bauer is impervious to bullets. Now, I’ve never shot at someone from a helicopter, but I’d like to think that if I had someone trapped behind a rock, with a search light on them, I’d eventually hit them. Huh, maybe it’s harder than it looks. (Psst: probably not.)

I was amused at how quickly Hillary called her buddy at the TV station after seeing Warden Norton leave. She’s the neighborhood tattletale, the one that couldn’t wait to get the other kids in trouble. I would have loved to see Norton walk back in after she got off the phone, say, “Whoops, I forgot something,” and then reach under some papers on his desk and pull out a recorder. “You’re toast, rookie!” Seriously, what does she hope to accomplish by having the TV station run the story anyway? Won’t that just expose her as the leak? I understand ‘Hell hath no fury,’ but you’d think she would have enough common sense to exercise a little self-preservation. I knew Sherry Palmer, and you, missy, are no Sherry Palmer. I’m bored with her already.

“Madame President, by my best estimate, you will find out within the hour what a complete power-hungry psycho your daughter is.”

Jack had this convincing argument for why he and Tony couldn’t call the FBI to have them help contain the weapon, but I’m sorry, he still should have called the FBI. Dudley Do-Right might be hunting him, but he’s also kept an open mind when Jack has contacted him to explain what is Really Going On. But Jack’s bit to Tony was nothing compared to the lengthy speech Tony hit Jack with, the one about putting himself before the public in order to save the guard, blah blah blah. That speech just hung in the air, didn’t it? Didn’t feel at all natural. I also loved how communications were jammed at the port, so when they were finally ready to call the Feds, they couldn’t. The bad guys’ walkies worked, though. Uh, huh.

The big takeaway from the shipyard scene was that Jacqueline Bauer’s humanity was starting to get under Jack’s skin, which is why he put himself and Tony in harm’s way in order to save the guard. There is no way that Jack is not hitting that before the final clock ticks.

Assuming Jack lives to the final clock tick, that is. He just willingly exposed himself to Starkwood’s bioweapon in order to prevent it from going off in a populated area. Clearly, the weapon is a slow-acting one, as it didn’t seem to affect Jack at all while he was taking it into his lungs. Kiefer Sutherland has said that not even Jack should be untouchable on the show, but it’s well known that he has one year left on his “24” contract, so don’t start thinking that they’ll kill him off here. Still, what did Jack say the symptoms were of the stuff that Candyman was testing? Something about the victims being delusional, delirious, something like that. Is Sutherland going to get to do some Serious Acting? That should be fun.

I speculated a couple weeks ago that Tony might be working for Starkwood, and upon being recognized by Jonas Brother’s lead goon, it indeed appears that he’s done some work for them, whether he was aware of it or not. The only question at this point is whether it matters in the grand scheme of things. We have seven hours left. I’m sure they’ll find a way to make it matter for an hour.

Damn, I miss Chloe. Please bring her back soon.

Heroes 3.20 – Welcome Back, Bryan

Cue up the John Sebastian, people, ’cause it’s time to formally offer a hearty “welcome back” to Bryan Fuller. Tonight’s episode is the first time we’ve seen the man’s name in the writing credits since the glory days of “Heroes,” i.e. Season 1, and although his return comes at the expense of “Pushing Daisies,” you have to respect the guy for trying to do his part of save the series that he helped to make. And, yeah, I know, it’s not like he created the show, but given how many times Fuller’s “Company Man” has been held up as the series’ definitive episode, you can’t deny that his contributions helped make “Heroes” appointment television during the 2007 – 2008 TV season.

It was clear from the opening sequence, with Zeljko literally being handed a gift-wrapped Puppet Master, that we were finally going to get something we hadn’t seen in forever: a “Heroes” episode that actually felt like it was taken from a comic book. You wouldn’t think it’d be so hard to accomplish that in a show about people with superhuman abilities…and, apparently, it isn’t hard for Fuller, since he’s proven time and time again that he can manage it. Watching Zeljko turn the tables on Mohinder was awesome (“Why did you bring me here?” “I thought it’d be a whole lot easier than carrying you.”), and his typically tense conversations with HRG were typically solid, as was the HRG / Mama Petrelli chat at the beginning.

I don’t think there was anything that came out of Hiro’s mouth tonight that wasn’t genius, whether it was his addressing of Matt Parkman, Jr. (“Baby Matt Parkman, we will save you; if you understand, shake rattle once for ‘yes’ and twice for ‘no'”), his using a “Star Trek: The Next Generation” episode to rationalize how a de-aging process might’ve occurred and offering up a “Wrath of Khan” reference (“Life from lifelessness!”), or his asking Ando, “What are we saving the baby from? Lead-based toys?” I thought it was a great touch that, despite the TV being turned on and off repeatedly, Hiro and Ando still never once noticed that it was actually the baby’s daddy on the screen. The sequence where Hiro finally addressed having witnessed his mother’s death in the past and had an emotional bonding moment with Ando was unexpectedly effective (sometimes you forget that those guys can work together in drama as well as comedy), but then it was back to the comedy with the “E.T.” homage. And once the men in black busted in to take Li’l Parkman and Matt’s ex into custody…words fail me. Hiro’s powers are back! Thank you, Toddler Touch and Go! Except they’re not entirely, which means he can stop time again but still can’t teleport. Oh, well, so the kid’s not perfect. Anyone else do a spit take when Hiro rolled Ando out in a wheelbarrow?

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