Category: TV (Page 408 of 595)

TCA Press Tour: “The Return of Jezebel James”…and the return of Amy Sherman-Palladino and David Palladino!

Top 3 reasons that make “The Return of Jezebel James” sound like it’s worth watching before you’ve even seen a single moment of the show:

1. It stars indie film goddess Parkey Posey.
2. It co-stars former “Six Feet Under” star Lauren Ambrose.
3. It’s the brainchild of “Gilmore Girls” co-creators Amy Sherman-Palladino and David Palladino.

The premise of the series involves Parker’s character, an editor of childrens’ books at Harper-Collins, deciding that she wants to have a baby…but when she finds out that she can’t carry the child herself, she decides to kill two birds with one stone by renewing her relationship with her younger sister and asking her to carry the baby for her, offering her free room and board at her apartment while she’s pregnant. The writer sitting next to me said that the premise struck her as vaguely creepy, like the younger sister was basically trading the use of her womb for access to free cable, but, hey, my wife and I did in vitro, so I know what it’s like to desperately want a kid of your own…and I know full well that if it’d reached a point where we needed someone to step up and carry our child for us, my sister would’ve been ready to roll.

Okay, possibly too much information. But my point is that, ultimately, this is a show about family…which, of course, is an area in which the Palladinos have considerable experience.

“I like family dynamics,” says Amy, “because I can’t figure out mine. I really just enjoy it. ‘Gilmore,’ to me, was — yes, it was a mother and daughter, but I also looked at it like Emily was sort of the third Gilmore. It was a multi-generational, sort of three women and their trials together, but the relationship was very different. You know, that was a relationship about two people who were instantly vested — they were so bonded, they finished each other’s sentences. They absolutely knew who they were. This relationship to me is so interesting a departure because it’s two women who just don’t know each other at all. They’ve never formed any sort of bond. It’s weird because they’re adults, but they’re just now starting to figure out who they are, how they react, what they like, what they don’t like, how they’re going to make each other crazy, how they’re not going to make each other crazy. And it’s just a wonderful dynamic.

“I think that there’s not always the best parts on television for women,” she continued, “and I feel like maybe if you can throw a couple of great woman parts out there, why not? There’s a lot of “the bullet entered here” going on out there, but these are real, you know? It’s just really multi-dimensional characters, and that I like. I would like it in men. I would like it in chipmunks, two nice squirrels talking to each other, I’d be fine with that, too. Just as long as the dynamic is interesting and there’s places to go.”

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TCA Press Tour: Sarah Connor returns!

It’s a little surprising that there hasn’t been a “Terminator” TV series before now, given how popular the franchise has been over the years, but here’s my theory as to why it finally happened: once Ahnuld took over as Governor of California, the producers decided, “Oh, well, if he’s not gonna be available to do more movies, we might as well hit the small screen.” So, we have “Terminator: The Sarah Connor Chronicles” . . .

Hey, I’m psyched.

Yeah, I know, I say that a lot…but, seriously, the special effects in the pilot look sweet. Plus, what red-blooded American male can’t get into a cast which stars Lena Headey (“300”) as Sarah Connor and Summer Glau (“Serenity”) as the latest, sexiest model of Terminator? And in case you fall into a different male demographic – there, how’s that for a politically correct turn of phrase? – it’s worth noting that the shoes of John Connor are being filled by former “Heroes” star Thomas Dekker.

The Sarah Conor Chronicles - TCA Tour 2007

But if you’re a real sci-fi geek, you probably only have one question: where exactly does this series fall into the chronology of the three “Terminator” films?

Producer Josh Friedman attempts to sort out the confusion. “When we first started this,” he explains, “people said, “This takes place between ‘T2’ and ‘T3,” and I think that was incorrect. As far as I’m concerned, this is ‘T3.’ I mean, this is a continuation of what I would call the Sarah Connor trilogy. So I think anything that happens after ‘T2’ is fair game for us. And I think the ending of ‘T2,’ the exploding killing Cyberdine, killing Miles Dyson, sort of changes the timeline for anything in the future.” Friedman went on to clarify that the ultimate fate of Sarah Connor as referenced in “T3” – she succumbed to leukemia, of all things – is no longer to be considered to be a given; fellow producer James Middleton added, “We’re taking a phrase that is very important in ‘T2’: ‘No fate, but what we make.’ And this is a new fate for Sarah Connor, so we are creating an entirely new timeline.”

Of course, it will probably not surprise you to learn that, of our number, at least one person was simply unwilling to accept this answer at face value. “At the end of ‘Terminator 2,'” began a reporter, “it looked as though they had saved the future. And in ‘Terminator 3,’ basically they were stuck with the future that ‘Terminator 1’ came from. Does your show believe that that loop is inevitable, or are they still trying to change the future to the point where it never gets to the rise of the machines?”

Rather than simply saying, “I’m sorry, but answering your question would wreak havoc on the space-time continuum,” Middleton actually responded thoughtfully: “Our characters operate and fight a battle every episode based on faith that they can prevent Judgment Day. Now they’re going to do everything that they can to do that. But the odds against them are formidable. They have a formidable enemy. So how they operate every day is to fight the fight the best they can in each episode.”

(Perhaps more amazingly, the reporter accepted this answer!)

With all these references to the films, you’re probably wondering the same thing we were: what are the odds of us actually managing to see that aforementioned Governor of California on the show?

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TCA Press Tour: “House” remains a very, very, very fine “House.” (Surely you saw that coming.)

I’m not sure if Dr. House is actually an anti-hero, given that, even with his terribly irascible manner, he still manages to save the day far more often that not. Still, he’s a drug addict with a nasty temper who makes decisions based less on a will-the-patient-live-or-die mindset and more of a I-just-want-to-know-if-I’m-right mindset, and that’s not exactly the kind of guy who find yourself rooting for, per se. In fact, it’s a minor miracle that it took a full three seasons for his team of doctors to abandon him out of sheer frustration with his methods.

As the show enters its fourth season with a few Emmy nominations in hand, it sounds as though things are going to continue to go great guns. At the very least, it looks like everyone’s back in tow to some extent: although their characters had all tendered their resignations by the end of Season 3, Omar Epps, Jennifer Morrison, and Jesse Spencer were all on the panel.

Producer Katie Jacobs admitted, “We struggled with how to sort of do exactly this. The truth is, everybody is back eventually, and everybody is back having changed and in different capacities. And, you know, it’s also sort of organic, so we only know where it’s going to a point. For us, for me, it’s the most exciting season we’ve started off so far because it feels very organic. You know, the last two seasons we’ve done an arc — season 2, season 3 we started out with arcs that involved other characters as a way to explore more deeply House’s character. But I think that their three-year fellowship, and all in different ways, has sort of naturally come to an end.

“In the first episode,” she explains, “House is alone, and House is trying to solve cases by himself. Of course, Cuddy is pissed and Wilson thinks he’s losing his mind. And Cuddy will insist that he hire a new team…but he will do it in a very House-ian way. Over the first bunch of episodes. he’s going to call in all the candidates, all the resumes on his desk — 40, I think it is, a large number — and we’re going to see who survives. We’re going to play a ‘House’ version of “Survivor” and see what candidates really will make the best part of House’s team. And House is going to give all the candidates numbers; because he can’t remember their names, they’re actually going to wear running numbers!”

Meanwhile, the trio of actors formerly known as House’s team remained pleased to be on the show, even if they really have no idea where they stand at the moment.

Morrison says that they found out about their characters shuffling off the show when “they told us all that they wanted to talk to us over lunch one day, which does feel a little bit like being called into the principal’s office. But they were fantastic and let us know what they were planning on doing.

Spencer corrected her. “Well, they didn’t actually know, though, did they? Well, I mean, they told us that we were coming back, but they didn’t know at that time in what capacity we were actually going to come back. And we are still not entirely sure. (But) we know we are back.”

Jacobs hinted, however, that just because we see them doesn’t mean they’re actually there. “(House) thinks he sees them. And Wilson is saying, ‘You know, you’re just feeling guilty, and you’re out of your mind.’ And Chase is working in Arizona in a hospital and Cameron’s with him. And Foreman is at Mercy Hospital running his own diagnostic
department. And we have fun with that as well. I definitely don’t mean to be coy, but I don’t want to spoil it for you entirely.”

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TCA Press Tour: “Family Guy” – The 100th Episode

One of the cooler panels during the course of the TCA Press Tour was unquestionably the “dinner theater” provided by the cast of “Family Guy,” who did a table read of their upcoming 100th episode for the assembled critics as they ate lunch. We were warned ahead of time that, yes, it was the unedited version of the script, and that several bits had been removed from the upcoming air version, but I didn’t hear any complaints after the fact, so I guess those of us with delicate constitutions managed to survive. I won’t give away any of the jokes – I mean, the show isn’t even scheduled to air until October – but I will say that it’s called “Stewie Kills Lois,” that there are jokes involving The Beatles, Barbra Streisand, and “The Lake House,” that there are tentative plans for guest appearances by James Woods and Rob Lowe, and that it’s a two-parter, so even we don’t know what happens in the second half.

Oh, and I’m guessing that Peter’s bit where he reminisces about he and Lois going to an abortionist is almost certainly not going to be in the version that you see on Fox.

After the read, the cast remained on stage and took a few questions from the crowd…the first of which, unsurprisingly, was, “Seth, what exactly did you cut out of that script?”

“Oh, I think the abortion one was about eight times as long,” MacFarlane laughed. “Some of this stuff, actually, you will only see on the DVD. There’s some stuff that was, you know, judiciously edited with our approval. And some stuff — for example, the swearing you’ll only see on the DVD. Since that’s become such a big part of “Family Guy,” there are — occasionally if we bleep something for TV, we’ll let it slide on the DVD.”

Most surprising admission from MacFarlane: that they’re never out to shock for the sake of shocking. “The thing that I try to do with ‘Family Guy,'” he explained, “is to kind of have this balance between the classic and the edgy. You know, we do a lot of poop jokes, but at the same time, we use a 45-piece orchestra every week with a full string section. If something is just shocking and not funny, then we’ll cut it out. And we have these table reads every week, which we do for each episode, in which we have a very good cross section of artists and people from the outside and writers, and, you know, the studio network is there. And no one is shy about gasping in horror if we have crossed the line, and so it’s a very good barometer.”

Best bit of gossip from MacFarlane: “Certain members of the Brolin family were amused by the (Barbra Streisand) gag that we did. That’s all I’ll say.”

Most surprising anecdote: the FCC responded to the show’s FCC-themed episode…and thought it was funny! MacFarlane admitted that it “surprised the hell out of me…and gives me a little bit of hope!”

Least surprising question: let’s just say it involved a reference to manatees. (I’m as guilty as anyone; I did the same thing when I talked to him…but I like to think that my comedic timing was better.) Of course, MacFarlane offered up his now-stock response about how he’s actually a big fan of “South Park,” but what he also provided was a surprisingly solid explanation as to why they enjoy doing the cutaways that Parker and Stone busted their balls about.

“The cutaways they sort of see as a deviation from the story,” MacFarlane explained, “(but) we sort of see them as, in a weird way, kind of these animated versions of, like, one-frame ‘Far Side’ cartoons that are sort of, you know, something you can only do really, I think, effectively in the animation medium. And, you know, they’re just kind of laughs for laughs’ sake. You don’t have to know what’s going on with the plot. You don’t have to know what’s going on with character drive. They’re just pure comedy…we hope!”

New Sitcom Pulls Back The Envelope

Man, I love The Onion.

LOS ANGELES—Fox network executives excited about the ground-mending situation comedy Family House, which will debut this fall, told reporters Monday that the program has pulled back the envelope on modern television, and is sure to give viewers a “30-minute Ferris-wheel ride.”

“Unbuckle your seat belts, America, we’re already here,” said cocreator and executive producer Kimberly Hodge, who touted the show’s traditional three-camera setup and nuclear-family cast as “as nothing you’ve never seen before.” “Our team of veteran writers is committed to bringing you only the kinds of basic conflicts, wildly predictable twists, and fast, easy resolutions you’ve come to expect from network television.”

Hodge added that executives are equally pleased with their new action drama, Crime Unit, whose formulaic structure and conservative cinematography has kept test audiences “on the backs of their seats.”

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