Category: TV (Page 322 of 595)

Intervention: Season One – Then and Now

It’s always fun to give A&E the business for having changed their format so dramatically that you often need to a microscope to find either art or entertainment in their programming, but it must be said that, of the countless reality shows that fill the network’s roster these days, “Intervention” is an enthralling series that provides a look at the depths of addiction and the torture that addicts put their friends and family through. Rather than focusing specifically on drug addiction, the show also delves into people with gambling issues and…shopping addiction? That one feels a bit sketchy, if only because it feels less like an addiction than an obsessive-compulsive situation, but, hey, I’m not doctor. Perhaps they’re one in the same. Though the majority of the people spotlighted are average folks, there are a couple of exceptions, including Travis Meeks, lead singer of Days of the New, and Vanessa Gomez, who played nurse Wendy Goldman during the first three seasons of “E.R..” (Gomez is the one with the shopping addiction, by the way.) Though “Intervention” feels decidedly voyeuristic, it can’t be said to sensationalize addiction. It’s sometimes excruciating to watch, and if you’re not an addictive personality, you’ll find yourself wanting to smack these people around for the way they’ve been doing drugs when they could’ve been living great lives and doing great things, but at least the bonus updates on four of the six spotlighted individuals show that the majority of them have been winning their battles. Still, you have to wonder about the other two whose fates aren’t updated…and, unfortunately, you really have to fear the worst.

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The Passion of Greg the Bunny: The Best of the Film Parodies, Vol. 2

The mourning continues over the early demise of “Greg the Bunny” from the Fox line-up, which had so much potential that was never allowed to be exercised by the network, but at least we still have the gang’s film parodies from their show on IFC. As usual, there’s plenty of occasionally tasteless comedy to be found amongst the movie-related gags, with Greg, Warren, and Count Blah taking shots at “Monster,” “Dogville,” VH-1’s “Behind the Music,” Biblical epics, body-switching flicks, and David Lynch’s entire oeuvre. Your personal mileage may vary, but for my money, you can’t beat “The Passion of the Easter Bunny: Fabricated American Movie,” which reunites Mark Borchardt and Mike Schank from “American Movie” to great effect while skewering Christianity more than enough to get everyone involved a free pass into Hell. (Example: while playing Jesus, Greg says that, after the Last Supper, “I just thought I’d hang out and try to get some sun; I don’t want to be nailed down to any specific plans.”) Like Volume 1, this set is thoroughly filled with special features, including audio commentary, deleted scenes, webisodes, a gag reel, Warren’s failed pilot for a “Dinner for Five”-like series, interviews with Greg and Warren from Comic-Con 2006, a behind-the-scenes featurette, and footage of Greg from his earliest public-access days. Lastly, remedying a complaint about the previous volume, we’re also finally given “Fur on the Asphalt,” the reunion special which serving as the transition between the Fox series and Greg’s return to IFC.

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Manswers: The Best of Season One

Wow. Just…wow. If you’re a guy, you probably at least like the idea of Spike TV, which loves to pitch itself as the definitive place on the dial for manly men to tune in and always find a safe viewing haven. The reality, however, is that Spike is full of programming that will actually suck the intelligence right out of your cerebellum. No series makes this more evident than “Manswers,” a show which professes to solve all of the mysteries of manhood but selects the majority of its topics by trying to appeal to the total-douchebag demographic. This best-of disc collects the top 25 Manswers from Season 1, throwing in a few bonus Manswers at no extra charge, but aside from a few fun questions like “how many floors can you fall in an elevator and still survive” and “how many people have been killed by vending machines,” the majority of the queries are strictly lame fratboy crap like, “How big do boobs have to be to crush a beer can?” Thanks to the added bonus of an obnoxious announcer who makes the guy who does those monster truck pull voiceovers sound like he’s on valium, just put in this DVD, hit “play,” and you’ll be O.D.’ing on testosterone in no time.

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Family Ties: The Fourth Season

Now that Elyse and Steven Keaton (Meredith Baxter Birney and Michael Gross) have gone and had baby Andrew, there’s an instant temptation to say, “Whoops, ‘Family Ties’ has jumped the shark, time to call it a day and start dismissing the show.” As it happens, however, it’s just as easy to argue that Season 4 is where “Family Ties” really hit its stride, since it’s the year that Alex (Michael J. Fox) started dating Ellen Reed (Tracy Pollan, who would soon go on to become Mrs. Michael J. Fox) and Mallory (Justine Bateman) started dating brain-damaged biker Nick Moore (Scott Valentine). We also get guest appearances from the late River Phoenix as a 13-year-old genius who tutors Alex in non-Euclidian mathematics, Martha Plimpton as a teenage shoplifter, and Peter Scolari as a fellow architect who falls head over heels in love with Elyse. All in all, it’s another enjoyable season of the series, but “Family Ties” fanatics will likely be most thrilled to find that the set kicks off with “Family Ties Vacation,” where the Keaton family goes to London and, as Alex learns the ins and outs of Oxford, Elyse and Steven deal with a highly ridiculous plot involving their accidental possession of some spy film. Oh, yes, and somewhere in the middle of it all, Mallory falls for Alex’s roommate at Oxford. Series creator Gary David Goldberg has never been a fan of the film, but once you get used to the lack of a laugh track, it’s fun to see the Keatons out of their element.

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Secret Diary of a Call Girl: Season One, Ep. 8

The final episode of Season One begins with a sweeping shot of London accompanied by some very regal music that leads into a speech from Belle (Billie Piper) about how living in London is all about class and sex is no different. As the camera pulls back we find ourselves along with Belle in a swank apartment overlooking the Thames. She’s with a client, movie producer Mitchell Rothman (Colin Salmon) and he tells her he thinks she’s ready to move up in the world and become a courtesan for Diamond International Courtesans, a company which sounds improbable in concept, but I’ve no doubt exists somewhere. (I’m very naïve about such matters.)

She goes to meet the three women who run the place, and the interview is about as humiliating as any job interview is. They dress her down, so that they can dress her up. They explain that being a courtesan is about being a companion as much as it is anything else. She must be learned in things like skiing and languages if she is to be successful. When Belle pipes up, “In the end, it’s all about fucking though, isn’t it?,” there aren’t many laughs from the other side of the room. Perhaps she is not quite as classy as she thinks she is? She takes a quick bathroom break to compose herself, comes back and makes a very impassioned speech about how damn good she is. One of the women finally says, “I like her.” So the job is hers and the first person she visits is Stephanie (Cheri Lunghi) so that she can do the typical “I quit” scene, of course in Belle’s case such a scene is littered with all sorts of details of her career that make it incredibly amusing. Stephanie is not amused, however. The second person she visits is Ben (Iddo Goldberg), and asks him to take some classy photos of her for the clients to peruse. It’s reassuring to know that hopefully some things won’t change. Piper looks fantastic in the photography montage! The pair briefly discuss Ben’s plans for upcoming domesticity and Belle’s future, as Ben puts it, “an uber-whore.”

Ben’s dialogue dovetails nicely into a shot of Mitchell going down on Belle. He looks up, tells her she deserves everything, and then gives her the swank apartment. She flips out and screams and the action cuts to Hannah and her mother packing up everything at her old place. Of course, her parents still know nothing of her career, believing that she still works in an office. Her mother says, “I still know nothing of your world,” which cuts to Hannah and her parents in the new place and her father saying, “I’m so proud of you!” It’s an uncomfortable moment because we know that he wouldn’t be proud of her at all if he knew the truth.

The life of a courtesan doesn’t involve just taking any man that comes along. Instead, Belle must interview possible clients and choose who she thinks will work out. Mitchell tells her “no more than four.” The more men she sees, “the less prestigious a courtesan is.” He says he’s going to Scotland shortly for a film and he’d like for her to come along. She does that and he bathes her and treats her like royalty, but when it’s time for him to go to work, she’s left completely alone. It’s as if she’s on call and must simply wait until he returns – after all, he’s paying and it’s not like she can go find another john on the street corner. When he returns he’s deep in thought, committed to his work. As he sits at his computer, she tries to distract him and he tells her she’s “too demanding.” The phone rings and he jumps for it, but she grabs it first and tosses it across the room. He flips out on her, “What the hell are you doing?!?” Mitchell’s a big guy and it’s a scary moment, even though logic seems to dictate that he’s far too cultured to do her any physical harm. “So this is how it’s going to be, huh?” He storms out, and we cut to the flat in London and Belle standing with her bags, having returned from the trip alone. She calls one of the Diamond women and finds out that Mitchell has women just like Belle all over the world. Suddenly, being a courtesan doesn’t seem very special anymore. It would appear that Belle enjoys her work so much that she has absolutely no idea what to do with herself when she’s not working (which was also the point of Episode 6). Even a cool flat and wads of cash leave her bored if she’s not busy fucking. I guess that’s it for Belle. She genuinely enjoys the fuck. Everything else is just gravy.

As is to be expected, she places a late night call to Ben and he comes over. When his fiancé Vanessa calls, Hannah asks loudly from across the room if he’d like a drink. When he gets off the phone he rips her a new one and accuses her of having abandoned everyone in her life “for this.” He says that at his wedding, she’s going to get up and give her Best Man speech, and everyone’s going to wonder, “Why isn’t he marrying her?” And then there’s silence between the two. It is a good question after all. The next morning Mitchell comes to the flat and calls out for Belle – only to find a note that says, “Sorry Mitch. It’s not for me.” Back at Hannah’s old place, she’s setting up a new website with Ben, as an “Independent Escort.” Ben jokes that he can be her muscle, and she wonders if Vanessa would have a problem with that. He confesses that he broke off the engagement – after all, if he doesn’t want to marry Hannah, he doesn’t want to marry anyone. The season ends with a fairly goopy monologue from Hannah about how as long as one person knows and loves you in London, it’s the best place in the world.

Well, not the greatest season finale ever, but certainly a decent enough setup for a second season that’s more about Hannah and Ben – but I’ll be damned if I’m even willing to take a guess at what that will entail. All in all, the first season of this show felt like it was skimming the surface of a deep pond. The premise can be taken in a wide variety of directions and hopefully the powers that be will present a slightly more complex Season Two.

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