So... I'm committed to trying to watch the entire hour tonight. I guess I'll fast forward through clip packages. I never really watch the elimination shows of Idol, I just read who got cut on the internet. I suppose I always have the luxury of skipping right to the ending.
Meanwhile, yay, Ronnie wasn't cut on Make Me a Supermodel. But fake gay love affair person Ben is up for the vote this week (though the episode definitely set up either Perry or Jacki being the one to go because of arrogance or inhumanity, respectively... while everybody <3s style="font-style: italic;">Lost reactions will come tomorrow (too tired tonight to react). But, um, the streak continues?
Ugh, nevermind, this results show crap is killing me, skipping to the ending...
I'm surprised Garrett was cut, because he took the critique so well. That's what lack of airtime does, I guess.
Meanwhile, I'm not surprised about Amy Davis. In an uglier year, she'd have made it further as a hot chick, but this season is a very, very attractive group of ladies.
Plug: Randy Jackson's album. Can someone give me the number of Paula's airbrusher? But not her windmachine person. Not that my hair is long enough to accidentally go down my throat while I'm lip-syncing. It's been a while since I've watched music videos... but was there a concept to this one other than Paula Abdul standing and walking in front of back-up dancers?
Um... between Joanne and AMANDA? That has to be one of those cruel jokes, right? The producers are just breaking my crayons and forcing me to threaten to stop watching if Joanne stays over Amanda, right? I mean... come on. It's not even believable suspense. At least put, like, Kady Malloy up as the decoy since she actually did poorly. And if Amanda actually did get the third lowest vote total (I'm not sure if the producers just put random people up, or they actually warn the person who was next on the totem pole)... well, I've got to start voting... and I hate voting (for reality shows).
Simon wins for best snarky product placement since 30 Rock's Verizon plug (can we have money now?) for "enjoying my Coca-Cola".
Hm, Chikezie versus Ellen DeGeneres... I gotta go with Chikezie leaving because HE WAS AN ASS. Once again, the show fails to create real suspense. Only, wait, it doesn't. A surprise, again, on the boys' side. But at least it wasn't one of the few men to actually perform decently (or better) this week. Also, this is just me noting things, but Chikezie is the only black male contestant (while Joanne was the only big black woman, but there are a few others sistahs). I think it matters.
Wow, Simon's an ass! Love it!! I mean, hate him for it, but love it!
Cue Ferras' "Hollywood Is Not America" (sigh, this is a good song... is it too much to ask that the winner get something on the same level or better for the coronation song?)
Travis, out.
Friday, February 22, 2008
Thursday, February 21, 2008
Top 12 Women
Unlike the male contestants, I think we know all twelve of these women. Let's get down to business (as I'm starting the show after midnight). I'm really curious to see Amanda Overmyer's 60s' Music Night performance.
FYI, I really do write all my comments as the performances / clips go, and if the judges echo something I think, I'll credit them.
Kristy Lee Cook: Very camera-friendly. Not a ton of pizzazz in the performance, vocally or otherwise. Safe and serviceable. She's apparently sick, according to the judges. Yeah, everyone in Hollywood is sick (not just on this show... but how come this wasn't mentioned last night with the men? Did it not affect them?) I think KLC will be saved from her audition and Hollywood week performances.
Joanne Borgella: This girl fits an Idol type, the plus-size black woman. None of the other black girls in the Top 12 are big girls, so I think Joanne needs to screw up really bad to miss out on the Top 12. The lower parts of the song were too low for her right now. She can get those notes, but needs to work it out. Hahah, you could see Joanne's parents killing Simon with their stares.
Alaina Whitaker: Ryan interviews her backstage about her birthday wishes, and compliments her shoes. Fire hazard! I'm curious, though, if Alaina's birthday is "tomorrow" as in Thursday, 2/21, or "tomorrow" as in the day after the show was taped (which I believe was this past Sunday, 2/17). Good choice to take the song from slow to uptempo halfway through. This is the girl who says that she thinks Carrie Underwood looks like her, right?
Amanda Overmyer: She needs to stay in the competition, she's got talent, but this performance did not show other layers to her voice, unfortunately. Amazing stage presence. I agree with Randy... those jeans are awesome. We wants.
Amy Davis: Boooobs. Funny, thought. Her performance is flat. Bye bye, Amy.
Brooke White: Not the strongest singer, but I really like her. She has her own style and voice, but I don't see her making it to the Top 12. Not strong enough (her range... eh). Ending the song on the "ba ba bah" wasn't a good call (not a skatting song). Randy: Brooke White the Song Slayer. Simon: Blondes r happy, I h8 teh happi (sorry, I've been reading a bit of HOWSE!!1 M.D.)
Alexandréa Lushington: I don't remember much of her auditions, but I like the bluesy-jazz tone of her voice. A few pitch problems, and the first half was better, but overall a good job and her outfit was killer. So '60s/modern mix. I normally am more in tune with Simon, especially because he actually gives critique... but I think he's been out of his element with '60s Music Week. He doesn't know most of the songs, too.
Kady Malloy: This is the impressionist girl, right? Anyway, in her own voice... she has such AMAZING control. Which is part of the problem with the performance, Randy's right, it's restrained and doesn't build to anything. Anyway, the battle of the blonde bombshells goes to Alaina Whitaker tonight.
Asia'h Epperson: One of the great things about Asia'h's audition was that she connected so, so, so much to that song she sang. Not so much tonight. She was fun and giving sassy tonight. Not that she needs to bring tears to your eyes every song. And clearly she can perform. I don't think it was the best of the night so far, vocally.
Remiele Malubay: Tiny, tiny, tiny package. Girl cannot be close to five feet tall! I really enjoyed the airy, seductive whisper-sing she did. It actually takes more control to sing that way than a simple belt. That said, I wish the song built to something bigger. I don't understand her outfit, though. Randy noted that she stayed with the melody... good call. Lots of Idol contestants go on these runs that just destroy the melody of their songs... and don't even harmonize. Man, even in those shoes she's a fun head shorter than Ryan (saying something!) And, again, Ryan shows his manliness (...) with his comments about shoes.
Syesha Mercado: Does her head remind anyone else of Helena Bonham Carter? Just me? Very excited to hear her performance since she's not sick and doesn't have the laryngitis that plagued her during Hollywood. And she schools everyone that came before her, IMHO, with a song that was more about fun than about vocal wow.
Carly Smithson: Yay, Idol controversy... Carly was apparently a spectacular flop in Ireland on MCA Records. Like, 7 years ago. Whatever, people, get over it. Hey, look, they didn't show her eyes bugging out of her head when Simon told her that her audition in Season 5 was better (a first!) She gets a little shout-y in the middle of the song, but it is still expertly done. So many different inflections, tones, colors and temperatures in her voice. Simon is right about the "old fashioned" element. She didn't modernize the song or make it "fun" or whatever. But, hey, it's '60s Music Week...
Bottom Two: Hm, it's a bit tougher tonight because the audience knows all of these women. I'd say definitely Amy Davis, and any of Kristy Lee Cook, Joanne Borgella, and Kady Malloy. Again, I don't think Joanne is in much danger because she's the only one who fits her Top 12 type.
FYI, I really do write all my comments as the performances / clips go, and if the judges echo something I think, I'll credit them.
Kristy Lee Cook: Very camera-friendly. Not a ton of pizzazz in the performance, vocally or otherwise. Safe and serviceable. She's apparently sick, according to the judges. Yeah, everyone in Hollywood is sick (not just on this show... but how come this wasn't mentioned last night with the men? Did it not affect them?) I think KLC will be saved from her audition and Hollywood week performances.
Joanne Borgella: This girl fits an Idol type, the plus-size black woman. None of the other black girls in the Top 12 are big girls, so I think Joanne needs to screw up really bad to miss out on the Top 12. The lower parts of the song were too low for her right now. She can get those notes, but needs to work it out. Hahah, you could see Joanne's parents killing Simon with their stares.
Alaina Whitaker: Ryan interviews her backstage about her birthday wishes, and compliments her shoes. Fire hazard! I'm curious, though, if Alaina's birthday is "tomorrow" as in Thursday, 2/21, or "tomorrow" as in the day after the show was taped (which I believe was this past Sunday, 2/17). Good choice to take the song from slow to uptempo halfway through. This is the girl who says that she thinks Carrie Underwood looks like her, right?
Amanda Overmyer: She needs to stay in the competition, she's got talent, but this performance did not show other layers to her voice, unfortunately. Amazing stage presence. I agree with Randy... those jeans are awesome. We wants.
Amy Davis: Boooobs. Funny, thought. Her performance is flat. Bye bye, Amy.
Brooke White: Not the strongest singer, but I really like her. She has her own style and voice, but I don't see her making it to the Top 12. Not strong enough (her range... eh). Ending the song on the "ba ba bah" wasn't a good call (not a skatting song). Randy: Brooke White the Song Slayer. Simon: Blondes r happy, I h8 teh happi (sorry, I've been reading a bit of HOWSE!!1 M.D.)
Alexandréa Lushington: I don't remember much of her auditions, but I like the bluesy-jazz tone of her voice. A few pitch problems, and the first half was better, but overall a good job and her outfit was killer. So '60s/modern mix. I normally am more in tune with Simon, especially because he actually gives critique... but I think he's been out of his element with '60s Music Week. He doesn't know most of the songs, too.
Kady Malloy: This is the impressionist girl, right? Anyway, in her own voice... she has such AMAZING control. Which is part of the problem with the performance, Randy's right, it's restrained and doesn't build to anything. Anyway, the battle of the blonde bombshells goes to Alaina Whitaker tonight.
Asia'h Epperson: One of the great things about Asia'h's audition was that she connected so, so, so much to that song she sang. Not so much tonight. She was fun and giving sassy tonight. Not that she needs to bring tears to your eyes every song. And clearly she can perform. I don't think it was the best of the night so far, vocally.
Remiele Malubay: Tiny, tiny, tiny package. Girl cannot be close to five feet tall! I really enjoyed the airy, seductive whisper-sing she did. It actually takes more control to sing that way than a simple belt. That said, I wish the song built to something bigger. I don't understand her outfit, though. Randy noted that she stayed with the melody... good call. Lots of Idol contestants go on these runs that just destroy the melody of their songs... and don't even harmonize. Man, even in those shoes she's a fun head shorter than Ryan (saying something!) And, again, Ryan shows his manliness (...) with his comments about shoes.
Syesha Mercado: Does her head remind anyone else of Helena Bonham Carter? Just me? Very excited to hear her performance since she's not sick and doesn't have the laryngitis that plagued her during Hollywood. And she schools everyone that came before her, IMHO, with a song that was more about fun than about vocal wow.
Carly Smithson: Yay, Idol controversy... Carly was apparently a spectacular flop in Ireland on MCA Records. Like, 7 years ago. Whatever, people, get over it. Hey, look, they didn't show her eyes bugging out of her head when Simon told her that her audition in Season 5 was better (a first!) She gets a little shout-y in the middle of the song, but it is still expertly done. So many different inflections, tones, colors and temperatures in her voice. Simon is right about the "old fashioned" element. She didn't modernize the song or make it "fun" or whatever. But, hey, it's '60s Music Week...
Bottom Two: Hm, it's a bit tougher tonight because the audience knows all of these women. I'd say definitely Amy Davis, and any of Kristy Lee Cook, Joanne Borgella, and Kady Malloy. Again, I don't think Joanne is in much danger because she's the only one who fits her Top 12 type.
Wednesday, February 20, 2008
Nip/Cut
So I've threatened this a lot I guess... but I'm watching Nip/Tuck (because last week had a good cliffhanger I was told about, so I caught it in rerun). It's the season finale (well, there were supposed to be 8 more episodes in the 5th season, but whatever). And, well, Julia has retrograde amnesia.
AMNESIA.
Come on, show. Really!?
Considering how much of a pest the Eden character is, I was really pulling for a non-twist out of the fact that she shot Julia, then lied and said that Julia tried to commit suicide. Retrograde amnesia?
I think that, well, unless something amazing happens in these next 15 minutes, the show is off my list for good.
Oh, damn you, show. That ending was just such a sad rip-off of the brilliant season two ending with the Carver putting Christian's life in danger. I suppose I have to show up for the next episode, what with being invested in these characters... but, jeez! Really and entirely ran out of ideas, didn't they.
AMNESIA.
Come on, show. Really!?
Considering how much of a pest the Eden character is, I was really pulling for a non-twist out of the fact that she shot Julia, then lied and said that Julia tried to commit suicide. Retrograde amnesia?
I think that, well, unless something amazing happens in these next 15 minutes, the show is off my list for good.
Oh, damn you, show. That ending was just such a sad rip-off of the brilliant season two ending with the Carver putting Christian's life in danger. I suppose I have to show up for the next episode, what with being invested in these characters... but, jeez! Really and entirely ran out of ideas, didn't they.
Tuesday, February 19, 2008
Top 12 Men
So... okay, I'm watching the first half (or however long it takes to catch up with live-time) of this then running out, then watching the rest later tonight. Why start out with '60s night?
David Hernandez: Nothing special to his voice. He can belt that gospel stuff though.
Chikezie (sp?): Bad performance and even worse reaction to the judgment. Wow, can he leave please?
David Cook: I'd vote for that.
Jason Yeager: It's our first time really seeing this guy... seeing his audition story with his son (!? could've sworn he was gay... maybe it was the hair being the only impression we'd been given of him to this point... I'm horrible for assuming things). So he's at a major disadvantage to start with. Pleasant voice, nice pipes, but, hm, nothing really special. Agree with Simon's critique... it was cruise ship. Maybe hotel jazz bar.
Robbie Carrico: I like Aimee Mann's version better, but it wasn't terrible. Guy's gotta get a different look, though, because he's so not Bo Bice. Maybe look the bandanna and get a haircut but leave the trim beard?
David Archuleta: Anyone else get a "keep it for a rainy day" sunshine-y feeling off this kid? He picked a song a bit too low in his register for him at some parts and lost a note near the end. But still the best performance yet. I keep waiting for Paula to jump his bones. What's with David's speaking voice, though? Very breathy. Aw, poor kid. He has no idea what to do with himself on screen. He makes me smile.
Danny Noriega: Am I the only one who doesn't like this kid? I dunno... just the whole package with his hair and mannerisms and outfit... I dunno, dawg. As long as he doesn't start saying "fierce" a lot, I'll be okay (that's Christian's thing, he can't have it). I just gett some very Sanjaya-esque vibes from him (especially because of hair that could easily become a national fascination). Paula start talking about the colors of his voice and all I can picture is him flying a rainbow flag from his Jetta.
UPDATE: 10:49PM, I'm back, lubricated (yay, vodka), and ready for more smarmy Ryan Seacrest.
Luke Menard: Again... who? Goddamn, there's a lot of tenors on this show. Where're the baritones representing us not-high-enough, not-low-enough ranged vocalists? Anyway, he's a little nasal, and a little, well, forgettable. He needs to work on making love to the camera (er, with his eyes).
Colton Berry: Earlier he had an onscreen bit where he said he looks like Ellen DeGeneres from the following angles: left, right, and from the front. Hilarious. And he kinda sorta does. Which is DISTURBING. He said his problem had been theatrical performances. Tonight, I think he could've done with a little, um, zsa zsa zsu? Also he had some major pitch problems, especially at the end. Dear Simon: If you wanted a recording artist, why did you send Josiah Leming away? That kid clearly has some modern/relevant talent (if not the best vocal range).
Garrett Haley: He's a little blasé, no? And his speaking voice is soooo fem. So his is singing voice, apparently (per the brief audition clip). There must be so much flak coming at the show about the fact that 6 of the 12 male contestants didn't have any screentime during the auditions or Hollywood Week. Garrett's song is boring and he sings it some of it really flat. Like Luke, Garrett's performance is forgettable. His response to the criticism should save him (boy has grace).
Jason Castro: All together, and for the final time tonight, now... who? Well, his hair makes an impression. Playing the guitar makes an impression. But, ultimately, pretty safe. Little vocal impression because of the lack of challenge in the song. Simon says Top 2 of the night with David Archuleta. I think David Cook's was better.
Michael Johns: Singing "Light My Fire" again? Hm, that's... eh? Much better performance than in Hollywood Week.
Travis Yanan's bottom two performances: Chikezie and Danny Noriega. But ultimately I think any of Garrett, Colton, Luke, and Jason Y. will be the bottom two on Thursday because of the "forgettable" factor combined with lack of screentime.
Based on this week and prior performances we've seen, the Top 6 Men will be David Cook, Robbie Carrico, David Archuleta, Jason Castro (the only no-screentime person to get praise tonight), Michael Johns, and probably Danny Noriega (saved by prior performances).
David Hernandez: Nothing special to his voice. He can belt that gospel stuff though.
Chikezie (sp?): Bad performance and even worse reaction to the judgment. Wow, can he leave please?
David Cook: I'd vote for that.
Jason Yeager: It's our first time really seeing this guy... seeing his audition story with his son (!? could've sworn he was gay... maybe it was the hair being the only impression we'd been given of him to this point... I'm horrible for assuming things). So he's at a major disadvantage to start with. Pleasant voice, nice pipes, but, hm, nothing really special. Agree with Simon's critique... it was cruise ship. Maybe hotel jazz bar.
Robbie Carrico: I like Aimee Mann's version better, but it wasn't terrible. Guy's gotta get a different look, though, because he's so not Bo Bice. Maybe look the bandanna and get a haircut but leave the trim beard?
David Archuleta: Anyone else get a "keep it for a rainy day" sunshine-y feeling off this kid? He picked a song a bit too low in his register for him at some parts and lost a note near the end. But still the best performance yet. I keep waiting for Paula to jump his bones. What's with David's speaking voice, though? Very breathy. Aw, poor kid. He has no idea what to do with himself on screen. He makes me smile.
Danny Noriega: Am I the only one who doesn't like this kid? I dunno... just the whole package with his hair and mannerisms and outfit... I dunno, dawg. As long as he doesn't start saying "fierce" a lot, I'll be okay (that's Christian's thing, he can't have it). I just gett some very Sanjaya-esque vibes from him (especially because of hair that could easily become a national fascination). Paula start talking about the colors of his voice and all I can picture is him flying a rainbow flag from his Jetta.
UPDATE: 10:49PM, I'm back, lubricated (yay, vodka), and ready for more smarmy Ryan Seacrest.
Luke Menard: Again... who? Goddamn, there's a lot of tenors on this show. Where're the baritones representing us not-high-enough, not-low-enough ranged vocalists? Anyway, he's a little nasal, and a little, well, forgettable. He needs to work on making love to the camera (er, with his eyes).
Colton Berry: Earlier he had an onscreen bit where he said he looks like Ellen DeGeneres from the following angles: left, right, and from the front. Hilarious. And he kinda sorta does. Which is DISTURBING. He said his problem had been theatrical performances. Tonight, I think he could've done with a little, um, zsa zsa zsu? Also he had some major pitch problems, especially at the end. Dear Simon: If you wanted a recording artist, why did you send Josiah Leming away? That kid clearly has some modern/relevant talent (if not the best vocal range).
Garrett Haley: He's a little blasé, no? And his speaking voice is soooo fem. So his is singing voice, apparently (per the brief audition clip). There must be so much flak coming at the show about the fact that 6 of the 12 male contestants didn't have any screentime during the auditions or Hollywood Week. Garrett's song is boring and he sings it some of it really flat. Like Luke, Garrett's performance is forgettable. His response to the criticism should save him (boy has grace).
Jason Castro: All together, and for the final time tonight, now... who? Well, his hair makes an impression. Playing the guitar makes an impression. But, ultimately, pretty safe. Little vocal impression because of the lack of challenge in the song. Simon says Top 2 of the night with David Archuleta. I think David Cook's was better.
Michael Johns: Singing "Light My Fire" again? Hm, that's... eh? Much better performance than in Hollywood Week.
Travis Yanan's bottom two performances: Chikezie and Danny Noriega. But ultimately I think any of Garrett, Colton, Luke, and Jason Y. will be the bottom two on Thursday because of the "forgettable" factor combined with lack of screentime.
Based on this week and prior performances we've seen, the Top 6 Men will be David Cook, Robbie Carrico, David Archuleta, Jason Castro (the only no-screentime person to get praise tonight), Michael Johns, and probably Danny Noriega (saved by prior performances).
Monday, February 18, 2008
The Return of CAPSLOCK
OH MY GOD IT'S BUBBLES! BUBBLES MAKES IT OUT OF BALTIMORE AND INTO THE EQUALLY HELLISH POST-APOCALYPTIC FUTURE OF THE TERMINATOR: THE SARAH CONNOR CHRONICLES UNIVERSE!!!!
Anyway, I'm so convinced that Bubbles is going to bite the big one in The Wire that this guest star / cameo / whatever has made me exceedingly happy, even if this episode of SCC has been, um, how shall I say... not quite what I was expecting given the Fox promos.
But then again nothing ever is, so shame on me for being surprised by this.
Anyway, this episode has been interesting, but also narratively challenging because all of the "flashback" stuff is happening in Derek Reese's mind... while he fights death. So while the audience gets to see it, the characters don't. Which makes it unsatisfying (IMHO) because that puts the audience sooooo many steps ahead of the characters.
Anyway, I'm so convinced that Bubbles is going to bite the big one in The Wire that this guest star / cameo / whatever has made me exceedingly happy, even if this episode of SCC has been, um, how shall I say... not quite what I was expecting given the Fox promos.
But then again nothing ever is, so shame on me for being surprised by this.
Anyway, this episode has been interesting, but also narratively challenging because all of the "flashback" stuff is happening in Derek Reese's mind... while he fights death. So while the audience gets to see it, the characters don't. Which makes it unsatisfying (IMHO) because that puts the audience sooooo many steps ahead of the characters.
Dancing with the Mars
So apparently Steve Guttenberg is going to be among the "stars" of the next cycle of DWTS. He is the third in a string of celebrities who had major guest starring roles on Veronica Mars to strap on his blue suede shoes (Lisa Rinna and Harry Hamlin both did so previously).
Can Charisma Carpenter be far behind? She was already rumored to be a cast member on Celebrity Apprentice before she was cast as Janelle on Big Shots in 2007 (blink, did you miss it?)
Monica Seles is among the celebrity dancers... I wonder if she'll grunt when she serves (her opponents some off the hizzy dance moves... sigh, I knew it was a stretch going into that joke...)
Can Charisma Carpenter be far behind? She was already rumored to be a cast member on Celebrity Apprentice before she was cast as Janelle on Big Shots in 2007 (blink, did you miss it?)
Monica Seles is among the celebrity dancers... I wonder if she'll grunt when she serves (her opponents some off the hizzy dance moves... sigh, I knew it was a stretch going into that joke...)
An Evening with the Walkers
I'm gonna miss the Walkers until they come back in a couple months.
A bit weird to have this episode airing in the middle of February, considering that one of the major plot lines is a presidential candidate's run for the Republican nomination. Of course, they're talking Iowa, Wyoming, and Michigan and what they want for their campaign heading into Super Tuesday...
... but we forgive the show because the episode would have airing on January 13th (two days before the Michigan primary on January 15th) but for the strike.
Argh, to think what could've been. This could've been a fantastic storyline unfolding fictionally in parallel to real events.
A bit weird to have this episode airing in the middle of February, considering that one of the major plot lines is a presidential candidate's run for the Republican nomination. Of course, they're talking Iowa, Wyoming, and Michigan and what they want for their campaign heading into Super Tuesday...
... but we forgive the show because the episode would have airing on January 13th (two days before the Michigan primary on January 15th) but for the strike.
Argh, to think what could've been. This could've been a fantastic storyline unfolding fictionally in parallel to real events.
Sunday, February 17, 2008
Knight Rider 2008
OH GOD IT'S JUST AS BAD AS THE SCRIPT WAS BUT I CAN'T LOOK AWAY BECAUSE IT'S GOING TO GET SO. MUCH. WORSE.
Seriously, in the NBC-Universal corporate, uh, universe, why is this airing on NBC on Sunday night instead of the Sci-Fi Channel on Saturday night???
Cliché-ridden, terribly acted drek (and that's just covering Val Kilmer's voiceovers, *snerk*). And depressingly bad effects (not to mention green-screening).
Seriously, in the NBC-Universal corporate, uh, universe, why is this airing on NBC on Sunday night instead of the Sci-Fi Channel on Saturday night???
Cliché-ridden, terribly acted drek (and that's just covering Val Kilmer's voiceovers, *snerk*). And depressingly bad effects (not to mention green-screening).
Friday, February 15, 2008
Decision Time
Okay, I've made my decision regarding Eli Stone. We're dunzo. It's schmaltz wrapped in convenience. Not even Victor Garber will bring me back to it. Pushing Daisies is twee and sometimes very... trying to watch because of the saccharine nature of the show... but it's far more entertaining and inventive. Someone explain to me why Eli would lose his legal malpractice insurance if he revealed he had a brain aneurysm? Shouldn't he lose it because he's BAT SHIT NUTS?
Meanwhile, I'm also growing increasingly weary of Make Me A Supermodel, because... I dunno, there's just not enough of either flash or emotion. But I'm sticking with it because I need my weekly dose of the Ronnie/Ben fake extramarital affair. Here's hoping that continues. And that Frankie leaves.
Meanwhile, I'm also growing increasingly weary of Make Me A Supermodel, because... I dunno, there's just not enough of either flash or emotion. But I'm sticking with it because I need my weekly dose of the Ronnie/Ben fake extramarital affair. Here's hoping that continues. And that Frankie leaves.
Thursday, February 14, 2008
The Economist
Well, it's official. Lost is on a roll. Three episodes into this season (and out of, I guess, seven that will air now, and six more will air later this season) and, day-um, but I don't remember the last time the show has kept me so on the edge of my seat with sheer entertainment value (even if half of the twists are things that I've speculated with other Lost fans... offline/IRL of course). It's just fun again. And the mysteries are good... and character based. Not a ton more "OMG, WTF IS UP WITH THAT ISLAND" questions being asked. Which is good, because I'm still waiting on answers on the giant four-toed statue, Smokezilla, and the rest of the Island shenanigans (though the time fluctuation bit was fantastically, and hilariously, brought to light tonight).
Apparently all of the 8pm repeats are annotated. I'm not currently recording anything on Thursdays at 8pm... I might just have to record/watch them.
Apparently all of the 8pm repeats are annotated. I'm not currently recording anything on Thursdays at 8pm... I might just have to record/watch them.
Wednesday Night TV
American Idol: Damn you, FOUR MINUTES OF OVERRUN. Seriously, that's just unacceptable. At least have the programming department tell the EPGs that it's going to run over. I was planning to leave the apartment at 9pm, so I started watching around 8:15pm. Anyway... WTF so many people in the Top 24 that I don't think I've seen their names before, much less heard ANY audition from them? Ever? Not in the audition phase, not throughout Hollywood Week. Doesn't seem to gel with the "build contestant stories more" mandate. Plus it makes it impossible to think about who is going to make the Top 12... because I haven't heard note one from almost half the contestants. Anyway... hopefully both Josiah and Cardin will be back for Idol 8. Oh, and please, never subject me to another opening like tonight's with Fox plugging 20th Century's Jumper. Although, hilarious tangent, I'm not sure who looked more uncomfortable and did a worse job acting/shilling: Hayden Christensen or Ryan Seacrest. Frightening.
Project Runway: Really, Rami? REALLY? Ugh, I'm so over his love of draping. And I'm so disappointed that he even has a chance to knock Chris March out of Bryant Park (as far as the competition is concerned, anyway). Ferosha Coutura was on fire. It would be anticlimactic for Christian to win in all... but I'm pretty sure he's going to. It's either him or Jillian, since whatever Chris busts out will probably be haute costume, but not couture, and if it's Rami, it's going the be MORE DRAPES. YAWN.
The Daily Show with Jon Stewart/The Colbert Report: It's kinda insane how different (and better) these shows were now that the writers are back. I mean... night and freaking day.
Project Runway: Really, Rami? REALLY? Ugh, I'm so over his love of draping. And I'm so disappointed that he even has a chance to knock Chris March out of Bryant Park (as far as the competition is concerned, anyway). Ferosha Coutura was on fire. It would be anticlimactic for Christian to win in all... but I'm pretty sure he's going to. It's either him or Jillian, since whatever Chris busts out will probably be haute costume, but not couture, and if it's Rami, it's going the be MORE DRAPES. YAWN.
The Daily Show with Jon Stewart/The Colbert Report: It's kinda insane how different (and better) these shows were now that the writers are back. I mean... night and freaking day.
Tuesday, February 12, 2008
Hollywood Week, Part 1
I have something to admit.
I've never watched American Idol's "Hollywood Week". I've sat through the auditions before (well, not all of them like this year), but I usually lose interest until the Top 12 are "revealed". I've decided to watch the whole kit and caboodle this season, so I'll be giving my impressions, based on never having watched this process before.
I like that the contestants get to play their own instruments (this year). One of the things about Idol graduates is that you know they do their own singing. But not every great singer is a great musician, and some good singers may be helped along by showing prowess on an instrument. Or not. But I like the idea of the show making a multi-faceted performer, not just a ballad-belter. Too bad it's only going to be allowed in this round. Although most of the people who "risked" instruments sucked miserably.
Also, I don't remember any of these contestants' stories (except the annoying cheer/dance team girl who blew her first audition in this round... LOL, take that, annoying girl).
Why do they insist on cutting together acts of this show that CLEARLY shows different outfits on the judges, and thus are on different days, and then have Ryan voiceover "at the end of Day One..."? I mean... boo, editing, boo. Also, Ryan keeps saying "the talent is so strong" but I've yet to really hear that in the performances. In fact, every year, Idol consistently delivers Top 12s where, still, half the people apparently can't really sing.
And considering the show only has tonight and tomorrow to remind us who the contestants are before the Top 24 and the audience vote kicks in... I have to wonder why they focus on so few of the contestants' stories? I'm at the point where Ryan has said 48 people passed the first round of auditions (so 116 are having their "last chance" day). And I only remember maybe 4-5 people being featured and sent to the next round before this "do or die" a capella round. I guess that's the Idol way.
And the terrible editing continues, as Ryan's "we'll be back after these commercials" involves saying only four people made it through thus far, but we just saw the judges put through eight of the ten people getting their second chance in the Amy Flynn (annoying, peppy dance team leader) section. Seriously, though, if we don't know who any of those people are... should we care? Because the producers said they were going to be putting more time into the contestants' stories this year, since that was lacking last year. Are any of those 8 people who made it through when Amy didn't going to make it to the Top 24 (considering that until next week this is all pre-shot and judge-controlled... so why waste time building contestant stories if they won't continue in the weeks to come? Other than a few foilers to sporadically care about when they do get eliminated?) On this subject... when does Hollywood Week actually occur? I mean, do the audition rounds air after Hollywood Week so the show can sort of build backwards? Or was Hollywood Week, like, last week (early Feb)? Sigh, I suppose I just don't understand the mechanics of reality shows pulling at viewers' heartstrings.
Okay, I'm up to the final day of auditions (Thursday of Hollywood Week). Wherefore art thou, Drew Poppelreiter? Anyway, what's this round about? If the judges like you, you go to the Top 50, and then they deliberate and whittle it down to the Top 24 sans performances? What's this "group audition day" they kept mentioning?
Whose sound do I like?
Amanda Overmyer - Rock and Roll chick? Yes, please. But can she sing in addition to rock?
Josiah Leming - I'm still not clear what his "mistakes" were over the last year (did he run away from home?) but I do like his sound. His Mika performance was a little more lounge than the actual song (which is ultra-pop) and his original audition was some fine alt-Brit rock. Limited vocal range, though. You can hear him straining on the high notes before he goes to falsetto. Hahah, I totally have Eminem's "Lose Yourself" playing through my head during the frustratingly sob story of his sleepless, preparationless night before the final audition round.
Carly Smithson - Irish lass has got some powerful lungs, man. And a blue tongue (actually a lot of the contestants are suffering some Blue Tongue-itis... craft services must have some fierce collection of of blue Ring/Blow/Tootsie Pops). You know what I want to hear her sing? Some Michelle Branch. She looks a bit like her. What happened to Michelle Branch (and The Wreckers), anyway?
Michael Johns - You know, he wasn't nearly as good as Amanda on "Light My Fire", but he's good looking and Australian, so what the heck. His "Bohemian Rhapsody" later in the program was actually really good.
David Archuleta - As long as this season's young, good-looking, likable boy with a good voice doesn't become Chicken Little 2... I'm on board.
Syesha Mercado - Because every season needs a pin-up soul sista.
But I feel like it's hard to really do any prognosticating because I don't even know who all of the people the judges are going to be sifting through are... so whatevs. Although, hey, look, there's Drew Poppelreiter in the Top 50 room at the very end of the episode. All together now.... aw, shucks.
Finally, I'm really liking this season's "bye bye" song, "Hollywood's Not America". Why can't the coronation ballads the winner has to sing be this good?
I've never watched American Idol's "Hollywood Week". I've sat through the auditions before (well, not all of them like this year), but I usually lose interest until the Top 12 are "revealed". I've decided to watch the whole kit and caboodle this season, so I'll be giving my impressions, based on never having watched this process before.
I like that the contestants get to play their own instruments (this year). One of the things about Idol graduates is that you know they do their own singing. But not every great singer is a great musician, and some good singers may be helped along by showing prowess on an instrument. Or not. But I like the idea of the show making a multi-faceted performer, not just a ballad-belter. Too bad it's only going to be allowed in this round. Although most of the people who "risked" instruments sucked miserably.
Also, I don't remember any of these contestants' stories (except the annoying cheer/dance team girl who blew her first audition in this round... LOL, take that, annoying girl).
Why do they insist on cutting together acts of this show that CLEARLY shows different outfits on the judges, and thus are on different days, and then have Ryan voiceover "at the end of Day One..."? I mean... boo, editing, boo. Also, Ryan keeps saying "the talent is so strong" but I've yet to really hear that in the performances. In fact, every year, Idol consistently delivers Top 12s where, still, half the people apparently can't really sing.
And considering the show only has tonight and tomorrow to remind us who the contestants are before the Top 24 and the audience vote kicks in... I have to wonder why they focus on so few of the contestants' stories? I'm at the point where Ryan has said 48 people passed the first round of auditions (so 116 are having their "last chance" day). And I only remember maybe 4-5 people being featured and sent to the next round before this "do or die" a capella round. I guess that's the Idol way.
And the terrible editing continues, as Ryan's "we'll be back after these commercials" involves saying only four people made it through thus far, but we just saw the judges put through eight of the ten people getting their second chance in the Amy Flynn (annoying, peppy dance team leader) section. Seriously, though, if we don't know who any of those people are... should we care? Because the producers said they were going to be putting more time into the contestants' stories this year, since that was lacking last year. Are any of those 8 people who made it through when Amy didn't going to make it to the Top 24 (considering that until next week this is all pre-shot and judge-controlled... so why waste time building contestant stories if they won't continue in the weeks to come? Other than a few foilers to sporadically care about when they do get eliminated?) On this subject... when does Hollywood Week actually occur? I mean, do the audition rounds air after Hollywood Week so the show can sort of build backwards? Or was Hollywood Week, like, last week (early Feb)? Sigh, I suppose I just don't understand the mechanics of reality shows pulling at viewers' heartstrings.
Okay, I'm up to the final day of auditions (Thursday of Hollywood Week). Wherefore art thou, Drew Poppelreiter? Anyway, what's this round about? If the judges like you, you go to the Top 50, and then they deliberate and whittle it down to the Top 24 sans performances? What's this "group audition day" they kept mentioning?
Whose sound do I like?
Amanda Overmyer - Rock and Roll chick? Yes, please. But can she sing in addition to rock?
Josiah Leming - I'm still not clear what his "mistakes" were over the last year (did he run away from home?) but I do like his sound. His Mika performance was a little more lounge than the actual song (which is ultra-pop) and his original audition was some fine alt-Brit rock. Limited vocal range, though. You can hear him straining on the high notes before he goes to falsetto. Hahah, I totally have Eminem's "Lose Yourself" playing through my head during the frustratingly sob story of his sleepless, preparationless night before the final audition round.
Carly Smithson - Irish lass has got some powerful lungs, man. And a blue tongue (actually a lot of the contestants are suffering some Blue Tongue-itis... craft services must have some fierce collection of of blue Ring/Blow/Tootsie Pops). You know what I want to hear her sing? Some Michelle Branch. She looks a bit like her. What happened to Michelle Branch (and The Wreckers), anyway?
Michael Johns - You know, he wasn't nearly as good as Amanda on "Light My Fire", but he's good looking and Australian, so what the heck. His "Bohemian Rhapsody" later in the program was actually really good.
David Archuleta - As long as this season's young, good-looking, likable boy with a good voice doesn't become Chicken Little 2... I'm on board.
Syesha Mercado - Because every season needs a pin-up soul sista.
But I feel like it's hard to really do any prognosticating because I don't even know who all of the people the judges are going to be sifting through are... so whatevs. Although, hey, look, there's Drew Poppelreiter in the Top 50 room at the very end of the episode. All together now.... aw, shucks.
Finally, I'm really liking this season's "bye bye" song, "Hollywood's Not America". Why can't the coronation ballads the winner has to sing be this good?
92.5%
Well, the strike is officially over. It'll be interesting to see on Feb 25th (or 26th or later, depending on when votes are tallied) how the figure for ratifying the new MBA differs from this "lift the strike" authorization.
Now we can get back to the important things... complaining about how badly written Saturday Night Live is now.
Now we can get back to the important things... complaining about how badly written Saturday Night Live is now.
Monday, February 11, 2008
I have a better title
For tonight's Brothers & Sisters than "The Missionary Imposition". It's "OMG AWKWARD GAY LOVE TRIANGLE". And I think it fits.
Nice progress in the various stories tonight. And, lord, this show employs, like, all of Hollywood's best TV actors (er, except Balthazar Getty...) doesn't it? Nice to know that there's a new episode next week, and then it'll be back in a couple months!
With the Lena thing apparently a thing of the past... WHAT FRESH HELL AWAITS????
Nice progress in the various stories tonight. And, lord, this show employs, like, all of Hollywood's best TV actors (er, except Balthazar Getty...) doesn't it? Nice to know that there's a new episode next week, and then it'll be back in a couple months!
With the Lena thing apparently a thing of the past... WHAT FRESH HELL AWAITS????
Saturday, February 9, 2008
Ho-Hum
I'm going to be VERY curious to see WGA member reactions to this tentative deal.
It's very clear that the DGA deal (even though not formalized in draft language) was used as a template.
The only real differentiations as I can tell is an added "Downloads Rental" section (which, with Netflix's move towards online rental and the opening of the iTunes Rental store actually may be quite a significant gain, given that it is set at 1.2%) and the section on Separated Rights.
The jurisdictional clause is pretty close to the DGA language, only instead of a "WGA member" (instead of DGA member) working on the project satisfying the jurisdiction requirement, it is termed as a "professional writer", which I think is quite interesting. The actual draft language will probably detail this section, but it certainly seems to imply than non-WGA members count as "professional writers". The deal memo is vague.
Meanwhile, it's the same (pretty shitty) EST rates (0.36% for first 100,000 TV / 50,000 feature, increases to 0.7% and 0.65% respectively). On the flip side, hey, maybe this means we'll actually find out how many copies of Gossip Girl are being sold on iTunes (where it's constantly #1... but we've had no idea what that meant).
Regardless, behavioral / preference studies have shown that people are much more likely to use Ad-Supported Streaming video options than EST... and the ASS section is pretty complex and I don't want to really give a first-blush impression. I think that the feature section represents a real victory, as it is the "normal" 1.2% residual rate with no ifs, ands, or buts. The television section is the complicated part. The major difference I see is that the writers got a second year with 26-week options at 3% of the residual base, and the 2% of distributor's gross (notes, these are different bases) only kicks in at the third year (whereas I believe the directors on had one year of 26-week options, and in the second year the lower residual rate kicked in). The big question that I have is about the imputed value of the distributor gross receipts. The deal memo states that the value of said has been imputed at $40K for an hour-long show and $20K for a half-hour-long show (thus 2% per 26-week period would be $800 and $400 respectively). I know the definition of "impute", but do these residual numbers change based on what the actual gross receipts are during 26-week periods in the third (fourth, fifth, etc) year?
The explanation of this whole section (Television Ad-Supported Streaming [New Programs]>Residual Payment, Network Prime Time), I'm sure, will be the crux of whether the majority of the general membership is in favor or against this contract.
One last interesting note, though... the new contract, if ratified, would expire at the start of May 2011 (two months before the DGA and SAG contracts). This shows how effective this strike was. The studios fear that the next time the writers go on strike, it will derail a television season, the next pilot season, awards season, and the slate of movies 18 months later. Starting the contract in May lands it immediately after writing is done on network television shows, when filming is done on pilots, after awards season, and at such a time as to not have any effect on the immediate blockbusters (as some of the 2008 summer blockbusters were delayed by this strike). In other words, the writers' leverage next time they go on strike will be, well, not as much (at least there will be a less profound effect of going out on strike immediately after the contract expires). Provided the television industry's schedule stays pretty much the same, the only major effect will be the delay of the start of the next television season (like what happened in 1988). Well, hopefully there's no reason to strike for a good, long while.
3:43PM UPDATE: There seems to be a lot of noise about this missing "most favored nation" clause (for New Media areas). What gives? Also the attitude seems to be that writers have to take this deal, or wait another 3-4 months until SAG's deal is up (and presumably goes on strike). Somehow, with the deadlines coming up, the AMPTP has put the pressure on the WGA to take the deal (since, supposedly, this contract comes with a "lift the strike, then vote to take the deal or not" presumption). What gives there? You know what, some dark, deep place in me almost hopes that the general mood of the writers is against the contract, so the WGA can go back to the AMPTP and demand more (i.e. a shorter free streaming window, and some advancement on DVDs), then put it back to the membership for a 48-hour vote (instead of this 10-day vote). Come on, WGA, put the pressure on the AMPTP! Your leverage is about to expire... but until it does, USE IT!
It's very clear that the DGA deal (even though not formalized in draft language) was used as a template.
The only real differentiations as I can tell is an added "Downloads Rental" section (which, with Netflix's move towards online rental and the opening of the iTunes Rental store actually may be quite a significant gain, given that it is set at 1.2%) and the section on Separated Rights.
The jurisdictional clause is pretty close to the DGA language, only instead of a "WGA member" (instead of DGA member) working on the project satisfying the jurisdiction requirement, it is termed as a "professional writer", which I think is quite interesting. The actual draft language will probably detail this section, but it certainly seems to imply than non-WGA members count as "professional writers". The deal memo is vague.
Meanwhile, it's the same (pretty shitty) EST rates (0.36% for first 100,000 TV / 50,000 feature, increases to 0.7% and 0.65% respectively). On the flip side, hey, maybe this means we'll actually find out how many copies of Gossip Girl are being sold on iTunes (where it's constantly #1... but we've had no idea what that meant).
Regardless, behavioral / preference studies have shown that people are much more likely to use Ad-Supported Streaming video options than EST... and the ASS section is pretty complex and I don't want to really give a first-blush impression. I think that the feature section represents a real victory, as it is the "normal" 1.2% residual rate with no ifs, ands, or buts. The television section is the complicated part. The major difference I see is that the writers got a second year with 26-week options at 3% of the residual base, and the 2% of distributor's gross (notes, these are different bases) only kicks in at the third year (whereas I believe the directors on had one year of 26-week options, and in the second year the lower residual rate kicked in). The big question that I have is about the imputed value of the distributor gross receipts. The deal memo states that the value of said has been imputed at $40K for an hour-long show and $20K for a half-hour-long show (thus 2% per 26-week period would be $800 and $400 respectively). I know the definition of "impute", but do these residual numbers change based on what the actual gross receipts are during 26-week periods in the third (fourth, fifth, etc) year?
The explanation of this whole section (Television Ad-Supported Streaming [New Programs]>Residual Payment, Network Prime Time), I'm sure, will be the crux of whether the majority of the general membership is in favor or against this contract.
One last interesting note, though... the new contract, if ratified, would expire at the start of May 2011 (two months before the DGA and SAG contracts). This shows how effective this strike was. The studios fear that the next time the writers go on strike, it will derail a television season, the next pilot season, awards season, and the slate of movies 18 months later. Starting the contract in May lands it immediately after writing is done on network television shows, when filming is done on pilots, after awards season, and at such a time as to not have any effect on the immediate blockbusters (as some of the 2008 summer blockbusters were delayed by this strike). In other words, the writers' leverage next time they go on strike will be, well, not as much (at least there will be a less profound effect of going out on strike immediately after the contract expires). Provided the television industry's schedule stays pretty much the same, the only major effect will be the delay of the start of the next television season (like what happened in 1988). Well, hopefully there's no reason to strike for a good, long while.
3:43PM UPDATE: There seems to be a lot of noise about this missing "most favored nation" clause (for New Media areas). What gives? Also the attitude seems to be that writers have to take this deal, or wait another 3-4 months until SAG's deal is up (and presumably goes on strike). Somehow, with the deadlines coming up, the AMPTP has put the pressure on the WGA to take the deal (since, supposedly, this contract comes with a "lift the strike, then vote to take the deal or not" presumption). What gives there? You know what, some dark, deep place in me almost hopes that the general mood of the writers is against the contract, so the WGA can go back to the AMPTP and demand more (i.e. a shorter free streaming window, and some advancement on DVDs), then put it back to the membership for a 48-hour vote (instead of this 10-day vote). Come on, WGA, put the pressure on the AMPTP! Your leverage is about to expire... but until it does, USE IT!
Friday, February 8, 2008
You're Breaking My Balls, Here
Sigh, staying in tonight because of by persistent cough and sore throat (at least the congestion has subsided a bit).
Meanwhile, still no contract draft, per Nikki Finke (who attributes it to the AMPTP taking too long... but after quite a bit of experience assisting an agent who dealt with business affairs people on contracts far simpler than the WGA MBA... these things take time to read, to edit, and to approve. Like, a lot of time). I understand that the reasoning behind the deadline of tonight is basically two-fold. First, because the WGA East and West are having general membership meetings tomorrow, which means the contract needs to have language or the WGA can't present the contract to the members in order to gauge the membership's feelings about it in advance of Sunday's Board meeting that can choose to lift the strike before Monday if the feeling is that the membership will ratify the contract (or not). Second, because of the ticking clocks of The Oscars, pilot season (and to some extent, the rest of this season... although in truth there's not going to be many series coming back until Fall), and salvaging the studios' 2009 slate.
So, while I understand the delicate, detail-laden issue that is contract drafting... let's get this thing written and signed by the CEOs in time for the meeting tomorrow (which, I guess, would mean by 2pm Eastern). You'd think people, at this juncture, would be willing to pull a couple all-nighters.
Meanwhile, still no contract draft, per Nikki Finke (who attributes it to the AMPTP taking too long... but after quite a bit of experience assisting an agent who dealt with business affairs people on contracts far simpler than the WGA MBA... these things take time to read, to edit, and to approve. Like, a lot of time). I understand that the reasoning behind the deadline of tonight is basically two-fold. First, because the WGA East and West are having general membership meetings tomorrow, which means the contract needs to have language or the WGA can't present the contract to the members in order to gauge the membership's feelings about it in advance of Sunday's Board meeting that can choose to lift the strike before Monday if the feeling is that the membership will ratify the contract (or not). Second, because of the ticking clocks of The Oscars, pilot season (and to some extent, the rest of this season... although in truth there's not going to be many series coming back until Fall), and salvaging the studios' 2009 slate.
So, while I understand the delicate, detail-laden issue that is contract drafting... let's get this thing written and signed by the CEOs in time for the meeting tomorrow (which, I guess, would mean by 2pm Eastern). You'd think people, at this juncture, would be willing to pull a couple all-nighters.
Tick Tick Boom
As we all await the contract language of the WGA deal (which at this point I suspect will not be ready for tomorrow's general membership meetings), I decided to take a look at episode two of Eli Stone and I have this to say about the series... it reminds me less and less of Ally McBeal and more and more of Wonderfalls. Although it doesn't hold a candle to either. I'll watch next week's Eli Stone episode, but that'll be the final one if it doesn't show me something I can't already see on far-superior series available on DVD.
Meanwhile, last night's Make Me a Supermodel underwhelmed me, given the possibilities of the Fashion Week setting. I really, really wish the series would at least give us confessional / interview hints at what happens between putting models up for elimination and the actual elimination several days later. There has to be something interesting going on, especially for the models who after up for the vote... do they train just as hard? Is there a lot of pressure on them (which might explain Katy's antisocial-ish behaviors, given she's been up for the vote three of a possible four times). It's just so unsatisfactory to see the models having one runway training session and one personal training session per week without knowing that they're practicing and on diet and exercise regimens. Anyway, no chance Ronnie goes home (fingers crossed, anyway). After the judges doomed Jay last week by saying that America made the wrong choice by sending Aryn home in his stead, he got eliminated, and this episode did a really good job of highlighting reasons why Katy should be sent home (the damning shot of her eating that leftover piece of cake). Although, with Frankie up for elimination, I have to say I would approve of dropping him (the pattern seems to be that when there are two males and a female up for the vote, a male goes home, and vice versa with two females and one male).
Meanwhile, last night's Make Me a Supermodel underwhelmed me, given the possibilities of the Fashion Week setting. I really, really wish the series would at least give us confessional / interview hints at what happens between putting models up for elimination and the actual elimination several days later. There has to be something interesting going on, especially for the models who after up for the vote... do they train just as hard? Is there a lot of pressure on them (which might explain Katy's antisocial-ish behaviors, given she's been up for the vote three of a possible four times). It's just so unsatisfactory to see the models having one runway training session and one personal training session per week without knowing that they're practicing and on diet and exercise regimens. Anyway, no chance Ronnie goes home (fingers crossed, anyway). After the judges doomed Jay last week by saying that America made the wrong choice by sending Aryn home in his stead, he got eliminated, and this episode did a really good job of highlighting reasons why Katy should be sent home (the damning shot of her eating that leftover piece of cake). Although, with Frankie up for elimination, I have to say I would approve of dropping him (the pattern seems to be that when there are two males and a female up for the vote, a male goes home, and vice versa with two females and one male).
The "Wow" Factor
I know, I know, I still haven't done a detailed post about the season premiere of Lost last week. I probably won't at this point. Bottom line... it was over-hyped, but a solid effort that definitely laid clues and the groundwork for, well, the rest of the series. It didn't really have much of a "wow" factor, though. Lots of information, a whole new timeline to try and digest, new mythology... so tons of the usual brand of Lost unknown. But not a ton of "wow."
Tonight's Freighter-people-centric episode ("Confirmed Dead") brought the "wow" and then some. I mean... damn. So. Freaking. Good. BTW, I'm not sure what the most "wow" came from, so feel free to chime in with your "wow" notices. For me (hopefully I'm not spoiling too much), the big "wows" were what the Freighter-people came to the Island for, Charlotte's flashback scene, and the cliffhanger.
Even if the last bit of flashback was an info-dump rather than the usual "maybe someone is thinking about this, and it emotionally informs the Island-story". Since it was a scene betweenComm. Daniels Matthew Abbadon and the (officially?) deceased Naomi. BTW, how awesome is it that the Lost writers misspell "abaddon" in order to get an anagram ("what bad boatmen"). I wonder if there's an anagram... perhaps an insanely large one... to be had from the four Freighter-people's names (since the show was so kind as to say their first and last names, and in the case of Charlotte, her middle name) (i.e. Daniel Faraday could be "A Linear Day Fad" but is probably not). Or maybe they'll just be the usual lumping of references to philosophers, scientists, and authors. Well, someone else will figure it out and I'm sure it'll wind up around teh interwebz.
Tonight's Freighter-people-centric episode ("Confirmed Dead") brought the "wow" and then some. I mean... damn. So. Freaking. Good. BTW, I'm not sure what the most "wow" came from, so feel free to chime in with your "wow" notices. For me (hopefully I'm not spoiling too much), the big "wows" were what the Freighter-people came to the Island for, Charlotte's flashback scene, and the cliffhanger.
Even if the last bit of flashback was an info-dump rather than the usual "maybe someone is thinking about this, and it emotionally informs the Island-story". Since it was a scene between
Thursday, February 7, 2008
What Would Riggins Do?
I don't normally get involved in pimping "Save Our Show" campaigns, but in light of Ben Silverman's recent comments about the fate of the wonderful, and not-as-tragically-low-rated-as-would-be-believed Friday Night Lights, I've decided to reverse my personal Anti Pimping Laws.
http://www.bestweekever.tv/lightson
Also, watch tomorrow night's final produced pre-strike episode.
*I also love 30 Rock
http://www.bestweekever.tv/lightson
Also, watch tomorrow night's final produced pre-strike episode.
*I also love 30 Rock
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