Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
KEVIN CONNOLLY, ENTOURAGE
DAVID DUCHOVNY, CALIFORNICATION
TONY SHALHOUB, MONK
Ineligible last year:
LARRY DAVID, CURB YOUR ENTHUSIASM
New contenders:
THOMAS JANE, HUNG
JOEL MCHALE, COMMUNITY
MATTHEW MORRISON, GLEE
Potential first-time nominees:
JEMAINE CLEMENT, FLIGHT OF THE CONCHORDS
ZACHARY LEVI, CHUCK
JIM PARSONS, THE BIG BANG THEORY
This category shouldn’t be transformed too radically. Baldwin, Carrell, and to a lesser extent Duchovny should be safe. Shalhoub missed out on a nomination twice in the history of his show, and this is his last chance to be honored, so he could easily be kept in or dropped. Parsons probably has the edge over Clement to break into the pack because his show is still actively going, and none of the new talent are strong enough to make a dent.
Predicted nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
DAVID DUCHOVNY, CALIFORNICATION
JIM PARSONS, THE BIG BANG THEORY
TONY SHALHOUB, MONK
Tuesday, November 24, 2009
Monday, November 23, 2009
Golden Globe Musings: Best Actress in a TV Series – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
SALLY FIELD, BROTHERS & SISTERS
MARISKA HARGITAY, LAW & ORDER: SVU
JANUARY JONES, MAD MEN
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Ineligible last year:
GLENN CLOSE, DAMAGES
New contenders:
JULIANNA MARGUILES, THE GOOD WIFE
JADA PINKETT SMITH, HAWTHORNE
SONYA WALGER, FLASH FORWARD
Potential first-time nominees:
ELISABETH MOSS, MAD MEN
Past nominees:
HOLLY HUNTER, SAVING GRACE
PATRICIA ARQUETTE, MEDIUM
All five nominees from last year are equally likely to return this year, and Glenn Close should be back in the running because “Damages” aired this year. Six-time nominee Julianna Marguiles is also eligible again, this time for the well-received series “The Good Wife.” Holly Hunter missed out last year after scoring a nod for her show’s first year, and Elisabeth Moss, despite being picked by the Emmys and SAG as the “Mad Men” leading actress, missed out in favor of January Jones last year. There isn’t much to wonder about with this category, only who will be dumped.
Predicted nominees:
GLENN CLOSE, DAMAGES
JANUARY JONES, MAD MEN
JULIANNA MARGUILES, THE GOOD WIFE
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Last year’s nominees:
SALLY FIELD, BROTHERS & SISTERS
MARISKA HARGITAY, LAW & ORDER: SVU
JANUARY JONES, MAD MEN
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Ineligible last year:
GLENN CLOSE, DAMAGES
New contenders:
JULIANNA MARGUILES, THE GOOD WIFE
JADA PINKETT SMITH, HAWTHORNE
SONYA WALGER, FLASH FORWARD
Potential first-time nominees:
ELISABETH MOSS, MAD MEN
Past nominees:
HOLLY HUNTER, SAVING GRACE
PATRICIA ARQUETTE, MEDIUM
All five nominees from last year are equally likely to return this year, and Glenn Close should be back in the running because “Damages” aired this year. Six-time nominee Julianna Marguiles is also eligible again, this time for the well-received series “The Good Wife.” Holly Hunter missed out last year after scoring a nod for her show’s first year, and Elisabeth Moss, despite being picked by the Emmys and SAG as the “Mad Men” leading actress, missed out in favor of January Jones last year. There isn’t much to wonder about with this category, only who will be dumped.
Predicted nominees:
GLENN CLOSE, DAMAGES
JANUARY JONES, MAD MEN
JULIANNA MARGUILES, THE GOOD WIFE
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Sunday, November 22, 2009
Golden Globe Musings: Best Actor in a TV Series – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
GABRIEL BYRNE, IN TREATMENT
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
JONATHAN RHYS-MEYERS, THE TUDORS
Ineligible last year:
BILL PAXTON, BIG LOVE
New contenders:
JOSEPH FIENNES, FLASH FORWARD
NATHAN FILLION, CASTLE
Potential first-time nominees:
SIMON BAKER, THE MENTALIST
BRYAN CRANSTON, BREAKING BAD
Past nominees:
MICHAEL CHIKLIS, THE SHIELD
KIEFER SUTHERLAND, 24
This category may be all set. Swap out Jonathan Rhys-Meyers, whose inclusion last year was mind-boggling and who likely has been all but forgotten about at this point, and send in one of the two remaining Emmy nominees from this year who were left off the list last year: Bryan Cranston and Simon Baker. Cranston probably has a better shot, and having more than seven episodes in the critically-acclaimed second season of “Breaking Bad” should help him. Both actors are past nominees, Cranston in 2003 for his considerably less impressive “Malcolm in the Middle” supporting role, and Baker in 2002 in this category for “The Guardian.” Neither Fiennes nor Fillion seem strong enough to place, but beware of Paxton, who has been nominated every time his show has been eligible. The Globes have forgotten all about “The Shield” and “24,” and they never liked “Battlestar Galactica.” There’s no fall show like “Prison Break” that could shock by showing up here, and the only crazy possibilities I can think of would be Paul Wesley for “The Vampire Diaries” or a posthumous nod for Patrick Swayze on “The Beast.”
Predicted nominees:
GABRIEL BYRNE, IN TREATMENT
BRYAN CRANSTON, BREAKING BAD
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
Last year’s nominees:
GABRIEL BYRNE, IN TREATMENT
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
JONATHAN RHYS-MEYERS, THE TUDORS
Ineligible last year:
BILL PAXTON, BIG LOVE
New contenders:
JOSEPH FIENNES, FLASH FORWARD
NATHAN FILLION, CASTLE
Potential first-time nominees:
SIMON BAKER, THE MENTALIST
BRYAN CRANSTON, BREAKING BAD
Past nominees:
MICHAEL CHIKLIS, THE SHIELD
KIEFER SUTHERLAND, 24
This category may be all set. Swap out Jonathan Rhys-Meyers, whose inclusion last year was mind-boggling and who likely has been all but forgotten about at this point, and send in one of the two remaining Emmy nominees from this year who were left off the list last year: Bryan Cranston and Simon Baker. Cranston probably has a better shot, and having more than seven episodes in the critically-acclaimed second season of “Breaking Bad” should help him. Both actors are past nominees, Cranston in 2003 for his considerably less impressive “Malcolm in the Middle” supporting role, and Baker in 2002 in this category for “The Guardian.” Neither Fiennes nor Fillion seem strong enough to place, but beware of Paxton, who has been nominated every time his show has been eligible. The Globes have forgotten all about “The Shield” and “24,” and they never liked “Battlestar Galactica.” There’s no fall show like “Prison Break” that could shock by showing up here, and the only crazy possibilities I can think of would be Paul Wesley for “The Vampire Diaries” or a posthumous nod for Patrick Swayze on “The Beast.”
Predicted nominees:
GABRIEL BYRNE, IN TREATMENT
BRYAN CRANSTON, BREAKING BAD
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
Saturday, November 21, 2009
What I’m Watching: 30 Rock
30 Rock: Season 4, Episode 6 “Sun Tea” (B-)
This is one of those episodes that most sophisticated viewers of this show probably love, but I just don’t find nearly as clever or, more importantly, effective as some of my favorite installments. This show’s blatant incorporation of NBC Green Week into the storyline with Kenneth trying to figure out ways to conserve energy wasn’t bad at the start, but having him look down at the green peacock logo in the bottom left-hand corner of the screen was a bit too flagrant. Having Al Gore guest star once again and note that jokes are best recycled before uttering the same line he said when he last appeared on this show, in the “Greenzo” episode, was more muted and much funnier. Brilliant as Frank’s sun tea/pee system was supposed to be, that plotline fell flat. The spontaneous desire by Jack and Tracy to get vasectomies came out of nowhere, and the notion of another Geiss sibling should have inspired some smart casting and a whole new story arc. Instead, Tracy has a hallucination (never a good thing), and a laugh track is introduced. I find that whenever laugh tracks are used on shows that don’t have them, it highlights how unfunny that particular stunt is (see: “Scrubs” with Clay Aiken and the season premiere of “Monk”). Liz’s attempts to oust her upstairs neighbor in a shameless effort to get her own desirable second apartment were the strongest part of the episode, and it was fun to see Nate Corrdry, formerly a cast member on the other variety show series that started on NBC in 2006, as the guy who turned out to be both gay and a cop.
This is one of those episodes that most sophisticated viewers of this show probably love, but I just don’t find nearly as clever or, more importantly, effective as some of my favorite installments. This show’s blatant incorporation of NBC Green Week into the storyline with Kenneth trying to figure out ways to conserve energy wasn’t bad at the start, but having him look down at the green peacock logo in the bottom left-hand corner of the screen was a bit too flagrant. Having Al Gore guest star once again and note that jokes are best recycled before uttering the same line he said when he last appeared on this show, in the “Greenzo” episode, was more muted and much funnier. Brilliant as Frank’s sun tea/pee system was supposed to be, that plotline fell flat. The spontaneous desire by Jack and Tracy to get vasectomies came out of nowhere, and the notion of another Geiss sibling should have inspired some smart casting and a whole new story arc. Instead, Tracy has a hallucination (never a good thing), and a laugh track is introduced. I find that whenever laugh tracks are used on shows that don’t have them, it highlights how unfunny that particular stunt is (see: “Scrubs” with Clay Aiken and the season premiere of “Monk”). Liz’s attempts to oust her upstairs neighbor in a shameless effort to get her own desirable second apartment were the strongest part of the episode, and it was fun to see Nate Corrdry, formerly a cast member on the other variety show series that started on NBC in 2006, as the guy who turned out to be both gay and a cop.
What I’m Watching: The Office
The Office: Season 6, Episode 11 “Shareholders Meeting” (B)
There’s some funny stuff here, but ultimately it’s all just a tad too ridiculous to actually work. Michael’s excitement at taking a limo was fun, but the amount of time he put into perfecting his wave was a telltale harbinger of doom. Michael has made a mess of things before, and now he’s really done it by promising a 45-day plan with 45 solutions to help Dunder-Mifflin recover when the company’s upper management has no interest in doing so. It might have been better had Michael been giving a second act, a chance to go back out there and present a plan to appease the shareholders. It would likely have been one of his half-plans, like the lists he used to make for Ryan that were unfinished and which he planned to tell him more about later (like the top ten rules of business). Instead, he only got the staredown from the fairly useless David Wallace and Grandpa Gene from “Mad Men.” Back at the office, things made a whole lot more sense as Phyllis and Stanley snickered at Jim’s assertion that he had real power. Pam’s near-failure to support her flailing husband was fun, but the most satisfying part of the experience was the punishment Jim came up with to get the eternally distracted Ryan to focus and stop giving him a hard time. Congratulations to Jim for finally stepping up to the late and being able to get something done in Michael’s absence that the latter manager would never had been able to do.
There’s some funny stuff here, but ultimately it’s all just a tad too ridiculous to actually work. Michael’s excitement at taking a limo was fun, but the amount of time he put into perfecting his wave was a telltale harbinger of doom. Michael has made a mess of things before, and now he’s really done it by promising a 45-day plan with 45 solutions to help Dunder-Mifflin recover when the company’s upper management has no interest in doing so. It might have been better had Michael been giving a second act, a chance to go back out there and present a plan to appease the shareholders. It would likely have been one of his half-plans, like the lists he used to make for Ryan that were unfinished and which he planned to tell him more about later (like the top ten rules of business). Instead, he only got the staredown from the fairly useless David Wallace and Grandpa Gene from “Mad Men.” Back at the office, things made a whole lot more sense as Phyllis and Stanley snickered at Jim’s assertion that he had real power. Pam’s near-failure to support her flailing husband was fun, but the most satisfying part of the experience was the punishment Jim came up with to get the eternally distracted Ryan to focus and stop giving him a hard time. Congratulations to Jim for finally stepping up to the late and being able to get something done in Michael’s absence that the latter manager would never had been able to do.
Friday, November 20, 2009
What I’m Watching: Parks and Recreation
Parks and Recreation: Season 2, Episode 10 “Hunting Trip” (B+)
Having Leslie tag along on a hunting trip so that she can be “one of the guys” is an inspired storyline for this show, and the result is quite hilarious. Ron’s unamused reaction to the invasion of his private space was fun, and it’s nice to have an episode that’s so Ron-centric while still highlighting all of the other characters so terrifically. It’s wonderful to have both Leslie and Ann along for the ride, and their attempts to bond in masculine ways are entertaining. Someone getting shot was clearly going to happen given the wealth of untrained and inexperienced hunters going off into the woods armed with weapons, and seeing how each of the new hunters went wrong was great. Leslie’s decision to bite the bullet and take the blame for shooting Ron in the head made for great comic fodder, with two marvelous scenes that seemed like they were never going to end – Ron’s berating of Leslie for shooting him in the head and Leslie’s excuses for why she, the inferior female, had shot Ron in the head. The revelation that it was actually the unlicensed Tom who shot Ron in the head was a nice surprise, and Ann pantsing Tom and then high-fiving Leslie was a fitting end to the fateful trip into the woods. Back at the office, April and Andy are really good at getting nothing done, and their little friends-with-benefits experiment to make Ann jealous doesn’t seem to have paid off, but it sure is amusing.
Having Leslie tag along on a hunting trip so that she can be “one of the guys” is an inspired storyline for this show, and the result is quite hilarious. Ron’s unamused reaction to the invasion of his private space was fun, and it’s nice to have an episode that’s so Ron-centric while still highlighting all of the other characters so terrifically. It’s wonderful to have both Leslie and Ann along for the ride, and their attempts to bond in masculine ways are entertaining. Someone getting shot was clearly going to happen given the wealth of untrained and inexperienced hunters going off into the woods armed with weapons, and seeing how each of the new hunters went wrong was great. Leslie’s decision to bite the bullet and take the blame for shooting Ron in the head made for great comic fodder, with two marvelous scenes that seemed like they were never going to end – Ron’s berating of Leslie for shooting him in the head and Leslie’s excuses for why she, the inferior female, had shot Ron in the head. The revelation that it was actually the unlicensed Tom who shot Ron in the head was a nice surprise, and Ann pantsing Tom and then high-fiving Leslie was a fitting end to the fateful trip into the woods. Back at the office, April and Andy are really good at getting nothing done, and their little friends-with-benefits experiment to make Ann jealous doesn’t seem to have paid off, but it sure is amusing.
What I’m Watching: Flash Forward
Flash Forward: Season 1, Episode 9 “Believe” (C)
My experiences with would-be lovers whose only interactions occur with subtitles is that they’re not going to work out. It didn’t work so well for Jack on “Lost,” and, on top of that, the storyline of a new character who only speaks in subtitles often feels hopelessly disconnected (Hiro on “Heroes”) unless both parties speak the language (Sun and Jin on “Lost”). Either way, it’s not terribly interesting, and devoting an entire episode to Bryce feels like a real waste, especially considering not one other plotline actually moves forward. The investigation into the woman who called Demetri to tell him he’s going to die hasn’t gone far, and there’s nothing on the front of the tattooed villains, Lloyd, or Simon. Instead, the action is focused on the main characters and how the flash forwards are continuing to tear them apart, with Mark offending both Stan and Aaron by accusing them of betraying him. This show needs to think more about the big picture – who cares about Bryce learning a new language and Aaron watching his daughter slip off the wagon? The show had some solid opening sequences for a few weeks there with slow-motion flashbacks to the day of the flash forwards, and this episode started out potentially intriguing with the title cards indicating “two weeks before the flash forwards” and so on, but seeing only Bryce in that light doesn’t cut it. This show needs a major revelation, and soon, otherwise it’s not going to get anywhere.
My experiences with would-be lovers whose only interactions occur with subtitles is that they’re not going to work out. It didn’t work so well for Jack on “Lost,” and, on top of that, the storyline of a new character who only speaks in subtitles often feels hopelessly disconnected (Hiro on “Heroes”) unless both parties speak the language (Sun and Jin on “Lost”). Either way, it’s not terribly interesting, and devoting an entire episode to Bryce feels like a real waste, especially considering not one other plotline actually moves forward. The investigation into the woman who called Demetri to tell him he’s going to die hasn’t gone far, and there’s nothing on the front of the tattooed villains, Lloyd, or Simon. Instead, the action is focused on the main characters and how the flash forwards are continuing to tear them apart, with Mark offending both Stan and Aaron by accusing them of betraying him. This show needs to think more about the big picture – who cares about Bryce learning a new language and Aaron watching his daughter slip off the wagon? The show had some solid opening sequences for a few weeks there with slow-motion flashbacks to the day of the flash forwards, and this episode started out potentially intriguing with the title cards indicating “two weeks before the flash forwards” and so on, but seeing only Bryce in that light doesn’t cut it. This show needs a major revelation, and soon, otherwise it’s not going to get anywhere.
What I’m Watching: Modern Family
Modern Family: Season 1, Episode 8 “Great Expectations” (B+)
Taking a week off from this show makes its return even more exciting, and it doesn’t disappoint at all. Phil isn’t like the typical sitcom husband who forgets his wife’s anniversary, but instead he has a whole slew of presents lined up for her while she can’t hope to find anything that might be remotely please him. His list of ideal gifts was terrific, and the fact that he thinks it’s not tough to get him any of the nonexistent futuristic items he desires makes the comedy even richer. Claire’s delight at finding something that she thinks he’ll love is made spectacular by his perplexed, dumbfounded reaction to this band he’s never once spoken about during the entire course of their marriage. Edward Norton’s guest spot is funny, and it’s great to have him stop by. My question is, why isn’t this man, one of the best actors I’ve ever seen (see “American History X,” “Primal Fear,” and “25th Hour” if you don’t believe me), guest-starring on TV instead of making more movies? It’s also nice to have the lovely Elizabeth Banks on the show, and this is the perfect role for her. Having Cameron and Mitchell trying to figure out whether she actually threatened the life of their baby was hilarious, and it’s good to get them out of the house. Jay’s family night is a wonderful idea, and Haley’s fervent desire to get away from the night was fantastically turned on its head when her savior Dylan ended up being seduced by Jay’s Sloppy Joes and “The Gunfighter.”
Taking a week off from this show makes its return even more exciting, and it doesn’t disappoint at all. Phil isn’t like the typical sitcom husband who forgets his wife’s anniversary, but instead he has a whole slew of presents lined up for her while she can’t hope to find anything that might be remotely please him. His list of ideal gifts was terrific, and the fact that he thinks it’s not tough to get him any of the nonexistent futuristic items he desires makes the comedy even richer. Claire’s delight at finding something that she thinks he’ll love is made spectacular by his perplexed, dumbfounded reaction to this band he’s never once spoken about during the entire course of their marriage. Edward Norton’s guest spot is funny, and it’s great to have him stop by. My question is, why isn’t this man, one of the best actors I’ve ever seen (see “American History X,” “Primal Fear,” and “25th Hour” if you don’t believe me), guest-starring on TV instead of making more movies? It’s also nice to have the lovely Elizabeth Banks on the show, and this is the perfect role for her. Having Cameron and Mitchell trying to figure out whether she actually threatened the life of their baby was hilarious, and it’s good to get them out of the house. Jay’s family night is a wonderful idea, and Haley’s fervent desire to get away from the night was fantastically turned on its head when her savior Dylan ended up being seduced by Jay’s Sloppy Joes and “The Gunfighter.”
Thursday, November 19, 2009
What I’m Watching: Glee
Glee: Season 1, Episode 10 “Ballad” (B+)
After receiving a comment from reader Richter Scale on my review of last week’s episode, I’ve decided to go into this show each week with a focus on entertainment and the best things this show has to offer. As a result, I think I enjoyed this installment more than some of the recent ones (thanks!). Putting Kurt and Finn together is probably what people really want to see, and I’ll admit that it’s enjoyable to hear Kurt proclaim his adoration for Finn via voiceover while still being a good friend and helping him try to be an able father and boyfriend to Quinn, even at the risk of his own happiness. His frequent implications that girls just make everything complicated are entertaining, though he’d be better served to hit Finn over the head with a mallet to get his point across. Unfortunately, Finn isn’t too subtle with his very overt ballad, and the consequences of his confession result in his being even more closely united with Quinn. Casting Gregg Henry as her father was great, and it’s always fantastic to have him on a show, even if he’s playing drama rather than comedy (see “The Riches” for excellent instances of both). Rachel falling for Will isn’t too spectacular, though the combination of her narration, the Pepper flashbacks, and Terri using her as a maid make it work. Emma’s awe-struck reaction to Will’s attempt to send a message to Rachel wasn’t helpful for Will but was really funny – “You’re a very good performer! He’s very good!” – and it’s nice to see her on the show, even if only for a moment. The staff really is taking a backseat to what Mercedes hilariously deems “Babygate,” and Sue doesn’t even appear in this episode. Fortunately, there are plenty of new interactions which make up for that. Mercedes and Puck bonding is just one of those, and her aggressive declaration of “get something through your Mohawk” was hilarious. The episode’s strongest asset was singing itself out with a great performance of “Lean on Me,” and seeing Artie get a few solos was nice. This show knows how to save the best for last and close out the episode on a high note.
After receiving a comment from reader Richter Scale on my review of last week’s episode, I’ve decided to go into this show each week with a focus on entertainment and the best things this show has to offer. As a result, I think I enjoyed this installment more than some of the recent ones (thanks!). Putting Kurt and Finn together is probably what people really want to see, and I’ll admit that it’s enjoyable to hear Kurt proclaim his adoration for Finn via voiceover while still being a good friend and helping him try to be an able father and boyfriend to Quinn, even at the risk of his own happiness. His frequent implications that girls just make everything complicated are entertaining, though he’d be better served to hit Finn over the head with a mallet to get his point across. Unfortunately, Finn isn’t too subtle with his very overt ballad, and the consequences of his confession result in his being even more closely united with Quinn. Casting Gregg Henry as her father was great, and it’s always fantastic to have him on a show, even if he’s playing drama rather than comedy (see “The Riches” for excellent instances of both). Rachel falling for Will isn’t too spectacular, though the combination of her narration, the Pepper flashbacks, and Terri using her as a maid make it work. Emma’s awe-struck reaction to Will’s attempt to send a message to Rachel wasn’t helpful for Will but was really funny – “You’re a very good performer! He’s very good!” – and it’s nice to see her on the show, even if only for a moment. The staff really is taking a backseat to what Mercedes hilariously deems “Babygate,” and Sue doesn’t even appear in this episode. Fortunately, there are plenty of new interactions which make up for that. Mercedes and Puck bonding is just one of those, and her aggressive declaration of “get something through your Mohawk” was hilarious. The episode’s strongest asset was singing itself out with a great performance of “Lean on Me,” and seeing Artie get a few solos was nice. This show knows how to save the best for last and close out the episode on a high note.
What I’m Watching: Sons of Anarchy
Sons of Anarchy: Season 2, Episode 11 “Service” (A-)
It seemed like all the tension that had been building had finally exploded a few weeks ago when Clay and Jax fought physically, but this is where things finally boil over. It’s fascinating how the revelation of Gemma’s secret results in another member going over the edge and confessing his sins to the one man he really shouldn’t be talking to about it. This episode provided an incredible look at so many characters that don’t usually get such special treatment, like Tig, Chibs, and Piney. Tig’s meltdown in front of Opie was powerful, and seeing Piney come in guns blazing to take down Tig was pretty awe-inspiring too. The strongest and most shocking moment of this episode was Opie’s confrontation with Agent Stahl, where he managed to make the hard-as-nails fed break down in tears. That woman certainly gets what she deserves, as only moments before she tried to pull the same kind of life-endangering stunt she did with Opie on Chibs, and this isn’t the first time that she’s been punished for her extortionist behavior, like when Otto slammed her head down on the table in prison, but this is the first time that she actually starts to crack. Bravo to Ally Walker for playing well with the boys and delivering a stunning performance. Opie truly is a three-dimensional character, and seeing him not only decide to stay at the club knowing that Clay and Tig killed his wife but also tell them that he saw Chibs coming out of a meeting with Stahl to ensure that the club goes about investigating through the proper channels was stellar. It’s good that Clay and Jax have buried the hatchet and that the heir to the throne isn’t going anywhere, since, as the two SAMCRO leaders put it, they have to take down Zobelle and Weston the same way the white supremacists have been undermining them: slowly, steadily, and, above all, smartly.
It seemed like all the tension that had been building had finally exploded a few weeks ago when Clay and Jax fought physically, but this is where things finally boil over. It’s fascinating how the revelation of Gemma’s secret results in another member going over the edge and confessing his sins to the one man he really shouldn’t be talking to about it. This episode provided an incredible look at so many characters that don’t usually get such special treatment, like Tig, Chibs, and Piney. Tig’s meltdown in front of Opie was powerful, and seeing Piney come in guns blazing to take down Tig was pretty awe-inspiring too. The strongest and most shocking moment of this episode was Opie’s confrontation with Agent Stahl, where he managed to make the hard-as-nails fed break down in tears. That woman certainly gets what she deserves, as only moments before she tried to pull the same kind of life-endangering stunt she did with Opie on Chibs, and this isn’t the first time that she’s been punished for her extortionist behavior, like when Otto slammed her head down on the table in prison, but this is the first time that she actually starts to crack. Bravo to Ally Walker for playing well with the boys and delivering a stunning performance. Opie truly is a three-dimensional character, and seeing him not only decide to stay at the club knowing that Clay and Tig killed his wife but also tell them that he saw Chibs coming out of a meeting with Stahl to ensure that the club goes about investigating through the proper channels was stellar. It’s good that Clay and Jax have buried the hatchet and that the heir to the throne isn’t going anywhere, since, as the two SAMCRO leaders put it, they have to take down Zobelle and Weston the same way the white supremacists have been undermining them: slowly, steadily, and, above all, smartly.
What I’m Watching: NCIS: Los Angeles
NCIS: Los Angeles: Season 1, Episode 8 “Ambush” (B+)
Opening the episode with the marine’s paranoid flight into the aquarium and having his death captured on FishCam was a great jump-start for a very action-centric episode. Bringing back Special Agent Mike Renko, who appeared in the two-hour backdoor pilot that aired as part of the previous season of “NCIS,” was fun because he doesn’t distract from the main players of the team but has an entertaining rapport with the whole team and Kensi in particular. It was also cool to incorporate the murdered marine as Renko’s informant and connect him in that way. This show might be better named “NCIS: Undercover” since chameleon Callen always seems to be donning a fake identity for the same of the case, and most times at a moment’s notice. The reveal that Callen was seated in the prison van and that Sam was posing as a guard was treated so excitedly – it’s clear that this show is proud of itself when it manages to pull off a stunt like that. Callen’s back-and-forth insulting act with the brainwashed marine who kept holding a gun to him was really funny, and the other guy ultimately taking back his insults was a nice touch. Hetty’s trip to D.C. was highly interrupted by her desire to still supervise her team, and the relationship she has with Vance is truly superb. It’s impressive that Hetty is still able to motivate her team members to race each other up the stairs to be the first to the briefing room even when she’s not actually physically there.
Opening the episode with the marine’s paranoid flight into the aquarium and having his death captured on FishCam was a great jump-start for a very action-centric episode. Bringing back Special Agent Mike Renko, who appeared in the two-hour backdoor pilot that aired as part of the previous season of “NCIS,” was fun because he doesn’t distract from the main players of the team but has an entertaining rapport with the whole team and Kensi in particular. It was also cool to incorporate the murdered marine as Renko’s informant and connect him in that way. This show might be better named “NCIS: Undercover” since chameleon Callen always seems to be donning a fake identity for the same of the case, and most times at a moment’s notice. The reveal that Callen was seated in the prison van and that Sam was posing as a guard was treated so excitedly – it’s clear that this show is proud of itself when it manages to pull off a stunt like that. Callen’s back-and-forth insulting act with the brainwashed marine who kept holding a gun to him was really funny, and the other guy ultimately taking back his insults was a nice touch. Hetty’s trip to D.C. was highly interrupted by her desire to still supervise her team, and the relationship she has with Vance is truly superb. It’s impressive that Hetty is still able to motivate her team members to race each other up the stairs to be the first to the briefing room even when she’s not actually physically there.
Wednesday, November 18, 2009
What I’m Watching: NCIS
NCIS: Season 7, Episode 8 “Power Down” (B+)
The faster-paced spinoff really is rubbing off on this show. It’s rare that there’s an action sequence to start off the episode, and even rarer that the opening sequence ends not in a murder but in a killing of an altogether different sort. The city-wide blackout provides a great launching pad for this episode to show how all of these characters respond to life without their beloved overnight recharges. It also makes quite the statement about how the technologically savvy and dependent world functions when the power goes down and life has to be scaled back to the days before electricity. McGee and Ziva getting stuck in the elevator overnight was fun, even if we only got to catch the tail end of their lengthy affair. Tony’s remark that they should find a dinosaur who knows how to operate the card catalog system was hilarious, especially considering the crafty Gibbs stepped in only moments later to flawlessly utilize the archaic machine. The fact that so many things, including McGee’s camera and Abby’s music player, died simply because they didn’t charge overnight was pretty funny, and it still didn’t prevent NCIS from solving and closing the case. Tony certainly had a great time announcing to the guilty conspirator that they had caught him, and it’s his flair for filmic dramatics that makes him such a terrific character. The best moment of the episode is when the power comes back in the final moments, and everyone hurriedly logs onto their computers to reconnect with the technological universe, but Gibbs just smiles and packs up his bag, painlessly unconnected to the electronic world.
The faster-paced spinoff really is rubbing off on this show. It’s rare that there’s an action sequence to start off the episode, and even rarer that the opening sequence ends not in a murder but in a killing of an altogether different sort. The city-wide blackout provides a great launching pad for this episode to show how all of these characters respond to life without their beloved overnight recharges. It also makes quite the statement about how the technologically savvy and dependent world functions when the power goes down and life has to be scaled back to the days before electricity. McGee and Ziva getting stuck in the elevator overnight was fun, even if we only got to catch the tail end of their lengthy affair. Tony’s remark that they should find a dinosaur who knows how to operate the card catalog system was hilarious, especially considering the crafty Gibbs stepped in only moments later to flawlessly utilize the archaic machine. The fact that so many things, including McGee’s camera and Abby’s music player, died simply because they didn’t charge overnight was pretty funny, and it still didn’t prevent NCIS from solving and closing the case. Tony certainly had a great time announcing to the guilty conspirator that they had caught him, and it’s his flair for filmic dramatics that makes him such a terrific character. The best moment of the episode is when the power comes back in the final moments, and everyone hurriedly logs onto their computers to reconnect with the technological universe, but Gibbs just smiles and packs up his bag, painlessly unconnected to the electronic world.
Take Two: V
V: Season 1, Episodes 2 & 3 “There Is No Normal Anymore” & “A Bright New Day” (C+/B)
I’m going to tackle the second and third episodes of this new show together since I didn’t get a chance to review the second one last week. I’m happy to report that, in between these two installments, the show has improved markedly, and there’s a very clear sense that it’s going somewhere. Next week marks the last episode that will air in 2009, since the show will go on hiatus until the spring. Fortunately, it’s going out on a good note. Like in the first episode, it’s the story of the Vs that is infinitely better and more exciting than whatever’s going on with the humans. The dialogue has improved considerably, and Erica has found a sense of purpose now that she is putting together a resistance and the Vs are clearly aware of her existence. It’s clear that Erica is important in the grand of scheme of things, and that’s great. Weaving all the characters together definitely enhances the show a lot. Tyler is certainly much better than he was in the beginning, and the fact that the seemingly sweet Lisa is actually trying to position herself in Tyler’s life as a way of getting to Erica. It really makes the Vs seem much sinister than they seemed before, especially since the obnoxious Chad just makes them seem one-dimensional every time he appears on screen. Anna’s ploy to get her number one critic to go on public television declaring her solidarity with the Vs was quite impressive, and it’s notable that Anna is so easily able to achieve what she wants. The revelation that Lisa is actually Anna’s daughter is awesome, though there’s a real-life discrepancy: actress Laura Vandervoort is actually only five years younger than Morena Baccarin. It still works fine, and they are aliens, so perhaps their appearance is easily manipulated and tweaked. The coolest part of the show is the Fifth Column. It’s a great way of incorporating Morris Chestnut’s character, whose identity as a traitorous V is intriguing. It’s also a fantastic way of bringing back Dale (and actor Alan Tudyk) and giving him plenty of scenery to chew, followed by the fantastic reveal of the doctor as a traitor who is excited by the idea that Erica could be a great ally. Basically, this show is actually a lot better than it initially seemed, and I imagine I’ll be quite excited for it when it returns in a few months, provided next week’s episode lives up to this, focusing on the Vs, the traitors, and much, much less Chad.
I’m going to tackle the second and third episodes of this new show together since I didn’t get a chance to review the second one last week. I’m happy to report that, in between these two installments, the show has improved markedly, and there’s a very clear sense that it’s going somewhere. Next week marks the last episode that will air in 2009, since the show will go on hiatus until the spring. Fortunately, it’s going out on a good note. Like in the first episode, it’s the story of the Vs that is infinitely better and more exciting than whatever’s going on with the humans. The dialogue has improved considerably, and Erica has found a sense of purpose now that she is putting together a resistance and the Vs are clearly aware of her existence. It’s clear that Erica is important in the grand of scheme of things, and that’s great. Weaving all the characters together definitely enhances the show a lot. Tyler is certainly much better than he was in the beginning, and the fact that the seemingly sweet Lisa is actually trying to position herself in Tyler’s life as a way of getting to Erica. It really makes the Vs seem much sinister than they seemed before, especially since the obnoxious Chad just makes them seem one-dimensional every time he appears on screen. Anna’s ploy to get her number one critic to go on public television declaring her solidarity with the Vs was quite impressive, and it’s notable that Anna is so easily able to achieve what she wants. The revelation that Lisa is actually Anna’s daughter is awesome, though there’s a real-life discrepancy: actress Laura Vandervoort is actually only five years younger than Morena Baccarin. It still works fine, and they are aliens, so perhaps their appearance is easily manipulated and tweaked. The coolest part of the show is the Fifth Column. It’s a great way of incorporating Morris Chestnut’s character, whose identity as a traitorous V is intriguing. It’s also a fantastic way of bringing back Dale (and actor Alan Tudyk) and giving him plenty of scenery to chew, followed by the fantastic reveal of the doctor as a traitor who is excited by the idea that Erica could be a great ally. Basically, this show is actually a lot better than it initially seemed, and I imagine I’ll be quite excited for it when it returns in a few months, provided next week’s episode lives up to this, focusing on the Vs, the traitors, and much, much less Chad.
What I’m Watching: Heroes
Heroes: Season 4, Episode 10 “Brother’s Keeper” (F)
If Nathan/Sylar touches Matt’s hand, Sylar gets his body back. Could this be any dumber? It appears so, since the elder Petrelli brother is still essentially Nathan and maintains the ability to try and keep Sylar out of his body. The whole idea that Nathan and Peter would just happen to need to seek out Matt and that Peter would be able to save him is just preposterous, especially considering how much this messes up Matt’s half-decent plan of self-sacrifice to forever rid the world of at least one half of Sylar. At least Peter is smart enough to absorb Nathan/Sylar’s power so that he can stay with him. The reintroduction of a character I had long forgotten about in this episode came as a bit of an unneeded surprise. It’s also interesting that, prior to watching this episode, I saw a film in which actor Sendhil Ramamurthy played a famous actor, and I recalled his long-ago existence on this show, only to find him suddenly reappearing. Everything about Mohinder always seems exceedingly irrelevant, and his obsession over the film of his father (is there anything more boring?) fits into that category. Samuel was always a bit of a loose cannon, and the fact that he can learn how to control his powers from watching a video of his birth seems like quite a stretch. Tracy’s powers being on the fritz isn’t really an interesting thread, and she’s always had more than enough reason to shack up with the carnival freaks and abandon her public life. Breaking off a piece of Claire’s foot and then sobbing about it didn’t provide her with any newfound wisdom or revelation.
If Nathan/Sylar touches Matt’s hand, Sylar gets his body back. Could this be any dumber? It appears so, since the elder Petrelli brother is still essentially Nathan and maintains the ability to try and keep Sylar out of his body. The whole idea that Nathan and Peter would just happen to need to seek out Matt and that Peter would be able to save him is just preposterous, especially considering how much this messes up Matt’s half-decent plan of self-sacrifice to forever rid the world of at least one half of Sylar. At least Peter is smart enough to absorb Nathan/Sylar’s power so that he can stay with him. The reintroduction of a character I had long forgotten about in this episode came as a bit of an unneeded surprise. It’s also interesting that, prior to watching this episode, I saw a film in which actor Sendhil Ramamurthy played a famous actor, and I recalled his long-ago existence on this show, only to find him suddenly reappearing. Everything about Mohinder always seems exceedingly irrelevant, and his obsession over the film of his father (is there anything more boring?) fits into that category. Samuel was always a bit of a loose cannon, and the fact that he can learn how to control his powers from watching a video of his birth seems like quite a stretch. Tracy’s powers being on the fritz isn’t really an interesting thread, and she’s always had more than enough reason to shack up with the carnival freaks and abandon her public life. Breaking off a piece of Claire’s foot and then sobbing about it didn’t provide her with any newfound wisdom or revelation.
Tuesday, November 17, 2009
What I’m Watching: Californication
Californication: Season 3, Episode 8 “The Apartment” (B+)
How could these three women in Hank’s life have been brought together in any better fashion? The three arrivals are each fantastic in their own way, and the episode just keeps getting increasingly good. Part of what’s so great is that these women have been so singularly focused on Hank and blissfully unaware of the presence of each other in his life. Hank’s apartment has never felt so big, and the fact that it could hide the three ladies, a couple of strippers, Charlie, and even Rick Springfield is pretty hilarious. Eva Amurri, Diane Farr, and Embeth Davidtz are all wonderful in their respective performances as Jackie, Jill, and Felicia, and seeing and hearing their reactions to Hank’s other affairs was simply incredible. The best was probably Jackie’s disgust at Jill’s age. And then of course there’s the terrific Peter Gallagher, whose Dean Koons finally gets the chance to really speak his mind and try to chew Hank out while admitting his own faults, unknowingly in front of his wife, no less. The introduction of the two overly mature young daughters, Chelsea and Becca, made for an even funnier follow-up, and the best part of it was the rapport between Chelsea and her father. Seeing Becca stick up for Hank (“Hey, that’s my father!”) was a touching moment, and it’s refreshing that they’re bonding again, in their own extremely messed-up way. I hope that this show picks up a Screen Actors Guild nomination for Best Ensemble in December, because this cast really deserves it.
How could these three women in Hank’s life have been brought together in any better fashion? The three arrivals are each fantastic in their own way, and the episode just keeps getting increasingly good. Part of what’s so great is that these women have been so singularly focused on Hank and blissfully unaware of the presence of each other in his life. Hank’s apartment has never felt so big, and the fact that it could hide the three ladies, a couple of strippers, Charlie, and even Rick Springfield is pretty hilarious. Eva Amurri, Diane Farr, and Embeth Davidtz are all wonderful in their respective performances as Jackie, Jill, and Felicia, and seeing and hearing their reactions to Hank’s other affairs was simply incredible. The best was probably Jackie’s disgust at Jill’s age. And then of course there’s the terrific Peter Gallagher, whose Dean Koons finally gets the chance to really speak his mind and try to chew Hank out while admitting his own faults, unknowingly in front of his wife, no less. The introduction of the two overly mature young daughters, Chelsea and Becca, made for an even funnier follow-up, and the best part of it was the rapport between Chelsea and her father. Seeing Becca stick up for Hank (“Hey, that’s my father!”) was a touching moment, and it’s refreshing that they’re bonding again, in their own extremely messed-up way. I hope that this show picks up a Screen Actors Guild nomination for Best Ensemble in December, because this cast really deserves it.
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