Category: External TV (Page 138 of 419)

TCA Tour: “Hung”

It’s been several days since we were treated to HBO’s panel on their new series, “Hung,” but I just hadn’t been rushing to write it up, mostly because I still haven’t checked out the show yet. I didn’t get advance screeners for the first two episodes, then I did get screeners for the second two episodes, but by that point, I had too many other things in my pile that were more important for me to watch, and…well, here we are. But even without having watched the show, I still got several laughs out of some of the exchanges during the panel, so the least I can do is offer those bits up for your reading enjoyment.

Thomas Jane in Hung season 1

Colette Burson (series co-creator): I think we see what makes him special all the time in terms of dealing with the women.
Jane Adams: I know *I* do.

_ _ _ _ _

Colette Burson: Thomas actually is someone we had thought of long before this audition process happened, and he actually didn’t really go through the audition process in quite the same way. Itt happened afterwards, and we talked to him, and we met with him, and then he read some. But, again, none of these issues really came up. It was just all about he sort of captured the essence of Ray.
Thomas Jane: I did have to go into the next room to disrobe, so I wouldn’t hit anybody in the eye.

_ _ _ _ _

Critic: Even today, we’ve sort of been tripping over double entendres and things. But did you think maybe this was going to lead to a funny press tour session?
Thomas Jane: Or bigger things?
Critic: Extend your career?
Jane Adams: Like while you are holding that mic, too. Really, it’s become surreal.
Thomas Jane: Speak into the mic and tell me how you feel about my penis.

_ _ _ _ _

Thomas Jane: You know, the fact is that it’s all fucking fate and luck, man. This is fate and luck that we are all up here together talking to you about a show about a guy with a big dick. Right? Fate and luck. There is no reason this show should be good. The show should be bad. It’s about a guy with a big dick who fucks people for money. Fuck you.

_ _ _ _ _

Critic: Given that it seems like most women who would purchase those services are interested in the totality of the experience rather than the size issue, as this is about a heterosexual gigolo, how did you wind up focusing on “Hung”?
Colette Burson: We don’t really make the marketing decisions. But interestingly enough, I think that the marketing was designed to not focus on that, actually. Like, not to focus on his penis.
Thomas Jane: Are you asking, why is the show called “Hung” if we’re not showing how big this guy’s cock is?
Critic: Well, if it’s more about the totality of the gigolo experience rather than size, why the emphasis on size in the title?
Thomas Jane: Because it grabs you.
Jane Adams: It’s funny that you said “cock.” Isn’t it Mo’Nique that has a joke about, like, Black guys say “dick” and white people say “cock”?
Thomas Jane: “Cock.” Yeah. I wouldn’t say “dick.” I say “cock.”
Sue Naegle (President, HBO Entertainment):We have time for one more long, hard question…

Thomas Jane and Jane Adams in Hung season 1.jpg

Critic: I wanted to ask Mr. Jane if this has made you think about what women want, and…
Thomas Jane: Absolutely not. Don’t get the impression that I’m going to think about what women want.
Critic: …what women want, and also about what women go through. Say, for example, female prostitutes.
Thomas Jane: Right, those poor sullied creatures of the night. No. Absolutely not. I just don’t want to know what they go through after I give them my $300.
Jane Adams: Are you guys Twittering? Did anybody get that? Because I can’t wait to read that shit later.
Thomas Jane: There was a syntax in there. I have given them. In the distant past.
Jane Adams: Anyway…
Thomas Jane: I knew people who used to give $300 or $400 to people who I didn’t care about.
Sue Naegle: Is it safe to say we’re done…?

TCA Tour: Fox Executive Session

This morning, Peter Rice, Fox’s Chairman of Entertainment, and Kevin Reilly, Fox’s President of Entertainment, sat down for their network’s executive session, and you will be unsurprised to learn that they were positively bombarded with questions about Paula Abdul’s departure from “American Idol.”

“Paula is the only member of ‘American Idol’ whose contract was up this year,” said Rice. “We have been talking to her about it for most of the season, and we very much wanted her to return. In the past few weeks, the negotiation came to a conclusion, we made an offer that was fair to Paula, a substantial raise on the money she made in past, but Paula decided not to return. It was not our choice. We wanted her to come back to the show.”

Rice admitted that, given the short amount of time since Abdul’s announcement of departure, they didn’t have any big announcements to make about what they’d be doing, aside from the fact that
they would be focusing on the auditioning process and that it was their intention to have guest judges at each audition.

“We are talking to people now, a couple are confirmed, and we are talking about dates with others,” said Rice. “It’s our intention to have the guest judges be female pop stars, female performers, female artists.” Minutes later, he acknowledged that they had indeed gotten commitments from two such judges already: Katy Perry and Victoria Beckham.

“Between now and January,” said Rice, “we will come up with a more permanent solution on what we’ll do,” but of the inevitable change in dynamic with a new judge, he admitted, “There’s something exciting about that.”

Seriously, though, isn’t there still a chance she could still be back in the “Idol” fold come January?

That’d be a “no,” according to Rice. He says that the negotiations have concluded and that Paula Abdul is not returning.

“The expectation and hope was that Paula would come back,” he reiterated. “I think that when her current agent made a statement to the press two weeks ago, we thought, ‘What if she doesn’t come back?’ But we had no contingency. There is going to be a change, and we have to look at it as a positive change now, an opportunity for the show, to bring a different energy to it.”

Reilly, who had let Rice run with the ball, did finally chime in and remind us that, ultimately, the show is about the contestants. But I don’t think anybody bought that for a second.

Okay, that’s enough about Paula, but there was one more “Idol” note that came up during the session: no matter what you may have heard, Fox is not paying Ryan Seacrest $15 million to host “American Idol.” Seacrest’s $15 million deal is with CKX, Inc., which encompasses much more than “American Idol.” His original contract for “AI” remains in place.

Frankly, there wasn’t much time left after all of the Paula Abdul questions were asked and answered, but somewhere in the midst of it all, a few more random facts did slip out:

* The renewal of “Dollhouse” for a second season was due to the die-hard Joss Whedon fans, but Reilly swears that “it didn’t factor in from a fear place. It was more from a positive place. Those fans were there every week, and they stuck with it in a way that a lot of television fans don’t.” Now that he’s worked out the hiccups in the show, the official mandate for Season 2 of “Dollhouse” is for Joss to keep doing what he does.

* The decision to air the pilot of “Glee” as a standalone episode several months before its formal series premiere was “a marketing stunt,” one that did better than they ever imagined. Rice admits that the show’s a bit unique. “It’s definitely not saccharine, but every episode ends in an uplifting manner,” he said, going on to describe the series variously as “upbeat,” “subversive,” “sweet,” “emotional,” and “aspirational.”

* And, lastly, there are currently no plans to air the final six episodes of “King of the Hill.” Nice one, Fox. The series was always treated like the bastard child of the Sunday night animated line-up, so way to keep it that way to the very end.

TCA Tour: “Bones” set visit

Of the set visits I’ve done this trip, the one to “Bones” was the most disappointing one to date. Don’t get me wrong, the Q&A with stars David Boreanaz and Emily Deschanel and producers Hart Hanson and Stephen Nathan made for a good time. The disappointment came from the fact that we’d been told that we’d be touring Dr. Brennan’s lab at the Jeffersonian, only to arrive and find that, due to filming commitments on that set, we’d be stuck hanging out at the FBI. I’m not saying it wasn’t cool to see that set, but…well, it’s like if someone told you that you were going to get to walk onto the field of Yankee Stadium, only to find out that you were actually only going to get to go into the locker room: they’re both cool in their own way if you’re a fan, but one’s definitely a damned sight more impressive than the other.

Okay, I know, I’m complaining about not getting to see my favorite set when you’re probably saying, “Yeah, but, still…Bones and Booth were right in front of you!” And you’ve got a point: that was pretty cool. I’ve never actually had a chance to chat with Ms. Deschanel before, but I’ve talked to David before, and he’s always a lot of fun to talk with. And if you’ve never seen him do an interview before, let me assure you that, for as much characterization as the writers have brought to the table at “Bones,” there’s still a heck of a lot of Seeley Booth in David Boreanaz, and vice versa.

So, of course, if we’re talking about the upcoming season of “Bones,” then what you really want to know is if Bones and Booth are finally going to get together.

“Do you honestly think I am going to answer that question after what I went through last season?” asked Hanson, with a laugh.

“We did end up in bed together,” Deschanel reminded us. “It was in our minds, but that changes our relationship, and you will see that going into season 5. That changes our relationship for good. Basicall,y he wakes up and you don’t know whether it was his coma or my books or both, in some way. The fact that it was in our minds does in fact change your relationship, and you will see it changes our relationship even more than just being in our minds.”

“You look at each other differently,” acknowledged Hanson, “and it’s quite evident, especially in the first episode. You see the relationship has evolved because of that experience.”

“Well, I’m just trying to get my memory back, so that’s probably what you’re seeing,” said Boreanaz, with a grin.

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RIP Budd Schulberg

The ending of Budd Schulberg‘s extraordinary life at age 95 last night was just a little strange for me personally. By a very odd coincidence, just the night before I finished watching the 1959 TV production of “What Makes Sammy Run?,” Schulberg’s great and possibly never-to-be-filmed 1941 novel about Hollywood careerist dehumanization (yes, it goes back that far, at least). The DVD included an interview he gave just last year. Given his age and fairly obvious frailty, I wondered how long it would be before I’d be writing one of these posts on him. He was not a young man, but this is still too soon.

Anyhow, what can you say about the writer of “On the Waterfront” and “A Face in the Crowd” — two of the most acclaimed screenplays ever written — and the nastily on-point movie business novel which was so effective it is supposed to have driven the usually jovial John Wayne to physical violence? Of course, Schulberg got it from all sides, though for differing reasons.

Like most liberals, I have serious complaints with how Schulberg and his more famous directing collaborator, Elia Kazan, comported themselves during the McCarthy era, and certain lines in both of their most famous films stick in my craw. While Budd Schulberg never abandoned his liberalism, it’s clear to me that his entirely justified anticommunism took a form that helped that American extreme-right, harmed the first amendment, and bolstered the most vicious aspects of U.S. foreign policy. Still, there’s no denying the power and clarity of his writing or the moral values they expressed at their best.

As it happens, I posted one great scene from “A Face in the Crowd” just last week. I’m posting more after the flip, starting with a scene with Andy Griffith and Patricia Neal that should knock your socks off.

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Top Chef Masters: would you like fries with those vegetables?


Yesterday’s “Top Chef Masters” on Bravo brought us from five contestants down to the final four, and the challenges, especially the elimination challenge, were particularly interesting. First, after unveiling mounds of fast food burgers and fries with the chefs wondering if they would have to create something using those pre-made items, host Kelly Choi told them that instead they were going to make their own gourmet burgers with side dishes, and serve to judges that included “Top Chef” Season 4 contestant Spike Mendelsohn and filmmaker Morgan Spurlock, who created the film “Supersize Me.” But I’m wondering..what did they do with all of that fast food?

Rick Bayless made a ribeye burger with three kinds of guacamole. The judges loved the burger but wondered why Bayless made three types of guacamole instead of just one. Still, Rick managed 4 stars.

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