Category: External TV (Page 349 of 419)

“We decapitate and do business with whatever’s left”

The Sopranos Sil

There’s a part of me that doesn’t even want to blog about this episode. I don’t want to ruin it. I don’t want to overanalyze it. I don’t want to pick it apart. It was a brilliant 50-plus minutes of television, setting things up for what looks to be one helluva memorable finale next week, and that’s really all that needs to be said. The episode speaks for itself.

But what kind of blog would this be if we didn’t actually blog? So let’s start by saying: Here we go. Seems the bloody, shoot-em-up ending that so many viewers wanted has come to be. That early scene with Phil and his two cronies was one of the best scenes of the season, maybe the series. “The Sopranos are nothing more than a glorified crew,” Phil says, quoting Carmine. “We decapitate and do business with whatever’s left.” Seems Phil doesn’t think all that much of his NJ counterparts, or at least, that’s what I gathered when he called them a “Pigmy tribe.” He wants the top three guys gone: Sil, Bobby and, of course, Tony.

A couple of interesting notes here, the first coming from one of the guys from the NY group. Bobby is Tony’s #3. We’ve kinda known it for a while but, as the NY guy pointed out, Bobby used to be Junior’s driver. Then he marries Janice and a couple years later he’s T’s #3? That always seemed strange to me. Turns out they promote everybody, as Phil says, and Bobby’s a very large piece of evidence. But would Bobby be in that position if Chris had still been around? Probably not. Or, at least, you can bet Phil would’ve made Chris a priority over Bobby because he understood that Chris would’ve hurt T more. But Tony gives Chris a friendly push toward his dirt nap a few episodes ago and poor Bobby pays for it. In a hobby store buying an $8,000 train, no less.

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Yo soy Pablo Escobar

With the beginning of season four only two weeks away, the idea of this particular story arc ending with a cliffhanger felt a bit out of place, and so I was glad to see that tonight’s episode ended on a rather positive note instead. Sure, you could say that the latest revelation of the ongoing “Medellin” debacle was a bit surprising, but Vince and the guys certainly made the best of it.

More cut and dry than most episodes, tonight’s “Entourage” dealt with only two plotlines: Vince and Eric securing a financier for “Medellin,” and Drama and Turtle shopping for a new apartment. The latter found Drama out on the town looking for a new place to stay, and while he initially planned to move somewhere cheap, as soon as he views a beautiful condominium by accident, everything else pales in comparison. The Beverly Hills condo is going for $1.4 million, and thus way out of his budget, but that doesn’t stop Drama from buying the damn thing. Prepared to bargain with realtor, he ultimately agrees to pay $100k more than the asking price. Here’s hoping his series gets picked up, or he’ll be back on the streets like the old days.

Unfortunately, while Drama’s side quests are always entertaining (look no further than last week’s run-in with Brett Ratner), tonight’s subplot only seemed to get in way of the more important of the two plots: “Medellin.” It seems Nicky Rubenstein has finally earned access to his trust fund, and his first order of business is to sign on as the film’s financier. Unable to afford the previously budgeted $60 million, Nicky agrees to $25 million, meaning Vince and Eric need to find a director who knows how to stretch a budget. Good thing they know Billy Walsh. The only problem is Walsh is now working as an adult film director (under the alias Wally Balls), apparently because he got sick and tired of studio intervention, but the sheer mention of Pablo Escobar changes his mind.

Of course, he wouldn’t be Billy Walsh without his laundry list of demands (including a bigger budget and final cut), and while he initially butts heads with Nicky over the money issue, the two settle on a slightly larger number: $30 million – written in a checkbook and handed to Vince like it was a five-dollar bill. Finally, “Medellin” is going to get made, and no one can do anything to stop it. Well, unless that someone is Walsh, who apparently wants to film the entire movie in Spanish. Say what? Who does this guy think he is, Mel Gibson? Nonetheless, Vince doesn’t seem at all surprised, and he and Eric are on their way to Columbia to begin shooting right away.

Can “Medellin” go down without a hitch? Will Vince’s performance earn him an Oscar nod? Has Eric really chosen work over Sloan? Can Drama continue his good fortune? And will Turtle ever get a decent story? Hopefully, we’ll get the answer to at least one of these questions in two weeks, but I wouldn’t hold my breath.

Next season will be Battlestar Galactica’s last

This morning the Sci-Fi Channel announced that the upcoming fourth season of “Battlestar Galactica” would be the show’s swan song. But it was not the decision of the network. Executive Producers Ronald D. Moore and David Eick just feel like the time is right:

“This show was always meant to have a beginning, a middle and, finally, an end,” Eick and Moore said in a statement on May 31. “Over the course of the last year, the story and the characters have been moving strongly toward that end, and we’ve decided to listen to those internal voices and conclude the show on our own terms. And while we know our fans will be saddened to know the end is coming, they should brace themselves for a wild ride getting there: We’re going out with a bang.”

Season four will consist of 20 episodes that will begin in early 2008, but to tide fans over, there is a two-part set to air in November, “Battlestar Galactica: Razor,” that will tell some of the backstory of the Pegasus before it joined the refugee fleet.

I was able to sit in on a conference call this afternoon, and while most of the questions asked were about the decision to end the show, the duo didn’t deviate much from the statement above. I did get a chance to pose one question before the call ended.

JP: I’d like to ask you about your decision to use a contemporary song, “All Along the Watchtower,” in the season three finale and is there any plan to explain how the song popped up in deep space in season four?

RDM: We will touch on it again probably later on in the fourth season, to explain it within the context of the show. It was something I thought about doing in an earlier season –

DE: Before that we talked about it being in the mini-series.

RDM: Oh, yeah.

DE: We were going to open up with Simon and Garfunkel’s…was it “America?”

RDM: It was “America.”

DE: Yeah, and we talked ourselves out of it because we felt that we were making such a re-invention as it was that it might be a little bananas on bananas. Then, we were talking about playing around – I think it was in episode five of season one – when Helo and Sharon end up in a diner, that maybe there’s a jukebox and maybe it still works and maybe Helo’s screwing around with it and maybe suddenly he hears the song “Yesterday.” And maybe we just don’t explain it. We just kind of go on and, you know, it just felt like one of these ideas that was good enough and big enough to require its own story point and it just took us until now to figure out how to do it really well.

I have to applaud the duo for finishing the show on their terms. So many shows either stay around too long or get cutoff midstream with no opportunity for appropriate closure that, while sad, it’s refreshing for a series to identify and properly plan for an end date. Fans know that this is how the story was meant to go, and that’s vitally important. Also, it frees up Moore and Eick to work on other projects (the show’s spinoff, “Caprica” is still alive, buf for some reason isn’t a done deal) without having to spread themselves too thin. “Alias” really suffered when J.J. Abrams was trying to launch “Lost” and there are those (myself included) that would argue that “Buffy the Vampire Slayer” and “Angel” suffered when Joss Whedon was putting the first season of “Firefly” together. It’s sad when great shows go out with a dud (“Alias” was pretty brutal the last few seasons, but Whedon did a nice job with “Buffy” and “Angel”) so this news is exciting from the standpoint that Moore and Eick will be putting a lot of their creative effort into making season four a great one.

Patience

After a particularly lackluster week, the writers of “The Shield” got back on track last night with an episode that – for all intents and purposes – set up one hell of a season finale. The cards are on the table, the bets have been placed, and now all we have to do is sit back, relax and wait to see who comes out on top.

Vic’s mission to earn a little goodwill (and behind-the-scenes help) before going in front of the appeals board next week crashed and burned when the city controller who he protected a few weeks back (by failing to disclose the real reason behind his daughter’s murder) came up short on his end of the deal. Knowing full well that Claudette’s lack of pity certainly isn’t helping the case, Vic makes the threat of the century by informing her that not only will he solve the San Marcos murders, but that after he does, she won’t have any other choice but to keep him onboard. So what does he do? He solves the freaking case. Thanks to yet another tip from Aceveda’s city planning friend, Cruz, the Strike Team pick up one of the suspects, but Vic and Hiatt butt heads on how to deal with him. Way to burn yet another bridge, Vic.

When they finally convince the slicer-and-dicer to give up his pals, Vic goes over Hiatt’s head and swoops them up, stashing them away in a freight container before anyone else can find them. Vic then makes good with the Mexicans by handing over two of three El Salvadorians, and a tip that the third will be out of prison in 18 months. Unfortunately, Claudette couldn’t care less, and despite Vic closing the San Marcos case (or at least clearing all those red names from the board), she informs him that he’s still on his way out. Aceveda wouldn’t have it any other way, but his friend Cruz feels differently. Despite his obvious connection to the murders, he thinks Farmington needs as many good cops as possible, and in order to keep Vic on the force, he gives him the one thing that will secure his future: the infamous cell phone picture of Aceveda’s rape.

Shane, on the other hand, is busy making friends with the Armenian mob. Well, at least one of them anyways, and now that he’s become Diro’s right-hand man, it’s only a matter of time before the two of them hook up. Along with schooling her on the ins-and-outs of the mob life, Shane uses his position as a cop to take down Diro’s biggest threat: the man responsible for killing that gas station attendant a few weeks back. With him out of the picture, Diro can seemingly rule as the new boss, but Vic’s keeping an eye on Shane’s back-alley deals, because the last thing he needs is more trouble knocking on his door.

Unfortunately, it looks like he’s about to get some, and real soon too. While trying to convince Diro to keep him in on the game, Shane drops Vic’s name as the one responsible for taking down the Armenian money train. Of course, he manages to expunge himself from the heist, using his failure to cooperate as the reason why Vic has attached a target to his back. Nice move, Shane. Too bad it’s going to bite you in the ass when it’s revealed that you were involved. Well, I guess we can all mark that up as one less trigger Vic is going to have to pull when all is said and done.

And finally, how could anyone talk about last night’s episode without at least a mention of the ongoing feud between Dutch and Billings. Clearly pissed off that Dutch has played the quick-meal vending machine card a little often over the last few weeks, Billings decides to get his own form of revenge. Using Hiatt’s possible relationship with Tina to fire back, Billings follows the pair back to Tina’s place and sends Dutch a text message (using Tina’s phone, which he stole back at the Barn) inviting him over. Minutes later, Dutch arrives with a bottle of wine in hand, but when he hears sex sounds coming from the house, he goes around to investigate. Through the window he spies Tina and Hiatt going at in the nude (and on a chair, no less), and is then caught in the act by Hiatt himself. Let’s no forget that Billings managed to drop a hint to Hiatt earlier in the episode about Dutch’s obsession with Tina, so it’ll be curious to see what comes of that next week. Will Hiatt confront Dutch, and will Dutch find out that it was Billings all along? Let’s hope so, because a battle has been brewing between those two ever since Billings was first named Captain.

“How’s that for a topper…?”

Charles Nelson Reilly, who spent much of the 1970s as both a staple of “The Match Game” and a regular on Saturday morning television, has died at the age of 76.

Funnily enough, I just did an interview with Marty Krofft – soon to be posted on Bullz-Eye – where he and I discussed Charles Nelson Reilly’s role on “Lidsville” as the evil magician Horatio J. Hoo Doo (seen above). I always thought Reilly was a hoot, one of those staples of ’70s television who – rather unfairly, I thought – never managed to escape from his reputation as a staple of ’70s television. But the guy was a Tony-winning actor for “How To Succeed In Business Without Even Trying” who studied acting alongside Steve McQueen and Hal Holbrook, and although his film career never really took off (career highlight: “Cannonball Run II”), he stayed active on TV and doing animation voiceovers ’til the very end. His most memorable work in recent years…? I think you have to give it to his role as Jose Chung on “The X-Files,” a part he reprised on a later episode of “Millennium.” But he did a great comedic turn as himself on an episode of “The Larry Sanders Show,” and he also turned up on a couple of episodes of “The Drew Carey Show” as well.

Me, I always remember him for his role as Uncle Croc. “Uncle Croc’s Block” was a very, very short-lived Saturday morning series where Reilly played a crotchety kids show host, and although I have no idea how it would play for me today, at the time, I thought it was hilarious because it was so different from anything else on Saturday mornings as the time.

Sorry to see you go, Charles. Hopefully, one of these days, the film of your one-man show, “The Life of Reilly,” will make it to DVD…although there’s a line in this trailer for the film that isn’t nearly as funny any longer.

In the meantime, we’ll leave you with the final word on one thing you absolutely weren’t:

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