Category: External TV (Page 90 of 419)

24 8.9: I’m not the man I used to be

All season, I’ve been looking forward to the episode where Dana Walsh kicks some felon dirtbag butt, just so I could name one of these entries “And if you don’t look now, then you’re gonna get Starbucked,” which is a lyric from a great little pop tune by the little-heard UK band Bond. Tonight, the moment finally came…and it was Buffy pulling the trigger. Damn. Worse, there is no video for “Starbucked” on YouTube. It clearly wasn’t meant to be.

Ah, but what a small price to pay to have this year’s most annoying subplot vanquished. Yes, Starbuck and Buffy will have some ‘splaining to do, but so what? I’m just glad the rednecks are gone.

Which gets us to this blog’s actual title. Man, they just don’t make those organized crime figures like they used to. Sark betrays father Wolfhausen by stealing the nuclear rods, and killing the two men charged with guarding them in order to do it, and then minutes later he agrees to bring the rods to the authorities. Granted, they portrayed Sark as more of a lover than a fighter from the beginning, but for God’s sake, man, do you have a cause or what? That’s just wishy-washy. Likewise, Jason Schwartzman is willing to knife one of his government’s security guards in the neck in order to escape and launch his insurrection, and have Sark killed in order to keep from having to pay for the rods, but using the rods against the Americans is suddenly a deal-breaker? Who did he think he was going to use them on?

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“So tell me how this process works.” “Well, you lie down in front of the bus, and then we run you over with it. We may even back over your lifeless body and run it over again, just to be sure. Any questions?”

Personally, I just don’t think the writers thought this part through very well. They start with CTU picking up Jason Schwartzman’s voice on Sark’s cell phone, despite the phone not being on speaker and a good ten feet away from Schwartzman when he spoke. (They had to have a reason to confirm that it was really Schwartzman when he called later asking for help, I know, but ugh.) Then they have Schwartzman meet up with the people who helped him get this far, and only then does he realize that they are waaaaaaaay more committed to the cause than he is, to the point where they don’t care if their home country gets bombed back to the Stone Age in retaliation for the crimes they intend to put into motion. By my reasoning, that’s counter-productive to their ultimate goal, since their country wouldn’t really exist anymore. “You can’t turn us into an American-run police state!” “Oh, don’t worry, that’s not really much of an option anymore. We hope you find clean drinking water soon. ”

The big takeaway from this episode has to be that Bubba got the CTU gig because Chris Something Really Greek (real actor’s name, not his character’s) appointed him, and each of them understood that if they want to survive politically, they need to be willing to sacrifice the careers of anyone who does their bidding. Bubba obviously didn’t want to leave his comfy perch so soon, so he found Greek Boy’s suggestion agreeable. But now he has a much bigger problem; Bubba made a deal with Jack in order to keep Crazy Jackie out of trouble, and you just know that he’s going to try and weasel out of that later. I’m guessing this is the part where Chloe helps Jack set a trap, thus sending Bubba packing, proving Chloe’s worth and netting herself Starbuck’s spot as head analyst, since Starbuck will finish the season behind bars and Merv the Perv doesn’t have the career ambition to aspire to a spot like that. And this will pave the way for Jack and Jackie to walk into the proverbial sunset together like we thought they ultimately would a few episodes into last season.

Until, of course, Jackie is killed. And you know that is going to happen before the final clock tick. Especially now that Jack is luring her in as a life partner. Big Dick Heller once told Jack that he’s a curse, and he’s right. Jackie, of all people, should know this, but we’ll grant her a temporary pass because, well, she’s nuts. Having said that, she’s bar none my favorite character on the show at the moment, so I do not take her imminent death lightly. Still, bitch is going down. And I’ll pour out a 40 in her honor on the eve of her death for every year that I take a breath.

Even though I couldn’t use the Bond lyric as a title, here’s the tune, anyway. And here is the video for this week’s real title. Look closely, and you’ll see Sean “Puff Daddy Diddy” Combs. Seriously.

“Human Target” is a fun ride

Based loosely on a comic book of the same name, Fox’s “Human Target” stars Jack Deveraux Mark Valley as Christopher Chance, a private bodyguard/security expert who is hired to protect his rich and/or important clients. The series also stars Chi McBride (“Boston Public,” “Pushing Daises”) and Jackie Earle Haley (who played Rorschach in “Watchmen”) as Chance’s colleague (Winston) and technical expert (Guerrero), respectively.

Even though the series is heavy on action, it has a lighthearted, fun feel to it — think Jack Bauer with a sense of humor — which is underlined by Chance’s charm (with his usually female clientele) and the dynamic between Winston and Guerrero, who do not particularly like each other. To this point, the show hasn’t done much in the way of a serialized plot, so new viewers could pick it up without missing much. Chance’s background is a bit of a mystery, but the series hasn’t delved into it at all.

Thus far, ratings have been decent (~2.1 to 2.9 in recent weeks) even against the Olympics. It has been reasonably well-reviewed as well, garnering a 70 at Metacritic and a 7.0 (“good”) at TV.com.

Some not very newsy awards news (updated)

The Writers Guild and the Sound Editors gave out their awards last night and it’s safe to say that, winners aside, no one’s world was too terribly rocked.

Journalist-turned-screenwriter Mark Boal was rewarded for his hard-earned real-world experience as an embedded reporter with a Best Original Screenplay nod for “The Hurt Locker.” In another completely unsurprising award, the well-liked and respected Jason Reitman was similarly rewarded for his critically acclaimed work on the adult-aimed topical comedy, “Up in the Air.” The documentary category wasn’t much of a surprise either, with the muckraking “The Cove” picking up yet another award.

This isn’t quite on the level of a statistical study, but it’s worth noting that, for the last couple of years at least, the WGA awards and the Oscars have been lining up 100% in the writing categories, so Oscar betters should take note.  This is a bit of a blow to any fans of Quentin Tarantino“Pulp Fiction” screenplay and the writers tend to be a bit more openminded about offbeat films than Oscar voters as a whole. who might have been hoping for some Oscar wins, as Best Original Screenplay has been “his” category in the sense that his only Oscar win so far has been for his

Still, older and/or less geeky fans of old-school post-war (as in WWII) realism are likely impressed by the real-life underpinnings of Boal’s work and Kathryn Bigelow’s film is just edgy enough, while not marred in the minds of some by being a “fun” war movie, and “Inglourious Basterds” is definitely fun. It’s also controversial to some degree, perhaps not the best combination if all you want out of a movie is award wins.

James Gandolfini and Mimi Kennedy in In the adapted screenplay category, I personally wouldn’t have minded seeing the award go to the brilliant and scabrous “In the Loop,” but that film was less widely seen and it’s humor might be bit too nasty (in a good, cleansing way) and British for some.

[UPDATE: Aren’t you people supposed to correct me when I write complete nonsense? If I had bothered to check a bit more carefully this morning before I wrote this, I would have noted/remembered that “Basterds” was not nominated for a Writers Guild award and therefore might have somewhat better Oscar screenplay chances than I initially thought. The same applies to “In the Loop.” These scripts were not eligible under the WGA’s rather arcane rules which also disqualified such worthy films as “An Education.” If you’re curious about the reasons why, Steve Pond, via Anne Thompson, had a partial explanation back in January. Anyhow, thanks to Anne Thompson, whose post on this showed me the error of my ways, or whatever. We now resume our regularly scheduled blog post.]

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Introducing American Idol’s Top 24

Well, if you agree or disagree with the judges’ selections for the Top 24 on “American Idol,” they’re chosen and the part of the season where the contestants sing and we vote is upon us.

To whet your appetite a bit more, Fox provided us with a link to a little preview video of said Top 24. The bad news: it was through a widget that won’t work properly on Premium Hollywood. The good news: someone else has already uploaded the video to YouTube. Enjoy….

This year there’ll be no singing and dancing Lennie Briscoes

Those of us who don’t really mind it when the Oscars get a bit overblown and even a hair silly were dealt a blow yesterday when word leaked out that the performers of this year’s nominated songs would not be invited on for the usual production numbers.

Just to show you what an Oscar production number like this can look like, below is a version of the two nominated songs by Alan Menken and Howard Ashman from Disney’s 1991 “Beauty and the Beast.” The performers include Paige O’Hara, who provided the voice of Belle, and — as a dancing candlestick — Jerry Ohrbach, an occasional movie tough guy and Broadway song and dance man, who at the time was just starting a gig as a wiseacre cop on a low-rated but well-reviewed crime show that didn’t seem to have much of a chance to last very long.

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