Category: TV Action (Page 53 of 145)

24 7.13: Ask not for whom the silent clock ticks…

…it ticks for Bill Buchanan.

Even stranger, I had a thought earlier today that Bill might die in tonight’s episode. It just seemed to be floating out there, as if Death itself was taunting me with the knowledge that life goes on within you and without you. Thankfully, 4B’s death was far more honorable than the one that I feared, which is that he would die on his knees at the hands of Candyman as retaliation for misleading them with Madame Prez’s tracker. Instead, they saved the meaningless death for a red shirt character. As it should be.

Jack Bauer must have read what I wrote last week about how anything worth shooting is worth shooting twice, because he offered an on-screen retort that anything worth shooting is in fact worth shooting five times. And seriously, how dumb is Candyman? Jack has his gun up and ready, and Candyman still thinks he can reach for his gun, aim, and fire in less time than it will take Jack to pull the trigger? Also, Jack emptied all of those shots in Candyman’s torso. Was he not wearing a bullet-proof vest? To a siege on the White House? ‘Cause I know that whenever I raid the White House, I wear Kevlar. Maybe it all goes in line with the reasoning that Candyman never intended to walk out of the White House alive since, if the Feds didn’t take him down, Jonas Brother certainly would.

Go with God, Big Balls Bill.

And speaking of Jonas Brother, he is already my favorite villain in the history of “24.” I love how calm and absolutely fearless he is, and most importantly, how much he seems to be enjoying what he’s doing. When they send the spook to kill Senator Dumbass’ weasel assistant, Jonas asks his assistant which spook they sent. “Quinn,” his aide replies. Jonas raises his brow and very casually observes, “Quinn’s good. Bauer’s good.” He was savoring the match-up! Even better was after Quinn killed Lil Dumbass and the next phase of their plan was back on track. “Now we’re having fun,” he said. Couldn’t agree more. Genius casting on the part of the producers to get Jon Voight to play Jonas. I hope he gets an Emmy for his troubles.

The one character who developed overnight – man, I sound like I’m talking about a teenage girl, which will make sense in a second – is Olivia Taylor. Holy cow, what a back story. Fired from her mother’s staff after trying to sabotage her run for office? That’s a therapist’s wet dream, right there. For the moment, it looks as though this near-death experience has realigned her priorities, and the new target of her unbridled rage is Warden Norton for being too stupid to see that the entire government has been corrupted on his watch. Help me out, readers. Olivia needs a nickname, something that expresses both her rage (or lust for vengeance) and her tendency to act like a sullen teen.

Our sullen teen also worked a little “24” history into the conversation during her chat with Old Yeller. She not so subtly asked him about the former First Lady of Crazy, and the phrasing of it suggested that she’s dead. Old Yeller responded with a terse “I’d rather not talk about it,” but I hope they resolve this long-dangling thread. The last we saw FLOC and her ex-husband, President Buck Buck Brawwwwwwk, he was flatlining in an ambulance after she stabbed him. I need closure, damn it. (*takes drink*)

Lastly, I must give props to Dudley Do-Right for playing the role of in-house foil so gamely. He is an endless source of what our fellow blogger John Paulsen likes to call manufactured conflict, but amazingly, the way that things played out this week, his actions created all kinds of conflict, but did not feel forced. He began by telling the Vice President to grow a pair and authorized the attack on Candyman’s men himself – God, I hope that Madame Prez rips Vice President Billy Bob Thornton’s nuts off the next time she speaks with him – and then he suspended Jacqueline Bauer for insubordination after she refused to abandon the idea that Jack could get Lil Dumbass to talk, and went over Dudley’s head to get it done. One act may contradict the other, since he’s suspending Jackie for disobeying a direct order while he saved the day by disobeying another, but neither seemed out of character. He just wants to protect the President, and I think this will ultimately prove to be what puts Jack and Dudley on the same page, where DDR finally “gets it” and understands that they’re fighting the same battle in different ways. Hopefully, it won’t end in a debate over which one can be the other’s wingman, followed by a Kenny Loggins song.

Heroes 3.19 – When A Man Should Stand and Fight or Just Go Along

Given what a cool ending we had to last week’s episode, things sure did start off a decidedly anticlimactic fashion. The scene between Claire, Mrs. Bennett, and the Puppet Master was a major letdown, only serving to remind us that A) things are tough all over for people with superhuman abilities, and B) evil characters get really boring really fast when they try to turn over a new leaf. Good thing they quickly moved over to the Parkman storyline, providing us with a rare opportunity to end the pre-credits sequence on a cliffhanger.

The dark humor of the dialogue between Nathan and Parkman as the latter tried to get his power working enough to defuse the bomb that’s strapped to him was great. (“Don’t touch the red wire!” “I’m not touching anything!”) I liked the fact that Zeljko managed to be suspicious – if only for a couple of minutes – about how Nathan had gotten to Parkman’s side so quickly without suffering from one of those leaps of logic that never would’ve happened in the real world. Instead, Tracy helped fill in the blanks for him by repeatedly screaming, “You’re one of us, Nathan!” Oh, sure, when push came to shove, she backpedaled, but with a guy like that, once the genie’s out of the bottle, you can’t just put him back in and think he’s going to stay there. (Given enough time, I could’ve mixed at least a couple more metaphors in that sentence, but I’m working on a deadline here.)

And, indeed, the next thing you know, HRG’s put in a position where he has to throw Mama Petrelli to the wolves, though he at least has the common decency to let her know what he’s done. Not, as it turns out, that she needed his help. (Fancy an oyster…?) The scene with Zeljko shooting a couple of holes in the window and then throwing Nathan through the compromised glass was well executed, although I thought the shot of HRG lingered too long after Zeljko said, “Tell me you didn’t know about this.” Just a quick shot of his oh-fuck-how-am-I-gonna-handle-this expression would’ve been more effective.

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Greetings to the New Show: “Castle”

Nathan Fillion is one of those actors who just about everyone loves. There are exceptions to this, I’m sure, since nobody is universally adored, but based on my experience, girls tend to think he’s hot, most guys think he’s pretty cool, both genders think he’s funny, and just about everyone can imagine having a drink with the guy. That’s why we hate it when he ends up on a show that deserves to succeed but doesn’t (“Firefly,” “Drive”) or, worse, find himself within a series that isn’t nearly as good as he deserves…like, say, “Castle.”

Given that the guy’s coming off a relatively successful stint on “Desperate Housewives” as well as a phenomenal re-teaming with Joss Whedon (“Dr. Horrible’s Sing-Along Blog”), you’d think that Fillion would be looking for the best of all possible projects, in order to build on his career momentum. Unfortunately, there’s just no way “Castle” is going to be that project.

Brought to you by Andrew W. Marlowe, a man responsible for writing flicks like “Air Force One,” “End of Days,” and “Hollow Man,” the premise of “Castle” sounds like something that would’ve emerged during the 1980s. Famous mystery novelist Richard Castle (Fillion) is called in to help the NYPD solve a copycat murder based on his novels, and after teaming up with attractive young detective Kate Beckett (Stana Katic), he decides to write a new series of novels using her as the basis of the lead character…and given that he’s friends with the mayor, it’s easy for him to pull a few strings and be allowed to work alongside Beckett when she’s on a case.

The semi-good news? The premise allows for gimmicky cameos by famous authors such as James Patterson and Stephen J. Cannell, both of whom turn up as Castle’s poker-playing cronies in the first episode, and provided you remember that most authors aren’t going to be great actors, it’s a fun idea.

The bad news? Nothing else in “Castle” is nearly as much fun.

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Battlestar Galactica: Islanded in a Stream of Stars

What did we learn this week?

Well, a while back, when Cavil mentioned that the humans hadn’t found the “colony” yet, he wasn’t referring to Earth. The Cylons do have a colony and that’s where Boomer took Hera. It appears that the final two (or is it three, as TV.com indicates?) episodes are going to involve some sort of a rescue attempt. It’s all about Hera. (And Kara.)

Speaking of Kara, Baltar tested the DNA from the dog tags and apparently discovered that she did in fact crash and burn on Earth. After the funeral, Baltar used this information about Kara to advance his own agenda. He announced that Starbuck is walking proof that there is an afterlife. (Of course, if that was the case, why don’t we see more “dead” people walking around?) Anyway, we learned once again that Baltar is a giant ass. For whatever reason, Kara took him into her confidence and he betrayed her. But really, what did she expect he’d do? (On a side note, Baltar did in fact try to make a move on Caprica Six, but he was shot down. I wonder if that’s the end of that storyline or if it will continue through the end of the series. I’m betting on the latter considering how the two are always together in the opera house dream.)

What else did we learn? It took a lot of liquor and a weird Jackson Pollock moment with the white paint, but Bill is finally able to give up on Galactica. He’s cynical about the fleet’s destiny and whatnot, but what else is there to do? If the more spiritual folks say that they need to go after Hera, why not do it? Isn’t that better than aimlessly drifting around space until you run out of resources?

Hera can project! I don’t know what this really means, but she and Boomer bonded over it. By the time they got to the colony, Boomer had grown attached to Hera and those crocodile tears at the end proved that she had a tough time handing the girl over to Cavil. By the way, did you hear Cavil say to Hera that she would soon have a lot of little playmates? How does he plan do accomplish that? Cavil also confirmed that Boomer sneaking Ellen off to the fleet was indeed just a ploy to kidnap Hera. It will be interesting to see if Boomer steps in and saves Hera from whatever Cavil has planned for her.

With Galactica being stripped for parts, the military personnel are going to move over to the Cylon basestar. The humans are justifiably skeptical of this, but do they really have a choice?

Variety ponders the fate of several “bubble shows”

In the world of sports, if a team is on the bubble, it usually means that there is no guarantee that the team will get a postseason berth. The term can be applied to television as well, as networks decide which shows will be returning in the fall (and which ones won’t).

Variety tackled this subject…

Most of broadcast’s comedies and dramas are in the midst of plotting their year-end finales. But for producers who still don’t have a clue about the fate of their shows, that creates a conundrum.

Do you tie up loose ends, and shoot a de facto series finale, just in case it’s all over? Or do you leave the viewers wanting more via a big, messy cliffhanger in hopes that execs will find it more difficult to cut things off midstream?

This year, the producers behind ABC’s “Life on Mars” came up with a third option: Persuade the network to announce the show’s fate right now in order to at least go out with a bang.

“The producers were really pushing for it,” said ABC Entertainment exec VP Jeff Bader. “Based on the ratings the way they are now, it didn’t look like it would be back.

So the producers of “Life on Mars” saw the writing on the wall and pushed for a quick decision. Now they can wrap up the show appropriately.

The whole article is worth a read. It discusses how each network is handling certain shows and how some networks are splitting up shows to air in into either the fall or the spring, but not both. The article mentions “Heroes,” which may only get picked up for 18 to 20 episodes. Few shows can truly stay fresh and entertaining for a traditional, 26-episode season. The shorter the season, the less fat/filler there can be. (Usually.)

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