Tag: Star Trek (Page 4 of 6)

A Chat with Darryl Bell of “Househusbands of Hollywood”

It feels a little disingenuous for me to talking up a series which I can’t even watch in my area (Cox Communications in Hampton Roads, VA, has yet to pick up Fox Reality), but as someone who works at home and has a 4-year-old daughter, I respect the concept of “Househusbands of Hollywood” enough to do at least a little bit of promotion for it. I’ve already detailed the TCA panel about the show, but when the opportunity to sit down with one of the cast members – Darryl Bell, late of “A Different World” – became available, I couldn’t resist. In addition to his time spent on the “Cosby Show” spin-off, Bell has worked with Spike Lee and done time on a rather infamous sci-fi sitcom, but he’s still very much a working actor. He’s also the significant other of former “Cosby” kid Tempestt Bledsoe, a relationship which led him to this reality-show endeavor…and led me to my first question.

Bullz-Eye: First off, you two seem to be almost a ringer on the show. You’re not even husband and wife yet!

Darryl Bell: That is a good way to put it, Will. We are the ringers. That’s probably caused the most frequently asked questions, like, “You guys are the only couple who is not married, you’re the only ones without kids, so what are you doing here in a show called ‘Househusbands’?” The short answer to that has been Marilyn Wilson. Marilyn’s a good friend, produced Temp’s talk show. Marilyn and I have been out, pitched shows’ and tried to sell other things. We’ve worked together in that capacity. It was her assurances that we’re trying to do something that’s fun and not trying to ambush anyone or be mean spirited. “Come be a part of this, because we think you guys are hilarious.” Apparently, the more that I have even talked to other friends, they are, like, “Oh, we’ve been saying for years that you guys should have your own reality series, because you are just funny.” It just happened to come in this format. I don’t know that we would have agreed to have done this for anyone else. So, there you go.

BE: It makes it a little hard for me to ask, “Is it weird being a ‘Househusband’?”

DB: And I don’t know what that means for me, anyway, only from the standpoint that people ask me that because I’m on this show. But in terms of work-wise, it’s just like…even in the series, when Tempest was coming back from on location, shooting the film, I was going on location to shoot this show for TV One. That’s really the nature of our relationship. You know, it’s rare that we’ll both be doing something at the same time, but we’re always in this cyclical gig that is being a working actor in Hollywood. That’s just how our lives have operated. I was just saying in another interview, when Brad is off shooting a movie, Angelina isn’t always shooting one. She’s somewhere with the kids. Or when Angelina’s shooting and Brad is somewhere…? That’s just the way it works.

BE: So what kind of husbandly responsibilities do you have? I mean, do you chip in, doing the dishes or whatever when she’s not there?

DB: I mean, I can’t really call it husbandly duties. Our house is not a pigsty, but I can say that some of that is attributed to the housekeeper. You know what I mean? That helps out a lot. I can only say that when I think of that…when anything breaks, like most men, it’s, like, “Darryl, come fix it,” you know? I get that. But as a regular responsibility, that’s not me.

BE: Is there anything you do that would typically be considered a gender-specific thing, something that one would normally expect a wife to do?

DB: For us, no. For us, I guess that’s what has been so good: we have talked about not having an ego about anything. She likes to cook, so she has cooked for me, but I’ve cooked for her, you know? So from a relationship standpoint of view, I can’t say that…we don’t have any specifically defined roles, other than, as many men will find the case, she wanted pets and yet somehow they are my responsibility. You know how that works out.

BE: Hey, I feed our cat.

DB: Exactly, exactly. And what man asks for a cat? That’s just not the way it works. I want a Neapolitan Mastiff, but the reason I don’t have one is because she wanted a cat.

BE: Sure, that seems fair.

DB: That’s a whole different relationship kind of issue, you know what I mean? It’s not specific to the show, but that’s how it worked out.

Continue reading »

“Branson” and the world outside LAFF

There’s an idea out there that documentary filmmakers require more good luck to make a successful project, and though Brent Meeske took some three and half years to complete his work after another film died aborning, he clearly made some remarkable luck for himself with “Branson.” It starts out somewhat slowly, but what emerges is a compelling chronicle of the ups-and-downs of several talented but far from famous performers trying to make a life in the small city in Missouri that could best be described as Las Vegas, but with a vastly lower budget and constructed to Ned Flanders specifications.

At times, the hugely corny but enthusiastic performances may make us feel we’re in Christopher Guest/”Waiting for Guffman” territory. The post screening discussion revealed that at least one of the performers chronicled, evangelical Christian and New York transplant Geoffrey Hastings Haberer, was more than aware of the Guffmanesque aspects of Branson performances. Still, though its connection with Jack Black might worry some, this is not a film that in any way condescends to its subjects. At the same time, I’m not sure I’d be writing so favorably about it were it not for the far more troubled, yet also incredibly talented, performer who walks away with the film, Johnny Cash impersonator Jackson Cash. His Olympian personal struggles and powerhouse performances have moved even relatives of the late legend of American music to marvel at the similarity.

As he proved in a remarkable live performance following the film, Jackson Cash is really not impersonating Johnny Cash at all in any normal sense of the world. He simply performs Cash’s material with such clarity, honesty, and with such a remarkably similar voice (the result, Cash says, of damage to his larynx delivered by an angry drug dealer), that the differences between this man in black and the earlier one dissolve.

He wowed the film festival audience at a post screening concerted, which included at least one clearly enthralled well-known director, so things may be looking up for this remarkable performer, whose personal demons (drugs, possible bipolar issues, etc.)  make up a significant portion of the more dramatic material in “Branson.” I hope real success and stability are in the offing for Cash, as a brief conversation with the man indicated that he is very much as advertised: the real deal.

***

A few brief items from more or less outside the world of the L.A. Film Festival:

* Den of Geek passes along a Reuters report of director Michael Bay critiquing the marketing of the “Transformers” sequel about to hit theaters. (Hint, he apparently doesn’t think it’s a sequel at all, but an “event.”)

* Nathaniel R. has sixty ways to celebrate Meryl Streep’s birthday. (Guess how old she is.)

* Box Office Mojo has the “actuals” from last weekend. No big surprises, but they report that “Star Trek” is now officially the most successful “Star Trek” film of all time, adjusted for inflation. For once, I agree with the masses. I might quarrel at times with the hyperactive visual style of the film and I wouldn’t make any particular claims to greatness for it, but nor would I for “The Wrath of Khan.” All in all, it couldn’t happen to a nicer little space opera.

A Chat with Antonio Elias

Can you imagine being an actor who’s worked in TV for the past few years and, when you finally score your first movie gig, it’s “Star Trek”? Nice work if you can get it, as the song says, and Antonio Elias – who plays one of the officers of the Kelvin in the opening sequence of the film – will be the first to tell you that the work was very nice, indeed. We chatted with Elias about how he got into the acting game, got the story on how close he came to picking up a series-regular gig with Dylan McDermott a few years ago, found out a bit more about how “Star Trek” originally would have opened, and learned about his next film, “Spoken Word.”

Stay tuned for…

Continue reading »

Please, won’t you lend a television critic a hand?

The Television Critics Association has officially begun the gearing-up process for its 25th annual awards, which will honor the finest work of the 2008-09 season as selected by the association’s 200-plus member critics and journalists. One of those members is yours truly, and I figured I’d see what the readers of Premium Hollywood had to say about the nominations and who they’d like to see win the various categories. I’ll have to submit my votes by June 10th, but since the winners won’t be announced until August 1st (the ceremony takes place at The Langham Huntington Hotel and Spa in Pasadena, CA, with Chelsea Handler opening the ceremony), so speak up quickly. There are a couple of things I’m on the fence about, and I’d be interested to hear your thoughts before I make my final selections.

PROGRAM OF THE YEAR

* “Battlestar Galactica” (SciFi Channel)
* “Lost” (ABC)
* “Mad Men” (AMC)
* “Saturday Night Live” (NBC)
* “The Shield” (FX)

OUTSTANDING ACHIEVEMENT IN COMEDY

* “30 Rock” (NBC)
* “The Big Bang Theory” (CBS)
* “The Daily Show” (Comedy Central)
* “How I Met Your Mother” (CBS)
* “The Office” (NBC)

OUTSTANDING ACHIEVEMENT IN DRAMA

* “Breaking Bad” (AMC)
* “Friday Night Lights” (NBC/DirecTV)
* “Lost” (ABC)
* “Mad Men” (AMC)
* “The Shield” (FX)

OUTSTANDING ACHIEVEMENT MOVIES, MINI-SERIES AND SPECIALS

* Summer Olympic Coverage (NBC)
* “24: Redemption” (Fox)
* “Generation Kill” (HBO)
* “Grey Gardens” (HBO)
* “Taking Chance” (HBO)

OUTSTANDING NEW PROGRAM OF THE YEAR

“Fringe” (Fox)
“The Mentalist” (CBS)
“No. 1 Ladies’ Detective Agency” (HBO)
“True Blood” (HBO)
“United States of Tara” (Showtime)

INDIVIDUAL ACHIEVEMENT IN COMEDY

* Alec Baldwin (“30 Rock”)
* Steve Carell (“The Office”)
* Tina Fey (“30 Rock”)
* Neil Patrick Harris (“How I Met Your Mother”)
* Jim Parsons (“The Big Bang Theory”)

INDIVIDUAL ACHIEVEMENT IN DRAMA

* Glenn Close (“Damages”)
* Bryan Cranston (“Breaking Bad”)
* Walton Goggins (“The Shield”)
* Jon Hamm (“Mad Men”)
* Hugh Laurie (“House”)

OUTSTANDING ACHIEVEMENT IN CHILDREN’S PROGRAMMING

* “Camp Rock” (The Disney Channel)
* “The Electric Company” (PBS)
* “Nick News” (Nickelodeon)
* “Sid the Science Kid” (PBS)
* “Yo Gabba Gabba” (Nickelodeon)

OUTSTANDING ACHIEVEMENT IN NEWS & INFORMATION

* “60 Minutes” (CBS)
* “The Alzheimer’s Project” (HBO)
* “Frontline” (PBS)
* “The Rachel Maddow Show” (MSNBC)
* “We Shall Remain” (PBS)

HERITAGE AWARD

* “ER” (NBC)
* “M*A*S*H” (CBS)
* “Saturday Night Live” (NBC)
* “The Shield” (FX)
* “Star Trek” (NBC)

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑