Category: TV Comedies (Page 37 of 154)

Curb Your Enthusiasm 7.6 — The Bare Midriff

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I’ve seen every second of “Curb Your Enthusiasm” and I can easily say that this was the most ridiculous episode yet. I don’t mean “ridiculous” as in “stupid,” but as in “incredibly zany.” During the filming of “The Bare Midriff,” I’m sure the cast and crew thought to themselves, This is too bizarre — even for us.

“Curb” has always wrapped up its seasons after 10 episodes, so we expected this one to tap back into the “Seinfeld” reunion. Larry only has five more episodes to destroy everything in sight.

Larry’s still trying to win Cheryl back, and part of the plan involves casting her as George’s ex-wife. As luck would have it, Meg Ryan has dropped out due to scheduling conflicts. Larry suggests using Cheryl, but Jerry isn’t too keen on the idea. He wants her to read for the part.

In walks their young secretary, who’s tiny shirt exposes her bare, flabby midriff. While fixing a tricky air vent, her paunch seems even more inappropriate. It’s decided that Larry needs to tell her to cover up. He does, but manages to completely offend her in the process, so she quits.

The two friends leave to meet Richard Lewis for lunch. After Jerry is cut off while driving, he gives the other driver a gentle honk. Bad idea. The guy get out of his car and rips into Seinfeld.

Over at the restaurant, Lewis shows up after Jerry and Larry have already finished eating. Lewis still wants to order, but his friends are in the midst of an inane discussion about who should have to move over to make room. Lewis gets fed up and leaves. Nobody wants to be around these jokesters.

After an awkward encounter with Cheryl outside the studio, Larry has to face an upset Julia Louis-Dreyfuss. The girl who quit, Maureen, is the daughter of one of Julia’s past nannies. The woman has suffered some kind of breakdown and doesn’t need the added stress. Ever the peacemaker, Larry goes to set things right. Maureen agrees to come back to work, even though they don’t resolve the issue of the flab. Maureen’s mother soon returns from the market and nearly faints when she notices Larry. She thinks he looks exactly like her first husband who, in fact, was murdered on their honeymoon after honking at the wrong driver. (Wasn’t Jerry lucky?) Larry inspects an old photo of the guy and isn’t convinced: Not all bald men look alike. He excuses himself to the bathroom. Due to a new pill, his urine stream is uncontrollable and liquid is splashing everywhere. One sneaky drop even manages to land on a portrait of Jesus, just under an eyelash. Larry senses disaster.

Richard Lewis calls Larry to sound off about the restaurant catastrophe. He had wanted to give Larry a signed bat from Joe DiMaggio. While exchanging some final pleasantries, Larry loses his cell phone connection. Lewis expects a call back, but Larry doesn’t think it’s necessary. I wouldn’t call back. Guys don’t need to hear the “goodbye.” I’d be fine if everyone finished their conversations by saying, “end.”

Sure enough, Maureen and her mother interpret the wet portrait of Jesus as a miracle. Maureen informs Jerry and Larry that she is quitting in order to devote her life to Jesus. Larry knows what’s up: I think every erection is a miracle.

At a local Italian restaurant, Larry orders a sandwich and jams a bunch of napkins into the to-go bag. The owner limits all his customers to two napkins and instructs Larry to return the extras. When the owner’s back is turned, Larry takes them anyway. Unfortunately, he’s pulled over by a cop who had heard of the “theft.” Larry is taken to the police station and is forced to stand in a line-up. Apparently, all bald men do look alike as the owner can’t distinguish Larry from another bald man, who is African American.

Larry is late in meeting up with Maureen and her mother. He was supposed to co-sign on the RV papers so they could travel across the country on their religious mission. Maureen’s mother has let him drive her deceased husband’s car. On the road, Larry notices Richard, and honks at him to pull over. Naturally, she starts to panic. When Richard takes out the DiMaggio bat — his gift to Larry — she rams him with the car. Don’t worry, Richard is fine.

It is the final scene which is bit too wacky for my taste. Larry can’t get back into the studio to use the bathroom, so he is forced to pee outside. When Maureen and her mom show up to grab some things from the office, they instantly hear the strange noise. They follow the sound and discover Larry hosing down a bush. A wayward drop smacks Maureen in the face and it’s a thing of beauty. The family quickly realizes what happened with the Jesus portrait. Of course, Larry pissed on Jesus.

The unstable mother can’t take it. She somehow gets on the roof and walks to the ledge. Larry and Maureen also scale the building, despite their physical misgivings. Larry saves the mother, but loses his balance in the process. He fumbles over the side of the building, but latches onto something. It’s Maureen’s stomach.

Nip/Tuck: Season Five, Pt. 2

The press release for this set finishes up with two sentences: “And Liz says ‘I do’ to the last person you’d imagine. Time to stretch your imagination, fans.” When even the marketing department can no longer take a show seriously, it must be “Nip/Tuck.” As a fan since day one, I’m past resenting the show for failing to be as good as it once was, and have moved on to embracing “Nip/Tuck” for the freakshow it’s become. How freaky you ask? Well, in one episode, when Dr. Troy (Julian McMahon) refuses to give a woman an unnecessary mastectomy, she performs the surgery on herself – in the lobby of McNamara/Troy – with an electric carving knife.

Never a show to be too far behind the times, another installment features a pair of lovers who’ve taken their vampiric bloodlust a bit too far. You’ve seen these folks at goth clubs, I’m sure, but have secretly hoped it was all an act. “Nip/Tuck” is here to show you that the freakshow never ends, and that people do indeed partake in mutual bloodsucking. Surely the most outrageous display of hedonistic debasement comes in the form of the guy who likes to fuck furniture. If I hadn’t been laughing so hard, I might have turned away. What’s most noteworthy about this block of episodes, is that there isn’t a villain in the traditional “Nip/Tuck” sense – no Carver, or Escobar – although Eden (AnnaLynne McCord) does show up a couple times to fan a few flames.

In other news, Kimber (Kelly Carlson) wants to inject collagen into her baby daughter’s lips so she can get a head start on a successful modeling career. Sean (Dylan Walsh) is babied by a girl when he pretends to be an invalid. Later on in the half season, he dates Dr. Teddy Rowe (Katee Sackhoff), and they experiment with hallucinogens in the desert when they aren’t having sex in strange houses. Julia (Joely Richardson) heads back to New York after a tragedy, and Matt (John Hensley) does a huge favor for a McNamara/Troy intern (Adhir Kalyan), after the boy is asked to perform his father’s penis lengthening surgery. In another episode, a patient asks that his member be decreased, as he can’t stop fellating himself; Bradley Cooper’s Aidan returns for this installment, pitching Sean a movie based on his life. And in the biggest news of all, Christian dates Liz (Roma Maffia) in a storyline that by no means should work, and yet miraculously does.

You’ll hate the final moments of the season, and accuse the show of selling out, but hey, haven’t we been making this accusation for several years now? “Nip/Tuck” hasn’t sold out as much as it’s bought into its own trashy hype. It’s ambling toward the finish line of 100 episodes for syndication purposes, and the writers are having a field day unleashing an enormous amount of tasteless depravity along the way. It’s become very much of a drug in that respect. When it’s good, it’s really, really good; when it’s bad, it’s still there for the doing, and I, for one, choose to continue jabbing the needle deep into my arm.

Click to buy Nip/Tuck: Season Five, Pt. 2

A Chat with Krysten Ritter (“Woke Up Dead”)

Krysten Ritter first started making a proper go at an acting career in the early part of the decade, but it’s fair to say that the first real turning point came in 2005, when Rob Thomas decided that she’d make the perfect Gia Goodman on “Veronica Mars.” From there, the good gigs have been plentiful, including stints on “Gilmore Girls” and “Breaking Bad” and in such films as “27 Dresses,” “What Happens in Vegas,” and arguably the most high profile, “Confessions of a Shopaholic.” Currently, Ritter can be seen in the Crackle.com web series “Woke Up Dead,” a zom-com – that’s a legitimate term for a zombie comedy, right? – co-starring Jon Heder and Josh Gad. Premium Hollywood had the chance with Ritter about the challenges of doing an online series, but we also quizzed her about several of her past projects, too.

Stay tuned for…

Krysten Ritter Breaking Bad interview

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A Soupy Sales memorial movie moment

The late Soupy Sales was a great comic who achieved his great fame through television but never had much of a film career. His one starring role, 1966’s “Birds Do It,” is essentially impossible to see. Given two of the comments currently on IMDb, perhaps for a reason.

Nevertheless, his pie throwing and receiving savvy tickled the funny bone of a couple of generations and certainly influenced the slapstick comedy of his era quite a bit. So, in honor of the late Mr. Sales, the most famed pie fight of the 1960s.

Considering that this scene from Blake Edwards’ 1965’s “The Great Race” features several of the biggest stars of its day including Natalie Wood, Tony Curtis, Jack Lemmon (as two separate characters — the villainous Prof. Fate and the aimably drunken Crown Prince Hapnik), a pre-“Columbo” Peter Falk and character acting great Keenan Wynn (aka Col. Bat Guano of “Dr. Strangelove“), it’s also easily the most star-studded creamy pastry battle yet filmed.

And, remember the wise words of Mr. Sales and brush after every pie fight: “Be true to your teeth, and they’ll never be false to you.”

NBC wants more comedies?

Carolla

In these tough economic times, networks are looking to the sitcom to boost both the American spirit and their ratings (not necessarily in that order). NBC one again rules as the comedic king of Thursday nights with a solid lineup consisting of “Community,” “Parks and Recreation,” “The Office,” and “30 Rock.” I’m reminded of NBC in the 90s, when Thursday nights featured “Frasier,” “Mad About You,” “Friends,” and “Seinfeld.” Comedy has always been NBC’s forte, so the network’s recent moves come as no surprise. Discounting “The Jay Leno Show,” NBC only airs comedy during primetime on Thursday. Given their success in that genre, the network has inked deals with Adam Carolla (“The Man Show”), Bill Oakley (“The Simpsons”), and Aaron McGruder (“Boondocks”).

The Carolla project will feature the comic as a contractor and father whose life is turned upside down when his wife leaves him. Carolla is set to exec produce the multicamera sitcom along with Kevin Hench, as well as Jimmy Kimmel, Daniel Kellison, Gail Berman and Lloyd Braun.

Comedian also knows a thing or two about being a contractor, having worked in the construction industry before his big break as a radio personality on radio station KROQ. Universal Media Studios is behind the project, along with Jackhole Industries and BermanBraun.

As for the Cheadle/McGruder comedy, project revolves around mismatched brothers who reunite to open a private security company.

Universal is producing, along with Cheadle’s Crescendo Prods. label (which includes partner Kay Lieberman). McGruder, who’s writing, is EP with Cheadle and Lieberman. Project has a script order at the Peacock.

For the Oakley project, scribe will exec produce along with Dave Bartis and Doug Liman. Laffer centers on the youngest judge in a circuit courthouse.

I don’t know where NBC is going to find room for these shows. Obviously, Thursday nights are out of the question. The network can try their hand at competing with the CBS comedies on Mondays or the ABC comedies on Wednesdays. I would say Tuesday nights, but “The Biggest Loser” already takes up the two-hour block.

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