Category: External TV (Page 72 of 419)

24 8.20: Put me down

Bledsoe: “You won’t take the shot, it’s too risky! I’ll kill her before you…”
Jack: *Blam*

Seriously, that was one of the best deaths in “24” history. Here was Toepick, trying to act all intimidating, when Jack was a mere five or six feet away. He may as well have had the gun on Toepick’s forehead. Heck, I’m pretty sure Jack has made that shot across a windy rooftop with a pea shooter in a previous season.

As Jack continues to thwart I.M. Weasel’s nefarious plans, Logan’s conversations with Allison remind me of a “Simpsons” episode – in full disclosure, it should be noted that pretty much everything reminds me of a “Simpsons” episode – where Apu is trying to get out of his arranged marriage to a family friend, and Homer suggests that he pretend that he’s married to Marge, and Bart and Lisa are his kids. When the plan continues to go wrong, Apu finally grows tired of Homer’s wacky schemes:

Apu: Is it me, or do all of your plans involve some horrible web of lies?
Homer: It’s you.

Logan is Homer. Allison is Apu. Only she’s still going along with Logan’s ridiculous suggestions, even though each one is riskier and more conspicuous than the last one. Again, the woman who sent her own daughter to prison is authorizing Logan to put his assistant (official “24” nickname: Dominic, from his “Dollhouse” days) in charge of the hunt for Jack at CTU. Because that doesn’t look at all suspicious that you’re putting someone in between Jack and Chloe. Yumpin’ yiminy.

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“Well, I say he does have to shoot me now! So shoot me now!”

There was a time when I hoped that they could come up with a way to take the bad guys down without getting Allison’s hands dirty, but as she continues to acquiesce, I am running out of patience with her. She’s had more than enough time to realize the grievous error in judgment she’s committed, but the problem at this point is that she can’t go back, so the web of lies expands. Still, go back to the beginning of this subplot, and think of Logan and Taylor as exes. Would you take ‘don’t ask, don’t tell’ assistance from an ex – a known liar, to boot- even when they assured you that none of it would come back to haunt you? Of course you wouldn’t, because the two of you broke up for a reason, remember? There isn’t a parallel universe on this or any other world where Allison would accept that kind of help from someone like I.M. Weasel, and I’m growing tired of seeing them continue with the ruse.

Now let’s get to the other great death in tonight’s episode. Was anyone else shocked at the remorselessness Jack showed in dispatching Starbuck? Yes, she could not be trusted, and yes, she had killed several innocent civilians in order to facilitate her escape, as well as conceal her cover. And yes, Jack is going to have hell to pay from Buffy, even though Starbuck spared his life when hatching her Plan B to go off the grid. But for someone who said he was only interested in justice, Jack killing an unarmed Starbuck seemed a bit dark, didn’t it? How about chaining her to something and having the police deal with her? If the Russians kill her before she gets processed, so be it. She had her chance to escape on Jack’s terms, and she reneged. But just deciding that she had to die…that’s not going to help his case when he sees what’s on the video file and tries to make his case for, well, overthrowing the government. It seems the smarter play would have been from the Richard Kimble playbook, where you try to keep as many people alive as possible, even when they mean you harm. You’re trying to make a big, big case; it’s a lot easier to do that when there is no blood on your hands.

Only four hours left. I traded messages with onetime “Prison Break” blogger John “You Must Suspend Disbelief” Paulsen about the perils of blogging TV shows, and he told me that when “Prison Break” went off the air, he threw a party. As much as I’ve loved watching this show and writing this silly, silly blog, I’m harboring similar plans. I am grateful to all six of you who have stuck with this blog until the very end, but I’m officially at the point where I cannot wait for this show to be over. And with any luck, our colleague Will Harris will find himself in the same room with Cherry Jones at the next TCA gathering, and I can ask him to get her to talk about how she felt about getting lobotomized mid-season. Hey, at the very least, we might get a good off-the-record story from her on the subject.

In the meantime, I leave you with this clip from the Cranberries’ first album. It seemed to fit, given that Jack put Starbuck down like a dog, but not before putting Toepick down like a rabid dog. Plius, I have been sitting here for about an hour trying to find a clever lyric as a subtitle for this week’s blog, and I’m tired, man. Cranberries it is. Good night.

RIP Lynn Redgrave (updated)

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Following on the deaths of Corin Redgrave and Natasha Richardson last year, another member of the Redgrave family acting dynasty has left us too soon. Lynn Redgrave has passed on at age 67 from the breast cancer that first attacked her in 2003.

Ms. Redgrave made quite a splash back in 1966 in the English hit, “Georgy Girl,” getting an Oscar nomination and a lot of worldwide attention as  a zaftig “ugly duckling” who finds herself the center of attention for her handsome flat-mate (Alan Bates) and an aging millionaire (James Mason). Though she later became slender enough to play traditionally glamorous and very sexy leading ladies — and did occasionally in such roles as the ill-fated “The Happy Hooker” — she instead gravitated to a very British-style career in which she rather brilliantly covered all kinds of serious and comedic parts on stage, television, and movies. (Deep comedy fans might remember her in Woody Allen’s “Everything You Ever Wanted to Know About Sex” and the disaster movie spoof, “The Big Bus.”) While her sister, Vanessa Redgrave, was getting attention on a massive scale with her high end film and stage career and far-left politics, she appeared in a series of commercials for Weight Watchers’ products, starred in the U.S. sitcom, “House Calls” and gracefully segued into often quirky character roles like her accent-heavy Oscar-nominated turn as a housekeeper in 1998’s “Gods and Monsters.”

Though I’ve always enjoyed Ms. Redgrave’s work in all media over the years, I’ve never actually caught her signature movie role. After the flip, we have a couple of scenes that indicate this one might be worth very much renting or adding to your Netflix queue.

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Breaking Bad 3.7 – Never Trust A South American

This show is going through one of those periods where you hate to call any episode out as being the best of the season, not because it wasn’t…because, brother, you’d better believe it was…but because you find yourself saying it so many times during the season that it feels like you’re damning it with faint praise. I mean, in essence, what I’m saying is, “Holy shit, that was the best episode since last week!” Which it was, but…oh, never mind, let’s just get started.

It was funny to start the episode with that flashback, seeing that one of the cousins was a crybaby back in the day. I knew the whole “I wish he was dead” comment was going to come back into play; I just didn’t think it would happen quite so quickly. Say, does anyone know if Tuco’s uncle has written a text on child rearing? I feel like he may have a couple of lessons to teach me beyond what we saw tonight.

But let’s get serious, shall we? Holy shit, I knew Hank was going to go ballistic on Jesse, but…wow. To say that that scene was everything I expected would be a lie, because it never occurred to me that he’d give him quite that level of beatdown. That was a full-fledged, no-holds-barred pummeling, with absolutely no restraint whatsoever. Whew. You better believe Internal Affairs is going to want a word with him…

Of course Saul is going to be at Jesse’s bedside, taking pictures and trying to get the money shot. The Rocky joke was good, but the Beatle quip when Walt walked into the room was better: “You’re now officially the cute one of the group. Paul, meet Ringo. Ringo, meet Paul.” It was absolutely stupid for Walt to sneak in to see Jesse, even if he was concerned about his condition. Yeah, he could’ve explained his presence away with the old “he’s my former student” line, but that’s got to be getting pretty hoary by now. I have to admit that I didn’t expect Walt to express guilt over the situation, but once he did, I certainly wasn’t surprised that it lasted for only a couple of seconds before he had to remind Jesse, “But the plan did work…” Personally, I thought Jesse’s speech was a little long, but, shit, you couldn’t really argue with much of it…which is why I didn’t expect Saul to flip and suggest that Jesse might actually want to go a different direction. Nor did I expect Jesse to be quite so bitter toward Walt. (“You’re my free pass…bitch.”) I did agree with Walt’s theory that if Jesse didn’t give up the ghost during Hank’s “interrogation,” he probably never will, but I certainly couldn’t ignore Saul’s ominous suggestion about “options.”

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Frank Loesser centenary movie moment #1

If you were listening to NPR news this morning, you might have caught a very nice interview with Jo Sullivan Loesser, the widow of Broadway legend Frank Loesser, best known for his songs for “How to Succeed in Business Without Really Trying” and “Guys and Dolls,” a real contender for the best musical comedy score of all time.  The occasion is that this is the year Loesser, who died in 1969, would have turned 100.

So, here’s the key number from “How to Succeed,” in which young, extremely fast-rising executive and ex-window washer J. Pierrepont Finch serenades his favorite person in the world. The film version, directed by David Swift, isn’t a particularly brilliant piece of cinema in terms of taking the piece from stage to screen, but it documents the play on film rather nicely, as you’ll see below.

Of course that’s a young Robert Morse up there as Ponty. I’m not sure how widely known it is to younger viewers of “Mad Men,” but Morse is better known these days as the conniving and sagacious Bertram Cooper, until recently the senior mucky-muck of ad firm Sterling Cooper. (Any similarities between the often somber TV show and the sprightly satirical musical aren’t, of course, all that coincidental.) Morse is an even better actor today, but the above shows how skilled he was at age 35 back in 1966-7 (when he still looked about 20).  Daniel “Please don’t call me ‘Harry'” Radcliffe, who really is still practically a zygote, is going to be taking on the role shortly on Broadway, which will be interesting.

After he’s done…well, I wonder if Vincent Kartheiser (i.e., Pete Campbell) can sing at all. I’d pay to see that.

American Idol: no screaming here

It’s getting down to the wire on “American Idol,” to the point where it gets to be a bit unpredictable who might be sent home. I admitted yesterday that I had no idea who would be getting cut last night, and I was mildly surprised by the outcome. However, I did think this person was the worst of Tuesday night.

The show began with the first of many performances, as country superstars Rascal Flatts performed their new single, “Unstoppable.” I’ve never really understood why this band is so huge, and that was confirmed again last night….I don’t get the appeal. The song was pretty bad, too. But okay.

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