Hey fellas, tell your baseball-loathing honeys that four of the Milwaukee Brewers will be featured on an episode of “The Young And The Restless” on June 20. That’s right, shortstop J.J. Hardy, center fielder Bill Hall, and pitchers Jeff Suppan and Chris Capuano will be making their acting debuts on the soap, and then getting back to work. I wonder if they’re doing it “on spec.”
Category: TV (Page 432 of 595)
A couple titles for this blog went through my head. The runners-up:
“This is my mistake; let me make it good.” That sprang to mind when Senator Roark was planning to bomb the oil rig.
“What a lovely way to say ‘I love you’.” Chloe. ‘Nuff said.
In the end, I chose the title above because, as unhappy as I am with the show this season, and as ridiculous as things got as the day progressed…I will not stop watching “24.” I mean, the day is now over, and I’m still wondering:
– What Wheelbarrow Wayne had to do in order to secure Jack’s release from Chinese custody in the first hour.
– How Jack’s hand got so horribly scarred. Yes, the torture, but through what means? By whose hand? They spent far too much time focused on his hand to just let that go.
– Who gave Mister Swank the orders to kill Assad and Palmer. They showed Swank talking to someone who was pulling the strings. Who was that man?
– Why Jack’s father was allowed to tamper with evidence at CTU and then leave after his son confessed to assassinating a President of the United States.
– If President Buck Buck Brawwwwwk actually died in the ambulance. I’m assuming so, but there wasn’t another word about him after that cliffhanger.
– Why Milo’s hair looked so drastically different in the episode where he was killed than it did in any other episode up to that point. Was his death a last-minute re-shoot?
– How our country’s counter-terrorist unit has the most hackable network in the world.
– Who Jack Jack’s real father is. That was pure speculation on my part, but I wonder if the writers got wind of the bloggers catching on to their plan and changed their tune mid-season. You gotta admit, they made it pretty obvious that Josh was not Grame’s son. Strained relationship between Jack and Heidi Petrelli, etc. Maybe they’re saving that for next season, now that Audrey’s a vegetable.
Despite all of this, I will still watch the show next year. It didn’t flick the ‘Off’ switch in my head that, say, last Wednesday’s “American Idol” did. “24,” on the other hand, can be saved. But we’ll get to that in a minute.
As Senator Roark is trying to save both his face and ass with the Russian president and American public respectively, I nearly laughed out loud at the proposition that he was giving them, his last-ditch effort to avoid a war.
“What is your proposal, Mr. Vice President?”
“Basically, I’m gonna blow everything within a quarter mile of the component sky-high. There will be no evidence that we actually destroyed the chip, but there will be no one left to confirm that we didn’t destroy it.”
“Mr. Vice President, I find your plan acceptable.”
Wow. Hey Suvarov, I have this great plan to make money quickly. First, you give me $5,000 to join our group, then find three people to give you $5,000….What a gulli-bull.
Meanwhile, Nadia gets a taste of the dark side by not following orders but ultimately doing the right thing, and the Ricker, as my wife was fond of pointing out, was blinded by science. Ow. On the bright side of life, Chloe’s pregnant, Karen and Big Balls Bill Buchanan (did I get that right, Giant Gary?) get to retire with their reputations intact, and Jack, once again, has to disappear, but not before saying goodbye to a sleeping Audrey. How many arrestable offenses did he commit today, six? Ten? More than one, no question.
So how do you save “24” from itself? Well, due to the title, there is no shortening the episode slate, like “Lost” will from now on. I do think they were on to something, though, when they shifted the focus from one villain to another. The problem was they did it too late. Had they shifted focus closer to the midway point, they may have pulled it off. Either that or have one villain, a compelling villain, dominate the whole show.
Here’s another idea: get out of Los Angeles. Spend some time on the left coast, maybe have some fun on South Padre Island (does anyone go there on spring break anymore? It was wicked popular when I was in college). Or, if you insist on staying in L.A., accept the consequences that your plot device gives you. They dropped a bomb on Los Angeles this year, yet continuously put its men in the field with little regard for the fallout. Maybe next year should be “24 Hours Later,” where the rage virus hits a major metropolitan area (don’t laugh, Fox owns the rights to that franchise), and it ends with Jack having to kill an infected Audrey.
Whatever they decide to do with “24” next season, I’ll be waiting for them, hoping that they’ve changed, like a battered spouse. Until then, I have seven sweet, sweet months of blog-free Mondays to look forward to. Sweet dreams.
It has been, as the Delays once sang, a long time coming, but we’ve finally been witness to the long-awaited first-season finale of “Heroes.”
Was it worth the wait…?
Well, I think you have to say that, with a few exceptions (namely, the fact that several lingering questions remained unanswered), it sure as hell was.
The Mexican stand-off ended in a rather anticlimactic fashion, though Matt Parkman’s defiance when he declared that he was indeed going to keep Molly from harm was a nice moment. When Molly spoke of a Hero…and I use the term verrrrrrry loosely…worse than Sylar and said to Mohinder, “When I think about him, he can see me,” wow, that sounded creepy.
It struck me as sadly naive that, even in the midst of everything going on, Peter still trusted Nathan to do the right thing. (Of course, that thought came back to bite me in the ass later!) Mama Petrelli continues to be a real queen bitch about the future; I can’t imagine she took the events at the end of the episode terribly well. Peter’s flashback sequence with Simone struck me as a bit schmaltzy, but the scene took a dramatic upswing with that revelation that Mama Petrelli had no confidence in Peter’s abilities…and it absolutely soared when Charles said, “I know you’re there, Peter.” D’OH! There’s something perfect about a bad mother like Richard Roundtree being the one to deliver the message to Peter that he should’ve known all along.
When HRG…sorry, I mean, Noah…assured Claire that he had a plan, I almost believed him. But somehow, I don’t think his plan would’ve involved her jumping out a window from several stories up. Didn’t anyone ever tell her that you can’t run from family?
You have to give Ando credit; dude’s got balls of steel to even try to take on Sylar by himself…and Hiro’s clearly grown a pair himself, thanks to that training with his pops. The final sequence when Hiro dropped Ando off in Japan was nicely poignant, and each got at least one sweet line…
Hiro: “This man is ready.”
Ando: “You look bad ass.”
For one second, I thought the Jessica-fighting-Nikki sequence was a big ol’ dream or hallucinations until I remembered, oh, right, shape-shifter. I’m sure we all noticed that, when the episode ended, we were left with no reference to the shape-shifter’s whereabouts, so I think we can count on her return next season. Meanwhile, as the episode ended, all I could think was, “Wow, Micah and Molly sure make a cute couple…”
Sylar: “Haven’t I killed you before?”
Peter: “Didn’t take.”
Great comic book dialogue, delivered to perfection. As to the final battle, I thought Nikica jumping into the fray was an unnecessary moment…but, then, so much of her story has proven to be unnecessary that I guess it brought things full circle, didn’t it? But Hiro’s timely appearance was great, as was the way Sylar flung him away, and Claire’s pained expression as she prepared to fire the gun and fulfill her promise to Peter was rough stuff.
Damn that Adrian Pasdar. You can’t read him to save your life, and, as a result, you absolutely couldn’t predict how Nathan would act from scene to scene. As such, I never saw that ending coming. Yes, Nathan redeemed himself for a season’s worth of questionable morals by performing the ultimate sacrifice and being there for his brother until the very end. It’s a shame that we had to lose Peter, but, then, are we still to presume that he may yet survive, given his powers? I guess time will tell.
So where do we stand? Sylar is still alive, because everyone knows that a good villain can’t be killed off that easily. Mrs. Petrelli’s whereabouts remain unknown, and you can guarantee she’ll turn up…and it wouldn’t surprise me a bit if she were, in fact, in cahoots with Mama Petrelli. I’m telling you: Mama, Sylar, and the shape-shifter makes three!
And after a fantastic season, leave it to the producers of “Heroes” to tease us with Season 2 by dropping Hiro outside Kyoto, Japan, in 1671. The fall has never seemed so far away…
Jamey is on a much-deserved vacation this week, so he asked me to step in and cover the blog. I’ll do my best to fill his considerable shoes.
I was hoping for a barnburner tonight, the kind of episode where the blog would pretty much write itself, but instead a good 35-40 minutes were devoted to AJ, my least favorite character on the show (save for Livia, but she’s been gone a while now). Normally, he’s just a whiny, spoiled kid, but now that he’s doing some of that fancy book learnin’, he’s a whiny, spoiled, depressed kid. Tony’s reaction to AJ’s spiel about the virus spray on the meat underlined his own inner conflict about his son’s future. On one hand, he has always said he doesn’t want AJ to turn out like him, but when the kid tries to branch out, he threatens to put his head through the wall.
“Twenty years, he won’t crack a book. All of a sudden he’s the world’s foremost authority.”
Did anyone really think that AJ’s suicide attempt would be successful? Since we lost Chris last week, the odds were against another main character dying so quickly, and honestly, AJ hasn’t been able to follow through on anything. Once the cement block hit the pool floor, he freaked out, and it looked for a moment that he might somehow die accidentally at his own suicide attempt. Tony’s just-in-time arrival made for a very powerful scene. It’s obvious that he loves his kid, but at the same time AJ’s troubles are a giant pain in his ass, both at home and on the job.
How will the suicide attempt affect Tony’s work? It can only be seen as another sign of weakness (in what has become a pretty long line). Pauley’s take was priceless:
“Ask me, it’s all these toxins they’re exposed to. It fucks with their brains. Between the mercury in the fish alone it’s a wonder more kids aren’t jumping off bridges.”
“Between the mercury in the fish alone“? Fucking Pauley is fantastic.
Tony talks to Melfi about the suicide attempt and she suggests that it might have been a cry for help – that subconsciously he knew that the rope was too long to keep him submerged. Tony’s reply was classic:
“Or he could just be a fucking idiot. Historically, that’s been the case.”
Regardless, Tony understands that his cursed genes have a large part to do with AJ’s troubles, so he’s empathetic to a certain point, but that doesn’t stop him from getting into it with Carmella once AJ is committed. Is it just me or does it seem like their marriage is once again holding on by a thread? I had to laugh when Tony gave her a watch (out of guilt?) after he took care of Chris’ “business affairs” in Las Vegas. Business, Carm? You sure are a trusting soul. (Or more likely, you’d simply prefer not to think about it.)
Later, in therapy, Tony starts talking about how mothers are buses and all we want to do as children is get back on the bus, but it can never happen. After Melfi says that the theory is insightful, Tony quips, “Jesus, don’t act so surprised.” It’s clear that Tony wants Carmella to accept some of the blame for how his son turned out, and this might be his way of disowning the kid. When Melfi asks if he’s ashamed of AJ, Tony replies, “Yeah, I am. Coward’s way out, right?”
Aside from this week’s depressing depression, the brewing conflict between Tony and Phil finally kicked into high gear. Once Phil rejected Tony’s asbestos-related offer, it led to T pulling a couple of jobs that were designated for Phil’s men and then to that idiot Coco accosting Meadow while she was having dessert in Little Italy. It was funny to watch Tony try to calm his daughter and wife down when you just knew that underneath the surface his blood was boiling and that Coco was about to get one serious beatdown. I wasn’t expecting Tony to go all “American History X” in the restaurant, but it was even more surprising that Coco survived the attack.
It’s clear now that Carmine’s failed peace accord will lead to further escalation, though I think his line to T – “you’re at the precipice of an enormous crossroad” – had more than one meaning. It was strange to hear Phil spouting his obscenities from the safety of his ivory tower. It’s doubtful that he’d be so bold if he were standing face to face with Tony, but even so, you could see from the look in T’s eyes that there is no going back.
With just two episodes left, there are still a number of unanswered questions: Will Tony once again hear from the two suspected terrorists? Will AJ’s stint in the hospital do anything for his outlook on life? Will Tony continue on his existential journey and finally find happiness? Will his marriage survive? And most importantly, will he survive the coming war with Phil?
Game on.
Is it just me or has Drama’s role on “Entourage” significantly increased during the second half of this season? Initially used strictly for comedic effect, the older Chase brother is finally coming into his own. His new NBC drama is a certified hit and he’s just been offered a part in Brett Ratner’s latest project, “Rush Hour 3.” Well, sort of. After arriving at Ratner’s bachelor pad (which is just as a sleazy as you expect), Drama discovers that a serious mistake has been made in regards to his invite. The part being offered isn’t meant for Drama, but rather the 17-year-old Tommy that plays his younger brother on the show.
Nonetheless, Drama is determined to get a part in the film; to the point that he flat out refuses to leave until the mistake has been fixed. And it is, to a degree, when Drama finagles the ominous role of the bus driver out of Ratner with the understanding that he’ll have to pay for his own airfare and hotel accommodations. Drama doesn’t see a problem in this negotiation, as he takes the good news back to Tommy with the deal that if he gets the part, he’ll have to pay for Drama’s plane ticket. A bit shady? Sure. But it was classic Drama at his absolute best.
Meanwhile, Vince and Eric join Ari for a meeting with Yair Marx, a potential financer for “Medellin,” and while things don’t get off to a great start (the guy wants Sylvester Stallone to play Pablo Escobar’s dad), Marx respects Vince’s passion to make the film his way. Negotiations are put under even more stress when Vince receives a phone call from Marx’s wife, Nika, asking him to meet her in private. Cautious that the secretive meeting his meant more as a means to seduce him than for business, Vince brings Eric along, and boy do things not go well. Aside from picking on Eric a handful of times throughout the course of the short chat (did anyone else see her whack him in the head with her purse on the way out?), Nika leaves the meeting completely unimpressed.
Fortunately, that doesn’t seem to change Yair’s mind about financing the film, and he invites them all to dinner to celebrate, delivering the $60 million check disguised as dessert. Of course, there’s only one catch: Yair wants Vince to apologize to Nika by fucking her “like a superstar, while I stay down here and play billiards with your friends.” Wow. Vince has obviously dealt with a situation like this before (though his earlier discussion with E about their 10th grade science teacher was a bit creepy), but I can’t see him going through with it. Especially since next week’s previews seem to indicate that they’re still looking for money to begin production.
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