The short-lived NBC drama, “Kidnapped,” is out on DVD, so fans that felt the fine show got short shrift from the network can see how the story ends. Be sure to check out Will Harris’ review for a complete summary and a little insight as to why networks are completing production of cancelled shows.
Category: External TV (Page 326 of 419)
“This is like Sundance all over again.”
Not exactly Turtle. You see, the Sundance episode was actually good. Tonight’s season finale? Not so much, but that didn’t keep Doug Ellin and Co. from trying their darndest to emulate the season two gem by once again forcing the gang into a make-it-or-break-it business deal. The boys have finally arrived in Cannes with one mission in mind: sell “Medellin” to the highest bidder before the film’s world premiere. Unfortunately, no one’s biting just yet, except for the boys’ old friend Yair (the Arabic millionaire from the tail end of season three), who’s desperate to buy the rights to the film he passed up on for the exact amount it cost to make it – $35 million.
Walsh doesn’t want to sell it to an independent distributor, however, and neither does Ari. They want studio backing, since it ensures both a proper theatrical release and a greater chance of being nominated come award season, and after talking it over with the film’s main producer (Nicky Rubenstein), they agree to start a bidding war and wait it out. And boy do they wait, and wait, and wait… until Ari decides to take matters into his own hands, tricking Dana Gordon over at Warner Bros. to buy the movie for the same asking price as Yair. Regrettably, Yair beats them to the punch by going behind Ari’s back (and straight to Nicky) to cement at $75 million deal for the flick.
Everyone’s happy about the sudden financial boost (except for Walsh) and stroll into the premiere feeling confident that the movie will kill. It does the exact opposite, causing viewers to boo Walsh’s “masterpiece,” Dana Gordon to pray she dodged a giant bullet, and Yair to renege on his offer. Serious about his admiration for the film, Harvey comes to the rescue with and makes an offer the boys can’t refuse: one dollar for “Medellin.” It doesn’t sound like much, but with a major distributor backing the film (and probably re-cutting it), there’s still a distinct possibility that it will earn back its budget and get a few Oscar nods along the way. It’s a pretty big “if” for Vinnie Chase considering his past, but for the time being, things are starting to look up.
Okay, maybe not, but I’m seriously so sick and tired of being negative that I figured I’d give it a shot. All in all, this was a disappointing end to a disappointing season, and as far as I’m concerned, this series is officially on its final warning. Unless they can turn it around in season five (which may be harder than it sounds, since that damn “Medellin” story arc still hasn’t been wrapped up), the boys of “Entourage” are going to be in serious trouble. As for Johnny Chase, well, he’s in a world of his own, but here’s hoping the old dog brings back that French hottie to help spice things up around the house.
…and, yet, it’s surprisingly easy for Andy to be a dick.
Ross at The Rued Morgue has no idea what the fuck is wrong with the former “NewsRadio” star, but he has some theories, and he’s willing to listen to your suggestions as well.
I’d just like to begin by stating for the record that, in Bullz-Eye’s 2006 Fall TV Preview, I made the following statement about “Heroes”:
“The premise is fantastic, and the gradual unfolding of the various stories will keep viewers coming back week after week. This is gonna be the water-cooler show of the season.”
That’s right. I’m Nostradamus.
And, like that famous French forecaster of the future, I get at least as many wrong as I get right, like, for instance, these:
1. Ugly Betty: “Expect fans of the original show to be horrified at this poor translation. In fact, it’s hard to imagine that anyone other than girls on the cusp of pubescence or desperately single women in their 20s and 30s will be able to stand this for even 30 minutes. Oh, and did I mention that it’s an hour long?”
2. Studio 60 on the Sunset Strip: “Best cast on television, hands down… and to have their dialogue written by someone who’s arguably one of the best scribes in the medium? I’m sold. And America will be, too.”
3. Twenty Good Years: “‘Arrested Development’ proved that (Jeffrey) Tambor doesn’t draw the ratings, but Lithgow does. It might not be a huge hit, but count on it doing well enough to stick around for a few seasons.”
Oh, well. At least I was right about “Happy Hour.”
This year’s crop is another blend that’s heavy on drama, light on comedy, and thankfully light on reality shows – well, unless you’re Fox, that is – but, as ever, we must provide the following caveat to the feature that follows:
What we’re offering are our impressions and opinions of what are essentially “rough drafts” of the season’s new shows. Mind you, most aren’t very rough at all — indeed, some may actually look identical when they make their official network premieres — but, nonetheless, it’s not unheard of for producers to retool and recast their shows between the filming of the original pilot and the actual premiere of the series. Actually, this year, it’s closer to the rule than the exception, but we’ll get to that in a moment.
Basically, the moral is this: use our descriptions as an approximation of what will end up on the air, not as The Gospel According to Bullz-Eye.
And now that that’s out of the way, let’s warm up the set and head over to the homepage for Bullz-Eye’s Fall TV Preview.
In a recent issue of Stuff (yes, I read Stuff, but in my defense, my subscription was free), Jerry O’Connell describes his new sitcom, “Carpoolers.”
“I have to hand it to Bruce McCulloch, the writer – who was one of the cocreators of ‘The Kids in the Hall’ – because it’s really funny. It’s four dudes who take the carpool lane every day, and they think they’re a lot cooler than they are. It’s basically ‘The Office’ meets ‘Arrested Development.'”
“‘The Office’ meets ‘Arrested Development'”? So you’re saying that your new sitcom is a combination of what are arguably the two greatest sitcoms of the decade? There’s a fine line between selling and overselling, Jerry, and you’re about a mile from it.
Still, a guy’s gotta do what a guy’s gotta do, right?
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