Category: External TV (Page 299 of 419)

That Elaine Hendrix is so darned nice…

Given how busy the holidays were, you may or may not have even noticed when I posted a review of “The Munsters’ Scary Little Christmas,” but if you did, you might recall that I allotted a fair amount of the text to assuring people that the short skirts worn by Marilyn Munster – played by Elaine Hendrix, seen to your left – were just about enough reason to check out the film, even though it didn’t feature any of the original cast.

At the time, I dropped Ms. Hendrix an E-mail, asking if she could offer any reminiscences from her experience on the flick, but I didn’t hear anything and, well, I didn’t lose any sleep over it. Again, holidays are busy, people get caught up in their own goings-on, not a big deal.

Last night, however, I got a very belated but also very apologetic response from Elaine:

Oh, darn it, Will. I get these e-mails so late, and it doesn’t look like my assistant responded. I would have loved to give you some info on it. Please keep (my publicist) in the loop, and we’ll do the same with you for upcoming projects. I hope you were kind to “Marilyn” in the review. 🙂

It was a great project for 3 reasons –

1. Befriending Ann Magnuson
2. Shooting in Australia
3. Working on yet another cult classic franchise.

Thank you! Hope all is well.

Happy new year,

Elaine

Maybe my standards are slipping because of the writer’s strike…

…but I watched the premiere episode of “Gone Country” and got pulled in. And we’re talking the “hook, line, and sinker” kind of “pulled in,” the kind that has you popped into the control panel on your TiVo to set up a season pass.

Actually, I guess it’s not that surprising. When it comes right down to it, I tend to be a sucker for any show which features celebrities in a significant capacity, as long as it meets three caveats:

1. The premise has to be an interesting one.
2. The execution of the premise has to be done with a certain amount of humor.
3. I have to actually give a flying flip about the show’s celebrities.

“Gone Country ” meets all three criteria handily. The show takes six disparate musical artists, sticks them in a house together, and has them all go through a rigorous reinvention into the country lifestyle, culminating with one of them getting to release a country single produced by host John Rich (of Big & Rich fame). It’s an idea which – based on the first episode, at least – seems set to pay off far more handsomely than, say, MTV’s craptastic “Celebrity Rap Superstars.” But, then, this series comes from the same people who brought you “The Surreal Life” (like you didn’t already notice some similarities between that show and this one), so it’s already got a considerable leg up.

The artists who’ve signed up for this endeavor are Julio Iglesias, Jr., Carnie Wilson (of Wilson Phillips fame), Diana DeGarmo (“American Idol”), Maureen McCormick (known predominantly for playing Marcia on “The Brady Bunch”), Sis’Qo (who isn’t just about “The Thong Song,” goddammit), Dee Snider (of Twisted Sister), and…wait for it…Bobby Brown. And believe me, the rest of the cast is just as shocked to see Bobby arrive as you were to read his name, but mark my words: no matter how he places in the competition, he’ll come out of this show smelling a damned sight sweeter than Whitney Houston. Savvy move, sir. Very savvy, indeed.

I really don’t know anything about John Rich, but when I saw him arrive at his home – known as the Plowboy Mansion – by helicopter, then to see him disembark from the vehicle whilst wearing a pimp-daddy fur coat, I thought, “Jesus H. Christmas, this guy has got to be a complete asshole.” But, no, he turned out to be a downright sweet guy, talking up the contestants, making them feel comfortable about being in the competition and cheering them on…even despite Dee Snider saying outright that he hates country music. (Rich’s after-the-fact reaction: “I thought, ‘Are you an idiot?'”)

On first assessment, I’m leaning toward thinking that Dee could take this competition, if only because he could be spotting strolling around the place, strumming his guitar and singing country-inspired songs about mundane things like finding the coffee. (The man’s a hardcore caffeine addict, by the way.) I know, it seems like Diana would be a lock, since she’s already proven on “AI” that she can bounce from genre to genre when the need arises, but, still, she’s right up with Maureen for having the least experience as a professional singer. Speaking of Maureen, Dee suggests at one point that she might need to be medicated, and you can see why; she’s enthusiastic to a fault, raving about everything from the snacks to the bedsheets, and bursts into tears from sheer happiness at one point. But she quickly forms a nicotine-related bond with Bobby, resulting in a surprising friendship from the word “go.” Julio doesn’t make much of an impression, so quiet is he, which makes Carnie his polar opposite, as it often feels as though she’s uncomfortable with the concept of silence. And Sis’Qo…? Well, he’s personable enough, but he’s got a hard road ahead of him to not be “the ‘Thong Song’ dude.”

“Gone Country” is silly fun, but there’s one point toward the end where you can actually kind of empathize with the contestants. The producers have gone through and asked people on the street in Nashville their thoughts about the possibility of these various artists trying their hand at country…and they’re fucking brutal. Some of the cast try to laugh off the comments, but it’s still gotta hurt to hear someone say, “Oh, no, they’re going to be AWFUL!”

Car wreck TV? No, it’s a level above that. If you’re a music fan, there’s something interesting about the idea of watching people test their abilities, find their strengths and weaknesses, and see what they can come up with. I ain’t saying I’m gonna buy the single from whoever wins this thing, but I’ll be there to find out who takes home the glory.

Prison Break: “Dirt Nap”

It’s funny how hard the “Prison Break” writers have to work to keep the gang together. With Michael’s second escape attempt (hopefully) coming soon, it looked for a moment that T-Bag and Bellick would be left out in the cold. Michael, who has always been quite selective about whom he takes with him on these escapes, has suddenly decided to be Mr. Inclusive.

When Whistler tells him that he needed something from T-Bag and the price was T-Bag coming along on the escape, Michael just agreed without even asking what that something was. Of all of Michael’s foils on the show, he has the biggest problem with T-Bag’s history of molestation. You’d think he’d at least follow up on (and approve) his inclusion.

Then, with Sammy’s coup causing all sorts of problems for Michael and his crew, T-Bag enlists the help of Delta Force Bellick, who agrees without even bothering to check and see if there is any acetone left. T-Bag is getting soft, too. When Bellick threatens to shout the news of the escape “from the rooftops,” I expected T-Bag to say something like this:

Do that, sugar tits, and when you least expect it, I’ll slit your throat.

Instead, T-Bag, who shouldn’t have any “you’re in” privileges, tells Bellick just that.

(On a side note, I’m really starting to dig Bellick’s wardrobe. The belly-revealing half shirt and the Zubaz tiger-striped pants really work for him.)

Also, McGrady keeps popping his head in asking to get in on the escape, but Michael hasn’t budged yet. Expect that to change soon.

One more comment on the happenings inside the prison: Mahone is coming back. It appears that he’s shaking his addiction and he’s starting to become quite useful again. I really liked his line when Whistler was telling Mahone and Michael about how he got wrapped up with the Company:

We’re not two chicks at a bar. I don’t need to hear this, unless you do.

I miss Mahone the badass, so this is a good development.

On the outside, Lincoln and Sucre’s plan to trick Gretchen backfired when Sucre decided to immediately wire the $25 K to Maricruz. I thought Gretchen was especially evil in that scene in the car, though I thought it was odd that she didn’t wonder why Sucre got in the back seat instead of the front. As a soldier, you’d think she’d be a little more protective of her backside.

Anyway, Maricruz is in peril (again), which will bring Sucre’s loyalties into question (again). I’m going to go ahead and predict that Sucre will look as if he’s doing some shady things, but he’ll end up helping out the brothers in the end. (I know, that’s not really going out on a limb.)

Let’s see, what else is going on. Linc bought a bomb and Sucre planted it in Gretchen’s car. I’m not sure how that’s going to play out, but I’m guessing at some point, we’ll see a car explode. Also, using Gary Miller’s phone, Gretchen texted someone named Edward Guthrie about how sales are going through the roof. I’m not sure what that’s about.

Finally, Linc had the second best line of the night (after Mahone’s “two chicks” line) when he said to Sofia, “If he doesn’t take ya, I will.” Of course, if he likes her so much, why he would drop her off two blocks from home? Also, I’m curious about how many souvenir shops in Panama have Eiffel Tower keychains, but it was a nice gesture nonetheless. It appears that she has feelings for the big lug because when she got home she started to purge Whistler from her life. And that’s how she found his case.

Well, if he’s not a fisherman, what is he?

The Wire 5.3 – Not for Attribution

I ended last week’s blog entry with a remark about how I hoped the Baltimore Sun scenes would begin fitting in to the main story arc sooner rather than later, and wouldn’t you know it, my wish came true, courtesy of Jimmy McNulty. Acting as a one-man revival of “Dexter” and “The Shield,” McNulty is currently breaking more laws than Bunk can count in his quest to create a serial killer that both the mayor’s office and the police department will actually pay attention to. Planning his killer around two details – homeless victims and red ribbons – McNulty goes back into the vault to find unsolved murders to would bend to his specifications. He discovers two, and makes it three when he plants evidence on the homeless man that he (re)killed last week.

Hoping to grab someone’s attention other than Bunk (Landsman just shoves it aside in a hilarious ten-second scene), McNulty takes the info to Alma at The Sun, who graciously accepts the lead after her last article (about murders, no less) got bumped from the front page in place of a skydiving article. No joke. Unfortunately, her latest story is buried in the back of the Metro section, and just when it looks like McNulty is about to give up, Lester Freamon surfaces to convince McNulty otherwise – suggesting he sensationalize his murder (i.e. give him a menacing nickname, etc.) in order to garner more press.

the_wire_5-3

Of course, that’s just one way The Sun has suddenly become integral to season five. Though the ongoing cutbacks will undoubtedly fuel the fire for the remaining journalists in the coming weeks, City Editor Gus has secured his place at the paper, and you can certainly see why. With friends like Norman (Carcetti’s right-hand man, in case you forgot), Gus is virtually indispensable, and he proves his worth when he squeezes some info out of Norman about Carcetti’s plans to axe Burrell and prep Daniels for the job. Whether or not Carcetti decides to give the temporary position to Rawls or Valchek remains to be seen, but what you can expect is that Burrell is going to put up a fight, and after butting heads with Carcetti later in the episode, his biggest ally could very well be Clay Davis. Shiiiiit, indeed.

And finally, there’s Marlo. After visiting Vondas about a direct relationship with the Greek (and consequently getting turned down because his money was “dirty”), the Baltimore kingpin heads to Prop Joe for help cleaning his cash. Half of his investment is turned into clean bank money (for the Greek, of course), while the other half is transferred to an account in the Cayman Islands. Marlo doesn’t exactly understand the concept of a wire transfer, however, so he hops on a plane and heads south to check out his account in person. Meanwhile, Snoop and Chris hit a roadblock in their search for Omar, so instead, they just torture and kill his blind friend Butchie, therefore ensuring his return. As it turns out, Omar is currently living the sweet life on some unnamed island (whether or not it was the same island as Marlo’s bank is unclear), but it hardly matters now. Omar is back, and Marlo would be wise to muscle up.

Friday Night Lights: “Who Do You Think You Are?”

I don’t know how they do it, but the creators of this show found a way to make a mundane task like choosing the right daycare fairly interesting. Maybe it’s because I’m an expecting father, but I felt the Taylors’ pain when they had to leave Gracie at daycare for the first time.

Other than that storyline (and the awesome cameo by Glenn, “Um, I think she needs her diaper changed”), I wasn’t too crazy about this episode. The old, mistake-making Lyla was a lot more interesting than the new-and-improved, preachy Lyla. While Riggins’ call to the radio show was pretty funny (“Um, I think Jesus is kinda hot”), the rest of the storyline was pretty bland. However, it does appear that the Lyla/Riggins relationship will be moving forward next week.

Santiago’s brush with his past is kind of cliché, and the most compelling thing about that thread is the trust that’s developing between he and Buddy. Buddy’s growth is both funny and endearing. He’s like a little kid with a new toy, and the new toy is a 16 year-old ex-con. His spiel about “judging people by what’s on the inside” at the bar was hilarious, especially when he followed it up by asking one of his friends if he should hide his watch from “a bunch of thugs.” (On a side note, it was nice to see “Veronica Mars” alum Francis Capra again. He played Santiago’s friend.)

The last less-than-stellar storyline this week was the exploration of racism as a part of Smash’s relationship with Noel. I thought it was odd (and pretty unrealistic) that her parents would invite everyone over for dinner only to spring an ambush at dessert. To top things off, we have the stereotypical white racist bothering Smash’s sister at the movies. The incident will probably prompt Smash to break things off with Noel. Yawn.

For the sake of QB1, I was sad to see Carlota go, but there wasn’t really anything going on in that relationship. It felt a little abrupt, but the moment the two shared at the birthday party seemed genuine. Now that they’re both single, methinks this may eventually lead to a Matt/Julie reunion, but expect QB1 to go through some tough times first.

Lastly, for anyone that’s interested, the moody song playing over the final few scenes was Devendra Banhart’s “Now That I Know,” which is off his 2005 album, Cripple Crow. The show sure does a nice job with its music.

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