Category: TV (Page 136 of 595)

Let’s Have a Ball Down at the Globes (TV Edition)

The announcements have been made, and the nominations for the 67th Golden Globe Awards are now officially a matter of public record, but just in case you haven’t caught them elsewhere (which, to be fair, is highly possible), here’s my look at the TV series, mini-series, and movies which received nods, along with my personal picks for who should take home the win for each category.

Best Television Series – Drama

• Big Love (HBO)
• Dexter (Showtime)
• House (Fox)
• Mad Men (AMC)
• True Blood (HBO)

My pick: “Mad Men.” Regular readers of Premium Hollywood had probably already narrowed my pick down to two entries, anyway, since I’m the designated blogger for both “True Blood” and “Mad Men,” but while “True Blood” had a strong season that was tarnished slightly by an unsatisfying finale, “Mad Men” offered up a full-fledged game-changer for the conclusion of their third year. The most notable omission from this list, however, is “Sons of Anarchy,” which you could almost write off as being too harsh for the voters if you didn’t have a drama about a serial killer in the mix.

Best Performance by an Actress in a Television Series – Drama

• Glenn Close, “Damages” (FX)
• January Jones, “Mad Men” (AMC)
• Julianna Marguiles, “The Good Wife” (CBS)
• Anna Paquin, “True Blood” (HBO)
• Kyra Sedgwick, “The Closer” (TNT)

My pick: Julianna Marguiles. I know full well that it’s a dark horse pick that almost certainly won’t pay off, but “The Good Wife” has been my favorite drama of the new season, and Marguiles offers a multi-layered performance as Alicia Florrick, a woman having to struggle with the media shining the spotlight on her husband’s infidelity and political and legal misdealings while she’s trying to return to a career as a litigator. And am I the only one who scoffed somewhat at January Jones’ nomination? Of the three primary “Mad Men” actresses, she’s the last I would’ve nominated, and this is one case where I think most would agree with me.

Best Performance by an Actor in a Television Series – Drama

• Simon Baker, “The Mentalist” (CBS)
• Michael C. Hall, “Dexter” (Showtime)
• Jon Hamm, “Mad Men” (AMC)
• Hugh Laurie, “House” (Fox)
• Bill Paxton, “Big Love” (HBO)

My pick: Hugh Laurie, “House.” God love Jon Hamm, but I said of the “House” season premiere back in September that it was “strong enough to warrant giving Hugh Laurie an Emmy nomination no matter what else he may do on the show during the course of the season’s subsequent episodes,” and I stand by that.

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Danny Cahill a.k.a. The Biggest Loser: good champion, good guy

We were pimping Danny Cahill to win this season of “The Biggest Loser” on NBC all along, not only because he didn’t seem like a gameplayer, but because he was one of the most genuinely good guys and kind-hearted contestants we’ve seen on the show. Well, after winning last Tuesday, we had the chance to participate in a conference call with Danny the next day, and despite only being able to ask one question ourselves, we did get to listen in on the entire call and all of our feelings about Danny were confirmed–good champion, good guy.

There is no nonsense with Danny. He simply followed what he did on the ranch when he had to spend four months at home continuing the program, and he also inspired his wife and countless fans to lose weight along with him.

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Ricky Gervais on 60 Minutes


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As part of our site’s TV of the 2000s feature, Will Harris recently examined why certain British series couldn’t translate as well in America as “The Office.” The original series was created by Ricky Gervais, who also served as its star, co-writer, and co-director. While he’s reached international stardom in recent years, only comedy nerds and Brits generally know his complete journey. Last night, “60 Minutes” ran an interesting piece focusing on his humble beginnings, mid-life struggles, and sudden success.

Gervais is a candid interview. Rather than humor Lesley Stahl, he offers his blunt opinion on talent, celebrity, and money. Check it out.

TV of the 2000s: 5 British Series That Didn’t Translate Nearly As Well As “The Office”

In “Star Trek II: The Wrath of Khan,” Spock casually observed, “As a matter of cosmic history, it has always been easier to destroy than create.” As such, it should come as no surprise that, when the networks have the opportunity to avoid creating something new in favor of destroying something old, they damned well take it. As we continue our look back at the TV of the 2000s, we decided to revisit several of the networks’ attempts to adapt popular British series to match American sensibilities. As “The Office” has proven, they can sometimes make it work, but as these five shows remind us, they very often can’t.

5. Eleventh Hour (CBS): In 2006, ITV broadcast a four-part series entitled “Eleventh Hour,” starring Patrick Stewart as Professor Ian Hood, a special advisor of the British government’s Joint Science Committee who investigated threats related to various scientific developments and experiments. Each episode was 90 minutes in length, and it was received well enough in the UK that CBS immediately set forth on a quest to develop the concept into a weekly series in the States. Stewart was switched out for another talented Brit – Rufus Sewell – and even though he dropped his accent in favor of going “American” with his character (now renamed Jacob Hood), we were still optimistic about the series. Alas, despite an intriguing premise, the adaptation suffered from a couple of major problems.

First off, critics perceived the show as “troubled” before its premiere because of the delay in releasing the first episode for review, but, fair enough, many series have managed to survive that particular issue. The bigger problem came from CBS’s steadfast determination to make “Eleventh Hour” fit into the same procedural mold utilized by all of its other series. As such, the predominant thrust tended to be about the crime of the week, leaving not nearly enough focus on Dr. Hood, whose considerable knowledge on scientific matters makes him an enigma. Viewers should’ve been left wondering, “Who is this guy? What’s his story?” But just as we were starting to learn about Hood’s past and getting the impression that he might actually be able to find romance for the first time since the death of his wife, the series steered back into a let’s-stick-to-the-case mindset, making its cancellation after only 18 episodes less disappointing than it might otherwise have been.

4. Worst Week (CBS): The original series – which bore the slightly longer title of “The Worst Week of My Life” – had three incarnations. The first focused on the week leading up to the marriage of its two lead characters, the second shone the spotlight on the week before the birth of their first child, and the whole thing culminated in a three-part holiday special entitled “The Worst Christmas of My Life.” Anyone who enjoys a good bit of slapstick would see the merit in trying to adapt the series for an American audience, but after watching the pilot, I wrote, “Despite the first episode being thoroughly hilarious, it’s hard to imagine how they’re going to keep up that kind of momentum on a weekly basis.” What I didn’t write – but what I did indeed wonder – was why, given how much testing goes into television nowadays, they didn’t change the title. I mean, c’mon, if you watched the show, then don’t tell me you didn’t find yourself wondering from Episode #1 just how long they were planning to drag things out. In the end, “Worst Week” ran for 16 episodes, and given that its final episode* was entitled “The Epidural,” it’s clear that the series never had a chance to expand much beyond its source material. Not that they could’ve managed it much faster: getting from premiere to bringing the pregnancy to fruition within five months is certainly nothing to sneeze at. Still, with all British-adapted series, the rule of thumb is that you should create your own identity as quickly as possible…and they didn’t.

* As far as the show’s chronology is concerned, anyway. The actual final episode was entitled “The Party,” and it should’ve actually been the fifth episode. Instead, it was held back from the initial run and was later (and somewhat inexplicably) thrown into the network’s Saturday night schedule some four months after “The Epidiural” aired.

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NBC continues the dumbing-down of America in earnest with…”A Very Gilly Christmas”

First, David Medsker sent a public memo to “Saturday Night Live,” pleading with them to stop Kristen Wiig from playing the most annoying characters imaginable, and although the show’s producers ignored him, the posting has received 76 comments to date, many of them completely behind Mr. Medsker’s position, so it clearly struck a nerve with readers. Then, two months later, John Paulsen got specific and called out Wiig’s then-new character, Gilly, as the unfunniest returning character ever. No word from the Wiig camp yet, but 65 readers have responded to it thus far, and while many of them are in full-on defense mode, it takes no more than a cursory glance at the comments to see that Mr. Paulsen is onto something with his premise.

* “Gilly should be put in juvenile detention.”
* “OMG, I want to break the TV when I see that stupid skit!”
* “Gilly keeps coming back for more and more and more and more and more. And it gets worse every time.”
* “The Gilly skits – and indeed, pretty much all the characters that Wiig does – are appealing to those lowbrow people who find catch-phrases funny.”
* “I know ‘to each his own’ and everybody’s taste is different, but I’m shocked that people are defending this really, really bad, really, really unfunny recurring character.”

And, of course, there’s my personal favorite:

“Like a fool, I kept watching, hoping the sketch could redeem itself somehow, that a punchline or a line delivery would come in making it somewhat funny. I mean, this is a comedy show, right? Right? But, alas, it was just painful. I have no idea what the audience was laughing at or why. Maybe SNL installed a live laugh track, or maybe they do pump in laughing gas. But what I saw no one could honestly find funny. NO ONE. Stock footage of starving children has equal comedic value as the Gilly sketch.”

To these discerning individuals, NBC is offering up the comedic equivalent of a lump of coal in their stocking on December 17th from 8 – 10 PM EST, when “Saturday Night Live” presents…wait for it…“A Very Gilly Christmas”!

The good news is that the two-hour special will include brand-new material with Alec Baldwin and Steve Martin, along with favorite holiday-themed sketches from the 35-year history of “SNL,” including “NPR’s Delicious Dish and the Schweddy Balls,” Martin’ famous “Holiday Wish,” and Justin Timberlake and Andy Samberg’s “D**k in a Box.”

The bad news: it will also include new Gilly material.

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