Archive: December 2009 (41-50 of 54)

Dec 7 2009 01:23 PM ET

Adam Lambert will be taped, not live, for 'The View' because 'people seem to be afraid,' says Barbara Walters

Filed under: News and tagged: , , , ,

This morning on The View, Barbara Walters said that this Thursday’s appearance by Adam Lambert will be taped in advance, rather than live-to-tape as usual, “because people seem to be afraid of what he’ll do.”

Sherri Shepherd laughed at this excessive caution. “Why?” she asked. “Is he gonna take one of our heads and grind it into his crotch?”

Joy Behar, perhaps feeling a tad faint as this image entered her mind, said, “I wish he would. I’d like to see it up close.”

And although no one asked her, Elisabeth Hasselbeck said, “The only thing I was against was him sticking his hand up the woman’s crotch” during the American Music Awards.

Hate to say it, but it’s true: These are the times when one misses Rosie O’Donnell on The View… .

Dec 7 2009 10:30 AM ET

'Dexter': Reviewing the trailer for next week's finale: yeee-oww!

Virtually all TV dramas hype their season finales as the “most shocking” and revelatory episode you’ll see. But after last night’s jump-off-the-sofa final scene of Dexter — with the season’s arch-villain, John Lithgow’s Arthur Mitchell, striding into the police station and speaking the words of the episode-title to our anti-hero: “Hello, Dexter Morgan” — the trailer for next week’s season-ender merits a close look itself. I won’t insult you with a spoiler alert: If you don’t want clues about the finale, watch this instead.

So, next Sunday, this:

The trailer hits hard on two key points: READ FULL STORY »

Dec 6 2009 07:54 AM ET

'Saturday Night Live' recap: Blake Lively plus the oddest, best-acted sketch of the season?

This week’s Saturday Night Live was all over the map: lame one minute, funny the next, and at the end, there was one sketch that — well, I’ll get to it in a little while. As host, Blake Lively was firmly in the plucky-not-awful tradition. It was one of those SNLs when you felt the rest of the cast had been enlisted to make sure the host was always surrounded by enough activity so that it wouldn’t look as though she was responsible for the dull patches. She did not do her version of Riverdance, which she performed so charmingly on Jimmy Fallon and had promised Fallon’s audience she’d do on SNL as well. That, I think, would have gone over a lot better than the Muppet Show scene that occurred during her monologue.

Early on there were a couple of dud political sketches — SNL got its obligatory Salahi party-crasher joke out of the way in the cold-open, and a little later committed its obligatory Tiger Woods sketch, framed as a CNN news report. I think it’s a good rule of thumb to never parody anything to do with CNN — the tediousness of that network infects everything it touches.

The night’s only Gossip Girl reference that I caught came in a sketch called Gossip Girl Staten Island. Its trite premise – that working-class folks are crass – was rendered instantly irrelevant earlier this week, when MTV premiered the reality show Jersey Shore, a far more vulgar and vivid piece of junk-TV.

The “Digital Short,” with Rihanna singing in a kiddie classroom with (teacher?) Shy Ronnie — Andy Samberg mumbling in a red wig — was pretty funny, mostly to hear Rihanna sing her advice to Ronnie in the form of lyrics (“Move the mic away from your face”).

A high point: The fake ad for the “Rockspit Underground Rock Festival” was a barrage of good jokes capturing the junkiness of a cheap commercial, from the names of the bands on the bill (“Gunt!” “Thurdersex!”) to the special guest stars (Mark Fuhrman; ventriloquists on stilts), and… “Everybody gets pitchforks!” Loved that:

Rihanna performed one number wearing some faux chainmail more fetching than the song itself. The other performance, “Hard,” with Young Jeezy, felt as leaden as chainmail.

The best joke on “Weekend Update” was about ecstasy pills found in the shape of President Obama’s face (true story). Seth Meyers said, “The high is characterized by a brief, powerful high followed by a long, slow comedown.” Abby Elliott also did a good Brittany Murphy imitation during this segment. Two things, though: Her punchlines were limp, and, sorry, but who really cares about Brittany Murphy’s career?

Lively did her best to approximate some urban slang and swagger during a Mrs. Hastings goes shopping sketch, with Thompson in drag as her mother (“by marriage, not vagina”). This same sketch has been used at least once before that I recall, with Scarlett Johansson in Lively’s role. It wasn’t too amusing then, either.

Andy Samberg broke out his excellent Keanu Reeves impersonation to lift a wanly-written sketch about To Catch A Predator host Chris Hansen getting his own talk show.

But now the evening’s final sketch, often the graveyard for dozy dullness. Will Forte played a NASA recruiter; Jason Sudeikis was a pompous astronaut-candidate being interviewed. Asked by Forte not to eat from the bowl of potato chips on his desk, Sudekis did so anyway, provoking a bellowing, screaming fit from both Forte and Lively, who entered as an assistant in a red wig. “Potato chip thief!” and “You don’t take people’s potato chips!” were among the epithets yelled.

The sketch was so pointless, its details so absurd (Sudeikis regurgitating the potato chip into Forte’s hand; Sudeikis huffily taking with him a “hemorrhoid doughnut” which we hadn’t previously seen him sitting on), and went on for so long, that it went beyond bad and came out the other end. Forte and Sudeikis were so ferociously committed to this material, I ended up admiring the hell of out them. I didn’t laugh, but I had to hand it to them. It was kind of like SNL‘s version of There Will Be Blood. I was glad I witnessed such a strenuous non sequitur.

What did you think?

(You can follow me on Twitter.)

Dec 5 2009 08:46 AM ET

'Dollhouse' recap: Burning off the best stuff?

The guttering flame that is Dollhouse — two new episodes being burned off over three weeks including last night — remains capable of throwing off a few sparks. Sparkiest of all was Summer Glau, glau-ering grimly at Echo/Caroline while portraying Bennett Halverson. Bennett is sort of the female version of Topher, except less manic, promoted a pay-grade, and with a left arm that hangs limply in a sling. She works for the Rossum Corporation’s Washington, D.C. Dollhouse, under the direction of Ray Wise’s Stewart Lipman.

Characters paired off amusingly and effectively. Buffy alums Eliza Dushku and Alexis Denisof as Senator Daniel Perrin were ostensible enemies (Perrin has been campaigning to close down the Dollhouse). Perrin was using the freshly-freed active Madeline (Miracle Laurie) to give testimony about the Dollhouse’s pernicious policies; Echo was dispatched to stop him. But they were brought to a common cause last night when both of their minds were being controlled. In a particularly Whedonesque turn of phrase (the hour’s writing was credited to Andrew Chambliss), Echo said of Bennett and the actives the latter controlled, “I think her bad guys are badder than my bad guys.”

More pairings: Wise’s Lipman tried to exert superiority over Olivia Williams’ Adelle DeWitt, but their delightfully clever, cruuush-worthy exchanges, as they tussled over control of Echo and Perrin, rendered them artful equals.

And in what I will assert was the single best edition of Dollhouse ever, during last night’s second hour, called “The Left Hand,” Bennett and Topher matched wits while pretending to flirt. (The evening’s immortal line, Topher describing Bennett: “Imagine John Cassavetes in The Fury as a hot chick.”)

Really, at this point, the cancelled but ever-more-vibrant Dollhouse has become a critique of itself and its critics. When Perrin described the Dollhouse enterprise as a den of “human trafficking” and a form of “prostitution,” well, hmmm, those are criticisms similar to the ones some of us leveled at this series when it premiered.

Dollhouse and Whedon deserved some of that skepticism. Between a contentious relationship with the Fox network over what direction the show should take and the Dollhouse writing staff’s uneven, working-it-out-as-it-went-along feminist aesthetic concerning the themes of control, desire, power, and freedom, there was much messiness and confusion. Even the show’s most ardent supporters agree that there are some incarnations of Echo (rock-chick back-up singer; blind woman) that they wish had never materialized. And it didn’t help that Dushku was rarely able or given the opportunity to define her role the way previous Whedon heroes played by Sarah Michelle Gellar and Nathan Fillion were able to.

But last night’s back-to-back mash-up adventure was the very best sort of (in the phrase of one character) “lurid pulp fantasy.” This was what Dollhouse was meant to be: a rock ‘em, sock ‘em brain-twister with a social agenda.

Couple more random but important things:

• All hail Enver Gjokaj as Victor-mind-wiped-into-Topher: that impersonation was utterly spot-on.

• If you’re any kind of Whedon fan, you’ll want to read Chicago Tribune TV critic Maureen Ryan’s extensive, fascinating new interview with Joss.

(You can follow me on Twitter.)

Dec 5 2009 08:37 AM ET

'Monk' finale: Did it end the way you hoped it would?

Filed under: News and tagged: , , ,

Monk closed out its eight-season run last night, making the long-awaited solution to Adrian Monk’s greatest mystery — who killed his wife? — the centerpiece of the finale.

But you could have watched Monk for years without ever thinking much about poor dead Trudy (Melora Hardin). This was a series that put its OCD-eccentric detective first. If Tony Shalhoub’s Monk came out of a TV tradition of bumbling brilliant men such as Peter Falk’s Columbo, he started a trend for cable-TV “character” crime-solvers that continued into the present day on everything from The Closer to Psych. READ FULL STORY »

Dec 4 2009 08:07 AM ET

'Fringe' recap: Wiggly worms and a woeful Walter

It was a non-mythology episode of Fringe this week, with a dandy creature to grapple with and a Walter Bishop subplot that turned into the main plot.

The creature first: a multi-tentacled “parasitic worm,” as Walter termed it; the “Snakeheads” of the episode’s title — a number of them, in fact, used most effectively in the opening scenes, as dead bodies were found, each with a big, thick worm wiggling frantically out of his or her mouth. The corpses were Chinese nationals discovered washed ashore, and the case led to a Chinatown herbalist. He was played by Tzi Ma, a familiar face probably best known as Cheng Zi, the very naughty Chinese Consulate security director on 24.

As herbalist Ming Che, he was using a gland from the wiggly worms that secreted an immune-boosting enzyme. The case was pretty X-Files-ish, with scant use for Agent Olivia Dunham (although Anna Torv radiates a strong reassuring presence throughout). Peter, man of many unexpected talents (as is Josh Jackson, having by now fully invested the character with far more than sarcasm and devillishness), speaks impeccable Cantonese. There was finally more for the underrated Astrid to do, even if some of what she did was get attacked.

All the better, therefore, that what looked like a comic-relief motif initially — Walter trying what Peter called “self-actualization,” asserting himself more, getting out into the world by himself — proved to be the true heart of the hour.

At first it was amusing to see Walter in an ascot, talking with crisp authority, only to lose himself in Chinatown. But things became poignant quickly, as Walter used up the supply of change Peter had given him as bus money, making frantic calls from a pay phone to his son… except Walter couldn’t remember the number. Which Peter had put in Walter’s pocket for just this reason — Walter had forgotten that, too.

This Fringe was a reminder that, for as much as we chuckle at Walter’s references to the consciousness-altering drugs he’s taken over the years (he got a literal contact high when one of the worms bit him this night, too), he’s still a damaged soul, just a year out of the institution from which he was released at the start of the series. He spoke to Peter of his fierce desire “to live like a man, not a child.”

It was a touching moment — John Noble really plays the hell out of scenes like this, conveying Walter’s fears and timidity without allowing us to forget that Dr. Bishop is also a bristling genius. And the hour was capped off with a nice little joke. Admitting he was still dependent upon his son yet also wanting to continue venturing beyond his lab, Walter revealed to Peter that he’d implanted a tracking device into his own neck, so that his son could find him when he gets lost again.

Awww… Hey, next week: Looks like a big mythology episode! Can’t wait.

Did you watch Fringe this week?

(You can follow me on Twitter.)

Dec 3 2009 01:43 PM ET

'Ultimate Fighter Heavyweights': Rampage Jackson says, 'I swallowed my whole heart'

The penultimate Ultimate Fighter Heavyweights last night featured a lot of action, leading up to this Saturday’s season finale. But the best brawl was a verbal one between opposing team coaches Rampage Jackson and Rashad Evans.

The two have had increasingly contentious arguments, but last night, their feuds over warring strategies and criticisms of each other’s coaching styles spilled over into a low-growl confrontation that had them inches from each other’s faces. Rashad dared Rampage to “throw it — let it happen.” Alas, it did not. Was this rage trumped up for the cameras?

Meanwhile, the best semi-final fight of the evening was between Marcus Jones and Brendan Schaub. The rangy, tall, but significantly older Jones got off a good high kick to Schaub’s face early on, but once Schaub took Jones to the mat, it was ground-and-pound all the way, with the referee calling a victory for Schaub before Jones’ face took more punishment.

Rampage provided the quote of the night after this defeat for his team: “I swallowed my whole heart,” he said in sorrow. “I don’t even know what it was doing there, but I felt it go down my esophagus.” Gulp.

This means that going into the finale — a special that will air this Saturday night on Spike at 9 pm EST — the big fight will be between Schaub and Roy “Big Country” Nelson, the blobby battler whom UFC honcho Dana White said with delight possesses “the worst physique in sports.”

This season of Ultimate Fighter has proven to be highly entertaining, even if its biggest media attraction, Kimbo Slice, has been a glowering, always boastful disappointment. (Kimbo will appear in an undercard fight on Saturday.)

Any EW readers out there watching this besides me? Will you watch the finale on Saturday?

(You can follow me on Twitter.)

Photo credit: Spike TV

Dec 3 2009 09:50 AM ET

'Steven Seagal Lawman': Camp-classic TV at its finest

Watch out, evildoers. That lumbering tree-trunk of a man with the scary, hatchet-shaped hairline: He’s got a badge! He’s got a gun! He’s got a soft little voice! It’s Steven Seagal Lawman!

If you missed last night’s premiere of this reality show, you missed one of the best cop comedies since the first Police Academy — except I don’t think this one was intended to be a laugh-getter. For over 20 years, it turns out, the martial-arts action-hero has been a deputy for the Jefferson Parrish Sheriff’s Office in Louisiana. Only now has he agreed to let cameras follow him on his appointed rounds. Lucky us.

Seagal has never been known for either his sense of humor or an awareness that his deeply-spiritual-knock-out-artist image is pretty silly. When he appeared on The View earlier this week to promote Lawman, he sat between the gals, a serene Buddha stuffed into a leather jacket, answering questions from Whoopi, Joy, and the rest with a furrowed brow and deadly seriousness, as though he was being quizzed on the mysteries of human existence.

Similarly, on Lawman last night, Seagal seemed utterly clueless about how he came off. Sitting in the passenger seat of a squad car roaring off to a crime scene, he starts giving his cop-partner directions… that the partner calmly ignored. It seemed clear that this good officer had probably been led down a few one-way streets the wrong way by following the star’s peremptory orders in the past.

I loved the way Seagal arrived at a crime scene at which the perp was already on the ground. Heaving his bulk out of the squad car, he ran over and yelled, “I’ll get him! Taser! Taser!” You could hear faint cop voices in the background saying, “No! No!” The poor suspect was — did I say this already? — on the ground, in the process of being cuffed.

Man, I haven’t laughed this much since the pilot of Modern Family. When it comes to Steven Seagal Lawman, I’m arrested.

Did you watch, by any chance?

(You can follow me on Twitter.)

Dec 3 2009 08:40 AM ET

'Friday Night Lights' recap: 'The Son' rises

This week’s Friday Night Lights , which was entitled “The Son,” had moments of the usual terrific FNL boisterousness, but for the most part was a solemn affair with beautifully crafted details. READ FULL STORY »

Dec 2 2009 11:18 AM ET

'Justified': Timothy Olyphant will star in one of 2010's best new shows. Check this out and tell me I'm wrong.

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Lots of interesting stuff in FX’s announcement of its 2010 schedule. Yes, I’m looking forward to the new season of Damages (Jan. 25). Yes, I’m hoping that the superb stand-up comic Louis C.K. will finally find a good TV starring vehicle for himself in Louie, especially given the fine work he’s been doing on Parks and Recreation. And yes, I think you should check out the grown-up cartoon Archer (Jan. 10): I’ve seen the pilot, and it is a smart spoof with sharp sarcasm.

But based on its cast, a brief clip, and its source material, Justified is the show I’m all-in on: I’ll bet the contemporary drama starring Timothy Olyphant as a sheriff tracking down badguys will be one of the best new shows of the upcoming year.

Justified was originally called Lawman. While I suppose the obvious reason for the title-change is that Steven Seagal just debuted a series with the same name. But I’d also wager that when FX saw that title and pictures of Olyphant in ten-gallon hat, they got the jitters that people would peg it a Western and they’d lose some of the female audience and most of their young demo. In business terms, these fears are, I suppose… justified.

No matter what you call it, though, this drama would seem to have both quality and fun on its side. And by “fun” I mean Olyphant as a laconic lawman (sorry, FX: I’ll still use the term) who cracks skulls while speaking rueful, terse Elmore Leonardesque dialogue. That’s partly because the hero is based on an Elmore Leonard creation, Deputy U.S. Marshal Raylan Givens, who’s popped up in a few of Leonard’s novels and short stories. Check out a bit of it here:

Justified's pilot was directed by Michael Dinner, who helped make the short-lived, Elmore Leonard-derived, Carla Gugino-starring series Karen Sisco so good during its appallingly short 2003-2004 run. One of its producers is Graham Yost, who worked most notably on Boomtown.

If you thought Olyphant was cool/sexy/smart/intriguing in Damages and Deadwood, you'll want to see him in Justified.

Wanna bet?

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