Category: TV Dramas (Page 137 of 235)

Secret Diary of a Call Girl: Season One, Ep. 5

The halfway point of “Call Girl’s” first season sees the concept stretching its wings even further, while also providing viewers with what is allegedly the ultimate straight man fantasy: A threesome with two incredibly hot, wanting women seemingly willing to do just about anything. Hannah (Billie Piper) tells viewers in the precredits sequence, “It’s not that I don’t like going down on girls, it’s just that I never really enjoy going out with ‘em.” Before the episode is over, she’ll do both.

The installment begins with Hannah in a bridal shop trying on a wedding dress. Why? Is this some kink dress up thing for a client? She receives a call from Stephanie (Cherie Lunghi) asking her if she’d be game for a threesome. She doesn’t rule it out, but wants to know who the client is. It’s Ashok (Ace Bhatti), last seen in the third episode, and Belle’s regular. She seems immediately put off. Why after all this time does Ash want two women instead of just Belle? Why didn’t he ask her about it first? She takes the job, but does so more out of curiosity than anything else. There’s no way she’s going to let two strangers get their lascivious paws all over her beloved, trustworthy Ash.

Then we find out why she’s in the shop in the first place. She’s there shopping with Ben (Iddo Goldberg) for his wedding tux. The shop assistant mistakes Hannah for Ben’s bride to be, and he indignantly points out that she’s not his bride, she’s “just here to help out.” They haven’t yet spoken about the e-mail she sent him in last week’s episode – the one that gave the address to her website. But apparently it’s not such a huge a deal to Ben that they go out shopping. Afterwards they go out for a drink and the ice is finally broken. His biggest question – which also answers something we’ve been asking ourselves since the series began – is, “Were you doing it when we were still seeing each other?” Hannah answers no. So Hannah and Ben were an item once upon a time! Perhaps not a huge revelation, but it does explain quite a bit about their friendship, as well as beg for further exploration. He presses her further, “Why do you do it?” She replies, “Would you believe me if I said I enjoyed it?” He asks what she’s doing tonight and she tells him of the threesome and Ashok and that “he’s lovely and he’s my oldest client – he’s like a friend.”

We then get a brief flashback showing how Belle got into the biz. It was almost like an accident. She met a man and went home with him for the night. The next morning her gives her cab fare to get home, but when she looked at the amount, it was well over what a cab ride would cost. Thus began her journey. Back in the present, Belle goes to the hotel room to meet Naomi (Beth Cordingly), her partner for the night. They prepare for Ash’s arrival and when Naomi asks what Ash is like, Belle gives a vaguely romantic sort of reply about the man, to which Naomi replies, “What I meant was is he into vanilla or anal?” Once he arrives there’s an extensive montage of the three of them in all sorts of positions and situations throughout the evening, and it’s really sexy stuff and shows more skin than I think has been shown thus far on the show. Afterwards, the trio lounge in bed and Ash thanks Belle for the book he recently gave her, and admits it really moved him.

After he leaves, Belle awkwardly asks Naomi if she’d like to hang out some time as friends. She agrees, which leads to the real meat of the story. They become fast friends, going out for Chinese and comparing work stories. They’ve got a lot in common, clearly, and they can talk about stuff back and forth that they can’t speak about with anyone else. One afternoon Belle gets a call from Stephanie asking if she’s got room for a new client on Wednesday. But Wednesday is Ashok’s day? “He’s with Naomi this week.” Boom! Not what she wanted to hear. She’s not interested in the new client, and she feels betrayed by her new friend, although it’s been clear since the beginning that Naomi’s approach to business is a little more businesslike than Belle’s. She’s crushed, and tells the viewer, “The end of the affair was written from the beginning. He’s a man who pays women for sex. I’m the whore. At some point his tastes were bound to change.” She then deletes Naomi’s info from her cell phone. It’s really a very sad scene, and shows how much we’ve come to care for Belle/Hannah in a short amount of time. In reality, we probably wouldn’t have sympathy for such a situation, but this isn’t reality, it’s TV.

She, of course, turns to the only friend she’s got, Ben. He comes to her place and they make some amends. He admits that much of his problem stems from her work being such a huge part of her life that he just didn’t know about. He says, “You’re the only girl I’ve shagged who still likes me.” She replies, “Except Vanessa.” The episode ends with Ben asking Hannah to be his best man. Really this was an episode about friendship and what exactly cements that institution, with the point being an understanding of the friends involved in the relationship. Ben understands Hannah and vice versa. Hannah and Naomi didn’t understand one another, of course they never really had a chance. Ben and Hannah continue giving each other chances, despite the fumbles.

TCA Press Tour, Day 7: Fox’s Executive Session

You know how these executive sessions work, so I’ll just do a quick run-through of the tidbits offered up by FOX’s President of Entertainment, Kevin Reilly:

* On the origins of “Fringe” coming to Fox: “We knew J.J. (Abrams) had made his new deal at Warner Bros. last year. We knew he was coming out with a show. Before he even started, Peter Liguori and I talked about who’s at the top of our list. We made the call, like, day one. We offered him a series day one. We knew the logline, that it was sort of an ‘X-Files’/’Indiana Jones’ kind of thing. Sounded good to us. And, you know, he was going to write it with Alex Kurtzman and Bob Orci. We brought Jeff Pinkner in now to run the show. And I’m happy to say that this show just feels right. You know, sometimes with these big showrunners, it’s all hype and no delivery. I actually am very happy to say that I think this one is going to deliver the goods.”

* Coming to Fox sooner than later: “Lie To Me,” created by Sam Baum and starring Tim Roth, “Courtroom K,” created by Paul Attanasio (executive producer of “House”), and “Boldly Going Nowhere,” a sitcom from Rob McElhenney (creator of “It’s Always Sunny in Philadelphia”).

* On Joss Whedon coming back to Fox, even though he’s been burned before: “Joss was a gift. The only reason Joss wasn’t on my list is because I thought there was no way he was coming back. And every time I’ve called about him, they said, ‘He’s busy. He doesn’t want to do it.’ Joss will tell you himself that he got hit in the head with a lightning bolt of an idea. He’s respected Eliza Dushku as an actress. He’s wanted to work with her. They got together. He left that lunch and said, ‘Dammit, I’ve got an idea. Now I’ve got to do it.’ And he just showed up, and the answer was yes. And I have not seen any skittishness. In fact, I’m really enjoying working with the guy. His reputation is well-earned. We’re having a good time.”

* The upcoming “24” movie – not the theatrical one that’s been rumored for awhile, but a TV movie – will be a self-contained entity which encompasses a separate day’s events…specifically, the day of the swearing in of America’s first female President. It will, however, help to set the scene for the upcoming season.

* On the controversy about there originally being no black voice actors on “The Cleveland Show” (and the subsequent addition of three black voice actors): That was the intention going in. I mean, the Cleveland character pre-existed, you know. They’ve been doing that…Mike (Henry’s) been doing that character for a long time, so we knew going in that was a fix: we’re going to have a white guy. But clearly, the idea was just to make an ethnically diverse show in front of and behind the camera, which we are. We’ve got a diverse writing staff. We’ve got an African-American guy playing a redneck character in the show. So the whole intention here was just to cast it, you know, with the best people we have, but clearly to create a largely African-American cast for the family.”

* On the negotiations with the writing staff of the new animated series, “Sit Down, Shut Up”: “I don’t mean to be evasive because I can’t really comment on it because I was hoping to have 100 percent finality on the thing by this meeting today. There are still T’s being crossed. It’s been a very, very tricky situation trying to resolve a deal on this. My presumption, what I believe is going to happen…? I know that Mitch Hurwitz is going to stay with the show. A couple of writers will probably exit the show. A couple of new writers will join or remain with the show. I’m very hopeful that, even by today, we will be moving forward with a writing staff and resolve this.”

That was the 14th, and today’s the 16th. Since there’s been no formal announcement as of yet, it seems that hope alone was not enough to score a resolution…and, frankly, I’m getting more and more depressed about it. Hurwitz’s name is, thanks to “Arrested Development,” an instant mark of quality; as far as I’m concerned, Fox should do everything in its power to get this thing wrapped up quickly, so we can see this show!

UPDATE: Nikki Finke just broke the story at Deadline Hollywood Daily that some – but not all – of the writers on “Sit Down, Shut Up” have indeed signed off on the Animation Guild’s offer, with the others “holding out for the ability to have their pension contributions applied to the WGA plan.” Hey, it’s a start, anyway…

TCA Press Tour, Day 6: PBS, Pt. 1

“NOVA: The Bible’s Buried Secrets”: It might’ve been appropriate to open the Sunday sessions with a Bible story, but it was pretty heady stuff for us to absorb so early in the morning. Paula Apsell, producer of “NOVA,” introduced “The Bible’s Buried Secrets” thusly: “Shot in Israel, Egypt, Syria, and the U.S., the film challenges viewers to think about the Bible in an entirely new way, one that exams the message and the meaning even as it looks for a historical core. What emerges is provocative new evidence surrounding the origins of monotheism and the ethical code that accompanies it, ideas that change the world and resonate for us today as it did then.” Fascinating stuff, sure, but way too much to take in at 9:00 AM. But there was at least one portion of the discussion that captured my attention: the question about whether God had a wife.

Professor William G. Dever responds: “The reason why God is so bad-tempered in the Old Testament is mostly he was lonely. And if he had listened to his wife, he wouldn’t have done those bad things. We know that in the minds of many ordinary Israelites, there was a pair of deities. Why shouldn’t there be? There was everywhere else in the ancient world. You have to remember monotheism is a difficult consideration. The development of monotheism is late, in some cases arbitrary and even artificial. A much more natural system is to have a plethora of gods, one for each need. And that’s what most peoples in the ancient world thought, and so did they in Israel. The very fact that the prophets and reformers condemned the worship of other gods means it was going on all over the place. Otherwise, why talk about it? So it’s clear that while those who wrote the Bible and edited it and passed it down were rigid monotheists, so to speak, all men, in the minds of many, God, of course, had a consort. And why not? If women had written the Bible, the portrait of God would be different.”

How would it have been different? Too…many…jokes. Must…move…on…to…next…panel…

“NOVA: Parallel Worlds, Parallel Lives”: This one was actually even more headspinning than its predecessor, since it was about the late physicist Hugh Everett and his Many Worlds interpretation of quantum mechanics, which predicts that every time we make a decision, a parallel universe splits off from our everyday reality (ow, my head just exploded!), but what made it stand out was the fact that it views Everett’s work through the eyes of his decidedly non-mathematical son, Mark…who you may know better as E, the heavily-bearded frontman for The Eels.

The key to the show is the relationship between E and his father…or, more specifically, the lack thereof. Hugh Everett died in 1982, so he never saw his son become a famous musician (at least from a cult standpoint), but…you’ll pardon the unintentional pun…they really were living in two different worlds. “I think it is a common thread with a lot of families that fathers and sons have their issues and maybe don’t always connect,” said E, “but we didn’t connect at all. I mean, it was sort of shocking the degree of how isolated he seemed to me, growing up in the same house with him all those years. But how do you relate to the rest of the world when that’s what’s going on in your mind, you know?”

E did have some fond memories of his father, despite their lack of a connection. “I remember him delighting in things like ‘Star Trek’ and ‘The Twilight Zone’ and science fiction books. We’d have neighbors come running over and…they’d be sitting in a hammock one summer day, reading a science fiction book, and it would have a reference to my father, and they’d come running over and knock on the door, all excited.”

There’s a scene in the film when the producers find some tapes of E with his dad, and for all his enthusiasm about working on this project (he calls it “an extraordinary process” and “probably the single-most life-changing thing I’ve been through”), there was clearly still a certain amount of annoyance about the way he found his way to hearing these tapes. “I didn’t want to listen to the tapes,” he admitted. “It was a really awkward moment for me when I walked into the room. The filmmakers had already listened to some of the tapes, and they were all kind of looking at me like…it was like they set a trap for me. I was scared. It was just the weirdest thing was hearing his voice for the first time in, whatever, 25 years or something. I couldn’t even remember his voice, but then as soon as I heard it, I remembered it really well.”

E’s comments make it pretty clear that the gene for physics skipped a gene, but he’s resigned to it. “I’m not bitter about not being a mathematics genius at all,” he assured us. “I’d much rather be a rock star. The groupies are a lot better.

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TCA Press Tour, Day 4: Lifetime

Sorry, but this won’t be as quick an entry as you might think.

First off, I have to announce the Lifetime news that made me legitimately happy: they’ve already committed to a third season of “Army Wives.” Yes, I really am a fan of the show, and I’m psyched to hear that Lifetime is going ahead with Season 3, though given the absolutely crazy ratings success of the early episodes of Season 2, it’s certainly one of the least surprising revelations of the tour. Still, it’s nice to have the confirmation. Stay tuned to Bullz-Eye for my Q&A with Sally Pressman, who plays Roxy LeBlanc on the show and was more than happy to answer my question, “Why should guys watch ‘Army Wives’?” (Unsurprisingly, though, the first words out of her mouth were to point out that there are four females leads and not a one of them is hard on the eyes.)

Okay, on to the three panels.

First panel: the second season of Carson Kressley’s series, “How to Look Good Naked.” Great concept, wonderful for helping women build their self-esteem, but ultimately not really something that I need to talk up but so much.

Second panel: “Rita Rocks,” the new sitcom from executive producers Stan Zimmerman and James Berg, last seen as consulting producers on “Gilmore Girls.”

Okay, with credits like that, we’ll give this panel a little bit more love. Nicole Sullivan (“Mad TV,” “The King of Queens”) stars as Rita, an overworked mother in the middle of a full-blown identity crisis. She’s happily married to Jay (Richard Ruccolo, a.k.a. the guy in “Two Guys, A Girl, and a Pizza Place” who wasn’t Ryan Reynolds), but while juggling her marriage, her job, and her maternal duties, Rita realizes that to reclaim her sanity, she has to carve out time for herself. At the encouragement of her nosy postal carrier, Patty, (Tisha Campbell-Martin), Rita forms…a garage band? Okay, c’mon, how are we defining “garage band” here? Because when I think “garage rock,” I think of Little Steven’s radio show, and what we see in the pilot – Rita kicking out a not-bad version of “Try A Little Tenderness” – only falls into the descriptor of “garage rock” because it’s actually performed in a garage.

“We’d love to do a lot of covers,” said Zimmerman, “and then maybe eventually she’ll put a song up maybe that she’s written when she was 17 and be real exciting.”

“We don’t want it to become kitschy in that it’s all ’80s music,” clarified Sullivan, “because that tends to lead to that sort of feeling. We don’t want it to all be silly. We want it to be emotional.”

At this point, a writer asked Sullivan what she listened to while growing up?

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TCA Press Tour, Day 4: Starz

It’s taken the Starz Network quite a while to get on its feet as one of the major movie networks. Okay, fair enough, some would argue that they’re still not there yet, but they’ve been doing some great work with their original documentaries about various film genres, and now that they’re making the move into producing their own original dramatic series as well, it’s clear that they have every intention of playing with the big boys.

The first series on the slate is an adaptation of the Oscar-winning film “Crash,” so you can imagine that there’s going to be a pretty sprawling ensemble cast involved, but there’s one actor’s name that handily stands out above the rest: Dennis Hopper, who plays Ben Cendars, a successful and respected record producer whose fight to remain relevant in the hip-hop world is made more difficult by his self-destructive tendencies. Most intriguing about this particular character, however, is that when placed against all of the total nutjobs on Hopper’s resume, he claims that this guy is “as crazy and probably crazier than any of them. He’s totally out of control. He’s a music mogul who wants to get one last big hit going, and he’s totally off the wall. He changes directions about 20 times in a minute. He seems to have a tremendous empathy and understanding of things, and at the same time, he has no limitations how he addresses other people or other races or other genders. He’s totally a loose cannon; he doesn’t have an edit button. It’s a great part, beautifully written, and we have no language barriers or sexual. It’s as free as television will ever be.”

The proof in that particular pudding would seem to come via a scene between Hopper’s character and, uh, John Thomas, if you take my meaning. And if you don’t…well, I’ll let Hopper describe the scene:

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