Category: TV (Page 243 of 595)

24 7.15: Infected

We had a surprisingly straight-forward hour of “24” tonight. Starkwood will stop at nothing to acquire their bioweapon, Hillary Clinton is in fact a vengeful succubus (as we knew she was), and Jack Bauer is impervious to bullets. Now, I’ve never shot at someone from a helicopter, but I’d like to think that if I had someone trapped behind a rock, with a search light on them, I’d eventually hit them. Huh, maybe it’s harder than it looks. (Psst: probably not.)

I was amused at how quickly Hillary called her buddy at the TV station after seeing Warden Norton leave. She’s the neighborhood tattletale, the one that couldn’t wait to get the other kids in trouble. I would have loved to see Norton walk back in after she got off the phone, say, “Whoops, I forgot something,” and then reach under some papers on his desk and pull out a recorder. “You’re toast, rookie!” Seriously, what does she hope to accomplish by having the TV station run the story anyway? Won’t that just expose her as the leak? I understand ‘Hell hath no fury,’ but you’d think she would have enough common sense to exercise a little self-preservation. I knew Sherry Palmer, and you, missy, are no Sherry Palmer. I’m bored with her already.

“Madame President, by my best estimate, you will find out within the hour what a complete power-hungry psycho your daughter is.”

Jack had this convincing argument for why he and Tony couldn’t call the FBI to have them help contain the weapon, but I’m sorry, he still should have called the FBI. Dudley Do-Right might be hunting him, but he’s also kept an open mind when Jack has contacted him to explain what is Really Going On. But Jack’s bit to Tony was nothing compared to the lengthy speech Tony hit Jack with, the one about putting himself before the public in order to save the guard, blah blah blah. That speech just hung in the air, didn’t it? Didn’t feel at all natural. I also loved how communications were jammed at the port, so when they were finally ready to call the Feds, they couldn’t. The bad guys’ walkies worked, though. Uh, huh.

The big takeaway from the shipyard scene was that Jacqueline Bauer’s humanity was starting to get under Jack’s skin, which is why he put himself and Tony in harm’s way in order to save the guard. There is no way that Jack is not hitting that before the final clock ticks.

Assuming Jack lives to the final clock tick, that is. He just willingly exposed himself to Starkwood’s bioweapon in order to prevent it from going off in a populated area. Clearly, the weapon is a slow-acting one, as it didn’t seem to affect Jack at all while he was taking it into his lungs. Kiefer Sutherland has said that not even Jack should be untouchable on the show, but it’s well known that he has one year left on his “24” contract, so don’t start thinking that they’ll kill him off here. Still, what did Jack say the symptoms were of the stuff that Candyman was testing? Something about the victims being delusional, delirious, something like that. Is Sutherland going to get to do some Serious Acting? That should be fun.

I speculated a couple weeks ago that Tony might be working for Starkwood, and upon being recognized by Jonas Brother’s lead goon, it indeed appears that he’s done some work for them, whether he was aware of it or not. The only question at this point is whether it matters in the grand scheme of things. We have seven hours left. I’m sure they’ll find a way to make it matter for an hour.

Damn, I miss Chloe. Please bring her back soon.

Heroes 3.20 – Welcome Back, Bryan

Cue up the John Sebastian, people, ’cause it’s time to formally offer a hearty “welcome back” to Bryan Fuller. Tonight’s episode is the first time we’ve seen the man’s name in the writing credits since the glory days of “Heroes,” i.e. Season 1, and although his return comes at the expense of “Pushing Daisies,” you have to respect the guy for trying to do his part of save the series that he helped to make. And, yeah, I know, it’s not like he created the show, but given how many times Fuller’s “Company Man” has been held up as the series’ definitive episode, you can’t deny that his contributions helped make “Heroes” appointment television during the 2007 – 2008 TV season.

It was clear from the opening sequence, with Zeljko literally being handed a gift-wrapped Puppet Master, that we were finally going to get something we hadn’t seen in forever: a “Heroes” episode that actually felt like it was taken from a comic book. You wouldn’t think it’d be so hard to accomplish that in a show about people with superhuman abilities…and, apparently, it isn’t hard for Fuller, since he’s proven time and time again that he can manage it. Watching Zeljko turn the tables on Mohinder was awesome (“Why did you bring me here?” “I thought it’d be a whole lot easier than carrying you.”), and his typically tense conversations with HRG were typically solid, as was the HRG / Mama Petrelli chat at the beginning.

I don’t think there was anything that came out of Hiro’s mouth tonight that wasn’t genius, whether it was his addressing of Matt Parkman, Jr. (“Baby Matt Parkman, we will save you; if you understand, shake rattle once for ‘yes’ and twice for ‘no'”), his using a “Star Trek: The Next Generation” episode to rationalize how a de-aging process might’ve occurred and offering up a “Wrath of Khan” reference (“Life from lifelessness!”), or his asking Ando, “What are we saving the baby from? Lead-based toys?” I thought it was a great touch that, despite the TV being turned on and off repeatedly, Hiro and Ando still never once noticed that it was actually the baby’s daddy on the screen. The sequence where Hiro finally addressed having witnessed his mother’s death in the past and had an emotional bonding moment with Ando was unexpectedly effective (sometimes you forget that those guys can work together in drama as well as comedy), but then it was back to the comedy with the “E.T.” homage. And once the men in black busted in to take Li’l Parkman and Matt’s ex into custody…words fail me. Hiro’s powers are back! Thank you, Toddler Touch and Go! Except they’re not entirely, which means he can stop time again but still can’t teleport. Oh, well, so the kid’s not perfect. Anyone else do a spit take when Hiro rolled Ando out in a wheelbarrow?

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“Dollhouse” finally flicks the Awesome switch

I completely understand why my colleague John Paulsen bailed on “Dollhouse” earlier in the season. The show was running in place, a series of self-contained episodes with nothing hanging in the balance. The only takeaway from a couple of the shows was that the dolls were still remembering things after they had been wiped, and were keeping this a secret from their handlers and Topher. The subplot involving FBI Agent Paul Ballard seemed stuck as well. He knows the Dollhouse exists, but has neither the proof nor the support of the agency to pursue it. Yawn.

Then came last Friday’s episode, where “Dollhouse” creator Joss Whedon launched the show into space.

He first played with the idea that Echo, Victor and Sierra were engaged in a secret alliance with the news that Sierra had been having sex and was suddenly terrified of Victor. It doesn’t take long for Boyd, the Dixon to Echo’s Sydney Bristow, to realize that the perp is a fellow handler, and DeWitt gives the handler a choice: take out Mellie, the nosy neighbor of Agent Ballard who Knows Too Much, or get sent to the Attic. (Man, I can’t wait until they finally show us what that place looks like.) Ballard, who’s out getting takeout and realizes that Mellie is in danger, races back while making a call. We see Mellie’s phone ringing as the handler is slowly choking the life out of her. Then the answering machine picks up, and we hear…DeWitt. “There are three flowers in a vase. The third one is green.” Ta-da, instant can of whoopass. Mellie beats the snot out of the handler, killing him in seconds. Then DeWitt says, “There are three flowers in a vase. The third one is yellow.” Poof, she’s back to being “normal” Mellie.

Holy crap.

“Don’t arrest me yet. She hasn’t heard my bit about the KFC bowls, it kills ’em every time.”

This was awesome on a number of levels. For starters, I never suspected that Mellie was a doll. She doesn’t quite have the body type that the other dolls have, though that actually makes her a perfect choice for a role like this. Second of all, the dolls can be activated and deactivated by remote voice command? Again, holy crap. I’m assuming that the third flower in that metaphorical vase is red. What happens to a doll when she uses that line? Does it make them catatonic?

Whedon also pulled another neat trick in doing a story where someone uses the Dollhouse for harmless, and rather sweet, purposes. Patton Oswalt guest starred as an Internet millionaire who planned on surprising his wife with a brand new house, but she was killed in a car accident on her way to see it. So every year on the day of her death, he hires a doll to relive that moment that he never had with his wife. Awwwww, isn’t that cute? Gee, maybe the Dollhouse isn’t so bad after all, right? Mmmmm, wouldn’t go that far, but it does make the ethical aspects of programmable people slightly grayer than it would appear on the surface.

The episode’s Big Reveal, though, was the fact that there is a mole in the Dollhouse, and they used Echo to send a message to Agent Ballard that he has an ally on the inside. On the surface, it would appear that the only person with the ability to slip that kind of thing under Topher’s nose would be his underutilized assistant Ivy, but does she have access to enough information to bring the Dollhouse down, and would she have known that there are over 20 Dollhouses around the world? Doubtful, which is why my money is on Dr. Claire Saunders (my beloved Amy Acker) as the mole. She was horribly disfigured by Alpha, which gives her motive, and as their medical chief of staff, she would have access to lots of data. Plus, you have to know that Whedon isn’t going to recruit Acker for the show and then have her spend most of the time on the bench.

The problem with all this, of course, is that it’s possible Whedon waited too long to get the show rolling. The show isn’t cheap, and Fox certainly has it in its sights when time comes to trim the budget. It needs a huge spike in ratings — it actually needs a better time slot, but that’s another story — but will they get one? If Whedon delivers another episode as great as this one, that should be enough to rally the Browncoats into action. Stay tuned.

Watch NBC’s “Kings,” Or I’ll Shoot This Dog

Last Sunday, I pleaded with you, the readers of Premium Hollywood, to watch the premiere of NBC’s “Kings,” describing it as “an epic drama with the kind of scope that you rarely see on television in series form” and assuring you that “it needs to be a hit right out of the box, lest it be canceled without ever having a chance to build on its concept.”

How did that request pan out?

Well, I think the opening sentence of the Hollywood Reporter’s piece – “NBC’s ‘Kings’ had a devastating premiere Sunday night.” – says it all, doesn’t it? (Actually, the headline did a pretty good job in its own right: “NBC’s ‘Kings’ dethroned in ratings.”) To borrow a line from another great yet under-appreciated series, the facts were these: the premiere of “Kings” drew only 6 million viewers and was the lowest-rated program between 8 and 11 p.m. on a major broadcast network.

The ever-snarky but nonetheless generally well-informed Nikki Finke over at L.A. Weekly‘s Deadline Hollywood Daily wasn’t afraid to lay the blame for the series at the feet of NBC’s long-suffering executive, Ben Silverman:

I’m told NBC Universal spent a whopping $10 million on Sunday’s two-hour opener for ‘Kings’ and another $4 million per episode. That’s a staggering amount of money to lavish on any drama series, especially one that’s a bomb. Nor does Jeff Zucker have anyone to blame but himself for this disaster. Because I hear that Ben Silverman was hands-on. ‘Kings’ was supposed to move into the Thursday 10 PM ‘ER’ slot (once coveted when the network was still Must-See TV) but has now been banished to Sunday at 8 PM where it can’t do any harm since no one is watching NBC that night anyway. This latest failure follows NBC’s derivative restaurant reality series ‘The Chopping Block,’ also receiving a pathetic 4 share in 18-to-49 demos for its debut Wednesday. No wonder Ben has less and less to do with programming — which was why he was hired in the first place — and more and more to do with liaising with advertisers.

Y’know, I’d say, “Ouch,” but it’s not like this is anything even remotely close to the worst thing Ms. Frinke has had to say about Mr. Silverman.

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California Dreams: Seasons One & Two

Everyone has fond memories of spending Saturday mornings watching cartoons as a kid, but they often don’t remember that shows like “Saved by the Bell” were also part of the weekend festivities. With the characters of Bayside High gearing up for graduation in late 1992, however, producer Peter Engel was busy launching a worthy replacement. No doubt inspired by the “Saved by the Bell” rockumentary episode, “California Dreams” took the concept one step further by making the entire show about a group of friends – Matt Garrison (Brent Gore), Jenny Garrison (Heidi Lenhart), Tiffani Smith (Kelly Packard) and Tony Wicks (William James Jones) – who play in the eponymous pop/rock band and their unruly manager (Michael Cade).

Though not as popular as Zack Morris and Co., the guys and gals of “California Dreams” actually ran a season longer. Granted, the acting is a little worse (that’s what happens you cast musicians over actors), but the real standout of the series is Steve Tyrell’s original music. It may sound a bit dated now, but the soundtrack is what ultimately allowed “California Dreams” to distance itself from all the other shows just like it. The first two seasons are bit hit and miss (though Season Two features some major improvements like moving the action away from the Garrison household and the addition of new cast members), but fans will still get a kick out of the included reunion featurette. Hopefully, the five-disc box set does well enough to persuade Shout! Factory to release future seasons, because “California Dreams” doesn’t deserve to be judged solely on its early years.

Click to buy “California Dreams: Seasons One & Two”

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