Category: External TV (Page 70 of 419)

Hamlet

As a self-professed fan of all things “Hamlet,” my interest was immediately piqued when the BBC announced that they would be producing a modern day update of the Shakespearean classic with “Doctor Who” star David Tennant in the title role. Everyone knows the story of “Hamlet,” but if you don’t, this isn’t a bad place to start as it’s a pretty faithful adaptation with some strong performances from its cast. Tennant played the Danish prince in the most recent staging of the play by the Royal Shakespeare Company, and though it isn’t the best Hamlet to date, he brings a whimsical madness to the role that injects some much-needed energy into the story. Unlike previous incarnations, Tennant’s Hamlet is crazy from the start – a victim of paranoia who believes he’s being spied on by his murderous uncle via the CCTV cameras installed throughout the castle.

And indeed, there’s a bit of truth behind his madness, as the newly anointed King Claudius (Patrick Stewart, also reprising his role from the RSC production, and who recently spoke with our own Will Harris about the film) keeps a watchful eye on his nephew. But while Claudius initially comes off looking more like a worried patriarch than an evil stepdad, he eventually reveals himself to be the villain he truly is in subtle moments of guile and wickedness that capitalize on the veteran actor’s commanding screen presence. The rest of the cast pales in comparison (particularly Peter De Jersey, who is horribly miscast as Horatio), although Mariah Gale does get to chew some scenery once Ophelia loses her marbles (and her clothes).

Despite setting the story in present day, the film feels very much like a period piece. Director Gregory Dorn is careful to update the material without changing the meaning, and though it’s been filmed on a movie set, there’s an air of theatricality to the production that proves why “Hamlet” is better told on stage than in film. All in all, it’s one of the finer adaptations in recent memory. It still doesn’t come close to besting the Kenneth Branagh-directed version, but then again, there’s a good chance nothing ever will.

Click to buy “Hamlet”

The Biggest Loser: the red line returns

Last night’s episode of “The Biggest Loser” began with Ashley, Mike and Daris saying that they were now the larger alliance with Koli and Sunshine now not having their teammates there. Koli was pissed, saying they should have voted Mike off because he was a way bigger threat than Sam. But then host Alison Sweeney delivered the news that would send a shock wave through the final five–there would be no yellow line this week, only a red line. That meant whoever fell below that line would be going home this week. And what a great way to break up the alliances and thwart the game play!

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American Idol: how serious are you?

To the contestants on “American Idol,” if you’ve made it to this week’s Final Four, you’re either on the verge of winning it all, or of being a pretender and fading into the show’s collective oblivion soon. Mentor Jamie Foxx signified as much when he had t-shirts made up that said “contestant” and “artist,” and told each one of them that they had to earn their artist shirt this week to prove they are ready. Corny, yes, but effective and correct. The theme this week was songs from movies, which is about as vast a catalog as there is.

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24 8.21: The knife feels like justice

Tonight’s episode of “24” felt like a blast from the past. It was pretty lean in terms of storytelling, it contained a hellacious, if predictable, end-around, and ended with one of the most vicious torture scenes in the show’s history. Pity it had one major, major flaw.

I liked that Dominic was so busy trying to nail down Bauer down that he took no notice of Chloe and Merv the Perv conspiring behind his back. Even when he noticed Chloe giving him The Look (you know the one), he just tinted the windows and kept on scheming. Fool. Nobody puts Chloe in a corner. Still, you’d think Dominic would show a little more diplomacy when safeguarding high crimes committed by the White House. By yanking that file away from Arlo, he may as well have stamped “CORRUPT” on his forehead.

As Jack is setting up the meet with White She Devil, I’m thinking to myself, “There has to be a better way to do this.” Not in terms of getting her the evidence (more on that in a bit), but in terms of meeting out in the open like that. So as it’s going down and he shows up, I knew he’d have a plan, and sure enough, he did. He didn’t care about getting caught on camera – he knew the hit man who took out Crazy Jackie would be there, and could then settle two scores for the price of one. Get the intel, and make the motherfucker responsible for Jackie’s death squeal like a stuck pig before ultimately killing him. Re-enter Mr. Blonde, to get the drop on Dmitri Sharpshooter.

But I have another idea.

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“Let’s see, stab him, then the lighter fluid, then the blowtorch, then the pliers. No, pliers first. The crowd loves it when I open with that.”

That’s great that he was able to abduct – and torture the bejeezus out of – Renee’s killer, but if he just wanted to make sure She Devil got the video, why didn’t he just go viral with it? Post that puppy to YouTube, text her the link, have her record her own version in the event CTU discovers it, and send it to every TV station in New York City. She Devil said it herself, Starbuck’s tape alone was more than enough evidence to blow the lid off. He didn’t need to risk her life over it, which actually goes to Dominic’s point that Jack has indeed lost it, and is acting not out of duty but out of grief and hell-bent on revenge. I believe Jack has it mostly together; he did check himself after unloading about 20 hay makers on the helpless hit man. But let’s not kid ourselves, people: Jack Bauer is the Crow, and he will not stop until everyone responsible for Renee’s death is dealt with. And by dealt with, I mean gutted like a deer, but not before having a little blowtorch work done. And taking the cell phone memory card out of hit man’s stomach, staring him in the eyes the entire time…wow.

The bottom line is that Jack should go viral with the footage anyway, because once it’s out on the web, the government will not be able to control the message any longer. It’s an instant checkmate, and Jack, of all people, should know this. But hey, the “24” writers, for as advanced as their tech is, are slow on the draw with certain things. They actually used texting to their advantage this week, after passing on a golden opportunity to use it in an earlier episode. Before you know it, they’ll be Facebooking, tweeting, and then, when no one’s looking, sexting. Shhhhh!

I still have one question: has I.M. Weasel revealed how he suspected the Russians were involved in the day’s events? I remember him offering his services to Allison, and then blackmailing Mikhail into submission, but never really being forthright – not his strong suit, sure – with either of them. He must have known something, but what? If he heard chatter, then who was chattering? I hear chatter about lots of things, but I don’t offer my services to the President unless I’m 100% sure of my intel, especially if I’m a disgraced former President looking for redemption.

Time for tonight’s song, courtesy of a mid-’80s AAA-hungry Brian Setzer. This is the first time I’ve heard this song since its release, and all I could think of was Marshall Crenshaw. I’m frankly surprised Crenshaw didn’t write this, because it sounds just like him.

Breaking Bad 3.8 – It’s All, Like, Shiny Up In Here

Last week’s episode so wreaked havoc on my theory on how the next few episodes would play out, thanks to Hank’s parking-lot battle with the Cousins (I was sure they’d stalk him for awhile before going after him), that I walked into this week’s “Breaking Bad” with absolutely no clue about what to expect. I even said as much to Dean Norris when I talked to him, but he assured me that the show would stay intense and action-packed right through to the end of the season, adding that, despite the status of the Cousins, “There are plenty more bad guys where they came from.” I wouldn’t say that this week’s installment was entirely action-packed, but it certainly had some moments of intensity, that’s for sure.

Things kicked off with a battered and bruised (and, lest we forget, tattooed) Jesse preparing to leave the hospital, but as he’s waiting at the curb for his ride to show, he happens to see Hank rolled in on a gurney, looking decidedly worse for wear. The initial look on Jesse’s face was horror, and one wonders if maybe he thought that his own life might be in danger as well, which is a pretty reasonable consideration if you’re thinking in terms of, “If they can take down a DEA agent, they can take down anybody.” It doesn’t take long, however, for the horror to turn into bliss at the realization that the man who kicked his ass nine ways to Sunday has been taken down a peg himself.

Poor Gale. He thought that he and Walt were simpatico, but, uh, not so much. And, no, it’s not about his screw-up in setting the temperature that set Walt off last week. It’s apparently more to do with rhythms…or, at least, that’s the story that Walt’s trying to spin. Classical vs. jazz? Yeah, that explanation lasted about as long as it took for Jesse to open his dumb-ass white trash mouth. I don’t believe we’ve seen the last of Gale.

We have, however, seen the last of Walt at the SuperLab for this episode. Turns out that the lack of cell phone reception in the facility means that Jesse actually knew about Hank’s condition before Walt did. Once he finds out, however, he’s off to the hospital, where he meets up with Skyler, Walt, Jr., and, of course, Marie, along with quite a few of Hank’s fellow DEA agents. In addition to finding out that one of the Cousins survived, albeit in critical condition, we also discover that Marie had no idea that Walt’s weapon had been confiscated from him. Cue a royal ass-tearing from Mrs. Schrader, one which finds Hank’s ex-partner, Steve, getting reamed. Unfortunately, Walt finds himself on the receiving end of her venom, too, thanks to the very reasonable suggestion that none of this would’ve happened if it hadn’t been for Walt’s connection to Jesse. You can see in Walt’s eyes that he did indeed feel some guilt over the situation (though it’s likely less because of his former student and more for his own disgraceful actions a few episodes back), and the next thing you know, he’s turned into Super Family Man. You can see him actively struggling with his desire to be elsewhere and to just be doing something other than sitting around, but he’s trying his best to be there for a change…even at the expense of the deal he’s made with Gus.

Meanwhile, Jesse’s being about as loud, obnoxious, and useless as any human being can be. He’s really been all up and down the emotional spectrum over the course of this season, and I have to admit that it was good fun to see him acting so utterly irresponsible as he giddily explored the SuperLab to the strains of Prince Fatty’s “Shimmy Shimmy Ya,” but it struck me as being a little ridiculous. Yes, he’s been through a lot of the past few days, and he’s more earned himself the chance to blow off a little steam, but after he kicked so much ass as a meth maker on his own, it still rang untrue to me that he wouldn’t at least be trying to figure out the lab on his own. But it was a typical dumb-ass move for Jesse to call Walt at the hospital, and it was a cruel but character-appropriate closing comment that Jesse made: “Tell your douchebag brother-in-law to head to the light.” Nice. The guy’s a complete dumbass, but you can’t help but love him. Well, we can’t, anyway. Victor – Gus’s right-hand man – doesn’t appear to feel the same way…at all.

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