Category: TV Comedies (Page 26 of 154)

Happy (Fake) Presidents Day! – A Collection of U.S. Presidents from TV and Film

Once upon a time, the third Monday in February was designated as a day to celebrate George Washington’s birthday. These days, however, although it varies from state to state, it tends to be known less specifically as Presidents Day, which means that we can ostensibly celebrate everyone who’s ever been the President of the United States. Here at Premium Hollywood, we’d also like to extend that to those who’ve served as our nation’s commander-in-chief on television and the silver screen.

Now, granted, that’s a lot of people…more, in fact, than we could possibly give shout-outs to in a single piece. As such, we decided to pare it down to the same number of individuals as have held the highest office in our land since its inception. Forty-four folks is still nothing to sneeze at, but we’re betting that we’ll still end up having left out someone’s favorite son (or daughter). To paraphrase one of our real presidents, you can please some of the people all of the time, and all of the people some of the time, but you can’t please all of the people all of the time. With that said, however, we still think we did a pretty solid job of picking the best candidates for the piece.

1. President Dwayne Elizondo Mountain Dew Herbert Camacho (Terry Crews), “Idiocracy”: Why are we leading off with President Camacho? Because, really, when you’ve got a fake President on your list who’s also a porn superstar and a five-time ultimate smackdown wrestling champion, why in God’s name would you wait any longer than necessary to trumpet his inclusion? Clearly, this man is the fake President to end all fake Presidents, and he’s #1 with a bullet. It’s all going to be downhill from here.

2. President Andrew Shepherd (Michael Douglas), “The American President”: President Shepherd is a widower who pursues a relationship with an attractive lobbyist — Sydney Ellen Wade, played by Annette Bening — while at the same time attempting to win passage of a crime control bill. Although the film was mostly ignored by the Oscars, it racked up several Golden Globe nominations and has since found its way into the #75 spot on the American Film Institute’s list of America’s Greatest Love Stories. Plus, its screenwriter managed to find a good use for the excess material that he didn’t have room to fit into the script…but we’ll get to that in our next entry.

3. President Josiah Bartlet (Martin Sheen), “The West Wing”: Yes, if you hadn’t figured it out already, “The American President” was written by Aaron Sorkin, which is why you may notice a resemblance between the mannerisms of Presidents Shepherd and Bartlet. Ironically, though, Sorkin had originally envisioned the series as revolving so much around the White House senior staff that viewers would rarely, if ever, see the president. Instead, what the nation got was an idealized leader, one who – in A Novel Approach to Politics, by Douglas A. Van Belle and Kenneth M. Mash – is referred to as the “most popular Democratic president in recent memory.” The book was written pre-Obama, mind you, but we’re pretty sure the title still stands.

4. President William Harrison Mitchell (Kevin Kline), “Dave”: Given the vaguely “The Prince and the Pauper”-esque premise of the film, which involes a guy who makes a few bucks on the side as a Presidential impersonator being asked to play the part for real when the actual President suffers an incapacitating stroke, there was every reason to believe that “Dave” would’ve been a trifle at best, but between Kline’s imminent likability and a fantastic supporting cast (Sigourney Weaver as the First Lady, Ben Kingsley as the Vice President, Frank Langella as Chief of Staff, and Charles Grodin as Dave’s accountant buddy, Murray), it often comes close to – even though it doesn’t quite reach – the heights of “The American President.”

5 – 8. President Thomas J. Whitmore (Bill Pullman), “Independence Day” / President Blake (Perry King) and President Becker (Kenneth Welsh), “The Day After Tomorrow” / President Thomas Wilson (Danny Glover), “2012”: As soon as you see the credit “directed by Roland Emmerich” on a disaster flick, you just know things are going to reach a point where the President of the United States is going to be brought into the discussion about whatever imminent danger may be about to thrust itself onto our planet.

There’s also a very good possibility that the ol’ rite of succession may come into play during the course of the film, such as it did in “The Day After Tomorrow,” when we lost President Blake after the blades of his helicopter froze. Say hello, President Becker! The same thing happened in “2012,” too, but we were so in awe of President Wilson’s selfless sacrifice – he stayed behind to help survivors in need, only to meet his death when the tidal wave struck the White House – that we’ve made an executive decision not to include Wilson’s successor, President Anheuser (Oliver Platt) in the list. Why? Because he’s a dick.

The definitive Emmerich-flick president, of course, is President Whitmore. During the course of “Independence Day,” he sees the White House blown up, loses his wife, fights off a psychic attack from an alien, and flies a goddamned jet fighter into battle to help save the day. Plus, he gives the most stirring speech this side of “Patton.” Hell, I’d vote for him.

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Friday night movie news dump

Because I will it to be so…

* It’s getting mighty meta here. Via Anne Thompson, will show biz blogger/reporter Nikki Finke be in any position to sue HBO over their series about a presumably fictional entertainment blogger/reporter with a “no-holds-barred” attitude? asks THR, esq. She’s apparently already threatened to sue the Gawker. And here’s a quote for you:

So we were delighted when she acknowledged, fully aware that she would be quoted, that in our last off the record conversation she threatened to sue your blogger personally and Gawker corporately for “unfair business practices” related to our coverage of her. When we explained that the lawsuit threat was the reason we refused to speak off the record, she said, “How do you know I won’t? I’d love to own your house and your kids.”

Nikki Finke owning another blogger’s kids? Now there’s a Dickensian tale for you.

And that’s just the beginning of tonight’s useless blogging.

* Another superhero reboot. This time, it’s “Daredevil.” While writer David Scarpa’s resume doesn’t inspire great confidence, it shouldn’t be too hard to top the last attempt.

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* The Weinstein Company has picked up “The Tillman Story,” which is likely to be one of the year’s hotter documentaries.

* Sony has entered the bidding for the “The Terminator” franchise. Joss Whedon’s attempt at snapping up the franchise looking less likely every day. <Sigh>

* Speaking of Mr. Whedon, from time to time someone among his fans suggests some kind of fan donation and/or investment set-up to fund those ongoing “Buffy” or “Firefly” related projects they so crave. The idea is routinely shoot down as unrealistic. Kevin Smith works on a somewhat smaller canvas, but it’s interesting to see him apparently taking the idea seriously.

* James Cameron will presumably be betting against himself in Oscar pools.

* Many reasons to be slightly bummed that I decided not to take the SXSW plunge this year.

* One more Deadline|Hollywood item for the week from Mike “the sane one” Fleming. It’s about the movie moguls taking chances on less well-known directors (as if they aren’t always taking chances regardless, even if they’re trying not to), but all I can get my head around tonight is the idea of remaking “Damn Yankees” with Jake Gyllenhaal and Jim Carrey. I’m not Carrey’s biggest fan, but that could actually work. As for the part of the lovable Satanic temptress, Lola, I’m sure there are many great possibilities, but there’s one actress whose proven she’s got the stuff for Fosse-esque choreography.

Bullz-Eye’s TCA 2010 Winter Press Tour Wrap-Up: Simon Signs, Conan Conquers, and Patrick Stewart Just Plain Rules

The 2010 winter press tour of the Television Critics Association took place at the Langham Huntington Hotel and Spa from January 8th – 18th, which you probably already know from the various postings which were done during and have continued since my attendance at the event. It’s a regular tradition, however, that I do a wrap-up piece which summarizes my experiences during the tour, and since I invariably seem to get a positive response from those pieces, I always try to make it as entertaining a read as possible. Here’s hoping I’ve succeeded as well this time as I have in the past…but if I haven’t, I feel certain you’ll let me know.

Most enjoyable panel by a broadcast network: “Great Performances: Macbeth,” PBS.

I’ll freely admit that I was predisposed to enjoy the panel due to the fact that it featured the newly-knighted Sir Patrick Stewart, but I spoke to others afterwards who declared it to have been the best panel of the tour up to that point. Partial credit for the success goes to the critics in the audience, who consistently offered up intelligent questions about the subject matter at hand…and let me assure you that this is not always the case. Even on an occasion when an attempt at going in a unique direction fell flat, such as when one writer asked Stewart if he was familiar with FX’s “Sons of Anarchy” (it’s been called a Shakespearean saga on motorcycles), it led to the revelation that Ron Perlman has played an interesting place in Stewart’s life. “I was having dinner with Ron Perlman the day that I was offered Jean-Luc Picard in ‘Star Trek: The Next Generation,’” he said, ‘so I have always looked on Ron as being a lucky omen. So you mentioning his name today, I hope, means that the rest of the day is going to be brighter than it begin.” At the very least, Sir Patrick’s remarks during the panel brightened mine.

Most interactive panel by a cable network: “The Choir,” BBC America.

Gareth Malone is a man on a mission to bring music to those who may not think that they have an interest in it, creating choirs in various schools in England and helping the youth of today raise their voices in song. We soon discovered that this extended to television critics as well. “In England, everyone knows that when I enter a room, everyone’s going to sing,” Malone began ominously, “so I would like to invite you to leave your Apples and come up onto stage, and we’re going to have a little singsong.” The immediate reaction was less than enthusiastic, with at least one person piping up, “It’s against the bylaws!” Malone would not be denied, however. “It will be very brief,” he assured us. “I’ll be very, very, kind. I promise not to do opera. Honestly, it’s going to be very, very gentle. I promise. Risk it. There won’t be very much. Typists, abandon your typing!” In the end, he managed to get a couple of dozen of us up there…yes, I was among the huddled masses…to perform a not-as-bad-as-it-could’ve-been chorus of “Barbara Ann.” As there is neither an audio recording nor a YouTube clip to prove otherwise, you may feel free to believe that I personally sounded fantastic.

Best intro to a panel from a cable network: “Dance Your Ass Off,” Oxygen.

All I know about this show is what I’ve learned from watching clips on “The Soup,” but when a panel starts off by having its panelists literally dancing their way down the aisles and onto the stage, at the very least, it gets your attention.

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Leno’s return to ‘Tonight Show’ yields underwhelming ad prices

Jay Leno

According to Joe Flint of the Los Angeles Times, a commercial for Jay Leno’s reclamation as host of “The Tonight Show” on March 1 will only cost $35,000. A few years ago, $50,000 was the going rate. Flint cites the competition from the other late-night talk shows, digital video recorders, and the availability of clips on the Internet.

Audience erosion

Indeed, as late-night shows like those hosted by Jon Stewart or Stephen Colbert sprouted on cable, viewers have gradually tuned out the networks’ counterparts. The combined audience for NBC’s, ABC’s and CBS’ late-night programs has fallen 20% from five years ago, according to Nielsen Co.

More troubling: The group of viewers 18 to 49 years old — the spend-happy cohort that sponsors most want to reach — has plunged 36%.

Spending money

One of NBC’s arguments in moving Leno into prime time was that, although his show would garner fewer viewers than a drama, its lower production costs would lead to higher profits.

But that doesn’t mean a late-night retinue of producers, writers, stagehands and assistants — O’Brien’s “Tonight Show” employed 190 people — plus the host come cheap.

Letterman and Leno each pull down more than $30 million annually, said people familiar with the productions, and O’Brien earned $12 million. ABC’s Jimmy Kimmel makes $8 million to $10 million, these people said.

The price drop is completely understandable. There are more late-night talk shows now than ever before and they need to do this to stay afloat. If one show is charging less, another will have to do the same unless its ratings are dominant. Of course, the advertisers aren’t complaining.

The logic of casting

Yesterday, Mike Fleming reported that Nick Cassavettes was in talks to direct the fourth, or possibly fifth — depending on how you reckon it — version of “A Star is Born,” a perpetually successful property that dates back to the 1930s.

You can complain about remakes all you want, but this is one story that really begs to be remade with every generation, as it’s always pretty much always relevant and only more topical with each new decade. In case you’ve never seen any version, it’s the story of a young actress and/or singer on the way up who becomes involved with a star very much on the way down, mostly because of substance abuse. Apparently the thinking is to once again make the on-the-go female a singer, as in the now iconic 1954 version starring Judy Garland and James Mason directed by George Cukor, and the commercially huge but critically dissed 1976 Barbara Streisand/Kris Kritofferson version directed by Frank Perry and, perhaps, an uncredited Streisand. Names like Beyoncé and Alicia Keys are being mentioned for the female lead.

The two male stars Fleming mentions are interesting. I don’t need to say why Robert Downey, Jr. is either too on the nose or absolutely and utterly perfect for the role. Real-life parallels and method acting possibilities aside, he’s a intriguing choice also because of his own forays into singing. Could make for a dramatic duet or two.

The other name being floated according to Fleming is Jon Hamm of “Mad Men.” This would presumably take the film more in the direction of the 1954 version, which featured James Mason as the alcoholic movie star in love with Judy Garland’s singer. Hamm’s a terrific and versatile actor and I’m sure he’d be very good. I just hope, however, they’re not just mentioning his name because just he does a great impression of Mason.

This Mason, by the way, is mainly inspired by his “A Star is Born” character. In real life, it was Judy Garland who had the drinking and drug issues. As for Hamm, let’s hope we see his impressionistic skills again — and the writers can again figure out something funny for him to do with them — when he returns to SNL later this month.

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