Category: TV (Page 538 of 595)

“24,” Hour 22: And now for something completely different. Dammit, dammit, dammit!

(“24” drink gamers out there, salut!)

Does anyone else feel like the entire show just became…something else entirely? The recording, that Goddamn recording that held the entire plot hostage for about a month and a half, is indeed fried, just like they suggested at the end of last week. All that time spent obtaining the precious recording, all of the people killed in the process, only to lose it within a matter of minutes after obtaining it. Fuckers.

And that’s not the only thing that’s changed. The Warlock commandeers a nuclear sub using what we are to assume is their last canister of nerve gas. Whoa, where did that come from? That canister wiped out the entire sub in what seemed like 15 seconds, and while I’m sure that the gas only needed 20 more seconds than that to make them all stop twitching, the scene still felt a bit rushed. And I don’t know about the rest of you, but those guys were awfully cavalier walking through a sub filled with deadly nerve gas in face masks. Are you sure those things are completely airtight? Wouldn’t your hair create some hole for the gas to seep in and wipe you out? Any military personnel out there who would like to correct me on this one? And never mind the safety-of-the-masks angle: wouldn’t the place stink with all of those crew members dying…and subsequently soiling themselves? Come on, you were all thinking it.

But here’s the part that’s really bugging me: Jack is letting Robocop lead him around by his nose. First Jack has to agree to help Robocop disappear, since Robocop knows that he’s toast the second he’s out in the open. (That was a nice touch though, when Robocop said, “Just give me your word, Jack. That’s all I need.”) Then Robocop (wisely) refuses the wire when going to contact an associate of the Warlock, again showing that Robocop is outmaneuvering Jack at every step. But perhaps the most frustrating stunt was when Jack overhears Robocop selling CTU out (who are outside the mole’s apartment and ready to strike) and orders an attack…and Robocop tells him afterwards that he was in the process of getting the mole to move all of his sensitive files out in the open so Chloe could download them. But darn it, Jack, you ruined everything! Therefore, Chloe has even less time to find the nuclear sub, now that she has to decrypt everything!

Okay, let’s get real here. I can understand Robocop keeping his cards close to the vest – after all, he would love nothing more than to screw Jack any which way but loose at this point – but in any other situation, Jack would have prepped his subject on what the shot was. “How are you going to get him to open up his network?” That’s all he has to say for Jack to know not to go in guns a-blazin’ the second he hears Robocop betraying his trust (which resulted in Curtis getting a nice scar on his right arm). But no, Jack doesn’t ask, Robocop doesn’t tell, and all hell breaks loose. Heaven help us if our real life CTU/HTU is that poorly trained.

Which brings us to a beaten but not yet rabid Old Yeller, who disses President I.M. Weasel in the greatest way imaginable when he calls him “Charles” after I.M. Weasel tries to buy Old Yeller’s silence, like he did with the First Lady of Crazy. Little does Weasel Boy know later that Crazy Lady saved Old Yeller’s life by intercepting the exchange from Old Yeller’s holding pen to the trunk of the car that was going to drive him to the Shotgun in the Sky (though I’m not exactly sure how she happened to be there, other than incredible convenience). Yeller tells Martha to have Mike Novick meet him where he lay, and that, for whatever reason, sets off my spider sense in a big, big way. Maybe that request gets relayed through untrustworthy channels, maybe Martha gets whacked before she can relay the message. Or maybe the message goes through as intended, and Mike shows up to pop Old Yeller himself. The bottom line is I don’t like seeing Old Yeller prostate like that. It screams “dead dog” to me.

So we have two hours left in this whole thing. Who haven’t we heard from in a while?

– Principal Wood (Wayne Palmer)
– Leland Palmer
– Big Dick Heller

VP Leland Palmer looks like he’s been taken out of the loop, which is pretty ridiculous, given the circumstances – hello, hijacked nuclear sub – and they made a reference to Big Dick Heller recovering from his plunge into the Pacific. That’s why I can’t help but think that Principal Wood is not finished here. After all, his brother was killed less than 24 hours ago. Okay, maybe I just don’t want to give up my early dark horse baddie yet. But you don’t take him out of action like that, not the “Here, I’ll get you past this checkpoint, now run!” way. Hell, for all we know, he’s running the Overseers. Go ahead, you can laugh all you want (“I’ve got my philosophyyyyyyyyyy”), but that would be a pretty sweet ending. And I’m sure they can find a way to justify it. Lord knows, whatever cards they’re holding better be better than the pair of fours they just played with this whole digital recording nonsense. After a great setup, they’ve been rolling snake eyes the last few weeks. You owe us, guys. Justify my love.

Farewell, “West Wing”…Hello, “Studio 60”

In case you missed it during the West Wing finale last night, NBC aired this trailer for its high-profile new Aaron Sorkin project, “Studio 60 on the Sunset Strip.”

The trailer doesn’t reveal too much, but with this much talent both in front of and behind the camera, and NBC’s clearly significant support for the show, “Studio 60” should be a winner next fall…as long as Sorkin can keep his nose clean.

R.I.P. – “The West Wing”

NBC’s decision to cancel “The West Wing,” a four-time Emmy winner of best drama, still has me a bit puzzled, but I’m guessing that it was purely a business decision. Even in the last few seasons, “Wing” continued to be one of the best-written and most interesting shows on television, yet its ratings suffered after the network moved the show to Sunday nights. Since it’s smart and consistently critically acclaimed, it’s the kind of show that a network should keep around even if it can only break even financially with it.

Even after creator Aaron Sorkin left the show, the series didn’t really miss a step. In their final season, they successfully intertwined storylines involving President Bartlet (Martin Sheen) and the campaign between Matt Santos (Jimmy Smits) and Arnold Vinick (Alan Alda) to replace Bartlet in the White House. But as I’ve watched the show through its seven seasons, while the ensemble cast has been excellent, I’ve realized that the show is really about Bartlett’s Deputy Chief of Staff, Josh Lyman, played brilliantly by Bradley Whitford. Lyman left the White House to convince Santos to run for President and ultimately takes over as his Chief of Staff. Lyman’s romance with former assistant Donna Moss (Janel Moloney) was one of the slowest developing relationships in television history, with the two finally consummating their once-unrequited love during the climax (pun intended) of the Santos campaign.

Last night was the series finale of the show and it was a bittersweet ending. On one hand, it was nice to say goodbye to President Bartlet and his staff, but at the same time I can’t help but wonder how President Santos will deal with the problems of the world. Man, that would make a good show.

NBC has announced its fall season…

…and it looks pretty interesting, actually.

Among others, there’s a new drama on Monday nights which involves normal people getting superhuman abilities (which, if you’ll check your calendars, means it only took 21 years for NBC to decide that America has forgiven them for “Misfits of Science”), a show inspired by the film “Friday Night Lights” (even if the pitch sounds more like they’re trying to make a series out of the James van der Beek classic, “Varsity Blues”), two shows – one a half-hour sitcom, one an hour-long dramedy – both decidedly inspired by the backstage goings-on of “Saturday Night Live,” a serialized drama that’s clearly NBC’s attempt to get in on some of Fox’s “24” action, and a sitcom which teams Jeffrey Tambor with John Lithgow. There’s also a very interesting decision to not re-run episodes of “E.R.,” instead opting to show 13 episodes of the show, then take a break to show off 13 episodes of a new drama called…oh, but I don’t want to give it all away without making you click below:

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You don’t have to like your sister to love her

Earlier this season, Chris and Little Carmine were pitching a script in Hollywood that they described as “‘Saw’ meets ‘The Godfather.’” Seems “The Sopranos” these days is a “Brokeback Mountain”/“The Godfather” blend. Some of you thought the picnic scene from a couple weeks ago was graphic, but this week the heat on Vito’s relationship with Johnny Cakes was turned up several degrees. They even had their first couples fight. Ah, but Vito’s bored – he’s working too hard during the day (the scene where he looked at his watch, thinking it was 11:30 and time for lunch only to learn it wasn’t even 10:00 am, was money) and everyone he knows turns in before midnight. So he bails on Johnny, empties out his closet and dresser in the middle of the night (apparently very quietly, seeing as Johnny didn’t even wake up), and heads back to Jersey. But on his way back, Vito slams into a parked car and, instead of calling the cops to file a report, he shoots the driver in the back of the head and takes off. Just like riding a bike, apparently.

(By the way, I’ve been calling Vito’s boy toy “Johnny Cakes” for weeks, but I think this is the first time I ever heard Vito actually refer to him as “Johnny Cakes.” Did I really just make up a nickname, or did I steal one without even knowing it?)

Has anybody else noticed just how fast our widdle gangster is growing up? During Tony’s session with Melfi, he says that he and Carm had an agreement when they reconciled (only Tony says it like “rewind,” with a long “e”), that if Tony backed Carm on her spec house, “she would have more of a ‘don’t ask, don’t tell’ policy toward my work…and my recreational life outside of the home.” So you know what that means? Tony tossed Julianna Marguiles off his lap a couple weeks ago because he didn’t want to cheat on Carm, not because Carm may find out. That’s an interesting distinction. Of course, that may also mean that we’ve seen the last of Julianna, since she seems to have been more of a temporary diversion for Tony rather than his new goomah. (What a shame, because she looked fabulous in her two episodes. Those boots…ooh, those boots.)

And then there’s the favor Tony did for Janice. Early in the episode, she comes into his office and starts bitching about how hard T is on Bobby and wondering why he hasn’t been made captain yet before breaking down and telling Tony that she sat with him and cried for him while he recovered in the hospital. He says he was grateful, and it’s obvious he was sincere, but then he lobs this classic: “But we both know, no matter how much help I gave, you’d still be here fuckin complaining.” Wow, so damn cold and yet so damn true. And yet, after examining the root of his resentment toward his sister in another session with Melfi (“I love it when I can take a shit on her. And her husband,” he admits), Tony gets Johnny Sack to sell his house to Janice, a house she absolutely loves, for half market value. What a great little brother.

Of course, Tony did Johnny (Sack, not Cakes) a favor, and when that favor became more of a hassle, Tony took the opportunity to improve his end of the deal. Had Tony known what Johnny was up to, though, he probably would’ve turned him down. Imagine what you would have to do to make 15 years in the can sound like a fair deal for a guilty plea. So what’s Johnny Sack’s purpose now? If he’s not going to give anyone up, it seems he’s no longer useful to the overall story. In fact, I think we’re about to find out what David Chase has planned for Phil Leotardo – they’ve been setting him up for a major role all season, and it’ll likely come to a head in the final two episodes.

And as for Chris, well, we only saw him this week as a federal marshal towed his car, which Johnny Sack’s wife sold to him for $25k cash after Johnny was arrested. I know you all think I’m crazy for thinking Chris has flipped, but we’ll have to wait another week or two before I prove you wrong. (Or before I eat a steaming plate of crow, whatever.)

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