Category: TV (Page 469 of 595)

24, Hour 10: This week, on “Dynasty of Terror”

The president of our company wasn’t kidding: “24” has turned into “Dynasty.” The latest obstacle to hamper CTU is…a drinking problem. That is not a typo. The part of Amy Winehouse is played by Morris O’Brien, who, when faced with what he perceives to be a painful reminder of his own cowardice at the hands of the man that he had previously deemed an intellectual subordinate, unravels to the point where he chugs nearly a pint of whiskey, only to purge it from his system in a fit of shame seconds later. “Call your sponsor,” Chloe admonishes when he comes back stinking of whiskey. I suppose that last nugget of information negates the Winehouse joke; if they tried to make Amy Winehouse go to rehab, she’d say no, no, no.

In fact, the majority of the episode contained more relationship melodrama than political intrigue. “Don’t kill my son!” “I killed your husband, and I’ll kill your son.” “He won’t kill him, he wants me.” “I had to go my own way.” “Don’t turn me in to Buchanan!” “Call your sponsor!” Ugh. The most interesting plot thread was given the least amount of attention, and that is the Biscuit’s betrayal of the President. Sure, it looked bad for the Biscuit as he’s handing over the President’s itinerary, but there is no way he would go from resigning to whacking the Commander in Chief in a matter of minutes, right? No, of course not, which is why it was such a relief to see him call the head of Secret Service the second in an attempt to thwart the plot…and why it didn’t surprise us in the slightest to see Mr. Swank pop the Biscuit the second he knew that he was being played. Let us guess: now the Biscuit is framed for the hit if it proves to be unsuccessful.

Don’t let her shrieking fool you: Heidi Petrelli is one strong woman. She has hardly cried a tear for the death of her husband, which happened only an hour or so ago. She didn’t even flinch when Jack gently brushed her delicate brunette locks out of her face. I’m not sure exactly what happened between those two in the past, but that moment, this soon after the death of her husband and his brother, is creepy. I don’t care if he just helped save Jack Jack’s life. Wouldn’t you at least let the body get cold before bustin’ a move?

During one of the blink-chunk, blink-chunk moments, they showed the Biscuit strapped down like he was suffering spinal trauma. From a flashlight, wielded by Mr. Swank? Not buying it, sorry. Dude may be evil, but he’s not supernatural.

And then there’s the Great Reveal in the last two minutes. Daddy Dearest/Farmer Hoggett manages to slip out after having his son, the freaking CTU agent, kneel down in preparation for an execution-style bullet in the skull. Call me crazy, but I’m pretty sure that there isn’t a man alive the same age as James Cromwell that can sneak out of a meeting of narcoleptics. Jack realizes Daddy Dearest isn’t there, and in his pursuit, finds a cell phone with a text message telling him to call…President Buck Buck Brawwwwwwk! I knew he was coming back, so seeing him wasn’t a shock, but that Saddam Hussein beard was. Hey, at least he doesn’t look like Nixon anymore.

There’s still one thing that troubles me: both Hoggett and Romano have admitted that they were complicit in the assassination of David Palmer, but neither has admitted or acknowledged that they had any reason to believe that Jack, who was set up for the hit, was actually alive when it took place (you’ll remember that he had been declared dead months before, in order for Jack to escape the clutches of the Chinese). The connection to President Logan may explain this, since he also tried to have Jack killed at the end of season four, only to discover that someone else had allegedly beaten him to the punch. Still, when last season started, Logan had no idea that Jack was still alive either, which means that either one of the still-living characters has information that they have yet to reveal or the show’s producers are secretly hoping that you have forgotten that that they have not properly explained this gaping plot hole.

The only explanation, given what information they have shared with us, is that Chloe is the mastermind behind Palmer’s assassination, since she is the only surviving person we’re aware of who knows who fabricated Jack’s death in the first place. Um, sure. No one orchestrates a plot to kill a former President of the United States in the hopes that they can pin it on a guy that may or may not already be dead. If Hoggett & Romano knew that Jack was still alive, then prove it. Now. We’re growing tired of sentences that begin with, “Don’t ask me how, but…,” like we heard tonight with the explanation about Gredenko extorting Farmer Hoggett. That’s code for “Hey, it’s your cousin Basil Exposition! Just go along with whatever he tells you.” Sorry, not gonna do it. Wouldn’t be prudent at this juncture.

Battlestar Galactica: “A Day in the Life”

BG has downshifted a bit, delving into the personal lives of some of the crew. Like last week’s episode, I’d classify “A Day in the Life” as filler, but it was much more entertaining thanks to the considerable acting chops of Edward James Olmos and Mary McDonnell. It’s clear that the two have feelings for one another, but it’s unclear exactly what they’re going to do about it. The Admiral’s line – “we have certain responsibilities” – would seem to shut down a possible relationship, but the President was more optimistic. This romance will probably develop very slowly, only to truly get off the ground once the series ends for good.

The situation that Callie and the Chief got themselves into was much more interesting than Helo’s crisis last week. That “we’ve-got-to-blow-the-airlock-to-save-your-lives” plan was a classic BG moment. It was definitely intense seeing two new parents flying haphazardly through space. But it looks like this near death experience will bring the two of them closer together, which is a good thing. I’ve always liked Callie, and she’s good for the Chief.

Lastly, I wish the show would do away with these bonus scenes at the end of the episode. Tonight’s scene was a perfect example. The show came to a dramatic conclusion with the Admiral saying goodbye to his ex-wife, then we’re treated to a disjointed, superfluous scene with Dee and Gaeta. There’s a reason the scene was cut. Save that stuff for the DVD, please.

Too few questions with…

…Mariska Hargitay, who plays Detective Olivia Benson on “Law & Order: Special Victims Unit,” and one of the show’s producers, Neal Baer.

NBC kindly set up the teleconference, but it started a few minutes late, and it ended earlier than it might have when Mariska was called to the set; as a result, we got to ask each of them a question, but we never got back up to bat. Here’s what we were able to ask:

Bullz-Eye: Mariska, you made your post-pregnancy return to “SVU” with a bang, with Benson being drawn out of her undercover work early, but had there ever been any talk that the pregnancy might’ve been worked into the series?

Mariska Hargitay: Um…no, actually! (Laughs) There wasn’t. I didn’t know what they were going to do, but the show being what it is and the writing being what it is, I had utter trust that they would come up with an amazing sort of answer to it. And it was great. It was actually really fun and really challenging to cover it up, and I think that they handled it really well and really creatively, so it was exciting.

Neal Baer: While Mariska was ready and is a fantastic mother, with the cutest kids you can imagine, Olivia, we felt, wasn’t ready to be a mother yet, and so…just one little anecdote is that we had a show on this year called “Scheherazade,” with the brilliant Brian Dennehy. So Mariska and Brian Dennehy were doing the show, it was on at the beginning of January, and it actually had been shot last year, and we had to hold it because we didn’t have a slot for it until this season. And so, I remember in the dailies that Mariska was doing a scene where she was bent down or on her knees, she was finding something at a tombstone…and she couldn’t get up. Right, Mariska?

MH: (Laughs) Oh, yes! Neal, you’re sharing all the family secrets…?

NB: That’s right! (Laughs)

MH: No, I had to waddle myself…I was, like, “One…two…and we’re up!” I had to sort of rock into getting up. It was hilarious.

NB: But that’s the great thing about film: you can cut around that. The odd thing for me about that episode is that Mariska is always wearing a coat, even inside…

MH: (Laughs)

NB: …but we just figured it was in the winter. It was very cold.

BE: And just a quick follow-up: in Benson’s absence, Dani Beck (played by Connie Nielsen) was serving as Stabler’s partner. Do you think her character will ever return to “SVU”?

NB: No. I can answer that, because I think that the whole intent was to bring on someone who had never done Special Victims and show that, even though they have compassion and a great ability to empathize, it’s not for everyone, and it was the perfect chance for us to show a really great cop but why our cops are different. So I don’t think that Dani Beck will ever return. She’s back in Warrants.

The Office: “Business School”

O Michael, when will you learn? This was another “Michael-makes-an-ass-of-himself-in-front-of-a-group-of-strangers” episode, and while it wasn’t quite as cringe worthy as his unwanted marriage proposal a few weeks ago, there were some brutally great moments. From the music playing as he entered (which went into someone else’s speech) to inappropriately ripping the pages from Napoleon Dynamite’s textbook to whipping candy around the room, Michael certainly ran the gamut of presentation no-no’s. When one of the students revealed that Ryan calculated that Dunder-Mifflin would be defunct in 5-10 years, Michael lost it, and I’m not sure it’s because he felt betrayed by Ryan or thinks that he may be right. Who knows, maybe it’s a combination of the two.

Back at the office, Jim was seriously messing with Dwight when he claimed that the bat bit him. Jim touched on all the vampire lore – the blinding crucifix, the “white hot” garlic, the vampire fangs – but the best moments happened at the end. First, he quietly stands behind Dwight, then flips his collar and looks over his shoulder as he leaves. Outside, knowing that Dwight is probably watching him, he drapes his jacket over his head to block out the sun as he walks to his car. That’s some terrific stuff.

Pam had her first art show and she was pretty disappointed with the turnout. Roy did come to the show with his brother, but totally put his foot in his mouth when he said, “I show up with my brother and no one from work is here. Pretty cool, eh?” It seems like Pam is starting to realize that Roy hasn’t changed all that much. Later, she overheard Oscar and his boyfriend talk about her work, and Oscar said that “[courage] isn’t one of her strong points.” That was when her night really went south. But then Michael arrived, and said all the right things. (For once.)

It looks like much of next week’s episode takes place at cocktail hour, so we could be in for some fireworks.

Not exactly faster than a speeding bullet, but he can do some weird shit with his mind.

Last night’s episode is either going to go down as one of the most important shows in the history of “Lost,” or as one of the most boring. Despite my mixed feelings of the transpiring events, I’m going to have to lean towards the former, as it delivered yet another change in structure for the series. Last week gave viewers their very first flashback via the lives of the Others, while this week took it one step further and created a sort of flashback-within-a-flashback scenario for everyone’s favorite Scotsman, Desmond. And in case you still haven’t figured out just what Desmond’s newly gained “powers” are, Hurley is quick to clears things up: “That guy sees the future, dude.”

Charlie’s interest in Desmond has all but amplified ever since he predicted the lightning strike on the island, but after saving Claire yet again from drowning in the ocean, he schemes a plan to find out how exactly he’s able to do this. So, with the help of Hurley, Charlie decides to get Desmond drunk (that always works, right?) before interrogating him. His plan doesn’t work very well, however, and Desmond attacks Charlie for calling him a coward. This results in a flashback of the hatch explosion at the end of season two. We’re quick to discover that upon turning the key, Desmond is seemingly transported back to the past during the height of his relationship with Penelope.

The Desmond that appears in this “flashback” is certainly aware of the fact that he’s supposed to be on the island (and so the possibility of time travel is certainly plausible), but after meeting with a woman whom he believes to be his subconscious (Fionnula Flanagan in one of the best cameos of the series), Desmond realizes that it’s really just all in his head. Of course, if that’s the case, then did he really meet Charlie in the past? Whatever the answer, his relationship with Charlie has certainly become a fatal bond of sorts. You see, Desmond was never really rescuing Claire from death. He was saving Charlie. Charlie was the one that would have been struck by lighting, and Charlie was the one that would have drowned when he dived into the water to save Claire.

This dynamic presents some very interesting theories, the most obvious being that Desmond’s sole purpose of being on the island is to save Charlie from death. It all makes sense, really, since the song that Charlie was playing on the street in Desmond’s flashback sequence was Oasis’ “Wonderwall.” And with lyrics like, “Maybe, you’re gonna be the one that saves me,” you can’t help but believe that it’s destiny. Then again, as Desmond was quick to learn in his trippy flashback/time travel, there’s no such thing as free will, and so it seems, no matter how many times he saves Charlie’s life, the poor kid’s doomed kick it. Hmm. Methinks I’ve seen this movie before. Wasn’t it called “Final Destination”?

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