Category: External TV (Page 96 of 419)

The Biggest Loser: are they ready to rumble?

It’s getting testy on NBC’s “The Biggest Loser.” After last week’s challenges and weigh in, it’s clear that Michael is watching his back, as are Miggy and Migdalia. Meanwhile, Lance and Melissa are still liars, and nobody likes a liar.

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American Idol: have we found our next Simon Cowell?

Last night’s “American Idol” on Fox showed a huge disparity between two guest judges, but more on that later. The Los Angeles auditions were, as you might expect, polarizing…because of course you have talented singers, but you also have wannabes….the ones who have moved out to Cali because their moms and sisters told them they were talented.

The first set of auditions featured guest judge Avril Lavigne, who is now 25 but looks (and kind of acts) like she’s 11. Here were the best and worst of Day 1…..

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24 8.5: Girl I wanna shake you down

For those playing the “24” drinking game, the ‘damn it’ counter hit four tonight, and if you have a ‘We don’t have time, Chloe!’ rule, that makes five. Whew, I’m feeling funny. Kidding, of course. I wait until the episode’s over before I start drinking. It helps me keep from crying as I write these recaps.

Imagine leaving work in the middle of a crisis, without telling anyone but one of your subordinates. You’d get fired, right? Now imagine that you’re an ex-con who’s secured a sweet government job using an alias, and you’re leaving work because another ex-con (and a violent one at that) has come for payback, and is leveraging your secret past in order to make a Big Score. Is there any chance that you’re leaving work, the safest place in the world for you to be right now? Hell, no. Kevin’s game is a giant bluff, and as an ex-con, Starbuck has to know that. Call it now girl, because no good will come from trying to make him disappear. Guys like that, they don’t disappear. It’s like feeding a cat.

The way I see it, if the worst thing that happens to Starbuck is that she loses her job – and her relationship with Buffy will surely be collateral damage in the fallout – but she’s able to keep herself out of jail while getting Kevin locked away for a laundry list of charges ranging from assault and battery to blackmail, she should consider herself fortunate. Besides, if she came clean to Buffy right now and told him everything, don’t you think that he’d still want to protect her? Damn right, he would. “There’s a violent con in my apartment, sweetie.” Buffy brings a team of goons with him, they bag Kevin and his loser friend, take them to CTU, and make them squeal like pigs.

Instead, she’s going to compromise CTU, just like Samwise Gamgee did. Fugh. And you know what the ‘F’ stands for.

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“You did time in juvee? Is it wrong of me to be incredibly turned on right now?”

But here’s the big question: CTU has facial recognition software, which they use to identify known felons. If they put her picture in there, wouldn’t her criminal record as Jenny Scott show up? When your job involves counterterrorism, I’d make damn sure I had no ex-cons in my house. Just sayin’.

Meanwhile, Jason Schwartzman (formerly known as George Harrison. Hey, the nickname is too good not to use, even if I didn’t think of it) spends the entire hour in the company of two escorts. Niiiiiiiiice.

I liked the exchange between Slumdog President and Madame President, because both sides had valid points. Slumdog would indeed be toast if he didn’t make an example of those who tried to depose him, while Madame Prez has every right to pull out of the deal since, hey, she’s the big dog in this arrangement. We’ll see where it goes from here.

But for the love of God, please end this ‘save my dying brother’ subplot at once. This is worse than the Starbuck subplot, not to mention the basic idea is ripped straight from the first “Saw.” Do we need to change Sark’s nickname to Jigsaw? Also, isn’t it dangerous to be around someone who’s dying of radiation poisoning? The best answer I can find on the web is ‘maybe,’ but if it’s me, I’m giving anyone with radiation poisoning a wide berth. Even my brother. Sorry, Steve.

Last but certainly not least is the damaged little flower that is Jacqueline Bauer. She willingly goes undercover in order to earn the trust of Vladimir Guerrero (nickname pending), despite the fact that he was obsessed with her and, well, had an unfortunate tendency of hurting her, let’s put it that way. Crazy Jackie clearly has a death wish, and that is why she is going to be the most interesting character to watch this season, bar none. She even stares down Vlad as he’s about to shoot her in the head and dump her in the river…and begs him for the privilege. And I don’t think that was an act. It may have served as a brilliant stalling tactic, but from here, Jackie has one more sunrise in her future, if that.

On a lighter note, watching Jack follow the action, instead of leading it, made me think of Tom Arnold in “True Lies.” “You know what? I’m sick of being in the van. You guys are going to be in the van next time. I’ve been in the van for 15 years, Harry.” For the first time in ages, Jack is in the van. I have to admit, it’s a nice change of pace.

All right, Gregory Abbott, take us home. Baby.

TCA Tour: Spartacus: Blood and Sand

Although the new Starz series, “Spartacus: Blood and Sand,” may involve a lot of guys and gals running around and committing all sorts of swordplay, you should in no way take the fact that it’s executive produced by Robert G. Tapert to indicate that it will in any way resemble earlier Tapert productions like, say, “Hercules” or “Xena.” I mean, heck, if the warrior princess herself doesn’t see any similarities, then anything you think you’ve spotted is strictly a case of looking too hard to find something that isn’t there.

“It’s totally different to me,” said Lucy Lawless, who plays Lucretia on the show. “Completely different, tonally. The fighting, the technology, everything has changed so much. I don’t recognize the fights at all. The way they do them is foreign to me.”

At the very least, there’s one element inherent to Lawless’s new gig that, for better or worse, her former series did not possess: lots and lots of sex. Despite the incredibly graphic nature of the intercourse, Stephen K. DeKnight – creator of “Spartacus: Blood and Sand” – does not seem to be overly concerned about how audiences will react.

“Well, who doesn’t like sex?” he asks, quite rhetorically. “I mean, seriously, I think we’re all sexual beings, and back in the Roman times, it was a completely different idea about sex. It was much more open and free, and it was pre-Christian constraints. So we wanted to explore all that, quite frankly. It was very common to have sex with your slaves. It was extremely common. So we wanted to explore that, too. And part and parcel is the sensuality of the human experience, and we certainly didn’t want to shy away from that. Is it graphic? I personally don’t think it’s that graphic, but that’s me. I think it’s beautifully shot. There are some very steamy things. You know, it’s not pornographic in any way, and the sex scenes almost always come from a place of character. There’s always something going on. It’s not just ‘cue the funky music,’ and they start having sex. It’s not that. Somebody is always angling. It’s always about power. It’s always about love. It’s always about loss. Every sex scene has a purpose. It’s not just sex for sex’s sake.”

DeKnight described the series’ two distinct sides – one sexual, one violent – as going together like chocolate and peanut butter, and while he may have been kidding a bit with his Reese’s-inspired comparison, there’s a certain logic to his position. “It’s a violent time,” he said of the show’s era. “Much like their views on sex, the Roman views at the time on violence was you did not shy away from blood. Blood and death, it was part of being Roman. You embraced it. You liked to watch it. And also, just the sex and violence is part of the show, but if you’ve seen the first four or five, the plot lines become incredibly intricate. We really play with the idea that everybody wants something, everybody is after something, and everybody is against everybody else. Everyone is maneuvering, and it becomes very complicated and messy, and out of that comes blood…and often sex.”

Well, fair enough, then.

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TCA Tour: Caprica

Although Syfy’s “Caprica” is a prequel to “Battlestar Galactica,” the fact that the series are separated by 58 years and an apocalypse (give or take) doesn’t mean that the two don’t share similar elements. Indeed, writer / executive producer Jane Espenson immediately offered up two words that link the shows: moral complexity.

“There’s no stark bad guys and good guys,” she explained. “This is a world that is perceived by some of its residents as sort of sliding over the edge, there’s a whole bunch of people who think they’ve got the answer, and it’s not at all clear that any of them have the answer. The guy who believes in technology thinks that’s the answer. The person who believes in religion thinks that’s the answer. And if everybody has moral shadings, we can tell very complex stories as a result.

Espenson’s fellow writer / executive producer, David Eick, clarified another similarity: the two shows take their genre very seriously. “We really do try to involve depth of character, realism, grounded-terrestrial naturalism to a science fiction world,” he said. “That sort of came from what we always admired about the greats and the classics, from Asimov to Heinlein to Philip K. Dick, this idea that science fiction was not just fun and games. We wanted to go sort of the opposite direction of George Lucas, if you will. We wanted to make it less about escapism and more about moral complexity, as Jane was saying, and great characters.”

For those who have seen the pilot to the series, which will air again tonight on SyFy, you may be wondering if its tone and content will remain consistent when the series officially kicks off next week. Apparently, so were stars Eric Stoltz and Esai Morales. According to Eick, both actors wanted some reassurance that the pilot was not going to be a one-off, with the series going in a different direction altogether.

“I think, if anything, we go towards that even more rather than shying away from it,” said Stoltz, “because that’s what interests all of us as actors: playing these ambiguous, conflicted people living not in a black-and-white world and trying to find their way in it. We wanted to be exactly like that, so we’re all striving to make it as good as possible.”

“Also,” added Morales, “the naturalism in what I see from my fellow actors and their acting, it’s very unlike anything I’ve seen on television. The atmosphere of the show as well. The planet feels like it has a presence, a consciousness, in a sense, that I think is taken from the pilot, and it moves. It’s rooted in the pilot, but I think the show will evolve from what you saw in the pilot.”

Rest assured, however, that you don’t have to have to know “Battlestar Galactica” to appreciate “Caprica.” In fact, as Eick is quick to point out, the network’s marketing strategy for the series involves a notable lack of the words “Battlestar” or “Galactica” in the title of the show. Still, it’s not as though there’s a single article that’s been written about the show that doesn’t mention the connection, so why should newbies join in the fun?

“The same reason they come to any well-marketed and, hopefully, well-executed television show,” replied Eick. “That it’s compelling in its own right, that it has ideas embedded in it and a visual style that looks inviting and exciting. On that front, I’m not terribly concerned. From the standpoint of the execution within the show once you’re in, new viewers will find that there’s virtually no tether to ‘Battlestar Galactica’ from a storytelling standpoint whatsoever. There are the occasional Easter eggs and nods and acknowledgments for the faithful to enjoy or maybe deepen some of their appreciation for it, but I think legitimately the show stands on its own. Other than the fact that, if you happen to know ‘Battlestar Galactica,’ you know that that show had its roots in some of the stories we’re telling now, there really is no relationship between the two shows whatsoever.”

“Imagine you were watching a show that you knew nothing about and they were developing sentient robots,” added Espenson. “You might very well get a glimmer that these sentient robots are going to be trouble down the road. You don’t need ‘Battlestar Galactica’ to tell you that. In a storytelling sense, (‘Caprica’) tells you that.”

“I have a lot of friends who have never seen “Battlestar Galactica,” don’t like sci-fi, and they watch it because of me,” admitted Magda Apanowicz. “But when they actually end up watching it, they love it. Like, they’re shocked, and they’re, like, ‘There’s so much that you can take away from it. There’s so many different storylines that you can relate to.'”

“We just have fun, guys,” said Morales. “We hope you do, too.”

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