About to watch (but not blog) live. Yes, live. As in with commercials. As it airs.
Because I <3 style="font-style: italic;">Lost that much.
Will probably not blog about the episode until late tonight or tomorrow morning when I get a chance to do a second viewing, as I'm going to be running out the door the moment the episode ends (10:02pm) to meet someone for much-needed alcohol (but as my friend does not watch Lost, there will unfortunately... or perhaps fortunately... be no discussion).
Thursday, January 31, 2008
Wednesday, January 30, 2008
A Non-Fierce Wednesday
Sigh, no Project Runway this week.
Anyway... Idol. A thought occurs. Has Paula ever said "no" and Randy and Simon said "yes"? Because I feel like she's always sending people through to Hollywood when the other two judges disagree. And little else. Anyway... Miami was pretty uneventful for me, dawg. Syesha Mercado had a big voice... there was the requisite Shakira look-somewhat-a-like with big hoop earrings... and OMGYOUGUYS remember American Juniors LOLZEEZ girl.
Lost: The annotated "Through the Looking Glass" got off to a bad start for me (not the episode, the annotations). Um... why not save telling people that the non-Island stuff was a flash-forward until later? Why blow the wad in the first 5 seconds (why not wait for one of the later flash-forward sections, and point out things about technology that wouldn't have existed pre-crash, for instance)??? Not to mention the annotations for the rest of that scene (I'll tone this down as I watch... hopefully the pop-ups won't be as terrible throughout)... "Jack looks troubled" and "Looks like a bumpy ride, but Jack doesn't seem to mind." Really, annotations? REALLY!? Okay, it looks like the annotations get a bit more informative once we get to the Island (and even have pop-up images to show what character is being talked about as the annotation explains the context of what's going on). Also they develop a sense of humor... somewhat. Bad call not annotating Charlie's brief flashback to Desmond telling him about the images surrounding his death at the Looking Glass station.
BWAHAHA, someone needs to put the Sawyer character promo set to "Bad to the Bone" by George Thorogood on YouTube. If you missed it, it started at around 9:54pm. Hi-freaking-larious. The 10:46pm Locke character promo set to "Crazy" by Patsy Cline was just "a'ight".
... goddammit, "Through the Looking Glass" is such a fucking brilliant episode of television...
Anyway... Idol. A thought occurs. Has Paula ever said "no" and Randy and Simon said "yes"? Because I feel like she's always sending people through to Hollywood when the other two judges disagree. And little else. Anyway... Miami was pretty uneventful for me, dawg. Syesha Mercado had a big voice... there was the requisite Shakira look-somewhat-a-like with big hoop earrings... and OMGYOUGUYS remember American Juniors LOLZEEZ girl.
Lost: The annotated "Through the Looking Glass" got off to a bad start for me (not the episode, the annotations). Um... why not save telling people that the non-Island stuff was a flash-forward until later? Why blow the wad in the first 5 seconds (why not wait for one of the later flash-forward sections, and point out things about technology that wouldn't have existed pre-crash, for instance)??? Not to mention the annotations for the rest of that scene (I'll tone this down as I watch... hopefully the pop-ups won't be as terrible throughout)... "Jack looks troubled" and "Looks like a bumpy ride, but Jack doesn't seem to mind." Really, annotations? REALLY!? Okay, it looks like the annotations get a bit more informative once we get to the Island (and even have pop-up images to show what character is being talked about as the annotation explains the context of what's going on). Also they develop a sense of humor... somewhat. Bad call not annotating Charlie's brief flashback to Desmond telling him about the images surrounding his death at the Looking Glass station.
BWAHAHA, someone needs to put the Sawyer character promo set to "Bad to the Bone" by George Thorogood on YouTube. If you missed it, it started at around 9:54pm. Hi-freaking-larious. The 10:46pm Locke character promo set to "Crazy" by Patsy Cline was just "a'ight".
... goddammit, "Through the Looking Glass" is such a fucking brilliant episode of television...
Tuesday, January 29, 2008
Tuesday TV
Idol: Okay, even if he hadn't figured the words out, the judges would have to be real tweedledumbasses to not let Jason Rich through. Maybe no immediate star quality, but a gorgeous voice. Not quite as "aw, shucks" as the season's other singing farm boy (Drew Poppelreiter). I absolutely love that girl who accidentally said she was going to be America's Next Top Model. Angelica Puente's voice has amazing range, I hope she can develop her own sound by the time Hollywood rolls around. And Randy recommended mirror time to the rocker guy (how can you be a rocker without, er, stage presence/persona?) Can't remember the name of the girl, but whoever sang Norah Jones... I liked it, the show needs a good, jazzy voice in the mix.
House: OMG, I've been waiting for this episode for months (and there are only two left...) What does the post-Survivor format look like? I'm watching now... no new opening credits? Sad day. They're credited as "Also Starring". Interesting. Also... Christmas episode? Oh, Fox scheduling department... oh, Preston Beckman... oh, writers' strike. Anyway... House went to talk to the patients' daughter really quickly (for him). I persist that I don't give two shakes of a fist about Ministud/Taub. Where the heck are Cameron and Chase, goddammit!? The show needs to figure out a way to include them. So, this whole episode is basically House fucking with his new team in order to make sure they're always on their toes and always looking over each others' shoulders and questioning each others' diagnoses (and I absolutely love that Thirteen sees through his bullshit and wants to drive him nuts). Smart, but... eh? Hah, Jennifer Morrison's lone scene is a mit-out-sound montage.
The preview for the not-supposed-to-be-post-Super-Bowl-but-post-Super-Bowl episode looks gimmicky... man, I wish they'd gone with their two-parter idea instead of making some mechanic at the South Pole into Izzie Stevens (preview basically has him drilling a hole into Mira Sorvino's head).
Nip/Tuck: EWWWWWWWWWWWWWWW!!!!!!!!!!!!!!!!!!! Ugh, the opening consult (newlyweds trapped in car during honeymoon resort to mild cannibalism because one has hypoglycemia)... wow, I'm sorry, I think this may be my last episode of this show. BWAHAHAHA! Okay, they just saved their bacon with that "We're CAA" bit. They do look like they're CAA... except, um, no, the assistant does not walk with the agent. The assistant stays in the Death Star while their bosses go to poach clients since said talent's agent is under the knife (would I be terribly surprised if this were based on a true story? It's CAA... so nope!)
House: OMG, I've been waiting for this episode for months (and there are only two left...) What does the post-Survivor format look like? I'm watching now... no new opening credits? Sad day. They're credited as "Also Starring". Interesting. Also... Christmas episode? Oh, Fox scheduling department... oh, Preston Beckman... oh, writers' strike. Anyway... House went to talk to the patients' daughter really quickly (for him). I persist that I don't give two shakes of a fist about Ministud/Taub. Where the heck are Cameron and Chase, goddammit!? The show needs to figure out a way to include them. So, this whole episode is basically House fucking with his new team in order to make sure they're always on their toes and always looking over each others' shoulders and questioning each others' diagnoses (and I absolutely love that Thirteen sees through his bullshit and wants to drive him nuts). Smart, but... eh? Hah, Jennifer Morrison's lone scene is a mit-out-sound montage.
The preview for the not-supposed-to-be-post-Super-Bowl-but-post-Super-Bowl episode looks gimmicky... man, I wish they'd gone with their two-parter idea instead of making some mechanic at the South Pole into Izzie Stevens (preview basically has him drilling a hole into Mira Sorvino's head).
Nip/Tuck: EWWWWWWWWWWWWWWW!!!!!!!!!!!!!!!!!!! Ugh, the opening consult (newlyweds trapped in car during honeymoon resort to mild cannibalism because one has hypoglycemia)... wow, I'm sorry, I think this may be my last episode of this show. BWAHAHAHA! Okay, they just saved their bacon with that "We're CAA" bit. They do look like they're CAA... except, um, no, the assistant does not walk with the agent. The assistant stays in the Death Star while their bosses go to poach clients since said talent's agent is under the knife (would I be terribly surprised if this were based on a true story? It's CAA... so nope!)
Wizard's First Rule
The Hollywood Reporter has an article about Sam Raimi re-teaming up with the Xena/Hercules people to do a weekly syndicated fantasy series based on Terry Goodkind's "Sword of Truth" cycle, and it will be called Wizard's First Rule (which is the title of the first book in the series, and the only one of the books I've read... I know people who've read through the cycle, and they basically told me that the first book is the best, the second book is good, and from then on it's just Terry Goodkind preaching morals and ethics).
Despite any potential misgivings about the source material... I'm all for this. I miss me my (good years of) Xena. Not that WFR will have that kind of camp value or subtext, but still.
And if Sam Raimi can't get one of these weekly syndicated fantasy series up and successful, we'll know once and for all that the format is dead.
... now I have "Jockser the Mighty" stuck in my head.
MEANWHILE, I'm still eagerly awaiting George R. R. Martin's "A Dance With Dragons" from the "A Song of Ice and Fire" cycle (which has, through four books, been hands down the best fantasy I've ever read... if you haven't read the first book, "A Game of Thrones", get thee to a book store). It was announced what seems like a year ago that David Benioff was going to adapt the entire "A Song of Ice and Fire" cycle for HBO, with each book comprising a season (for seven planned seasons). Of course, that's made more difficult with only 4 of (again, planned) 7 books published, and continuous delays of publication of the next installment.
Despite any potential misgivings about the source material... I'm all for this. I miss me my (good years of) Xena. Not that WFR will have that kind of camp value or subtext, but still.
And if Sam Raimi can't get one of these weekly syndicated fantasy series up and successful, we'll know once and for all that the format is dead.
... now I have "Jockser the Mighty" stuck in my head.
MEANWHILE, I'm still eagerly awaiting George R. R. Martin's "A Dance With Dragons" from the "A Song of Ice and Fire" cycle (which has, through four books, been hands down the best fantasy I've ever read... if you haven't read the first book, "A Game of Thrones", get thee to a book store). It was announced what seems like a year ago that David Benioff was going to adapt the entire "A Song of Ice and Fire" cycle for HBO, with each book comprising a season (for seven planned seasons). Of course, that's made more difficult with only 4 of (again, planned) 7 books published, and continuous delays of publication of the next installment.
Monday, January 28, 2008
Dear The Simpsons
Never, ever, EVER do a flashback episode again.
Tonight's sacrilegious affair did point out the inconsistency of the long-held canon that Bart was conceived while Homer and Marge were just out of high school (despite, again, as noted in the episode Homer and Marge being near-40 and Bart being perpetual-10).
But that's where the semi-accolades stop.
I know the show has been around almost two decades so it can be a real stretch on the space-time continuum thing... but for those of us who've been with it since nearly the beginning (and those of us to still hold much of the series's mid-90s work to classic, pedestal status) don't mess with the show's rich inner history. It's a betrayal. Please continue with the premise that despite not aging, the characters move forward in time with the rest of us (and the politics, pop culture, celebrities, sensibilities, and technologies of the day). Don't deprive us of Homer being a little kid during Woodstock, his mother being an outlaw for her hippie ways, and Homer and Marge's beautiful late-'70s high school courtship. Among other things.
And while you're at it, please note that Semisonic's "Closing Time" came well after Nirvana. So... using it as background / sweetening music in a montage before Homer apparently invents grunge music doesn't work. However the parodies of Nirvana and Bush songs were nice.
Seriously, though, now that the series is so old that flashing back to just before Bart was born puts the series after the start of its run... just don't do it.
Tonight's sacrilegious affair did point out the inconsistency of the long-held canon that Bart was conceived while Homer and Marge were just out of high school (despite, again, as noted in the episode Homer and Marge being near-40 and Bart being perpetual-10).
But that's where the semi-accolades stop.
I know the show has been around almost two decades so it can be a real stretch on the space-time continuum thing... but for those of us who've been with it since nearly the beginning (and those of us to still hold much of the series's mid-90s work to classic, pedestal status) don't mess with the show's rich inner history. It's a betrayal. Please continue with the premise that despite not aging, the characters move forward in time with the rest of us (and the politics, pop culture, celebrities, sensibilities, and technologies of the day). Don't deprive us of Homer being a little kid during Woodstock, his mother being an outlaw for her hippie ways, and Homer and Marge's beautiful late-'70s high school courtship. Among other things.
And while you're at it, please note that Semisonic's "Closing Time" came well after Nirvana. So... using it as background / sweetening music in a montage before Homer apparently invents grunge music doesn't work. However the parodies of Nirvana and Bush songs were nice.
Seriously, though, now that the series is so old that flashing back to just before Bart was born puts the series after the start of its run... just don't do it.
Sunday, January 27, 2008
Playing Catch Up
Having now caught up on The Wire (through last Sunday's episode), what's really impressed me about the three episodes to far this season is the show's ability to service a truly astounding number of characters while connecting stories that chart back through the first season... plus seeming to bring the second season back into the fray! Beattie (Amy Ryan)! The Greek!
In that spirit, I must ask... where are Prez and Bunny?
Man, season four still brings tears to my eyes.
Ugh, I've spent much of the last few days in seclusion (a combination of attempting to finish work on some projects and strike-inspired antisocial...-ism? -ness?). Plus my ratings source was sick and thus I wasn't getting nationals, meaning nothing to report. Hopefully I'll be getting stuff on time (not to mention waking up on time), since I'll be posting the prelims at PIFeedback.com for Marc Berman while he's in NATPE (fingers crossed).
Moving on to this week's TV (bottom line: not enough to tide me over through a hopeful-May/probable-September). Seriously, I looked at what's scheduled to record for the next 10 days (most shows are in repeats/skips this week... how much can I not wait for Lost's return???) I'm this close to recording Lipstick Jungle on February 7th simply because it'll be on...
Anyway, I'll probably miss some stuff, so... forgive me?
Friday Night Lights: You know, I don't post thoughts on FNL enough. The 2008 string of episode have really been so back-in-form that I (sorta) haven't missed the football games. Nice to have volleyball and some good, fun Tyra action in this episode. And how much fun is Matt Czuchry as something other than a Huntzberger? Not sure how many episodes are left... wonder if we'll actually be able to see any real fallout from Smash not eating his episode-title-humble-pie. He apparently attended the Ben Silverman school of how to talk to journalists.
Chuck: What can really be said about these two episodes except... Chuck, I'll miss you most of all (now that you're out of episodes). Come back soon! Please?
Ugly Betty: Gene Simmons can't be Amanda's father. It's way too easy (although, very, very, very fun to have "It's Mandy, Bitch" rocking out with the IRS). Not that we should really put stock in what any TV psychic played by Annie Potts has to say, but she did say "the kiss will lead [Amanda] to [her] father." So... where was Gene taking our Mandy? I couldn't care less about what Wilhelmina's sister's secret is. And someone needs to remind the writers (when they return) that Betty has a family, and they used to have plots of their own.
Big Shots: It's over. I'm pretty sure I can delete it from my FauxVo/TiFaux's fake Season Pass.
Make Me A Supermodel: The reviewer at Zap2it.com misses the point of the show's title. The "Make" isn't about the judges creating a supermodel (and while there was no instruction in this episode, they did have runway sessions in the first two... they also had the good-to-know measurement system to track fitness). The "Make" is about the viewer vote. Though I do agree on the point that the show is too slow moving and we don't get a real look at the "characters" (as I noted last week, I get it because of the rush-job the show's post-production schedule requires... it would be too difficult to include non-task related stories from the time between putting wannamodels up for elimination and the elimination ceremony). Man, if Frankie (tres annoying, no?) were up for elimination this week, he'd be so very gone. I sincerely hope that Jay leaves this week because I like both Aryn (she is part of the hilarious extra-marital Ronnie/Ben/Aryn sandwich... oh, dear, I wonder what Ben's wife thinks...) and Holly (in the words of Roxette, she's got the look).
American Idol: Zzzzz. What a terrible week of auditions. "Limited" by the one-hour running time each night, the show failed to feature much real talent, and the "freak" portions weren't even that terribly funny (more of just terrible). Ordinarily I'd be really happy about Idol's ratings decline... but not so much this season (no, I don't have money on it... yet...) With Idol no longer breaking 30 million viewers, it points to really, really bad signs about broadcasting television in general. We're pretty much guaranteed a post-strike world were the networks act more like cable and ordering precious few pilots to series (ordering, perhaps, more scripts of pilot scripts they like before giving the series order) and far smaller writing staffs on shows (so, yay to being a baby writer). Though, perhaps, a new development system will help Hollywood inch closer to being a meritocracy instead of a place where the shit and the gold both float to the top (and you know it does in the current system). I'm getting away from myself here... and with my foot squarely secured in my mouth.
Project Runway: Oh, Ricky. You cry even when you're complimented. You should've been booted episodes ago. Anyway, do we hear me complaining about Victorya getting auf'd?
Nip/Tuck: What's really left to say about this show? I wasn't even aware the show had set this episode up as a "we're going to kill someone" episode. So the (I guess) fake-outs with Julia's illness only bothered me inasmuch as they were just... blech. Shame the bring Gina back for two episodes (and to only have her serve as a plot device to wedge in between Christian and Julia) and kill her. Although I was definitely surprised by it. And a bit put off by the over-black "This is love" echo.
In that spirit, I must ask... where are Prez and Bunny?
Man, season four still brings tears to my eyes.
Ugh, I've spent much of the last few days in seclusion (a combination of attempting to finish work on some projects and strike-inspired antisocial...-ism? -ness?). Plus my ratings source was sick and thus I wasn't getting nationals, meaning nothing to report. Hopefully I'll be getting stuff on time (not to mention waking up on time), since I'll be posting the prelims at PIFeedback.com for Marc Berman while he's in NATPE (fingers crossed).
Moving on to this week's TV (bottom line: not enough to tide me over through a hopeful-May/probable-September). Seriously, I looked at what's scheduled to record for the next 10 days (most shows are in repeats/skips this week... how much can I not wait for Lost's return???) I'm this close to recording Lipstick Jungle on February 7th simply because it'll be on...
Anyway, I'll probably miss some stuff, so... forgive me?
Friday Night Lights: You know, I don't post thoughts on FNL enough. The 2008 string of episode have really been so back-in-form that I (sorta) haven't missed the football games. Nice to have volleyball and some good, fun Tyra action in this episode. And how much fun is Matt Czuchry as something other than a Huntzberger? Not sure how many episodes are left... wonder if we'll actually be able to see any real fallout from Smash not eating his episode-title-humble-pie. He apparently attended the Ben Silverman school of how to talk to journalists.
Chuck: What can really be said about these two episodes except... Chuck, I'll miss you most of all (now that you're out of episodes). Come back soon! Please?
Ugly Betty: Gene Simmons can't be Amanda's father. It's way too easy (although, very, very, very fun to have "It's Mandy, Bitch" rocking out with the IRS). Not that we should really put stock in what any TV psychic played by Annie Potts has to say, but she did say "the kiss will lead [Amanda] to [her] father." So... where was Gene taking our Mandy? I couldn't care less about what Wilhelmina's sister's secret is. And someone needs to remind the writers (when they return) that Betty has a family, and they used to have plots of their own.
Big Shots: It's over. I'm pretty sure I can delete it from my FauxVo/TiFaux's fake Season Pass.
Make Me A Supermodel: The reviewer at Zap2it.com misses the point of the show's title. The "Make" isn't about the judges creating a supermodel (and while there was no instruction in this episode, they did have runway sessions in the first two... they also had the good-to-know measurement system to track fitness). The "Make" is about the viewer vote. Though I do agree on the point that the show is too slow moving and we don't get a real look at the "characters" (as I noted last week, I get it because of the rush-job the show's post-production schedule requires... it would be too difficult to include non-task related stories from the time between putting wannamodels up for elimination and the elimination ceremony). Man, if Frankie (tres annoying, no?) were up for elimination this week, he'd be so very gone. I sincerely hope that Jay leaves this week because I like both Aryn (she is part of the hilarious extra-marital Ronnie/Ben/Aryn sandwich... oh, dear, I wonder what Ben's wife thinks...) and Holly (in the words of Roxette, she's got the look).
American Idol: Zzzzz. What a terrible week of auditions. "Limited" by the one-hour running time each night, the show failed to feature much real talent, and the "freak" portions weren't even that terribly funny (more of just terrible). Ordinarily I'd be really happy about Idol's ratings decline... but not so much this season (no, I don't have money on it... yet...) With Idol no longer breaking 30 million viewers, it points to really, really bad signs about broadcasting television in general. We're pretty much guaranteed a post-strike world were the networks act more like cable and ordering precious few pilots to series (ordering, perhaps, more scripts of pilot scripts they like before giving the series order) and far smaller writing staffs on shows (so, yay to being a baby writer). Though, perhaps, a new development system will help Hollywood inch closer to being a meritocracy instead of a place where the shit and the gold both float to the top (and you know it does in the current system). I'm getting away from myself here... and with my foot squarely secured in my mouth.
Project Runway: Oh, Ricky. You cry even when you're complimented. You should've been booted episodes ago. Anyway, do we hear me complaining about Victorya getting auf'd?
Nip/Tuck: What's really left to say about this show? I wasn't even aware the show had set this episode up as a "we're going to kill someone" episode. So the (I guess) fake-outs with Julia's illness only bothered me inasmuch as they were just... blech. Shame the bring Gina back for two episodes (and to only have her serve as a plot device to wedge in between Christian and Julia) and kill her. Although I was definitely surprised by it. And a bit put off by the over-black "This is love" echo.
Tuesday, January 22, 2008
Oh, Oscar
Oh, my, something to distract me from the strike! And what a something!
Loving that the Oscar nominations fell head over feet for the deserving Michael Clayton, which managed to be completely ignored by the Golden Globes (blech, anyway) and by the American public, thanks to an odd release date and possibly the least engaging title ever for what turns out to be an incredibly engaging movie.
Also, take a look at this:
Sound Mixing: The Bourne Ultimatum, No Country for Old Men, Ratatouille, 3:10 to Yuma, Transformers.
Sound Editing: The Bourne Ultimatum, No Country for Old Men, Ratatouille, There Will Be Blood, Transformers.
And you wonder why people get the categories confused (let alone know what either job is)!?
Cheers:
- Juno goes into the Oscars as the biggest box office draw of the Best Picture nominees. Gotta love the division of/schism between art and commerce.
- Despite being ignored elsewhere, Once is nominated in the original song category for "Falling Slowly" (swoon).
- Hopefully Amy Adams will perform some of the three nominated songs from Enchanted. Would love to see the special, Oscar-telecast staged version of "That's How You Know".
- Lots of love for Rataloutille all over the place (except it's relegated to Best Animated Feature, and can't crack into the Best Picture race).
Jeers:
- Double nominee Cate Blanchette gets Best Lead Actress love for Elizabeth II, a role she won the Oscar with years ago, but for a far worse film (and it wasn't really adding that much to the previous performance). I'm fine with her nomination for Best Supporting Actress in I'm Not There... but spread the love! The only nominations E2 should've gotten where in the artsy technical categories (which it would deserve, completely, since it was a beautiful-to-behold film). Despite my issues with the second half of Atonement, I'm surprised to see its two leads (James McEvoy and, especially, Keira Knightley) shut out. Or, even better, how about a nomination for the, er, enchanting Amy Adams?
- Surf's Up in the animated feature category... what of The Simpsons Movie? At least it makes it easier to only have to try and decide between two films: Ratatouille and Persepolis.
- A nomination for Norbit!? NORBIT is an Oscar-nominated film (for Make-up)!?!?!?
- Only one nomination for Charlie Wilson's War? This was a fantastic film. Sorkin doing what Sorkin does best. At least they got the nomination right... Phillip Seymour Hoffman stole every scene he was in.
Loving that the Oscar nominations fell head over feet for the deserving Michael Clayton, which managed to be completely ignored by the Golden Globes (blech, anyway) and by the American public, thanks to an odd release date and possibly the least engaging title ever for what turns out to be an incredibly engaging movie.
Also, take a look at this:
Sound Mixing: The Bourne Ultimatum, No Country for Old Men, Ratatouille, 3:10 to Yuma, Transformers.
Sound Editing: The Bourne Ultimatum, No Country for Old Men, Ratatouille, There Will Be Blood, Transformers.
And you wonder why people get the categories confused (let alone know what either job is)!?
Cheers:
- Juno goes into the Oscars as the biggest box office draw of the Best Picture nominees. Gotta love the division of/schism between art and commerce.
- Despite being ignored elsewhere, Once is nominated in the original song category for "Falling Slowly" (swoon).
- Hopefully Amy Adams will perform some of the three nominated songs from Enchanted. Would love to see the special, Oscar-telecast staged version of "That's How You Know".
- Lots of love for Rataloutille all over the place (except it's relegated to Best Animated Feature, and can't crack into the Best Picture race).
Jeers:
- Double nominee Cate Blanchette gets Best Lead Actress love for Elizabeth II, a role she won the Oscar with years ago, but for a far worse film (and it wasn't really adding that much to the previous performance). I'm fine with her nomination for Best Supporting Actress in I'm Not There... but spread the love! The only nominations E2 should've gotten where in the artsy technical categories (which it would deserve, completely, since it was a beautiful-to-behold film). Despite my issues with the second half of Atonement, I'm surprised to see its two leads (James McEvoy and, especially, Keira Knightley) shut out. Or, even better, how about a nomination for the, er, enchanting Amy Adams?
- Surf's Up in the animated feature category... what of The Simpsons Movie? At least it makes it easier to only have to try and decide between two films: Ratatouille and Persepolis.
- A nomination for Norbit!? NORBIT is an Oscar-nominated film (for Make-up)!?!?!?
- Only one nomination for Charlie Wilson's War? This was a fantastic film. Sorkin doing what Sorkin does best. At least they got the nomination right... Phillip Seymour Hoffman stole every scene he was in.
Monday, January 21, 2008
Breaking Bad
Even having watch the premiere now, I still don't know how I feel about this show. Bryan Cranston gets to shine... but it's a dramedy that plays its comedic moments with the speed of a straight drama. And I don't know about investing in the show. I feel like it's trying to be a "kinda different" version of Weeds, but the Showtime show is much better paced (as a dramatic half-hour comedy, rather than an occasionally-comedic hour-long drama).
A talk with my parents
I spoke with my folks today about the WGA strike. It disturbs me that the outside world must surely share their view, as their opinions have been formed by mainstream media. Those opinions are:
- The DGA deal is a good one for writers, because it is a deal.
- Should the WGA negotiating committee not be able to hammer out a deal with the AMPTP now that negotiations seem to be back on the horizon, the WGA is on the verge of being busted because countless members are going to break off from it (go fi-core, though they don't know what it means).
In truth, the DGA deal may be a decent one for directors, I can't judge.
However, any real advances they made (specifically "distributor's gross") are because of the writers going on strike. In a universe where the writers hadn't gone on strike in November, the DGA does not make nearly this good a deal.
As for what the WGA gets now? Yes, the DGA deal will be a template used by the AMPTP in negotiations (which will hopefully be in good faith). At least they're talking however I've seen this effective union-busting technique before, and I'm not fooled by it. Am I cautiously optimistic that the WGA and AMPTP are talking? Hell yes. Am I at the same time worried that this is another feint by the AMPTP to send the WGA membership on a rollercoaster, giving a brief moment of "OMG, there's hope on the horizon" only to pull the rug out from under us by not negotiating in good faith (although with the exception of union-busting, there is no longer any financial reason for the studios to not bargain in good faith with the WGA... the overall deals have been severed, development slates are being cut down, some of 2009's features are starting to feel the burden).
Anyway, whatever the WGA gets now is primarily because we went on strike, and not because of the DGA deal.
Should there not be a deal made (in a timely manner), though? I don't see this ridiculous massive fi-core split. I don't know a single writer contemplating it. I don't know anyone who knows anyone. I don't know anyone who knows anyone who knows anyone. Somehow, John Ridley going fi-core has let the mass media spin it out that there's a schism or giant contingent in the WGA that will do the same, when the truth is simply that a lot of writers (specifically, and as reported in the trades and media, a group of showrunners) are voicing their concerns to the guild leadership that a deal be made. Because if it's not made in this coming negotiating session, then there's no chance of getting anything else out of this TV season and pilot season (as diminished as it is) will be forfeit. It's TV writers "pressuring" the guild and the reason should be self-evident.
But the guild can't fold and take the DGA deal. It doesn't work for writers. They can't take just any deal, especially not after a hard-fought eleven-week(-plus?) strike. The deal has to work for writers and it can't be a bad deal. The WGA made a bad deal in 1988. Once burned, twice shy. And in this New Media fight, the WGA (and its membership) should know that making a bad deal isn't going to help the industry because if the WGA makes a bad deal, come July SAG will be on strike. It's not like we're going back to work without a stoppage for the next 20 years provided just any deal gets made.
At this point, though, I'm not sure what a "great" deal for the WGA looks like... I don't even know what a "good" deal looks like. The question I really have is... what will settle the strike? What deal terms? I'm excited to see (because I want to get back to work).
Which my parents understand. After I explained it to them. But I worry that because of the perception the media has been putting out there (DGA deal should be taken by WGA, WGA strike had nothing to do with DGA getting a good deal, WGA may break if no deal is made), if the WGA does not make a deal... the massively pro-WGA public opinion, a war that the WGA actually has been winning, will start to wane.
- The DGA deal is a good one for writers, because it is a deal.
- Should the WGA negotiating committee not be able to hammer out a deal with the AMPTP now that negotiations seem to be back on the horizon, the WGA is on the verge of being busted because countless members are going to break off from it (go fi-core, though they don't know what it means).
In truth, the DGA deal may be a decent one for directors, I can't judge.
However, any real advances they made (specifically "distributor's gross") are because of the writers going on strike. In a universe where the writers hadn't gone on strike in November, the DGA does not make nearly this good a deal.
As for what the WGA gets now? Yes, the DGA deal will be a template used by the AMPTP in negotiations (which will hopefully be in good faith). At least they're talking however I've seen this effective union-busting technique before, and I'm not fooled by it. Am I cautiously optimistic that the WGA and AMPTP are talking? Hell yes. Am I at the same time worried that this is another feint by the AMPTP to send the WGA membership on a rollercoaster, giving a brief moment of "OMG, there's hope on the horizon" only to pull the rug out from under us by not negotiating in good faith (although with the exception of union-busting, there is no longer any financial reason for the studios to not bargain in good faith with the WGA... the overall deals have been severed, development slates are being cut down, some of 2009's features are starting to feel the burden).
Anyway, whatever the WGA gets now is primarily because we went on strike, and not because of the DGA deal.
Should there not be a deal made (in a timely manner), though? I don't see this ridiculous massive fi-core split. I don't know a single writer contemplating it. I don't know anyone who knows anyone. I don't know anyone who knows anyone who knows anyone. Somehow, John Ridley going fi-core has let the mass media spin it out that there's a schism or giant contingent in the WGA that will do the same, when the truth is simply that a lot of writers (specifically, and as reported in the trades and media, a group of showrunners) are voicing their concerns to the guild leadership that a deal be made. Because if it's not made in this coming negotiating session, then there's no chance of getting anything else out of this TV season and pilot season (as diminished as it is) will be forfeit. It's TV writers "pressuring" the guild and the reason should be self-evident.
But the guild can't fold and take the DGA deal. It doesn't work for writers. They can't take just any deal, especially not after a hard-fought eleven-week(-plus?) strike. The deal has to work for writers and it can't be a bad deal. The WGA made a bad deal in 1988. Once burned, twice shy. And in this New Media fight, the WGA (and its membership) should know that making a bad deal isn't going to help the industry because if the WGA makes a bad deal, come July SAG will be on strike. It's not like we're going back to work without a stoppage for the next 20 years provided just any deal gets made.
At this point, though, I'm not sure what a "great" deal for the WGA looks like... I don't even know what a "good" deal looks like. The question I really have is... what will settle the strike? What deal terms? I'm excited to see (because I want to get back to work).
Which my parents understand. After I explained it to them. But I worry that because of the perception the media has been putting out there (DGA deal should be taken by WGA, WGA strike had nothing to do with DGA getting a good deal, WGA may break if no deal is made), if the WGA does not make a deal... the massively pro-WGA public opinion, a war that the WGA actually has been winning, will start to wane.
Sunday, January 20, 2008
There was something on TV besides football?
The Amazing Race finale: The finale already!? Ugh, they need to run this series twice a year. Anyways... without spoiling it (sort of?) the least objectionable team won. It was difficult to watch this season's finale because I wasn't actively rooting for or against the whole of any of the teams.
Breaking Bad: Haven't watched yet.
Sigh, no new Brothers & Sisters until February 10th (and then the last one on the 17th).
Breaking Bad: Haven't watched yet.
Sigh, no new Brothers & Sisters until February 10th (and then the last one on the 17th).
Friday, January 18, 2008
Hm
Saw Cloverfield last night, so too tired(ish) to do a full recap of last night's TV that I watched (basically... Ugly Betty good, Big Shots quite a bit of fun when in the Duncan and Brody storylines).
I'm a bit disappointed that Make Me A Supermodel skips right from the end of one episode with elimination at stake to 4-5 mornings later when one of the wannamodels is eliminated. I want to know what they do in the interim! Although that certainly would make the process of editing the show together harder (having to find stories over 4-5 days of non-eventful filming and cut 'em up and stick 'em on the air in under two weeks). I guess all they do is shop, eat, and work out? Anyway, this week was makeovers, and it didn't exactly have the flair and craziness of a Top Model makeover episode... which I think is actually good because it wasn't changing the models to Tyra Banks' evil whim so much as it seemed to be about helping the models (only one went completely away from her natural hair color). The weekly/episodic measurements are definitely the show's most unique point (other than having the elimination at the top of the episode... which they string out to like 5 minutes... ugh... what at are they going to do for the finale?) The weight/inches gain/loss in various areas and the reminders to lose weight/inches healthily is good... but without showing the viewer the interim days between putting models up for elimination and eliminating them, we don't actually get to see how/why these people are gaining/losing weight/inches.
I'm a bit disappointed that Make Me A Supermodel skips right from the end of one episode with elimination at stake to 4-5 mornings later when one of the wannamodels is eliminated. I want to know what they do in the interim! Although that certainly would make the process of editing the show together harder (having to find stories over 4-5 days of non-eventful filming and cut 'em up and stick 'em on the air in under two weeks). I guess all they do is shop, eat, and work out? Anyway, this week was makeovers, and it didn't exactly have the flair and craziness of a Top Model makeover episode... which I think is actually good because it wasn't changing the models to Tyra Banks' evil whim so much as it seemed to be about helping the models (only one went completely away from her natural hair color). The weekly/episodic measurements are definitely the show's most unique point (other than having the elimination at the top of the episode... which they string out to like 5 minutes... ugh... what at are they going to do for the finale?) The weight/inches gain/loss in various areas and the reminders to lose weight/inches healthily is good... but without showing the viewer the interim days between putting models up for elimination and eliminating them, we don't actually get to see how/why these people are gaining/losing weight/inches.
Thursday, January 17, 2008
DGA makes a deal
Alright, the DGA is done. Now let's see this deal's terms, see if they can help bridge the gap between the AMPTP and the WGA (and SAG), and get back to the negotiating table.
I'm hesitant to get too optimistic are near-future progress. Remember, part of the strategy of union breaking in the time of a strike is causing a rollercoaster of emotions... hope, despair, hope, despair, etc.
Some terms of the deal can be found via this DGA fact sheet.
My thoughts...
- New Media jurisdiction... a given necessity. So yay. The exceptions seem acceptable, but then again I have no idea what things like the Lost: Missing Pieces clips cost to produce so... I can't weigh in legitimately on that stuff.
- Electronic Sell-Through... I think the WGA is going to want more than what the DGA got on this, as it's only slightly above the DVD rate (and the increased rates only kick in after a certain number of downloads). I think the WGA will still ask for more because this isn't as important to the DGA as it is to the WGA, as many members in the DGA are ADs and do not receive residuals. I've no clue how many copies of even the most popular series are downloaded, as that information has never been released (for instance... even though Gossip Girl episodes are constantly the top downloads on iTunes TV Store... how many copies are being sold?)
- HOWEVER... payments for EST are based on distributor's gross. That is essential (and the AMPTP told the WGA it needed off the table before negotiations could resume was also accepted). It seems as though the "Fair Market Value" provision that the AMPTP wanted to do away with is in the deal as well, as the DGA will have access, through this deal, to financial data.
- Ad-Supported Streaming... that should be acceptable to the WGA. The WGA wanted, I believe, a three-day free streaming window before residuals kicked in, while the AMPTP wanted a six-week window. Seventeen days is pretty much in the middle (and the 3% rate is actually more than the 2.5% WGA was asking for... though the DGA seems to have agreed to a flat rate based on time the program is available to stream, while the WGA had proposed a tier-by-viewing-levels system). The extra week for new programs actually does make sense under "promotional use" thinking.
I'm sure there's plenty of fine print in the actual contract document that isn't summarized, so all of this is "on first, surface blush" reaction.
The DGA deal of course doesn't have anything about reality or animated directing... the DGA already has reality directors in its union (i'm 99% sure). Not sure about animation. Those two jurisdictional questions, the WGA has said, are not blockers to a deal in case they need to be taken off the table (and under proper organization, those writers can become part of the WGA through other ways).
Crap, I'm optimistic.
...
And with the AMPTP statement including "we invite the Writers Guild of America..." rhetoric, sigh, I wonder if the PR war of words is really over.
I'm hesitant to get too optimistic are near-future progress. Remember, part of the strategy of union breaking in the time of a strike is causing a rollercoaster of emotions... hope, despair, hope, despair, etc.
Some terms of the deal can be found via this DGA fact sheet.
My thoughts...
- New Media jurisdiction... a given necessity. So yay. The exceptions seem acceptable, but then again I have no idea what things like the Lost: Missing Pieces clips cost to produce so... I can't weigh in legitimately on that stuff.
- Electronic Sell-Through... I think the WGA is going to want more than what the DGA got on this, as it's only slightly above the DVD rate (and the increased rates only kick in after a certain number of downloads). I think the WGA will still ask for more because this isn't as important to the DGA as it is to the WGA, as many members in the DGA are ADs and do not receive residuals. I've no clue how many copies of even the most popular series are downloaded, as that information has never been released (for instance... even though Gossip Girl episodes are constantly the top downloads on iTunes TV Store... how many copies are being sold?)
- HOWEVER... payments for EST are based on distributor's gross. That is essential (and the AMPTP told the WGA it needed off the table before negotiations could resume was also accepted). It seems as though the "Fair Market Value" provision that the AMPTP wanted to do away with is in the deal as well, as the DGA will have access, through this deal, to financial data.
- Ad-Supported Streaming... that should be acceptable to the WGA. The WGA wanted, I believe, a three-day free streaming window before residuals kicked in, while the AMPTP wanted a six-week window. Seventeen days is pretty much in the middle (and the 3% rate is actually more than the 2.5% WGA was asking for... though the DGA seems to have agreed to a flat rate based on time the program is available to stream, while the WGA had proposed a tier-by-viewing-levels system). The extra week for new programs actually does make sense under "promotional use" thinking.
I'm sure there's plenty of fine print in the actual contract document that isn't summarized, so all of this is "on first, surface blush" reaction.
The DGA deal of course doesn't have anything about reality or animated directing... the DGA already has reality directors in its union (i'm 99% sure). Not sure about animation. Those two jurisdictional questions, the WGA has said, are not blockers to a deal in case they need to be taken off the table (and under proper organization, those writers can become part of the WGA through other ways).
Crap, I'm optimistic.
...
And with the AMPTP statement including "we invite the Writers Guild of America..." rhetoric, sigh, I wonder if the PR war of words is really over.
Idol Auditions night two
I find it interesting that, for me, the many of the impressive featured auditions have been hot white, blonde women (especially in light of the ranting Faux Leia at the end of last night's premiere... but she had gross arm hair and couldn't sing, so who cares).
But I have to give my props to the standout, for my anyway, of the night, which was farm boy Drew Poppelreiter. Cute, polite, innocent, and a nice country voice. I hope he goes far, despite the fact that I'm not the biggest fan of country music. So precious! While I think Simon was right about a lack of "wow" in the performance, it was so simple and smooth that I would've been really disappointed with a "no" for Drew.
But I have to give my props to the standout, for my anyway, of the night, which was farm boy Drew Poppelreiter. Cute, polite, innocent, and a nice country voice. I hope he goes far, despite the fact that I'm not the biggest fan of country music. So precious! While I think Simon was right about a lack of "wow" in the performance, it was so simple and smooth that I would've been really disappointed with a "no" for Drew.
Pissed Auf
Okay... I have this to say about Project Runway: it is completely unfair that Ricky remains in the competition while Kit is eliminated. Yes, I know, the buck stops with her because she was team leader, but week after week, Ricky produces poorly constructed, poorly designed garments. Cut him loose already!
Meanwhile, I am totally on board with Team Fierce.
And I really have to question Victorya and Jillian, who constantly complain about stress and lack of time management skills, but still produce the work they wanted and that the judges clearly liked. You may think you don't have time management skills, but the truth is, you just create things that take a long time to get right and thus come together at the last minute so it seems like poor time management. If you can rock a pair of outfits like those out in 2 days... yeah, it's gonna be stressful. But you get the job done. Poor time management would be if you were caught by the camera crews lounging around and not working.
Meanwhile, I am totally on board with Team Fierce.
And I really have to question Victorya and Jillian, who constantly complain about stress and lack of time management skills, but still produce the work they wanted and that the judges clearly liked. You may think you don't have time management skills, but the truth is, you just create things that take a long time to get right and thus come together at the last minute so it seems like poor time management. If you can rock a pair of outfits like those out in 2 days... yeah, it's gonna be stressful. But you get the job done. Poor time management would be if you were caught by the camera crews lounging around and not working.
Wednesday, January 16, 2008
Preliminary National Ratings for Tuesday, January 15, 2008
And Idol under performed my growth speculation expectations. Still the biggest entertainment series on TV, but it opened at a far weaker 33.24 million viewers and a 13.8/32 in the demo. Color me moderately surprised!
As for people saying Idol has peaked... that all depends on the contestants. If there's a group as entertaining, likable, and electrifying as season five's Top 12, it could rocket back up. Not that I necessarily want the Great Ratings Beast to not finally be on the decline.
As for people saying Idol has peaked... that all depends on the contestants. If there's a group as entertaining, likable, and electrifying as season five's Top 12, it could rocket back up. Not that I necessarily want the Great Ratings Beast to not finally be on the decline.
Tuesday, January 15, 2008
It's baaaaaack...
American Idol is back!
Since there's, well, nothing else on TV I want to watch (until Nip/Tuck, but that's after the show), I'm actually watching the auditions. Accursed ongoing strike!
Ratings predictions? Last season, it arrived to its biggest opening ratings (averaged 37 million-ish viewers and almost a 16 in the demo), coming off of one of it's highest rated finales. Last season's ratings dropped heavily from there as the contest went on, which leads some to speculate that Idol will not be back as strong this season.
I'm not one of those. I think, especially for the audition phase, the ratings grow every year as people across the country become more interested in the spectacle and the car crash sensibility. Plus, there is nothing, nothing else of interest on television right now (to young people, anyway, I'm certain NCIS and Comanche Moon will have around 14 million viewers, the bulk of them 55+).
I say Idol nears an average of 40 million for Tuesday.
Thoughts on the singers... I have to say I've never understood any of the bad contestant's willingness to audition. It just doesn't make sense to me. But enough about the train wrecks... Certainly some quality in the bunch (though I've learned to never make predictions based on the audition phase, because you don't get a good look at everyone). Still, Kristy Lee Cook was something (to look at and listen to)! Very nice vocal control.
Fashion question time! On Day 1, what was with Ryan's "Monarchy" T-shirt? And Randy is now sporting a goatee?
Also... dear show: Philly is no longer "The City of Brotherly Love", it's "The City that Loves You Back". D'uh.
... not much to say about Nip/Tuck except it's HI-LARIOUS that Sean brings Gina (crazy, HIV-positive, sex-aholic) in to be the new receptionist (after Christian is, er, attracted to the previous one). Also HI-LARIOUS? She says she just passed her (California) real estate exam... and her character on Friday Night Lights just left Dillion because she passed her (Texas) real estate exam! <3 it!
Since there's, well, nothing else on TV I want to watch (until Nip/Tuck, but that's after the show), I'm actually watching the auditions. Accursed ongoing strike!
Ratings predictions? Last season, it arrived to its biggest opening ratings (averaged 37 million-ish viewers and almost a 16 in the demo), coming off of one of it's highest rated finales. Last season's ratings dropped heavily from there as the contest went on, which leads some to speculate that Idol will not be back as strong this season.
I'm not one of those. I think, especially for the audition phase, the ratings grow every year as people across the country become more interested in the spectacle and the car crash sensibility. Plus, there is nothing, nothing else of interest on television right now (to young people, anyway, I'm certain NCIS and Comanche Moon will have around 14 million viewers, the bulk of them 55+).
I say Idol nears an average of 40 million for Tuesday.
Thoughts on the singers... I have to say I've never understood any of the bad contestant's willingness to audition. It just doesn't make sense to me. But enough about the train wrecks... Certainly some quality in the bunch (though I've learned to never make predictions based on the audition phase, because you don't get a good look at everyone). Still, Kristy Lee Cook was something (to look at and listen to)! Very nice vocal control.
Fashion question time! On Day 1, what was with Ryan's "Monarchy" T-shirt? And Randy is now sporting a goatee?
Also... dear show: Philly is no longer "The City of Brotherly Love", it's "The City that Loves You Back". D'uh.
... not much to say about Nip/Tuck except it's HI-LARIOUS that Sean brings Gina (crazy, HIV-positive, sex-aholic) in to be the new receptionist (after Christian is, er, attracted to the previous one). Also HI-LARIOUS? She says she just passed her (California) real estate exam... and her character on Friday Night Lights just left Dillion because she passed her (Texas) real estate exam! <3 it!
Monday, January 14, 2008
Night Two
So, Sarah Connor kicked butt in the prelim ratings last night. Sunday finals will be available in the morning tomorrow to see how much the show gets brought down, if much at all (since the half-hour didn't have a drastic drop) because the show ran from 8 until 9:02.
Anyway, the second episode / the post-pilot episode aired tonight and here are some brief thoughts (other than, damn, it's the only show I'm watching on Monday nights).
- I like the intro that leads into the title. Quick, easy, gets you pretty much up to speed, and has nice explosive fireworks and effects from the pilot.
- So long as the narration from Sarah is kept to a bookend, like it was in the pilot, I'm cool with it, as it does help pull focus to the central issue.
- Summer Glau is a rock star. The scene where she mimics the Latina chick leaning on a car's grill? Inspired.
- It really says something that David Nutter directed this episode. He's got an amazing track record for directing pilots and then they get on the air... but I don't recall many series that he opted to direct again.
- This episode is physical-action (and physical-effects) heavy, and special-effects light. I expect that to be par for the course. The speed of the scenes definitely helps with keeping the action-packed feel of the pilot. Some nice stunt work going on.
- Meanwhile, John Connor is an idiot. Seriously, I think he's the new Kim Bauer.
- My god, they redressed, I think, every inch of the Warner Bros. studio lot.
- Headless Chet was cool.
In short, this show is the exact opposite of Bionic Woman (despite a supposed almost million dollar difference in budget, plus BW shot in Canada for a little bit of extra bang for buck). It has emotion, it has story, and it has "wow".
Anyway, the second episode / the post-pilot episode aired tonight and here are some brief thoughts (other than, damn, it's the only show I'm watching on Monday nights).
- I like the intro that leads into the title. Quick, easy, gets you pretty much up to speed, and has nice explosive fireworks and effects from the pilot.
- So long as the narration from Sarah is kept to a bookend, like it was in the pilot, I'm cool with it, as it does help pull focus to the central issue.
- Summer Glau is a rock star. The scene where she mimics the Latina chick leaning on a car's grill? Inspired.
- It really says something that David Nutter directed this episode. He's got an amazing track record for directing pilots and then they get on the air... but I don't recall many series that he opted to direct again.
- This episode is physical-action (and physical-effects) heavy, and special-effects light. I expect that to be par for the course. The speed of the scenes definitely helps with keeping the action-packed feel of the pilot. Some nice stunt work going on.
- Meanwhile, John Connor is an idiot. Seriously, I think he's the new Kim Bauer.
- My god, they redressed, I think, every inch of the Warner Bros. studio lot.
- Headless Chet was cool.
In short, this show is the exact opposite of Bionic Woman (despite a supposed almost million dollar difference in budget, plus BW shot in Canada for a little bit of extra bang for buck). It has emotion, it has story, and it has "wow".
Sunday, January 13, 2008
Sunday Night TV
The Amazing Race: This has been one of the funnier episodes of the season in the first 10 minutes anyway. Random confessional/interview with Nate and Jen talking about "no more nice Nate and Jen" (which, um... okay...) then Jen can't pronounce Taipei and then Nate says that they don't know much about Taiwan, except that they like Thai food. Y'think!?!?!? Also, the road block? The person who does it is driven underwater for 17 seconds and has to hold their breath (naturally) so Phil describes as "if they are still alive when it's over, they'll receive their next clue." Yes! Yes!!! Kill Ron! The tea place thing... man, the Asian legs have been to Christina and Ron's advantage (her knowing Japanese and them both knowing Chinese). Anyway... with Nate and Jen gone... I'm conflicted. I'm not actively rooting for any of the teams. And I have no team to root completely against. SIGH. Also! What's with the show doing away with the Super Leg? Huh? WTF!?
Sarah Connor Chronicles: Too long since I've watch the original pilot to recall the tweaks. I seem to remember the school shooting scene to be more violent, but, well, I understand having to tone it down a bit after the Virginia Tech shootings last year. Obviously the show needed to use Summer Glau (and scenes she's in from the last three fifths of the pilot) to promote the heck of the thing, but it does make the "reveal" that she's a terminator (even if a friendly one) less impactful (IMHO). Now that it's been pointed out to me, it is very strange that she starts with a flawless impersonation of a weird teenager, but as soon as she's on the road with Sarah and John, she's... well... robotic. I really do love the idea of a Terminator time portal appearing in the middle of the 101 (I think that was the 101 anyway...) I think the last 2 minutes were new material, they definitely helped with my question of "okay, but what is the rest of the series?" after the massive reset button that was the pilot (well, in the sense that you know the agent guy is still after them). Eager to see what the series looks like tomorrow (with its massively reduces budget).
Family Guy: ... ugh, there just aren't words to describe how bad that way.
American Dad: Um, that (an American Dad parody of spy films, with the character playing various stock characters) should've been brilliant? But it wasn't. But it was waaaaay better than Family Guy.
Brothers & Sisters: Nice, frothy fun. An episode fairly like last season's "Something Ida This Way Comes" in that it was sort of an airing of issues, tied up a couple loose ends, unraveled a bit... but not that much in the eventful department. And I'm happy (if Holly is telling the truth) that Rebecca asked the question I was thinking during the episode about her mother's mysterious friend. I don't want Rebecca to not be a Walker! That ending was interesting... but you know that Isaac had something to do with Robert's competition dropping form the race, which is going to create wonderful tension between Kitty and Nora. Ugh, only two episodes left! And the next one airs... when??? My DVR doesn't have it as new next week.
Sarah Connor Chronicles: Too long since I've watch the original pilot to recall the tweaks. I seem to remember the school shooting scene to be more violent, but, well, I understand having to tone it down a bit after the Virginia Tech shootings last year. Obviously the show needed to use Summer Glau (and scenes she's in from the last three fifths of the pilot) to promote the heck of the thing, but it does make the "reveal" that she's a terminator (even if a friendly one) less impactful (IMHO). Now that it's been pointed out to me, it is very strange that she starts with a flawless impersonation of a weird teenager, but as soon as she's on the road with Sarah and John, she's... well... robotic. I really do love the idea of a Terminator time portal appearing in the middle of the 101 (I think that was the 101 anyway...) I think the last 2 minutes were new material, they definitely helped with my question of "okay, but what is the rest of the series?" after the massive reset button that was the pilot (well, in the sense that you know the agent guy is still after them). Eager to see what the series looks like tomorrow (with its massively reduces budget).
Family Guy: ... ugh, there just aren't words to describe how bad that way.
American Dad: Um, that (an American Dad parody of spy films, with the character playing various stock characters) should've been brilliant? But it wasn't. But it was waaaaay better than Family Guy.
Brothers & Sisters: Nice, frothy fun. An episode fairly like last season's "Something Ida This Way Comes" in that it was sort of an airing of issues, tied up a couple loose ends, unraveled a bit... but not that much in the eventful department. And I'm happy (if Holly is telling the truth) that Rebecca asked the question I was thinking during the episode about her mother's mysterious friend. I don't want Rebecca to not be a Walker! That ending was interesting... but you know that Isaac had something to do with Robert's competition dropping form the race, which is going to create wonderful tension between Kitty and Nora. Ugh, only two episodes left! And the next one airs... when??? My DVR doesn't have it as new next week.
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