Tag: 30 Rock (Page 3 of 5)

Some not very newsy awards news (updated)

The Writers Guild and the Sound Editors gave out their awards last night and it’s safe to say that, winners aside, no one’s world was too terribly rocked.

Journalist-turned-screenwriter Mark Boal was rewarded for his hard-earned real-world experience as an embedded reporter with a Best Original Screenplay nod for “The Hurt Locker.” In another completely unsurprising award, the well-liked and respected Jason Reitman was similarly rewarded for his critically acclaimed work on the adult-aimed topical comedy, “Up in the Air.” The documentary category wasn’t much of a surprise either, with the muckraking “The Cove” picking up yet another award.

This isn’t quite on the level of a statistical study, but it’s worth noting that, for the last couple of years at least, the WGA awards and the Oscars have been lining up 100% in the writing categories, so Oscar betters should take note.  This is a bit of a blow to any fans of Quentin Tarantino“Pulp Fiction” screenplay and the writers tend to be a bit more openminded about offbeat films than Oscar voters as a whole. who might have been hoping for some Oscar wins, as Best Original Screenplay has been “his” category in the sense that his only Oscar win so far has been for his

Still, older and/or less geeky fans of old-school post-war (as in WWII) realism are likely impressed by the real-life underpinnings of Boal’s work and Kathryn Bigelow’s film is just edgy enough, while not marred in the minds of some by being a “fun” war movie, and “Inglourious Basterds” is definitely fun. It’s also controversial to some degree, perhaps not the best combination if all you want out of a movie is award wins.

James Gandolfini and Mimi Kennedy in In the adapted screenplay category, I personally wouldn’t have minded seeing the award go to the brilliant and scabrous “In the Loop,” but that film was less widely seen and it’s humor might be bit too nasty (in a good, cleansing way) and British for some.

[UPDATE: Aren’t you people supposed to correct me when I write complete nonsense? If I had bothered to check a bit more carefully this morning before I wrote this, I would have noted/remembered that “Basterds” was not nominated for a Writers Guild award and therefore might have somewhat better Oscar screenplay chances than I initially thought. The same applies to “In the Loop.” These scripts were not eligible under the WGA’s rather arcane rules which also disqualified such worthy films as “An Education.” If you’re curious about the reasons why, Steve Pond, via Anne Thompson, had a partial explanation back in January. Anyhow, thanks to Anne Thompson, whose post on this showed me the error of my ways, or whatever. We now resume our regularly scheduled blog post.]

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TCA Tour: Live from (the same state as) the Golden Globes!

Since I’m currently sitting in southern California with a bunch of TV critics and watching the Golden Globes, it seems a little ridiculous for me to do anything other than live blog the thing…well, the TV portion, anyway. I wouldn’t dare take away anything from Mr. Westal’s coverage of the film portion. With that said, however, I can’t exactly ignore the show’s host, Ricky Gervais, so I’m definitely planning to give him a shout-out whenever he offers up a great line.

I’ve never done this before, so be gentle with me…

8:01 PM: Gervais suggests that most people probably know him as the guy from the original British “Office,” then shakes his head and says, “No, you don’t, do you?” The highlight comes when Gervais suggests that “quality, not quantity” makes his version of “The Office” the better one, which results in Steve Carell’s mouthing of “I will break you” to Gervais.

8:02 PM: “I’m not used to these sort of viewing figures. Then again, neither is NBC.”

8:03 PM: “Actors: they’re just better than ordinary people, aren’t they?” Hugh Laurie seems amused by Gervais’s remarks about he plays a doctor on television better than a real physician would, while Kiefer Sutherland is perhaps less so by the suggestion that some of the fights on “24” aren’t scripted.

8:04 PM: “Let’s get on with it before NBC replaces me with Jay Leno.”

Best Performance by an Actress in a Television Series – Musical or Comedy: Toni Collette, “United States of Tara.” Although I’m a little surprised that Tina Fey didn’t take home the award, I acknowledged in my nominations piece that I figured a lot of people might favor Collette. I guess it was an easy pick. It just wasn’t mine. I still think it’s John Corbett and the kids who are the real stars of that show.

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series, or Motion Picture Made for Television: John Lithgow, “Dexter.” I still haven’t seen his performance yet, and yet I still picked it. That’s how strong the buzz was. Glad to see it paid off.

8:29 PM: “We’ve seen some worthy winners…aaaaaaand we’ve seen some not so worthy winners.”

8:30 PM: After observing that one can’t officially buy a Golden Globe Award, Gervais concedes that he’s probably never going to be allowed to do the show again.

Best Performance by an Actor in a Television Series – Drama: Michael C. Hall, “Dexter.” I think that, at three (TV) awards in a row, you can officially begin to suggest that Showtime is dominating the proceedings. Given the acclaim that this season has received, I’m not surprised that Hall beat out my pick (Hugh Laurie), and once you’ve factored in the fact that he’s battling back from lymphoma, who could complain, really?

Best Performance by an Actress in a Television Series – Drama: Julianna Marguiles, “The Good Wife.” Holy crap! My dark horse pick took home the win! What an awesome line from Julianna about CBS keeping the faith by continuing to air quality drama at 10 PM. I announced to my fellow critics that I’d gotten this pick right, and I was accused of being Nostradamus. Somebody cue up “We Are The Champions,” please. I’d like to enjoy this victory as long as possible.

8:43 PM: Gervais bashes Paul McCartney by claiming that he shared a flight with the former Beatle, with Gervais in first class and Macca in coach because he’s “saving money.” After receiving several boos for his trouble, Gervais assures the crowd, “Uh, I think he’s still doing all right!”

Best Mini-Series or Motion Picture Made for Television: “Grey Gardens.” No complaints. I picked “Taking Chance” for this category, but I picked Drew Barrymore for her performance in the film, so I can hardly argue with this selection.

8:59 PM: Gervais decries the boozing, brawling Irish stereotype, then introduces Colin Farrell. (Farrell admits, “When I heard Ricky Gervais was gonna be introducing me, I said, ‘Oh, balls…'”)

9:09 PM: When Helen Mirren said, “Life,” then paused, I was really hoping she was going to follow it by saying, “Don’t talk to me about life.” But she didn’t.

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television: Kevin Bacon, “Taking Chance.” Same situation as above. I wanted to see Chiwetel Ejiofor take it home for “Endgame,” but given how much I loved “Taking Chance,” I’ve no complaints.

Best Performance by an Actress in a Mini-Series or Motion Picture Made for Television: Drew Barrymore, “Grey Gardens.” Exxxxxxxcellent. Someone here just referred to the performance as “her first acting award,” and there’s a certain amount of truth to that, as she offered up more in “Grey Gardens” than most people would’ve expected that she had in her. You know, I’ve watched “Fast Times at Ridgemont High” a lot of times, but that reference to “Jeff Spicoli’s girlfriend” flew right over my head. Anyone…?

9:22 PM: Gervais notes how actors want to be ever-changing and constantly moving, then says, “Please welcome Rachel from ‘Friends’ and that bloke from ‘300.’”

Best Performance by an Actor in a Television Series – Musical or Comedy: Alec Baldwin, “30 Rock.” You can never go wrong with Alec Baldwin, I guess. But I still wanted Steve Carell to win it, if only to hear what Gervais had to say about it.

9:36 PM: God love Zachary Levi and Amy Poehler, but…really? Those were the best jokes you could provide for the stars of two of NBC’s best shows? The network needs all the help it can get!

Best Television Series – Drama: “Mad Men.” This is a category where there were no losers, but with that said, I really couldn’t imagine any other series than this one taking home the win. Look at the beard on Jon Hamm..and the breasts on Christina Hendricks! I couldn’t believe the music kicked in so quickly on Matthew Weiner, but as someone here said, it’s a basic-cable network. That doesn’t buy you much time, no matter how much acclaim your show gets.

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series, or Motion Picture Made for Television: Chloe Sevigny, “Big Love.” The only thing more upsetting than her win is her dress. I kid. Well, about the win, anyway. (I love Rose Byrne, but after seeing her today at the TCA panel for “Damages,” I was beginning to wonder if she was even capable of smiling anymore.) Seriously, though, that dress is horrid.

9:48 PM: Gervais sips from what is almost certainly a glass of real lager, then struggles to get a laugh from his “Catwoman” joke…which is probably almost as much of a struggle as it took to get Halle Berry into that dress she’s wearing.

9:57 PM: Am I the only one who was just creeped out by DeNiro’s bit about Scorcese having sex with film?

10:00 PM: Great clipfest for Scorcese. Methinks it might be time to go order a copy of “The King of Comedy” from Amazon.

10:12 PM: The lager’s back, as Gervais admits, “I’ve had a couple, I’m not gonna lie to you.” He then blames the alcohol for anyone he might’ve offended, after which he quickly offers up the most incredible introduction of the night: “I like a drink as much as the next man…unless the next man is Mel Gibson.” And just like that, Ricky Gervais is officially the best host of the Golden Globes EVER.

10:16 PM: James Cameron wins for “Avatar,” and Dileep Rao’s Golden Globes party suddenly gets kicked up a notch. I only mention this because he went to that party instead of having dinner with me. You got lucky, Rao!

Best Television Series – Musical or Comedy: “Glee.” That’s going to be one happy set when I go visit it tomorrow. Nice shout-out from Ryan Murphy to Miss Barbra Streisand and the show’s “fake sexy teen cast,” as well as the dedication to everyone who ever got a wedgie in high school. Aw, that’s so sweet of you to include me, Ryan…

Well, that’s it for the TV awards, but I have to hang in there to see if Ricky Gervais has anything else left to say…or anyone else does, for that matter. Like, say, the governor of California…

10:34 PM: Damn, even Schwarzenegger can’t resist getting in a jab at NBC!

10:35 PM: Gervais really must be scared of Mickey Rourke if the best he can offer up is, “I haven’t gotten a bad word to say about him, mostly because he’s got arms as big as my legs.”

10:42 PM: I hope the kazillion ads they’ve shown for “Parenthood’ actually earn the show some viewers. I really liked the pilot. I can’t say the same for “The Marriage Ref,” partially because they haven’t produced a screener for us yet, but mostly because of my feud with Jerry Seinfeld. But that’s a story for another time.

10:52 PM: Do you get the impression that, were it not for Chrysler, we might’ve been stuck listening to the Golden Globes on the radio?

10:55 PM: What? Straight into Julia Roberts and Best Motion Picture – Drama without a last appearance from Gervias? Gyp! Oh, well, at least “Avatar” won. Congrats again, Mr. Rao. I just hope that party was worth it…

10:59 PM: Ah, there we go. “If I had one wish, it would be for peace on earth. No, wait, can I change that? It would be for everyone to watch ‘The Ricky Gervais Show,’ on HBO on Feb. 19th.” Way to end on a plug, sir.

So there you go: my first-ever live blog. I hope it made for at least a semi-entertaining read, and stay tuned for Bob Westal’s movie portion of the proceedings, coming soon!

Let’s Have a Ball Down at the Globes (TV Edition)

The announcements have been made, and the nominations for the 67th Golden Globe Awards are now officially a matter of public record, but just in case you haven’t caught them elsewhere (which, to be fair, is highly possible), here’s my look at the TV series, mini-series, and movies which received nods, along with my personal picks for who should take home the win for each category.

Best Television Series – Drama

• Big Love (HBO)
• Dexter (Showtime)
• House (Fox)
• Mad Men (AMC)
• True Blood (HBO)

My pick: “Mad Men.” Regular readers of Premium Hollywood had probably already narrowed my pick down to two entries, anyway, since I’m the designated blogger for both “True Blood” and “Mad Men,” but while “True Blood” had a strong season that was tarnished slightly by an unsatisfying finale, “Mad Men” offered up a full-fledged game-changer for the conclusion of their third year. The most notable omission from this list, however, is “Sons of Anarchy,” which you could almost write off as being too harsh for the voters if you didn’t have a drama about a serial killer in the mix.

Best Performance by an Actress in a Television Series – Drama

• Glenn Close, “Damages” (FX)
• January Jones, “Mad Men” (AMC)
• Julianna Marguiles, “The Good Wife” (CBS)
• Anna Paquin, “True Blood” (HBO)
• Kyra Sedgwick, “The Closer” (TNT)

My pick: Julianna Marguiles. I know full well that it’s a dark horse pick that almost certainly won’t pay off, but “The Good Wife” has been my favorite drama of the new season, and Marguiles offers a multi-layered performance as Alicia Florrick, a woman having to struggle with the media shining the spotlight on her husband’s infidelity and political and legal misdealings while she’s trying to return to a career as a litigator. And am I the only one who scoffed somewhat at January Jones’ nomination? Of the three primary “Mad Men” actresses, she’s the last I would’ve nominated, and this is one case where I think most would agree with me.

Best Performance by an Actor in a Television Series – Drama

• Simon Baker, “The Mentalist” (CBS)
• Michael C. Hall, “Dexter” (Showtime)
• Jon Hamm, “Mad Men” (AMC)
• Hugh Laurie, “House” (Fox)
• Bill Paxton, “Big Love” (HBO)

My pick: Hugh Laurie, “House.” God love Jon Hamm, but I said of the “House” season premiere back in September that it was “strong enough to warrant giving Hugh Laurie an Emmy nomination no matter what else he may do on the show during the course of the season’s subsequent episodes,” and I stand by that.

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It’s the end of the world as we know it; Sony feels fine

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I’m sure Roland Emmerich who, according to Nikki Finke, is receiving 25 percent of the grosses for his $200 million budgeted “2012,” is also feeling pretty good. Of course, now he has to figure out if he about to earn enough money for his own end-of-world-blocking fortress of solitude in case all those prophesies he used to come up with his critically dismissed thriller come true.

Emmerich’s latest multi-star epic earned an estimated $65 million, at the very highest end of the most optimistic projections put forth by Jolly Carl DiOrio that I mentioned on Thursday night. If you throw in the worldwide figures going back to the film’s international release last Wednesday, then you get to a figure of around $225 million so far. As per Variety‘s Pamela McClintock, assuming there are no surprises, this puts Sony’s PG-13 epic in the #9 spot on the top 10 for international opening weekends.

Disney's At #2 spot this weekend is the Disney/Jim Carrey/Robert Zemeckis CGI-3D revisit of “A Christmas Carol,” which, despite character designs that embody the unpleasant after effects of a visit to the uncanny valley, is holding up extremely well after what was deemed a disappointing opening last weekend. Charles Dickens’ unkillable holiday perennial only dropped about 25-26% or so, about half of what many films do, and collected a very respectable estimated $22.3 million. After it’s a truly steep fiscal drop all the way down to an estimated $6.2 million for “The Men Who Stare at Goats.” It seems to me there’s nothing more problematic at the box office than a prestige picture with a critical/online buzz response that amounts to “meh” — or in this case “meeeahhhh.” That’s an apparent 52% “many films” drop from last week.

Indeed, this week brings us the spectacle of a goat herd of A-listers being upstaged by an abused, severely overweight teen as the critically lauded by overtitled “Precious: Based on the Novel ‘Push’ by Sapphire” shot up to #4 spot despite being in only 174 theaters. That means it earned it roughly $6.1 million on 2,279 less screens that “Goats” needed to earn an additional $0.1 million.

However, as good as the $35,000 per screen average for “Precious” was, taking a look at the Box Office Mojo weekend chart, the highest per screen went to Fox’s “Fantastic Mr. Fox.” The old-school puppet animation comedy earned a very nice estimated average of $65,000 on four screens and is, weeks before its wide release, already going a long way toward burnishing the reputation of writer-director Wes Anderson who, as far as this writer is concerned, has never shot an uninteresting foot of film.

Still, it wasn’t all hearts and flowers for the indies this weekend. Despite some outstanding coverage by Mr. Will Harris at our fabulous sister site, “Pirate Radio” failed to receive the Bullz-Eye bump. The ensemble comedy, inspired by illegal British broadcasting outfits of the sixties and seventies that competed with the BBC by blasting out the latest in rowdy beat music, earned a very non-rocking  estimated $2.9 million, slipping just below Richard Kelly’s $3.2 million 10th place thriller, “The Box.”  On the other hand, that does mean that “Pirate Radio” went to 11.

The Return of Bullz-Eye’s TV Power Rankings

Ever since the writers’ strike, the television industry has been in a state of flux. Most networks still can’t figure out what works from what doesn’t, while the current economic climate has forced others to simply give up. Whether or not “The Jay Leno Show” is a success for NBC is debatable, but by surrendering the 10 p.m. time slot, they’ve greatly decreased their chances of bringing in new viewers. We would be exaggerating if we said the decision affected Bullz-Eye’s latest edition of the TV Power Rankings, but our Winter 2009 list does seem suspiciously familiar. Still, it isn’t without its surprises, as a longtime favorite returned from an extended hiatus to claim the top spot, while buzzworthy rookies like “Glee” and “FlashForward” also made impressive Top 10 debuts. At the end of the day, however, the real winner is HBO, who walked away with three of the four top spots, thus reestablishing themselves as the best network around.

A few examples from the piece:


5. Glee (Fox): There isn’t a show on this list that we love and hate with the same enthusiasm that we have for “Glee.” It contains some of the best-drawn characters in Fox’s history (aspiring diva Rachel Berry, adorable germaphobe Emma Pillsbury, cantankerous alpha female Sue Sylvester), and the iTunes chart-burning musical numbers, lip synching aside, are deliriously fun. Imagine, then, if they didn’t make these characters jump through such ridiculous hoops. Will’s wife is actually going to take her fake pregnancy to term? Emma agrees to marry Ken, but only as long as they never tell a soul? (Those plot threads brought to you by Bad Idea Jeans.) Yet for each blunder the show makes, they come up with something as brilliantly funny as Finn’s technique for not climaxing (he thinks about the time when he hit the mailman with his car), or the drama queen freak show that is Sandy Ryerson (a pitch-perfect Stephen Tobolowsky). Getting Josh Groban to do a cameo as a horndog version of himself, meanwhile – and hit on Will’s drunk mother – was a moment of “Arrested Development”-style genius. Yes, it’s made mistakes, but “Glee” gets a spot in our Top Five because no other show on TV sports dialogue like “mentally ill ginger pygmy with eyes like a bush baby.” But man, it would be a wonderful world if they did.David Medsker

15. Dexter (Showtime): Like “The Sopranos,” Dexter always has a theme that is explored within a season as a backdrop to the episodic progression of the show. Last season, it examined friendship within the context of Dexter’s secret world, and Jimmy Smits was brilliant as his first and only pal. This year explores the facets of intimate relationships, and balancing work and the rest of your life as it relates to it. Dexter (played with brilliant sincerity and conviction by Michael C. Hall) is struggling to find balance between his work as a blood splatter analyst, a new dad of an infant, stepfather to his wife’s kids, and his hobby of killing and dismembering other bad guys, while his entertainingly foul-mouthed sister Deb implodes the most stable relationship of her life when she sleeps with returning lover and retired FBI agent Frank Lundy. John Lithgow is also scary good as the Trinity Killer, the latest object of Dexter’s attention. When Trinity kills Lundy and wounds Deb while making it look like another killer’s signature, Dex is commanded by the ghost of Harry to seek revenge, making this season as entertaining as any in the past – no easy feat considering how consistently good this show has been.R. David Smola

Honorable MentionCougar Town (ABC): Yeah, yeah, we know: the title’s a bit dodgy. But Bill Lawrence, who co-created the show with Kevin Biegel, has said, “The roll of the dice I’ve made is that the title is noisy and that people will be aware of this show.” True enough, though the fact that the series stars Courtney Cox would’ve probably done a pretty decent job of putting it on people’s radar, anyway. The pilot alone was strong enough to suggest that “Cougar Town” could prove to be the perfect series for female viewers who’ve outgrown “Sex and the City,” but with enough of a dysfunctional family element to fit perfectly into the closing slot in ABC’s new Wednesday night comedy line-up. Although the show continues to hone its comedic formula, the trio of Cox, Christa Miller and Busy Philipps clicked immediately (particularly the latter two, with their characters’ diametrically opposed personalities), and the relationship between the teenaged Travis and his man-child of a father rings true with its blend of unconditional love and complete embarrassment. Now that Jules’s fling with Josh is over, however, we’re curious to see who’ll be next on her slate to date — and how long this one will last.Will Harris

Returning in 2010Lost (ABC): Here we are, folks. After five seasons of confusing viewers with one of the most elaborate mythologies on television, “Lost” is finally in the home stretch. Want to know what the heck that smoke monster really is? How about the weird statue? Heck, what about the Dharma Initiative itself? All will supposedly be revealed in the sixth and final season of one of the smartest, most fearless shows network television has ever bothered to offer. Of course, this being “Lost,” we still have something to bitch about – namely, that the goddamn Olympics will interrupt the show’s final 18 episodes – but if we’ve waited this long to determine the ultimate fate of our favorite island castaways, what’s a few weeks of curling and cross-country skiing? We’ve all had our issues with the way “Lost” has unfolded over the years, and the show isn’t the phenomenon it was in its first couple of seasons. To cop one of the fall’s most popular phrases, though, this is it – and if there’s ever been a serialized drama with the guts to stick the landing and make its finale truly count, we’re betting it’s “Lost.”Jeff Giles

Check out Bullz-Eye’s TV Power Rankings in their entirety by clicking here or on the big-arse graphic you see before you. Also, be sure to check out the accompanying interviews with folks associated with the various shows, including David Goyer (“FlashForward”), Kurt Sutter (“Sons of Anarchy”), Jonathan Ames (“Bored to Death”), and Bryan Cranston (“Breaking Bad”).

Did any of your favorite shows miss the cut? Let us know by replying below!

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