Category: TV (Page 91 of 595)

Greetings to the New Season: Fox

The network upfronts roll on, this time with the fine folks at Fox trotting out their new fall schedule and revealing which new series have been selected to accompany those series which have survived. As of this writing, there are no clips to accompany the descriptions of the new shows, but I’m led to understand that we’ll be getting those in due course, so…oh, wait, scratch that: they just arrived!

Well, with that being the case, you can read the descriptions and check out the clips of what Fox has for us for the upcoming season. Just be sure to let us know what you think about what they’re offering up! Oh, and before you ask, we didn’t forget to include a clip for the last series. They didn’t offer a clip for the last series…but, hell, I don’t even think they’ve cast it yet, so at least they’ve got a good excuse.

MONDAY

8 – 9 PM: HOUSE

9 – 10 PM: LONESTAR: a provocative soap set against the backdrop of big Texas oil, from Chris Keyser and Amy Lippman, the creators of “Party of Five”; Marc Webb, the director of “(500) Days of Summer”; and creator Kyle Killen. Robert / Bob Allen (newcomer James Wolk) is a charismatic and brilliant schemer who has meticulously constructed two lives in two different parts of Texas. He’s juggling two identities and two women in two very different worlds – all under one mountain of lies. As “Bob,” he lives in Houston and is married to Cat (Adrianne Palicki, “Friday Night Lights”), the beautiful daughter of Clint (Jon Voight, 24, “Midnight Cowboy”), the patriarch of an ultra-wealthy Texas oil family. More than 400 miles away in the suburban west Texas town of Midland, he’s “Robert,” living a second life with his sweet, naïve girlfriend, Lindsay (Eloise Mumford, “Mercy,” “Law & Order: SVU”). In Midland, he plays the perfect boyfriend while secretly bilking local investors of their savings. In Houston, he’s a devoted husband, charming Cat and her family to cement his position in the rich family business he aims to clean out. Bob has lived both lives successfully for years without arousing any suspicions…so far.

While one brother-in-law, Drew (Bryce Johnson, “Popular,” “The Mentalist”), admires Bob, his other brother-in-law, Trammell (Mark Deklin, “Nip/Tuck,” “Desperate Housewives”), is suspicious of his motives. Bob begins to fear his secret lives may unravel. With the cons closing in on him, Bob is divided by his love for two women; his loyalty to his father and mentor, John (David Keith, “An Officer and a Gentleman,” “The Class”); and his respect for his father-in-law, Clint. Now as he tries to hold his two lives together, while fending off angry investors and the suspicions of those around him, Bob puts it all on the line hoping he can beat the odds, leave the schemes behind and keep two separate relationships afloat.

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Breaking Bad 3.9 – What’s The Point In Being An Outlaw When You’ve Got Responsibilities?

Who wants chicken? I know *I* did after watching the awesome commercial that opened tonight’s episode, but…did anyone else happen to read the tiny credit that ran across the bottom of the screen toward the beginning of the ad? “Los Pollos Hermanos, Inc. is a registered trademark of Madrigal Electromotive.” I don’t think we’ve ever heard anything about this parent company before, but I’m suddenly beginning to wonder if this means that we’re going to see Walt working his way even higher up the chain of command in this operation. One thing’s for certain: he and Jesse are making up for lost time with their production. I loved the cut from the chicken in the commercial to the meth in the lab, and seeing them put the baggies into the contains of batter made me realize what a well-oiled machine Gus has going for him. Indeed, for one brief moment, I allowed myself to think, “Walt and Jesse are finally back on track and proving once again that, when they actually roll up their sleeves and get down to business, they’re capable of big things.”

It didn’t last, of course.

Chalk it up to being drug-free, but Jesse’s been more than a little schizo lately. Last week, I referred to him as being “about as loud, obnoxious, and useless as any human being can be,” but this week, in addition to working perfectly alongside Walt, he’s suddenly talking about how he’s been checking the numbers and has now decided that the deal they have with Gus is, in his words, “bullshit.” Walt seems astonished by this change in attitude (“You’re now a millionaire, and you’re complaining…?”) and can’t even be bothered to discuss the matter with Jesse, who asks outright, mostly to himself, “What’s more important than money?” Not therapy, apparently. He’s continuing to attend his meetings, which is something, I suppose, and they clearly still serve as opportunity for him to get a few things out of his system, as evidenced by blending of a fictional job at a laundromat with shards of reality (“My boss is a dick, the owner a super-dick”) and his highly illuminating story about the wooden box. But after he made the very foolish decision to step out into his own dealership and allowed Badger and Skinny hijack the therapy session in order to promote the return of the blue meth to the area…? That’s a brand new low.

That reminds me: was anyone else having “Superman III” / “Office Space” flashbacks tonight? Jesse’s clearly planning to skim the excess meth from Walt’s haphazardly measured containers, which immediately brought to mind Richard Pryor’s character’s plan to skim half-cents off the paychecks at Webscoe Industries. And what was the name of that character?

Gus.

We’re through the looking glass here, people…

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American Idol: going home is good

For the contestants who have made it this far on “American Idol,” going home has a different meaning than being eliminated. That’s because the top three finalists get to go home and enjoy a special day in which they perform in front of fans in their city, appear on radio and TV and usually have the mayor of said city give them a “key” to said city. Pretty heady stuff. But as always, it took the producers an hour to tell us the result that they could have delivered in a few seconds. And without DVR, it would have been excruciating.

To kick things off, Season 3 champ Fantasia performed her new single, “Bittersweet.” It was pretty good and she no doubt has a remarkable voice, but other than that, the performance was sort of bland.

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Hamlet

As a self-professed fan of all things “Hamlet,” my interest was immediately piqued when the BBC announced that they would be producing a modern day update of the Shakespearean classic with “Doctor Who” star David Tennant in the title role. Everyone knows the story of “Hamlet,” but if you don’t, this isn’t a bad place to start as it’s a pretty faithful adaptation with some strong performances from its cast. Tennant played the Danish prince in the most recent staging of the play by the Royal Shakespeare Company, and though it isn’t the best Hamlet to date, he brings a whimsical madness to the role that injects some much-needed energy into the story. Unlike previous incarnations, Tennant’s Hamlet is crazy from the start – a victim of paranoia who believes he’s being spied on by his murderous uncle via the CCTV cameras installed throughout the castle.

And indeed, there’s a bit of truth behind his madness, as the newly anointed King Claudius (Patrick Stewart, also reprising his role from the RSC production, and who recently spoke with our own Will Harris about the film) keeps a watchful eye on his nephew. But while Claudius initially comes off looking more like a worried patriarch than an evil stepdad, he eventually reveals himself to be the villain he truly is in subtle moments of guile and wickedness that capitalize on the veteran actor’s commanding screen presence. The rest of the cast pales in comparison (particularly Peter De Jersey, who is horribly miscast as Horatio), although Mariah Gale does get to chew some scenery once Ophelia loses her marbles (and her clothes).

Despite setting the story in present day, the film feels very much like a period piece. Director Gregory Dorn is careful to update the material without changing the meaning, and though it’s been filmed on a movie set, there’s an air of theatricality to the production that proves why “Hamlet” is better told on stage than in film. All in all, it’s one of the finer adaptations in recent memory. It still doesn’t come close to besting the Kenneth Branagh-directed version, but then again, there’s a good chance nothing ever will.

Click to buy “Hamlet”

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