That’s the word going around the campfire — the campfire being Aaron Sorkin and TV Guide. The genius, and I throw that word around lightly, behind the The West Wing recently had this to say…

I’m going to be starting on a new TV series. It’s going to be what turns out to be the third in the trilogy of TV shows that take place behind the scenes of a TV show, but this will be a different kind of TV show. That’s all I can let out of the bag right now.

Sorkin says he’ll start work on the show after filming on the upcoming Facebook movie, “The Social Network,” has wrapped. I’ve heard rumors that the show will take place behind the scenes at a news network, but I guess we’ll see. Whatever it is, I hope it’ll be chock full of divisive politics, which is what Sorkin does best. And if the show were set at a news network, it would give him an excuse to do it. I was excited when I first heard about Studio 60, but after a few episodes I realized I didn’t give a sh*t about actors on a sketch comedy show pontificating on the war and the economy. I mean, they weren’t even wearing wigs.

Football Behind Bars: Sky One (Recorded 12th Oct Watched 15th Oct)

This was the final episode of a six-part, Sky One documentary series, presented by Ian Wright, about young offenders playing football.  It was bound to be awful, wasn’t it?  Well, you’d be forgiven for thinking so, but it was actually rather well done.

It followed Ian Wright’s attempts to set up a football academy in a young offenders institute, in an attempt to help them learn some life skills, and hopefully make it possible for them not to re-offend.  It would have been easy for the programme makers to either overly sensationalise the criminal pasts of the inmates, and\or give a rose-tinted view of the outcomes of the scheme; to their credit, they did neither.  Nonetheless, the academy clearly had a positive impact on those involved, and it was good to see a ‘celebrity’ trying to make a genuine difference.

Curb Your Enthusiam: More 4 (R 15th Oct W 16th Oct)

I was actually genuinely exciting for the return of Curb, and couldn’t wait to see this first episode.  We’re now in to season 7 and it shouldn’t still be funny as it’s essentially the same every episode. Somehow, though, it’s still hilarious.  If you’ve never seen an episode, then I seriously recommend that you do.  Larry David is my hero (the fictional one and the real one).

Eastbound and Down: FX (R 12th Oct W 17th Oct)

I didn’t like the first episode, but I went in to this one trying to like it.  The first few minutes saw a weird Will Ferrell cameo, which could have made things a but more watchable.  It didn’t, I lasted five minutes before deleting it.  I have this nagging feeling that everyone’s going to be raving about this in a few months time and it’s going to make me sad inside.

Caravans: A British Love Affair: BBC4 (R 17th Oct W 17th Oct)

I really don’t know what it was that made me watch this, but don’t judge me.  It wasn’t the most amazing documentary I’ve ever seen, but I mention it because I thought it was only fair to give a fair reflection of all the programmes that I watch.  And sometimes I just want to watch a documentary about caravans.  It’s all too easy to scoff at caravanners these days, but this documentary at least explained what a feeling of freedom that owning a caravan gave people in dull post-war Britain.

Studio 60 on the Sunset Strip: Channel 4 (R 12th Oct W 18th Oct)

It’s two or three years since this originally aired and I was ambivalent about it the first time around; it was well written and acted but I felt it was deeply flawed.  Since it was first shown, I’ve seen the whole of The West Wing, Aaron Sorkin’s previous show, so, when I saw this as a late night repeat, I thought I’d give it another go.  Would my opinion by any different a second time around?

No.  The script was still good and the Matthew Perry\Bradley Whitford double act was as likeable as ever, but, there were also a lot of buts.  I picked out lots of flaw, just in this pilot alone, but I’ll try and keep them as brief as possible.  I think you can lump many of the problems in to the category of ‘unconvincing’: I’m not convinced by Jordan McDeere, I’m not convinced that the ‘big 3′ stars of the show-within-a-show have any talent, and I’m not convinced that ‘Studio 60′ was ever a hit show.  Most embarrassing of all is when they try and show some of the comedy sketches – let’s just not talk about it.  It’s a very strange show that is both really good and excruciatingly bad in equal measure.  For that reason alone, I’ll probably watch them all.

Modern Family: Sky One (R 15th Oct W 19th Oct)

The latest highly acclaimed US comedy show arrives on Sky One, so of course I was watching.  It’s a mockumentary following the fortunes of three (yes, you guessed it) modern families.  I didn’t think it entirely worked; some of the jokes seemed a bit too obvious, and the ‘feel’ wasn’t quite right.  That said, it did make me laugh a few times, and it was only the pilot, so it can’t be all bad.  The main thing I took from the experience though was how much it made me want to watch Arrested Development again.

*post atualizado durante toda a semana.

Debandada no elenco de ‘Law & Order: CI’

Segundo fontes do seriado, é de se esperar que os atores Vincent D’Onofrio, Kathryn Erbe e Eric Bogosia deixem a produção da franquia ao longo da nona temporada.

Julianne Nicholson deixou o programa na temporada passada, com isso, a esperança de Dick Wolf caem nos ombros de Jeff Goldblum, que entrou para o elenco fixo na última temporada, ao lado da atriz Saffron Burrows.

Atriz de Gossip Girl ganha medida cautelar contra ex-marido

Kelly Rutherford, a Lily do seriado ‘Gossip Girl’, exibido pela CW, obeteve esta semana uma medida cautelar contra o ex-marido Daniel Giersch, segundo a revista People.

A atriz procurou a justiça depois que Giersch começou a seguir a atriz, sua mãe e a babá de seus filhos, além de seguidas ameaças.

O ex-casal briga pela disputa dos filhos desde 2008.

Qualidade ou propaganda?

O NYT publicou uma matéria interessante em seu site indagando sobre a qualidade da programação da TV norte-americana: teria ela melhorado ou a propaganda e o famigerado buzz é que anda fortes? Clique aqui para ler.

ABC prepara nova série policial

Depois de estrear ‘The Forgotten’, de Jerry Bruckheimer, ABC já prepara ‘Hopscotch’, cop show do produtor para a próxima temporada. O piloto está sendo escrito por Chris Levinson.

Os detalhes até aqui são poucos, mas parece se tratar de uma série de investigações de homicídios durante diversos dias não-consecutivos.

Detalhe curioso: Chris Levinson, o roteirista, é filho de Richard Levinson, produtor famoso por ter estabelecido o gênero na TV norte-americana com shows como ‘Columbo’ e ‘Murder, She Wrote’.

Gossip Girl da vida real

A CW encomendou a produção de um piloto de reality show sobre uma gossip girl da vida real. A emissora explorará a vida de jovem e rica Tinsley Mortimer, socialite de Manhattan. Mortimer é apontada pelos jornalistas de celebridades – e pela Nylon – como a “next big thing”.

A jovem também participou da season premiere da segunda temporada de ‘Gossip Girl’ e foi juri do programa ‘Fashion Show’, que vai ao ar no canal a cabo Bravo, nos EUA.

A demanda para este novo reality é de oito episódios de meia hora. A produção executiva é de Andrew Gassman e Mike Aho.

ABC estreia ‘FlashForward’

A ABC leva ao ar hoje a series premiere de ‘FlashForward’, piloto mais guardado da fall season norte-americana.

O NYT escreveu uma crítica do piloto que é destaque na Home de Arts da versão online do jornal. Clique aqui para ler. Quanto a minha opinião sobre o piloto, foi publicada na Revista Paradoxo. E, claro, aqui no blog.

Jennifer Morrison, a Cameron, está saindo de ‘House’

A Entertainment Weekly deu agora pouco com exclusividade: a atriz Jennifer Morrison, que por cinco temporadas interpretou Cameron em ‘House’, está se despedindo do seriado.

O que foi dito é que a atriz não teria pedido desligamento ou sido demitida. Esta seria uma decisão criativa da produção. Considerando que Jesse Spencer continua na série no papel de Chase, já da pra ter uma idéia do que vai acontecer, né?

Stephen Root vai participar de ‘24 Horas’

O ator Stephen Root vai participar de dois episódios do oitavo dia mais difícil da vida de Jack Bauer. Root fará o papel de Ben Prady, oficial do Departamento de Correção. O ator já foi visto este ano no drama ‘True Blood’, da HBO.

Oito cenas que não queremos ver

O TV Guide fez uma lista divertida das oito cenas de sexo que NÃO queremos ver na TV. Confira aqui.

Quer saber tudo que vai acontecer na sua série favorita?

Spoilers de ‘CSI’, ‘True Blood’, ‘The Office’, ‘Fringe’, ‘Dexter’, ‘Bones’, ‘Heroes’, ‘Heroes’, ‘Mad Men’, ‘Smalville’ e muito mais, aqui.

Retornos e estreias na TV

Para quem ainda não viu ‘FlashForward’, um dos pilotos mais antecipados da fall season, vale a pena deletar o pre-air e baixar o piloto em HD, que vai ao ar hoje nos EUA. Outras séries que voltam hoje: ‘Grey’s Anatomy’, ‘CSI’ e ‘The Mentalist’.

Simon Cowell e Fox querem versão americana de ‘X Factor’

A Fox está prestes a fechar um contrato milionário com Simon Cowell, que além de juri do ‘American Idol’, é criador do show de talentos britânico ‘X Factor’.

Já faz tempo que o jurado demonstra vontade de trazer sua cria inglesa para a tv norte-americana, mas seu contrato com ‘American Idol’ sempre o impediu.

Mas agora parece que o desejo é mútuo e as primeiras conversas já aconteceram. A idéia da Fox é ter uma versão US de ‘American Idol’ para a temporada 2011-2012 e assim, segurar Cowell como jurado de Idol até a mesma época.

Em movimento ousado, CW encomenda temporadas completas

A CW parece determinada a ganhar a confiança de seus fãs (tem alguém ai?). Na noite de ontem, em atitude surpreendente, a emissora encomendou novos episódios ao drama ‘One Tree Hill’ e as novatas ‘Vampire Diaries’ e ‘Melrose Place’.

O canal aberto havia encomendado apenas 13 episódios do drama veterano, mas agora com o anúncio, a temporada completa está confirmada. Quanto a Diaries, a aposta é grande, já que o novo drama teen-vampiresco teve a premiere mais assistida da história da CW.

Já Melrose, até aqui foi só decepção. Mas os executivos parecem estar com paciência, assim como tiveram a mesma paciência com a turma de ‘90210′. E desde que Heather Locklear confirmou sua volta a Melrose, o futuro parece menos tenebroso – será?

NBC compra ‘The Mountain’

A NBC foi até o Canadá atrás de novidades. A emissora acaba de adquirar ‘The Mountain’, co-produção canadense sobre uma mulher que se muda com sua família para as montanhas, onde herdou uma cabana de seu suposto falecido avô.

As filmagens começam no mês de outubro em Montreal e Doug Barr, que escreveu o piloto, também acumulará a função de diretor e produtor executivo, ao lado de Joel Rice e Jeff Grant.

O piloto possui duas horas de duração e tem o formato de telefilme. Ele serve como cartão de visitas para um eventual sinal verde da emissora para produzir um seriado.

FX prepara série animada para 2010

A FX está prestes a se aventurar nas animações. O canal a cabo norte-americano fechou parceria com a empresa Shine Intl. para produzir uma animação com previsão de estréia para 2010.

‘Archer’, título do projeto, será um thriller animado sobre espiões. No elenco estão Jon Benjamin, na voz do espião-mestre Sterling Archer, Jessica Walter, Aisha Tyler, Chris Parnell e Judy Greer.

JJ Abrams prepara nova comédia para Fox

A Bad Robot, produtora de JJ Abrams (criador de ‘Alias’ e ‘Lost’) fechou um contrato com a Fox para escrever uma nova comédia para o canal. Mike Markowitz foi chamado para roteirizar a idéia.

O show ainda não tem título e detalhes sobre a trama estão sendo mantidos em segredo por Abrams, que produzirá a comédia. O que se sabe até aqui é que o programa é descrito como uma “comédia médica”. Algo na linha de Scrubs, talvez?

Lembrando que não é a primeira vez que a Bad Robot se aventura nas comédias. Em 2006-2007, a produtora de JJ produziu ‘What About Brian’.

Betty White como ela mesma em ‘30 Rock’

Betty White aparecerá como ela mesmo em ‘30 Rock’. Famosa por ser uma das Golden Girls, White gravará sua participação na semana que vem.  Segundo Tina Fey, agora o seriado corre atrás de Meryl Streep, Paul McCartney, Robert Pattinson e Justin Timberlake.

Spin-offs memoráveis

O TV Guide fez uma lista super bacana com os 12 spin-offs mais memoráveis da TV norte-americana. Clique aqui para conferir. Na lista, nomes muito importante na história dos seriados como ‘Rhoda’, ‘Frasier’ e ‘The Jeffersons’.

Novidades no elenco de ‘Damages’

Campbell Scott e Martin Short entram para o elenco fixo de ‘Damages’. Enquanto isso, a produção anunciou outros dois nomes de peso que farão participações na terceira temporada. São eles: Keith Carradine e Lily Tomlin. As filmagens do novo ano iniciam hoje, 23 de setembro.

Spielberg prepara série para Showtime

O diretor e produtor Steven Spielberg prepara nova série para o canal a cabo norte-americano Sowtime. O show deverá narrar os bastidores de uma produção musical da Broadway. O bacana aqui é que o seriado acompanhará a pré-produção, produção e pós-produção da peça. E após isso, a peça sai da telinha e entra em cartaz de verdade.

Lost

A ABC liberou nesta terça-feira, 22/09, o título do quarto episódio da sexta temporada de ‘Lost’: ‘The Substitute’. Lembrando que os outros três primeiros já tinham vazado: ‘LA X’ (S06E01 e S06E02) e ‘What Kate Does’ (S06E03, lembrando que o nome do S02E09 é ‘What Kate Did’).

Geralmente, os quartos episódios das temporadas de ‘Lost’, são focados em… Locke. Agora, volte pro nome do episódio. Faz sentido, não?

Heather Locklear está de volta a Melrose Place

Heather Locklear, a eterna Amanda Woodward, vai voltar para o remake de ‘Melrose Place’. No começo do ano, a atriz descartou reprisar o papel que a lançou ao estrelado, mas parece que Locklear mudou de idéia.

O anúncio foi feito esta semana pela The CW e a primeira participação da atriz no programa deve acontecer no dia 17 de novembro. Detalhes de sua volta não foram divulgados – há especulações de que ela seria relacionada a Ella -, mas sabe-se que ela voltará a morar no prédio em que habitou na versão original do seriado.

CBS encomenda novos pilotos

A CBS está produzindo dois novos dramas. Um do roteirista Peter Tolan (‘Rescue Me’) e outro de Ed Redlich (‘Without a Trace’). Os dois são produções da Sony Pictures TV e possuem grandes multas caso seus pilotos não sejam produzidos. O projeto – sem título – de Tolan é sobre um professor excêntrico que desvenda crimes. O piloto está sendo escrito em quatro mãos, as outras duas são de Michael Wimer.

Já ‘The Remember’, de Redlich, é focado em uma detetive de Nova York que tem a habilidade de lembrar absolutamente tudo que passa por sua vida. Sarah Timberman e Carl Beverly são os outros dois nomes atrelados ao piloto.

25 séries que fracassaram

A Entertainment Weekly fez uma matéria SUPER bacana com as 25 séries mais hypadas da história que deram errado. Todos os anos diversas produções atingem o status de hit antes mesmo de sua estréia, e o que se vê depois é um fracasso de crítica e audiência que gera um cancelamento muitas vezes prematuro.

Entre alguns nomes, estão ‘The Fugitive’ (95-96), ‘Watching Ellie’ (2002-2003), ‘My Own Worst Enemy’ (2008), ‘The Lone Gunmen’ (2001), ‘Karen Sisco’ (2003-2004), ‘Smith’ (2006), e talvez o principal de toda a história da TV: ‘Studio 60 On the Sunset Strip’ (2006-2007). Confirma a lista completa aqui: http://is.gd/3zaRq

The Good Wife

Hoje tem series premiere de ‘The Good Wife’, novo drama da CBS e uma das minhas apostas pra fall season. A série é estrelada por Chris Noth (o Mr Big de ‘Sex and The City’) e Julianna Margulies. Noth faz o papel de um político protagonista de uma sex tape que vaza para a mídia. Margulies faz o papel de sua esposa. A série foi destaque na home do NYT: http://is.gd/3za05

Glee

A série ‘Glee’ mal estreou e já recebeu uma temporada completa da Fox. A emissora norte-americana encomendou outros 9 episódios, além dos 13 planejados inicialmente. Portanto, a demanda total é de 22 episódios. ‘Glee’ é uma criação de Ryan Murphy, que já nos trouxe ‘Nip/Tuck’.

Obama

Presença de Obama ontem no Letterman deu ao talk show sua maior audiência em quatro anos, audiência 195% maior que a de Conan O’Brien.

I recently rediscovered Studio 60 on the Sunset Strip on Hulu. If you don’t remember the show, it’s basically a funny version of 30 Rock, except that it’s an hour long and doesn’t star a cute writer who vaguely resembles the former governor of Alaska.

As much as I enjoy Studio 60, I must admit it is a solipsistic view of Hollywood from the producer’s perspective. Yesterday, I watched ”The Option Period.” Part of the plot involved the network demanding the producer fire fifteen crew members in order to save money. (Why the executive was talking to the director-producer instead of the line producer is a question I’d rather not consider.)

At a certain point, the executive offers that the producer could take a pay cut to save jobs. The producer waves this away with a dismissive, “No, we’re not going to do that.”

This harsh comment hit home for me, because my own show is going through a similar situation. Our studio has imposed a pay freeze on all returning shows this season. (Generally, one can expect at least a small raise from one year to the next, especially on a successful show.)

There is an exception, of course, for actors and producers, whose contracts are written years in advance. In exchange for their promise to return season after season, the studio guarantees pay bumps from one year to the next.

This seems like a great plan, except when everyone around you isn’t getting a raise. I honestly don’t know how I could, in good conscience, accept the extra money. “Sure, I already make millions of dollars, and stand to make millions more in syndication and DVDs, but I really need that 5% bump to keep up with inflation.”

I’m not saying they should let the studio keep its money–that’d be dumb–but these are the supposedly “creative” people. Surely the could refuse the pay raise, in exchange for a commensurate increase in the show’s budget.

You always hear about CEOs who work for one dollar a year when their company is in trouble. How can someone who’s pouring their creative energies into their chosen art form not do the same?

Of course, I know the answer *cough*GREED*cough*, but I’m young. Allow me to wallow in my naiveté for a few more years, please.

Numb3rs (2005)

In the Los Angeles office of the Federal Bureau of Investigation, Special Agent Don Eppes and team work investigating critical crimes with a special edge: Don’s brother, Charlies Eppes, became a brilliant mathematician who uses numbers so that through its complex equations be able to ferret out the most tricky criminals.

IWC Flieger Chronograph 3717

Don Epps (Rob Morrow) wears an IWC Flieger Chronograph 3717.

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Scrubs (2001-2008)

Is an American comedy-drama that premiered on October 2, 2001, on NBC. Created by Bill Lawrence and produced by ABC Studios. The show follows the lives of several employees of Sacred Heart, a teaching hospital featuring fast-paced dialogue and surreal vignettes presented as the daydreams of the central character, Dr. John “J.D.” Dorian.

Hamilton Khaki Automatic

Dr. Bob Kelso (Ken Jenkins) uses his Hamilton Khaki automatic to show to Nurse Carla Espinosa (Judy Reyes) how late she is arriving work.

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The Shield (2002)

The Shield plays out in a tough, morally ambiguous world in which the line between good and bad is crossed ever day focusing on the tension between a group of corrupt but effective cops and a captain torn between bringing them down and advancing his own political ambitions. The Shield stars Michael Chiklis (The Commish) as rogue cop “Det. Vic Mackey,” leader of the elite Strike Team unit, who is effective at eliminating crime but who operates under his own set of rules.

Cartier Must 21 Chronoscaph quartz chronograph

Detective Vic Mackey (Michael Chiklis) wears a Cartier Must 21 Chronoscaph.

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Survivorman (2004)

Survivalist Les Stroud places himself in unique survival situations. In each challenge he demonstrates how one might survive alone in a remote location with minimal supplies until being rescued. Finding food, water, and materials to make fire and shelter pose the main challenge of each episode.

Tissot T-Touch Trek

In season 3 of Survivorman Les Stroud wears a yellow Tissot T-Touch Trek.

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Studio 60 On The Sunset Strip (2006-2007)

American dramedy television series created and written by Aaron Sorkin which takes place behind the scenes of a fictional live sketch comedy show (also called Studio 60 on the Sunset Strip or Studio 60) on the fictional television network NBS (National Broadcasting System), whose format is similar to NBC’s Saturday Night Live. The fictional show-within-a-show is run by head writer and executive producer Matt Albie (Matthew Perry) and executive producer Danny Tripp (Bradley Whitford).

IWC Big Pilot

Simon Stiles (D.L. Hughley) wears an IWC Big Pilot.

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So I’m one of those people who gets really mad when my friends and family don’t watch a TV show I recommend heavily.

I think I have a secret fear that if I don’t zealously spread the word, it’ll get canceled.

I told everyone I knew to watch “Freaks and Geeks,” still the best show about high school ever. Few did. It got canceled after 18 episodes.

I raved about an old Jay Mohr show called “Action,” which was hilarious but criminally unloved. I loved “Studio 60 on the Sunset Strip,” which lasted a whole season.

After the pilot, I spread the gospel of “Dirty Sexy Money.” “It’s smart, it’s funny, it’s well acted, and it’s probably way too smart for most of America!” I exclaimed. It too got canceled.

With that track record, friends and family have grown skeptical. But dammit, sometimes I’m right. And from the first episode in 2004, my favorite show on television has been FX’s “Rescue Me.“

If you are not familiar with it, a brief primer: It’s about life in a New York City firehouse post 9/11. The adventures of Ladder 62 make for the most hilarious yet heartbreaking show I’ve ever seen. In one minute, you’ll be busting out laughing at the wildly inappropriate humor. A few minutes later you’ll be devastated by the drama.

If you haven’t seen it, I beg you to give this hilarious clip a try. Or this unbelievably heart-wrenching one.

No show I’ve ever seen does comedy and dark humor better. Denis Leary is the star and is a genius. He plays Tommy Gavin, who has so many terrible qualities but so many great ones. Leary has been on other shows before and I’ve always watched them, because the dude is flat-out funny. When I was 14 I wore out his “No Cure for Cancer” comedy cassette, I played it so much. (The joke about the guy with the voice-box pulling up to the drive-through at McDonald’s still kills me).

Turns out Leary, who is one of the writers, is also a great actor, and the rest of the cast is fantastic, too. There’s Franco, the Puerto Rican tough guy who gets all the ladies and was revealed this season to have some interesting 9/11 theories. There’s Mike the probie, who is just so stupid but so endearingly earnest. There’s Ken (aka Lou), a great foil to Leary’s Tommy, who’s unlucky with women but has a great heart. There’s Sean, a great partner for Mike who has great comic timing and facial expressions.

There are lots more terrific, well-drawn characters, too, including a pair of crazy women Tommy’s constantly ping-ponging between. (For fans of the show, yes, I know that’s an old picture of the cast I’ve got up top, but I’m still mad they killed off Jerry the Chief a few years ago. I loved him.)

I don’t know why the Emmy Awards people keep snubbing this show, but it’s in the middle of Season 6 now and it’s still fantastic.

OK, end of arm-twist. It’s on tonight at 10 on FX, and it’s well worth your time.

**On another note, I was wildly disappointed in Rickey Henderson’s Baseball Hall of Fame induction speech. Not only was Rickey one of my favorite players growing up (at least when he was a Yankee), but the dude was 100 percent unintentionally funny. He spoke in the third person constantly; one of my favorite Henderson stories was when, disgruntled with the team he was on, he called every GM in baseball and said “This is Rickey, calling on behalf of Rickey, letting you know that Rickey is available in a trade.”

Then there’s the story, which may be apocryphal, when he went up to John Olerud and said he played with a guy in New York who also wore a batting helmet in the field.

“Um, Rickey, that was me,” Olerud allegedly said.

Anyway, Henderson’s speech was anticipated since he was elected in January; what would such a strange dude say on the biggest day of his life?
Sadly for us, it was a straight, emotional, speech. Rickey didn’t even call himself “Rickey” during the 14-minute talk.

I’d say it was a pretty big letdown. Oh well. We still have the great Phil Rizzuto speech from1994 to appreciate.

image courtesy of TNT

To us here on Raked, Monday nights mean time for Raising the Bar. What’s better? When the stars of the show take the time to talk to us.

One such star Teddy Sears, who plays Richard Patrick Woolesly on the show. Richard is the lawyer with the biggest heart–and wallet–which can get him into some interesting situations on the show.

Guest writer JC talks to Sears about his character on Raising the Bar, his guest appearances on shows like Dollhouse and Studio 60, and even what’s on his ipod.

JC: Hi Teddy. Thanks for taking the time to talk to me today.

TS: Oh absolutely. Thanks for having me on.

JC: It seems like Richard has the largest heart of anyone in the series. Where does that come from?

TS: <laughs> Maybe second only to Mark Paul Gossaler’s Jerry, but yeah Richard’s got a huge heart and I think that’s exactly why he’s working with the public defenders. His dad, if you watch the first season, you know, is getting pressure from the family to be this one particular way. But you know, Richard’s got a heart of gold man, and he’s got to fight tirelessly for the people who need him most, and that’s why he’s a PD.

JC: Yeah, and it seems like lately, in the last couple episodes, we’ve seen your character struggle more with his wealth and how it can help his clients along with what he does for them in the courtroom. Is that going to be a big conflict with the character going forward?

TS: Right now, Richard is in this, sort of character arc, to use an actor term, but the next couple episodes we see it sort of wrapped up into a nice little package. We see Richard struggle morally and ethically, with how can I help my clients, what can I do to fight for these people. He has this dilemma with money; I mean, the guy’s got money and paying a client’s fine as a last resort makes some sense, because the money means very little to him. But we find that there are other ways in which he can advocate for his clients besides just the knee-jerk, let me pull out my wallet and pay the fine, for example using his family name, his influence… I think ultimately, what we see, is that there are more tricks up his sleeve than the financial [ones]. This is where Richard sort of becomes a man, you know? He makes a decision about what he feels is best for him. He doesn’t give a damn about what anyone else says or thinks, and I think that that is the hallmark of someone coming into his own. And it’s really fun to play, but man, I think it’s even more fun to watch someone struggle with these great life decisions. And listen, most of us will never have these life decisions… but to see someone struggle, to be consumed by something is something everybody can relate to, because we’ve all been there.

JC: Absolutely. We’ll look forward to watching that develop.

TS: Thanks.

JC: Now, last season, we seemed to have left off with the possibility of a relationship between Roz and Richard. But I haven’t seen a lot of that so far this year.

TS: <laughs> I know, you and me both, and I’ve been there.

[Read more after the jump!]

JC: Will there be some more of that in the next couple episodes?

TS: Whenever I ask the writers that question, they’re coy. I mean, partly because maybe they don’t know, or maybe they do know and they just don’t want to tip their hat. Of course things change. But if you watch tonight, 10 p.m. on TNT, we do see the needle move in this relationship. But something that TNT doesn’t want to do is they don’t want it to be a serialized show. You don’t have to watch last week in order to know what’s going on this week. So, I think like in life, it’s not as linear as we might like it. We will see indications of something growing, and then we may not for an episode or two. But we’re still in production. There are a few epsiodes left to shoot that I haven’t read the scripts for and I know that as TV shows are likely to do, as the season comes to a close, we get answers to questions that have been put off or have been on our minds the entire season. I’m as curious as you are as to where it’s going to go, but I think we see the roots start to take hold.

JC: We’ll be looking for that tonight then. Now, there’s an almost

image courtesy of TNT

unsaid competition between Richard and Marcus, and who can dress better in the court room.

TS: I know! We’re like bookends.

JC: Marcus’s suspenders versus your ties. Who’s the winner?

TS: Ties and cufflinks my friend.

JC: I Agree. I think suspenders are a little outdated.

TS: Yeah, exactly. There’s a… I don’t know. You know, presumably, we all went to law school, we’re all very good friends for a long time, and we’ve all ended up on different sides of the aisle here. Marcus and Jerry on the show are best friends, but Marcus and Richard… They are like mirror images of each other, just one has ended up in the PDs office, and one’s ended up in the DA’s office. And I think with anyone who is very similar to you, there’s an undercurrent of discomfort. Not because there isn’t a genuine affection or genuine respect, but because maybe Marcus is almost too much like Richard, so there’s a little something that might be sort of hard to swallow from an ego standpoint. Like wait, there’s someone else just as dapper, just as smart, just as good with his words? How dare he! I feel like if anything that’s what’s going on, but there’s a huge love and respect these characters have for each other if for nothing else, just because of how passionately they fight for their clients. It’s really cool. It’s a really cool thing.

JC: Who’s your favorite character to be up against in court? Who do you like to act up against the most?

TS: It’s got to be J. August Richards, who plays Marcus. It’s almost like a great rivalry on the playing field. Someone’s who’s just as good, if not better, on any given day, and you just go out there and give it your best and hope you get the nod from the judge. There are nine of us on the show and we all, very, very, luckily like each other a lot so I’m happy to go up against anyone in court. But yeah, Marcus has got to be my favorite.

JC: You guys have certain chemistry when you’re arguing different sides of a case and it’s interesting to see you two paired together.

TS: There’s a lot of stuff too that comes up that’s not in the script; it’s just us being friends with each other. These little, little bits that they catch reactions, or maybe some ad-libbed lines, that makes the show great in a way. Because of the chemistry of the characters, there’s a certain levity that we’ve been able to find in the second season that was missing in the first. And I think that just speaks to the relationships we’ve been able to forge with each other.

JC: Definitely, it’s really showing. We noticed that you had a brief role in the show Dollhouse earlier this year.

TS: I did. I was able to do that while on hiatus from the show. Yeah, Dollhouse got a nod for a second season, which is very exciting, so maybe we’ll see this character Mike again.

JC: That’d be great. Joss Whedon has kind of a religious following almost. Has anyone recognized you from the appearance at all?

TS: You know, it’s funny. If they have, they haven’t said it. But you know, I tune into IMDB.com and I went on the week after Dollhouse aired. It shows you each week what your popularity numbers are, and I had a huge spike, and I attribute it to all the Whedon fans who were probabliy like “Who’s this kid?”, “Who’s this Mike guy?”. So that’s the most immediate thing that I’ve seen, but no, no one’s come up to me but I tell you what, if I show back up in the second season, it’d be harder to avoid the possibility of that. I know that Joss and company were just down at ComicCon down in San Diego, and I didn’t go, but if I had then I think it’d be unavoidable.

JC: What do you do in your time off the screen? I hear you’re big into sports. I know you played football for Maryland, is that right?

TS: I did yeah, I played football for Maryland for a year. Then I transfered to University of Virginia and played water polo for there for a year. I went to an all boys school for ten years and athletics was a requirement, so I grew up playing sports, trying a bunch of different sports, and then even concentrating in different sports like swimming, and football, and ice hockey. I now live in Southern California, where I live in an area that’s a very sports heavy community. I stay very active, surfing. My girlfriend and I and a group of friends play volleyball every weekend together. I’m out cycling, I’ll do triathalons. Yeah, I just stay busy and it’s probably just from how I was raised.

JC: We saw you play a pitcher in Studio 60…

TS: That’s right, that’s right. I think we can just credit that, thank goodness, I looked the part. I think that more than anything helped get the nod. You know, I’m 6′3″ and change and I certainly guess I cut that atheletic figure, and Aaron Sorkin thought the same thing. That was great though, that was one of my first jobs when I moved out to Los Angeles. It defintely put some wind in my sails.

JC: So, what’s on your iPod now? Listening to anything good?

TS: It’s summertime and I’m back on a huge Jimmy Buffet kick. That might get me eliminated from a lot of people’s cool list, but he is totally cool. So I’ve got Jimmy Buffet on overdrive right now. I like Phoenix. I’ve been sort of back on my Vampire Weekend kick. I think if it’s upbeat, and it’s fun, and if it helps me drive with the windows down… man, the sky’s the limit.

JC: Great. I’ll give you that for Jimmy Buffet. I’ve spent some time in Margaritaville too.

TS: You have? OK, thank you very much! It’s been fun rediscovering his music, which as a high schooler I was sort of obsessed with. So all these great memories come back. Margaritaville is a great place to spend your time.

JC: You’ve made the transition from soap operas to primetime. I think that’s something that a lot of people aren’t able to do or haven’t been able to do. Was it a big transition? Was it very different? Was it difficult?

TS: It was a multi-year transition. I did about two years on One Life to Life, and then I made the decision, it was very concious decision, that I didn’t want to go on to another show. At the time I was twenty-four, no expenses, no girlfriend, I had absolutely nothing to lose and I know that I wanted to be in the ring with the big boys, so to speak. It was a long climb. No one cared that I had done a soap. I had to do little bits on a couple Law and Order’s. Whoopi Goldberg had a sitcom for a minute that I jumped on for an episode. And then, I just had to over the years, get credits. One credit this year, two credits this year, three the next… And it just slowly started to build. You know, from when I got off the soap in 2001, to when I was hired for Raising the Bar, that was six years. We didn’t even actually start shooting the series until ‘08, so it was more like seven years. I had always been told it takes eight years. After eight years, you’ve seen all the casting directors, you’ve grown enough, by eight years, you should be ideally doing the work you want to do and funnily enough, it took about that long. It was fraught with self-doubt, but it was also fraught with conviction too. I would say the transition was difficult but I don’t know, I just believed it was going to happen. When those dark hours show up, it’s vital to have that belief and I’m grateful that I did. But I’m grateful that Steven Bochco gave me a shot. It’s so arbitrary sometimes but having faith helps you weather that storm.

JC: Just one more question. How did you stay confident through the lean years? How did you keep pushing yourself?

TS: My brother lived down the street in New York City. He’s a painter, and he and I leaned on each other. He would get me work painting, contracting, doing construction. I would get him work doing catering, doing odd jobs. We just leaned on each other and we had lots of conversations about how tough it was but also how we had that vision. If my brother Rickey hadn’t been there, I just don’t know that I’d be talking to you. That’s how it worked for me and it was a great bit of fortune.

JC: Teddy, thank you so much for your time.

TS: Oh, you’re welcome. Thanks for having me on.

JC: We really enjoy the show, and I’m looking forward to seeing more of Richard in the next couple episodes.

TS: Yeah, thanks a lot. And fingers crossed for a third season. Our average viewership is up this year over last, which is a great thing, and everyone is really happy. I think TNT’s happy too.

JC: That’s really good to hear. We’ll be looking forward to a third season for sure.

TS: Thanks again.

Don’t forget to watch Teddy Sears on Raising the Bar tonight on TNT!

There’s a new show coming soon and I’m hoping it will be good enough for me to get hooked.   The Philanthropist is about this billionaire who, while on a business trip in Africa, has a life-altering experience that leads him to make adjustments in his life.  Yeah yeah I know, it sounds like a Brangelina in Zimbabwe or a Madonna in Malawi kind of story. But as you already know, I’m a sucker for things like these.  So back to the show – the BIDA is this guy called Teddy Rist who I imagine to be a cross between Richard Branson and George Clooney.  After his experience in Africa he becomes a Philanthropist/Vigilante by helping people on the one hand, and atoning for  his “sinful” past on the other.  The show was shot in South Africa, Prague and Mozambique and stars that actor from Rome, James Purefoy (Mark Antony).  Check out the short preview below.

So I’m keeping my fingers crossed.  I’m hoping I’ll like this show.  I haven’t gotten excited over a show since Studio 60 on the Sunset Strip and Trust Me , which both eventually got cancelled.  My batting average sucks!

This week’s classic clip serves as something of a companion piece to Peter Finch’s memorable “Mad As Hell” monologue from the film Network, which was featured on this week’s Monday Movie.

It’s from West Wing creator Aaron Sorkin ’s under-appreciated Studio 60 On The Sunset Strip. The drama was set behind the scenes of a fictional, Saturday Night Live-style satirical sketch comedy, also called Studio 60 On The Sunset Strip.

In the first episode, the show within the show is about to begin the live transmission of the first episode of its 20th season.

The show’s creator and producer Wes Mendell (played by Judd Hirsch, right) is jaded after years of being brow-beaten and watching the once ground-breaking show dulled and blunted by politically-correct interference from network executives more interested in short-term profits than artistic integrity or cutting-edge comedy.

As a result, the show has become a shadow of its former self, with sketches primarily designed to offend no-one but which are just not funny. As a result, the ratings are on a downward spiral and so Wes has lost any power and influence he once had at the network to try to halt the slide.

Things come to a head for him as minutes before the show is due to start, the network tells him he can’t air the one good sketch he has that week, pushing Wes over the edge and prompting him to interrupt his own show with a live appeal to viewers (EDIT: sorry, once again the uploader has prevented embedding, so you’ll have to click on the player when the “embedding disabled” message appears to go to the YouTube page to watch it):

The scene concludes in the first few seconds of this video, which continues straight on from the above:

Outro dia li alguém falando no twitter que acha que vai acordar e descobrir que o fim de Studio 60 foi só um pesadelo.

As vezes eu acho que vou dormir e sonhar que Studi0 60 não foi mesmo cancelado, mas aí eu acordo e a série continua não existindo.

Pior que só tem a primeira temporada importada e super cara. Ah, se eu fosse uma Jordan McDeere.

Saudade de tomar uma cerveja no McLaren’s com o Ted, a Lilly, o Marshall, a Robin e o Barney;

Saudade de sub-poena todo mundo com a Ellen Parsons;

Saudade de explorar a ilha com Jack, Kate e cia;

Saudade de desvendar casos com a Veronica (tá, aí não tem jeito);

Saudade de jogar pôquer com a Bree, a Lynette, a Susan e a Gabrielle;

Saudade de pegar os médicos do Seattle Grace se agarrando no on-call room;

Saudade de comandar a NBS com a Jordan McDeere (tá, eu sei, tb não tem jeito);

Saudade de riscar os ítens daquele papel amarelo com o Earl;

Saudade de ver acidentes de helicoptero em Chicago (a série já acabou, teve George Clooney, Alexis Bledel e eu AINDA NÃO VI, tsc tsc);

Saudade de divagar com o J.D. (amanhã é minha última chance!);

Saudade de bater um papo com o Alan e ver quem é mais loser quando se trata de relacionamento;

Saudade de ver que não sou tão loser assim ao me comparar ao Leonard e ao Sheldon. Ditto para a Old Christine;

Saudade até de salvar o mundo com o coxinha do Peter Petrelli.

Saudade de passar aperto coletando as almas com o Sam (tenho pouco tempo neste caso tb!)

Saudade de passar vontade quando entro no Pie Hole;

Saudade de sugar gordura das peruas de Miami com o Sean e o Christian (pq eu parei na época de Miami e nunca mais voltei);

Saudade de ter inveja da Dra Addison, apesar de tudo;

Só de Stars Hollow e do Dr Paul que não tenho saudade, desses nem minha nova so-called life (ha! saudade!) conseguiu me afastar.

(nossa, é meu segundo post meio emo. Mas para que conste, minha nova so-called life é beeeem mais legal que a anterior, eu só queria que pudesse ter as duas ao mesmo tempo! Só na TV que seria possível.)

1) Firefly
2) Studio 60 on the Sunset Strip
3) Arrested Development
4) The Office (UK version)
5) House, MD

I have chosen all of these shows because in them the characters actually evolve in the shows. I used to like Chuck and Burn Notice, but the characters never evolve, it’s like watching the same show over and over again, it’s infuriating.

Post number two. If you haven’t yet listened to the song I mentioned in the first post then I suggest you listen to it whilst you read this…seriously….do it…now.

TheGreenGangster: A blog about good music, good TV and good films.

Some of you may resent the idea of TV being put in to the fold with supposedly more respectable cultural forms like music and film but you are wrong. Very, very wrong.

Somehow TV, like BBC Radio 1 and teenagers, has managed to get a reputation as being loud, irresponsible, rude and unintelligent.

How can this be when TV has graced us with (in order of greatness):

Twin Peaks, The Sopranos, The Wire, Lost, Peep Show, Skins, House, Scrubs, Studio 60 On The Sunset Strip, Black Books, I’m Alan Partridge, Spooks and The Office?

That list alone is hundreds of hours of class ‘A’ entertainment. All brought to you by you’re very own television. It’s a box of wonders. A box of genius. A box of enlightenment. If TV were a religious symbol it would be the Bodhi Tree beneath which Siddhartha attained nirvana.

So, one aim of TheGreenGangster is to give TV the appreciation it deserves. I mean, how can we spend so many hours watching something we supposedly hate?

That’s just unhealthy is what that is.

Luce x

CASTLE: 1.02 “Nanny McDead”

I really want to like this show. I really do. It’s just so painful to watch that I just don’t think I can.

And I’m sorry, Nathan Fillion. I wanted to continue watching you, not just because you’re a Whedon alum, but because if I see an actor I like, I want to follow them. Like Amber Tamblyn in The Unusuals. I will watch because of that.

Unless it’s a lame spinoff, then all bets are out.

And honestly, Nathan Fillion is doing a good job with the show. He’s doing the whole charming, funny, pompous guy routine well. And if we could do an entire series on his character plus his daughter and mother, I’d be quite happy. But no, we have to include all this procedural crap.

The writing’s the problem. It’s like someone on the writers’ staff is coming up with creative ways to find a body (covered in flowers and crumpled in a dryer are definitely unique), but then everything after that is just…crap.

Let’s look at last night’s episode. If we went into the predictability scale, from scene 2, we assumed it was the father that hired the nanny. In fact, I swore by it, 5 minutes in. The backup was his wife.

Now, we find out that it was neither of them. Here’s the problem. It took us 30 minutes to find out that it wasn’t them, and then they decide to throw a curve ball 5-10 minutes later by introducing an entirely new couple that we knew nothing about. At that point, you just wonder if the writers’ staff got halfway through the episode and said, “Oops. We have 30 more minutes. Let’s change who murdered her to someone else.”

I realize I’m asking a lot, but introducing people who are important to the logic of plot is kinda preferable.

Then, the final scene. I realize this is supposed to be the moment that we find out that our female detective (whatever her name is) is supposed to have good negotiation skills and be relatable and all that–aka, a big moment–but I was too focused on the fact that she was crouched on the floor.

Let’s back up. That seems like a stupid point, right? Well, the point of putting the gun on the floor was so that the girl with the HUGE KNIFE (wait, why did she have that huge knife? never mentioned) wouldn’t feel threatened and would give up said HUGE KNIFE. So female detective puts it on the floor.

Now, in police school, don’t they then teach you to stand back up? So what if the gun is on the floor if you’re just going to keep your hand on it anyway. Plus, if you’re going to keep your actor like that, make it real. Have her need the gun again. I was so busy analyzing that from a directorial standpoint that I missed the big moment.

Meanwhile, female detective is as one-dimensional as a kindergartener’s drawing of a pile of bricks. Note: That’s even less entertaining than a real pile of bricks.

I just wish that there was something fresh here. The fresh idea is that this writer’s following her around, but the only thing he’s adding other than quips is information that he gathers because so-and-so is a “big fan.” That seems completely unrealistic to me. Trust me. I can name some great authors that I buy everything they write, but if I saw them in person, I certainly wouldn’t recognize them. Authors do not equal celebrities in many cases. Richard Castle is not, well, Nathan Fillion for God’s sake.

Anyway, I don’t think I can bring myself to watch another episode, unless it’s background noise while I’m doing something else. They really just have to step it up. And sadly, there’s been no indication, like in Dollhouse, that a major event will happen to make the series any better.

It hurts me to know that such shotty writing is on TV when smart shows like Studio 60 and Eli Stone can’t seem to make it more than a season or season and a half.

Sorry, Nathan. I tried.

I’m trying as hard as I can to include Trust Me into the Land of Punt.

Trust Me can be seen on TNT.

The new TNT drama stars Ed Cavanagh and Eric McCormack as best friends and Chicago ad-men who spend their day whining about their awesome jobs.

By the way, it’s from the same team that brought you The Closer and Nip/Tuck.

I’m a big fan of Cavanagh and a huge fan of McCormack.

Even though I’m a viral, heterosexual male, who’s bedded at least a quarter-dozen women, I have a little man crush on the former Will and Grace star. Although my roommate and antiquing partner Steve claims it’s a big man crush but what does he know.

However, Trust Me has some serious issues.

Did I mention it’s from the same team that brought you The Closer and Nip/Tuck?

The most glaring of which is the show desperate attempt at realistic drama. It’s very difficult, after watching eight different CSI and Law and Order shows, not to mention a dozen other life-and-death dramas, to listen to Cavanagh and McCormack moan about the stubbornness of some multi-million dollar client.

Add the fact that 10% of Americans don’t have jobs and you want to slap the duo every time they complain about a client rejecting their 3-word tagline.

Maybe it’s the prevailing times, maybe it’s the evolution of television, but L.O.P. is beginning to believe that unless a drama deals with life-and-death situation it will turn into ridiculous tripe.

It reminds me a lot of Studio 60 on the Sunset Strip. Yes there was some good stuff, but who cares about the trails of a comedy show in the middle of a war and a recession.

Trust me has nothing to do with Studio 60, instead it’s from the same team that brought you The Closer and Nip/Tuck.

Fortunately, there are enough moments (albeit few and far between) of solid interplay between Cavanagh and McCormack to save the show.

Co-stars Monica Potter plays the talented but socially awkward copywriter that despite being extremely attractive can’t seem to have a lasting relationship (cry me a river). Her character is completely unlikable to everyone on and off the screen.

Monica Potter plays Sarah Krajicek-Hunter.

Griffin Dunn plays the disagreeable boss. Not the boss you love to hate, just the boss you hate. Why? Because he’s just like your own boss!

There are a couple of other characters but they’re so thin they aren’t even worth mentioning.

Same team! The Closer! Nip/Tuck!

Even though TNT has aired only a handful of episodes, Trust Me has faltered more then it delivered. However, the likability of McCormack and Cavanagh will keep me tuning in to TNT.  And every time I do I will be hoping the team that brought us The Closer and Nip/Tuck will finally get it right.

Trust Me does not make it into the Land of Punt.

Turst Me needs more McCormack and Cavanagh.

Hello all, this is my final post of 2008.  I will have another rousing list of things that I enjoyed this year, but I must start by writing about my cat.  I am now the proud owner of a cat which may be a surprise to many of you that know my usual stance on animals.  And to be honest, this stance has not really changed that much.  There is one exception and his name is Dave the cat.  I would guess that some back story is required here.

When I was home from Maine over Thanksgiving my parents had taken in a kitten from outside our house.  One day in November they had noticed a mother cat with her three kittens.  As the weather turned really cold and rainy they noticed that the mama cat had taken two of the kittens away, but left one (Dave).  They waited over a day while this kitten sat in the cold and rain by himself with the mama cat nowhere to be found.  They decided to take him in and protect him from the elements.  Over the few days I wsa home for Thanksgiving I began bonding with this cat.  He’s a character and to be honest, my Dad had someone lined up for work to take him in right after Turkey Day, so getting attached was not a good idea. So we cut to a few weeks ago and I am talking with the family, under the assumption that they gave the cat away.  It’s not so! When I get home for winter break, there he is…I love the little dude.  He’s got a lot of spirit, but he also relaxes enough to show the love.  What can I say?  We are a fine pair of misfits.  Here are the debut pics of Dave the cat.

As we wrap up 2008 I would like to say thank you for all of you who read the samplings that from my brain.  This blog is a really great outlet for me and I am honored to have some loyal readers.  I pray that all of you have fruitful, blessed, and amazing experiences in 2009.  Please be careful tonight as you celebrate.  Now, onto a few ending comments on 2008.

Most Enjoyed Movies This Year

-“Big Fish” if you have not seen this film go rent it today…seriously, you will be better for it.
-“Numb” this Matthew Perry and Lynn Collins film is a great indie about dealing with depression, love, life, and work.  The best scene in the entire flick is around the 34 minute mark.  Collins’s statement about she wants in a relationship changed my life.
-“The Dark Knight” if you have not seen this movie then I should look away from you in shame, but quickly return to say, “come on man, see this movie.”
-“Milk” people should see this movie.  Gus Van Sant does an amazing job and he gets an Oscar worthy performance out of Sean Penn.
-“We Are Marshall” not sure if this came out in 2008 or not, but either way it is a moving story.
-“W” I was surprised at this film, it is something people should watch
-“Dances with Wolves” saved the Western in the early-1990s…this film always gives me a new perspective on things.

Most Enjoyed Television Shows This Year

-“Pushing Daises” I do not understand (well, I have an idea) why smart and well-produced shows get canceled when their strength is so obvious.  People should have been watching this show…If you have not seen it, rent it.
-“The Office” I tune in each week to get a dose of awkward and hilarity all-in-one sitting.  This show is extremely well-written, has consistently strong performances, and is highly quotable.
-“Band of Brothers” if you are interested in World War II, then you need to watch this series. Honestly, for me it is the catalyst of what all others wanting to write about WWII should use before starting.
-“Studio 60 on the Sunset Strip” this gem written by Aaron Sorkin (The West Wing) focused on a fictional Saturday Night Live style show.  Brilliantly written and expertly cast, this show was the second of two shows (“30 Rock”) that NBC wisely decided to put into the fall lineup at the same time in the fall of 2006.  Why they decided to have two programs about late-night sketch comedy shows on at the same time is beyond me.  With that said, these two shows are quite different and “30 Rock” continues to amaze and impress.   However, “Studio 60″ never got a fair shake and about every 5 months or so I rewatch all 21 episodes.

Moments of Hilarity from 2008

-My little brother Sam, in a fluke act that could not be repeated, bounced an entire deodorant stick into the toilet.  Now, not just in the water, this thing went down the into the toilet to where it was lodged and clogged.
-Anything Tina Fey did.  Her Sarah Palin was simply brillant.  Also, her writing and acting on “30 Rock” is heartfelt, honest, and hilarious.
-Speaking of “30 Rock.” Alec Baldwin is in a comedic league of his own.  He’s a ball-buster on this show.  This is best comedic acting since the film “Outside Providence.”
-The many, many laughs had by my friends and family throughout the year.  I was able to spend many valuable hours and days with my family, for which I will be eternally grateful.  From a road trip to Minnesota to island parties with my crew in Maine, to watching many movies to sharing a meal with lots of laughs and another road trip to Pittsburgh to cross-country nationals with my sister, I am blessed with an abundance of friends that I am honored and thankful to have everyday.

I am going to wrap this thing up knowing that I most likely forgot many important moments, shows, movies, experiences, etc.  All I can say is this.  I would not be where I am at today without the grace of God and the support of many, many wonderful people.  Thank you for your love.  Have a great start to 2009!!!

It’s not really a new question. In fact, people have asked it a lot. And in the void of new episodes of TV, I was thinking about it.

I remember when The Sopranos started on HBO. Now, I’ve never had HBO, so I never saw this series or Sex and the City until they were syndicated many years later. So it would bug the crap out of me to watch the Emmys or the Golden Globes and find all the awards going to shows I’ve never seen. And it still happens with HBO series and Showtime, too!

But now it’s spread a little further. If you look at the most recent list of Golden Globe nominees, you’ll see that the four basic networks–ABC, NBC, CBS, and FOX–aren’t nearly as represented as HBO, Showtime, and even TNT.

And why is that the case? Well, it seems to me that the four basic networks just don’t really have the time or money to spend on “smart” TV.

But let’s backtrack. What do I mean by “smart”? Well, I don’t mean “creative,” though there have been a number of cancellations for creative shows. I never watched Pushing Daisies, but you can’t disagree that it had a creative background and premise. Eli Stone, too. So it’s not necessarily creativity that I’m looking at.

Take a look at Studio 60. It was a very “smart” show. You really had to tune in and pay attention to really enjoy the show because there were a lot of storylines that fell below an episode’s plot–like Danny’s past addictions or Tom’s brother at war. It provoked thought.

Now, we take a look at shows like 90210 and The Office, which are basically spin-off/remakes of older, fresher favorites. Don’t get me wrong, I like The Office, but we’ve moved away from subtle humor in past seasons, and we’re now to the slapstick variety and cardboard characters.

And yes, there are exceptions. Lost is clearly a smart concept, though again, I haven’t seen it (sorry, I missed the first season and never caught up). But other shows have tried to keep mysteries throughout a series and they’ve fallen flat with few viewers: Hidden Palms and Reunion are just two.

Other shows have brought about the smart in the viewers; Numb3rs is  a huge example, where the show is actually bringing about mathematical ideas into a show that would otherwise be just a basic crime show.

But overall, there seems to be a lack of smart. When The West Wing, ER, and Gilmore Girls started, there were random quips and stronger storylines. However, people followed them. I know it seems odd that I included Gilmore Girls in there, but honestly, the fast-talking pop-culture basis really carried a smart feel–a feel that really declined in later seasons.

So what’s bringing this about? I’m afraid to say it (though I already have), but time and money. But whose?

Without viewers, shows can’t last. So if viewers won’t give a show like Studio 60 a chance because they don’t want to put that much attention to an hour-long program, then what can the networks really do? But then again, Pushing Daisies did have viewers. So what happened there?

Clearly, some of the fault lies in the networks. How long is long enough to decide? Four episodes (Drive)? Nine episodes (Reunion)? Fourteen (Firefly)? Twenty-five (Tru Calling)?

[Ok, I wasn't trying to only pick FOX shows there, but hey, look what happened. You get a prize if you can figure out what else all of those shows have in common.]

And you have to admit, the networks do have more problems with money. Unlike HBO, they don’t have a subscription basis, which means they can’t put all their money into one show. Cable series have had this advantage. They have much tighter budgets, and if something doesn’t make money AND QUICK, it can’t be on TV.

So true, they are at a disadvantage, but why do they have to go to reality TV before putting together something quality? Raising the Bar could have easily been shown on any network other than TNT, but it wasn’t. Possibly The Closer, too. Instead, we have too many competition shows and game shows–and Jay Leno’s getting his own nightly talk show at 10:00 pm!

What’s disappointing is that now I watch TV, and I’m bored. I want the smart back. I’d like to know that our basic networks aren’t free due to bad programming.

But anyway, what do you think? Viewers’ faults for not watching? Networks for not giving shows a chance? Or cable for being bullies? All opinions welcome.

To go along with my Non-Christmas Christmas Favorites, I’ve compiled a list of favorite Christmas episodes. Now, this is hard. And I don’t know how I did. I think in the end, it all came out a wee bit random, except for three of them that I knew just had to make the list. I think you’ll recognize one in particular.

But it was hard. With old sitcoms, there are a ton. Especially when by “old sitcoms” I mean the 1980s and 1990s. And the other thing is that I probably don’t remember a ton when I was little and since some haven’t been in syndication, I’m probably missing some killer episodes. And I’m skipping a lot of favorites that involve people dressing up as Santa and elves–there are just too many to keep up with. I mean, even Sliders had an episode where they dressed up like elves.

So first, some honorable mentions. As much as people would hurt to hear it, I have to call out Lizzie McGuire’s “Xtreme Xmas”; I mean, it ended with Steven Tyler singing in a Christmas parade! Plus, there’s The Office’s “Christmas Party” (not to be confused with this year’s terrible episode for Christmas). And The X-Files‘ “How the Ghosts Stole Christmas.” Enjoyable. Oh, and there’s the Home Improvement where they misspell “Noel” as “Leon.”

Now, for my favorites:

5. Eight Simple Rules: “All I Want for Christmas”

Why this episode? Katey Sagal sings. I love it when she sings. But the episode in general is great: Bridget deciding what is a fair gift for Kyle. Kerry trying to get puppies adopted. And Rory wanting…a chemistry set for a change. Meanwhile, Paul just tries to get everyone to come together for Christmas–the one thing teenagers don’t want. Very true to life, even for a sitcom (well, except maybe for everyone trying to help adopt dogs, but it’s still sweet).

4. Full House: “Our Very First Christmas Show”

I’m sure a lot of people out there know what it’s like: getting stuck in an airport for Christmas. But they make the best of it, and since it’s early in the show’s lifetime, it’s actually funny. Plus, Santa even arrives and gives everyone presents in the end. Sweet. And the old school computer add just that old touch.

3. Scrubs: “My Own Personal Jesus”

I get the impression that the first Christmas episode of any show is always the best. But this one’s great, mostly because of Turk’s religious journey throughout. It really has the feel of, well, Christmas–along with some fantastic Scrubs jokes.

4. The West Wing: “In Excelsis Deo”

While all the West Wing is getting ready for the holidays (including having the President sneak out of the White House to buy presents), Toby finds himself caring for a late veteran who is found in a park. The message is bittersweet, and I love hearing the story of Mrs. Landingham’s sons, even if it is so sad. It’s just such a great message at the time of Christmas to make your heart feel.

5. Studio 60 on the Sunset Strip: “The Christmas Show”

You know this one would make it on here. Not only is it hilarious (Nazi Santa?) but it reaches out to all those who suffered with Katrina in New Orleans. The final song of the show is just so beautiful. (Again, courtesy of YouTube–and they even took out the spoken parts for you.)

ELI STONE: 2.07 “Help”

So what then? What do you do when you know that? When you know that maybe… you can’t help?

That’s a quote from Buffy in an episode that has the same name as this week’s Eli Stone: “Help.”

It’s an interesting thing, helping. Clearly, Patty needed it in more than one way when she didn’t even know it. And clearly, Eli is struggling with his visions enough no longer to read between the lines and is only helping on the surface.

Eli’s struggle with his visions this season has morphed a little, if you’ve noticed. He’s a veteran vision-holder, and he thinks he has a handle on it. Chen sees the errors in his way, but Eli doesn’t listen. What’s funny is that his is very similar to the first mid-season Joan of Arcadia, where Joan assumes she knows what God is asking her to do–on the surface only. She’s not yet understanding the ripples.

Last night, Eli got a vision from Patty, asking for help and telling him that “she is innocent.” He then relays this to Patty, saying that he got a message saying that her daughter is innocent. The only thing he didn’t mention was that Patty was the one saying it, which in the end we find is the most important part–as it’s what makes it a metaphor, not exactly truth.

Patty’s daughter was loosely dealing drugs; basically, she was trading prescription medication for coke. Then, she was lying about it.

Keith knew the whole time; Eli believed his vision. Once Eli’s faith was broken, he truly wondered what to do. How to help. She was guilty, which made his vision false and he didn’t know what to do.

I’m skeptical that Patty would have an alcohol problem, honestly, but it looks like that’s the way we’re going. To me, it sounded completely out of place and out of character, but it gave a reason for her daughter to have a drug dependency. Surely, it couldn’t have been the pressures of med school or maybe peer pressure in college since she finally broke out of her mother’s tight grasp. Nope, it had to be the similarity of addiction.

I wish they’d chosen a different route, even if they all are cliche. I must give props to one line, though. I loved that Jordan referenced Patty as becoming “dry,” not “sober.” It’s a fine line that I’ve never thought of before.

In the end, Eli found his way to help–and Keith did, too. His help was for Patty, and Keith handled her daughter. So what do you do, when you know you can’t help? For Eli, stop looking for the obvious. They’re only visions for a reason.

The rest of the show seemed less interesting to me, though I’m enjoying the Dowd’s turnaround. And I’m wondering where we’re going with the heiress’ involvement with Eli. Whatever it is, they better wrap it up soon. While I’m happy that ABC is allowing Eli enough episodes to finish up storylines, the show is still cancelled, and there’s not much time to build things. It looks like we might get another quick tie-up, like Studio 60.

But at least it gets that.