Showing posts with label New TV. Show all posts
Showing posts with label New TV. Show all posts

Tuesday, September 27, 2011

Let The Wild Rumpus Begin - New TV


One week+ into the fall TV season and it’s like opening a box of Monty Python’s Whizzo Quality Assortment, some crunchy frogs and painful metal springs and a teaspoon of lark’s vomit, and only the occasional raspberry gel.

First, old business, as some of my favorite shows premiered. Some shows made a successful transition from last season’s cliffhangers and denouements, some did not. Fringe, Community, Sons of Anarchy, and Castle did not disappoint. Hawaii 5-0 was uneven, but still delivered on the action, which is its strong suit. (That and Scott Caan. You can’t go wrong with Scott Caan.) Glee has, I think, worn out its jazz hands. The first episode felt like treading water and sometimes slipping under. The biggest disappointment, however, was The Mentalist.

I really enjoy The Mentalist, but I see in it something I think a lot of viewers (especially its older, CBS-centric, oatmeal-and-fuzzy-slippers audience) don’t see. To me, Patrick Jane is not a very nice person. At all. He’s deeply flawed and always has been. He’s a man of totally unreliable loyalty who cares not a whit for what is “legal” but for whatever he thinks is “fair.” (Last season he locked a loan manager in a vault without telling anyone because he felt the man mistreated an employee. He doesn’t mind being sadistic if he thinks it’s warranted.) He does not suffer fools gladly and is willing to mete out punishment to those he thinks deserve it. He’s basically a sociopath who passes very well for someone who is not, and having lost the one thing that made him “normal,” his only reason d’etre is revenge upon whomever left him with only himself. There will never be a happy ending for him, only an ending.

After last season’s really kicking finale, when he shot the man he thought was Red John, I wondered how the writers were going to deal with the aftermath. Apparently so did the writers. And, short of a “Dallas” style shower scene, they did what they could to punt. Long story short: brief incarceration, a death penalty trial that was over within days of the crime, where he acted as his own lawyer and the jury found him not guilty. I call shenanigans. Dear writers, if I had a sharp stick and you were within poking distance, I would poke you. Repeatedly. There is fair play and then there is flipping the game board over and declaring you won. While I give the last season’s final episode an A, I give this first episode a D-. It is saved only from an F by Simon Baker’s delivery of the line, “You’re under arrest, you loony bitch,” which was AWESOME.  

Now that I’ve got that off my chest, let’s move on to new shows.  

The New Girl from FOX is the best of the bunch. Of course your opinion depends on if you find Zooey Deschanel tiresome or not. She has the kind of personality that can either drag you happily into her orbit or leave you standing on the outside, looking for a hatchet. The S/O, myself, Kid #1 and Kid #1’s fiancĂ© all found it to be pretty delightful. It was smart, quick, and quirky in a good way.

The Ringer was middling. Sarah Michelle Geller is really selling the concept, but some of the execution was so-so. Especially annoying are the afternoon soap opera special effects, like when they’re supposed be speeding along in a motorboat and they’re obviously on a soundstage jumping up and down while three guys hold up a bad painting that looks somewhat like a seascape. Extra points for being partially set in Rock Springs, Wyoming. (I’ve been there!) Still watching, and hopefully things will even out.

Person of Interest is a show I have high hopes for, but the first episode was disappointing. The action wasn’t disappointing. There was plenty of suspense and gunplay and running and explosions. (And LOTS of shooting in the knee. At my house whenever the protagonist pulls a gun we yell, “Shoot him in the knee!” in honor of that one time on 24 when Kiefer Sutherland shot JoBeth Williams in the knee. Well, Jim Caviezel seems to like nothing better than shooting people in the knee. Lots of people limping around New York this week.) What was disappointing was the motivation. You’ve got an ex-Ranger who obviously worked in some type of Special Ops for the government, but is now a homeless bum trying to drink himself to death. So far so good. You’ve got a nerdy, twitchy, genius billionaire who made a secret algorithm/program to generate intel for the government, but left himself a back door. Again, still with you. But for reasons that are never satisfactorily explained, or even really hinted at, commando bum jumps right in to working with twitchy genius, with no real questions asked. There was no gain or threat or implied redemption or blackmail or, well, any motivating factor that made me believe this would occur. You’ve got A and C, but no B. There was no satisfying “snap” as the pieces came together. I ain’t buying it. Maybe it’ll become clearer. We’ll see. Jury’s out until next week.

And now we come to the big disappointment. While Terra Nova wasn’t as maddening as, say, Body of Proof, it was mind-numbingly dumb. It literally lost me in the first 10 minutes, when Dad comes home to the tiny cubicle apartment he shares with Teenage Boy, Teenage Girl, Cute Moppet, and Doe-Eyed Mom. See, he’s got a mysterious paper bag. And when he opens it, what’s inside? C’mon, I bet you can guess. It was an orange. A single orange. Because the world’s all polluted and we’ve destroyed the environment and we can’t grow oranges anymore. So oranges are like gold, or the polio vaccine, or something. Get it? Trust me, that image was tired in 1950.  

And then the Secret Kid Police come, because it turns out Cute Moppet is illegal. There’s a strict 2-kid rule in place. So they tear up the sad cubicle until they find Cute Moppet in an air duct and drag her and her little orange out. There will be hell to pay, no? Well, no. Turns out Dad goes to jail for six years, but Cute Moppet is not executed or cryo-frozen or given to childless strangers. What kind of dystopia is this?  (And later on when the question is posed to Dad about why he and his wife willfully broke the 2-kid rule, he replies, “Seemed like a good idea at the time.” The hell? No birth control failure or needed-bone-marrow-transplant-to-save-sibling-life or any number of at least imaginable explanations? No. Two educated people decided to put the welfare of their other two kids in jeopardy and have a child they’d have to keep hidden in an air duct for 18 years because it sounded like a good idea at the time. Now, of course, you feel sorry for Cute Moppet because she’s saddled with these dumbass parents who don’t seem responsible enough to care for a mutant government-sanctioned goldfish.)

Anyway. Fast-forward and Dad is in a dingy dungeon prison cell breathing unfiltered poison air, when Doe-Eyed Mom visits and explains she’s been recruited to go through a portal to Terra Nova, because she’s this brilliant, sought-after doctor. The catch is, she can’t take Cute Moppet, because that would be like “rewarding her for breaking the rules.” What, now they care? And if you were Doe-Eyed Mom, wouldn’t you just say, “Hey, if you want my magical doctor knowledge, let me take my kid, or I’ll just point and laugh while your colonists die of dinosaur fungus.”  But no, instead an unexplained plan is hatched to break Dad out of the dungeon and get him and Cute Moppet through the portal. And when I say “unexplained,” I mean totally unexplained. Next thing you know, we’re at Grand Portal Station and after some barely interesting hijinks, our whole boring family – including Convict Dad and his mysterious backpack -- is through the portal on the other side. When Convict Dad is discovered with his mysterious backpack a ruckus ensues and someone screams “Check that backpack for weapons!” At which point someone pulls out a huge knife and prepares to repeatedly stab said backpack. Because that’s certainly an efficient way to search for weapons. Repeatedly stabbing a backpack is so much easier, say, than UNZIPPING IT. Because, wouldn’t you know, Cute Moppet is in the mysterious backpack, and everyone breathes a sigh of relief when she is not repeatedly stabbed. 

After all this, you would imagine there would be hell to pay this time. I mean, last time it was just a slap on the wrist, but now there’s going to be consequences, right? Not so much. So in the end, the entire freaking backstory was useless. We gained NOTHING from it. Nothing. They could have just won a lottery and gone through the portal and it would have been more interesting and less idiotic than the ridiculous, overwrought, fifth-grader-written, hole-filled pantomime we were subjected to. And by the way, WHERE ARE THE FREAKING DINOSAURS?

Ahem. Well, now it gets exciting, right? Er, no. Because there’s more idiocy to be had. There’s the manufactured fight between Teenage Son and Dad over how he walked out on them and now Teenage Son doesn’t have to listen to Dad. Er, anybody remember the dungeon? There’s the fact that even though Dad spent three years in a dank, poisonous dungeon, he seems none the worse for wear. Why, he’s whacking vines (not a euphemism) and running around all willy-nilly after shiftless characters with nary a cough or a stumble. In fact, he seems in excellent shape. (Must have been the spa and the state-of-the-art gym portion of the dungeon that ended up on the cutting room floor.) Then there’s Teenage Girl giving us some muddled backstory about altered timelines or parallel realities or blahdy-blahdy-blah so that we don’t get distracted by the fact that recolonizing the earth in prehistoric times would mean that Hitler won the war and we’re all wearing kilts now, or whatever conventionally happens when you step on a butterfly after hopping out of your time machine. I’m not sure, because at this point, I DON’T CARE ANYMORE.  P.S. Convict Dad is now Head of Security Dad because….shut up, that’s why.

And Doe-Eyed Mom is now Super Doctor Mom and she’s in the infirmary, where some nurse tells her to check on a patient. Said patient asks Super Doctor Mom to “unhook him already.” She remarks that she can’t see an IV. But when the patient turns around, he’s got a 5-pound prehistoric leech attached to his back. Apparently that’s a popular treatment for hyperoxygenation of the blood. Of course no one briefed Super Doctor Mom on the newest medical treatments or apparently prepped her in any way as to what to expect. And the nurse didn’t say, “Hey, check on that patient, but be warned, he’s got a GIANT FREAKING LEECH on his back.” No. So Super Doctor Mom, instead of asking any questions about procedure, just yanks the giant leech off the patient’s back and sets it on the bed with a hearty, “There you go.” Lucky she didn’t pull out his spinal cord or inadvertently cause him to bleed to death.  Why, that would have been almost as irresponsible as keeping your Contraband Cute Moppet in an air duct for 18 years.

Oh, and eventually there were some dinosaurs and they were pretty cool. But they didn’t eat nearly enough people.

Wednesday, September 14, 2011

I Can Stop Watching TV Whenever I Want...


My name is Keri and I am addict. In fact, I have a complex rule book that dictates what I am compelled to watch on television. You know, because I might miss something. Really, it’s out of my hands.

Last night marked the official start to my fall TV season. (Remember when we used to have only the fall TV season? Before people just premiered TV shows all willy-nilly on billions of channels so that you were forced to watch TV YEAR ROUND?)  Here’s a list of my must-see fall and midseason premiers, with a few helpful links if you're feeling clippy.

Ringer -- CW 
Why do I care? Buffy, Buffy, Buffy.

The New Girl – FOX
Why do I care? I still find Zoey Deschanel winsome. Sue me. And I like the word “winsome.”

Person of Interest – CBS

Pan Am – ABC
Why do I care? I don’t. But the S/O was born in the wrong era and thinks everything should be a variation of Mad Men.

Terra Nova – FOX
Why do I care? Dinosaurs! Portals! Dinosaurs!

Suburgatory – FOX
Why do I care? Alan Tudyk and Cheryl Hines.

How to Be A Gentleman – CBS
Why do I care? Dave Foley. (I have it on good account that this is supposed to be godawful. But still. Dave Foley.)

American Horror Story – FX

Man Up - ABC

Grimm – NBC
Why do I care? Homicide detective fighting sinister storybook creatures. (Bonus: Silas Weir Mitchell, which causes this to fall under the Prison Break Clause in my rule book. Besides Silas Weir Mitchell’s Wikipedia description? “Silas Weir Mitchell is an American character actor known for playing disturbing or unstable characters.” Someday when I have a Wikipedia page, I would  like the words “disturbing” and “unstable” to appear liberally.)

I Hate My Teenage Daughter – FOX
Why do I care? Katie Finneran. Which causes this to fall under the Tim Minear Clause in the rule book. See Wonderfalls and The Inside.

Bedlam – BBC America

The River – ABC Midseason
Why do I care? Shows promise. Plus Paul Blackthorne.

Alcatraz – FOX Midseason
Why do I care? The clips look awesome.  Plus Jorge Garcia and Robert Forster. Plus Bad Robot. This is the show I'm looking the most forward too.

The Finder – Fox Midseason
Why do I care? The spin-off setup episode on Bones was cool. Plus Michael Clarke Duncan.

The Fades – BBC America


Friday, June 24, 2011

Summer of Our Semi-Discontent - Tales from the DVR

I'm in the formatting stages for Darker By Degree and Director's Cut, having just realized the in my format-stripping ministrations, I have lost all my italics. Since it's mystery series featuring an movie-buff actress as the first person protagonist, there are A LOT of italics for movie and TV series titles. Grrr. At least rereading everything again, I'm sure I'll find more pointless stupid errors, even though each book just came back from two rounds of proofreading. And did I mention they'll be published by the end of next week? Woot!

As stress relief, I'm trying to keep up with the DVR.

The Glades is back on A&E, and apparently between season one and season two, they replaced the writers with monkeys. The actors -- Matt Passmore, Kiele Sanchez, and Carlos Gomez -- are great, but the plot of the second episode was so strained and contrived that midway through I was tempted to dash off a strongly-worded letter outlining the shortcomings of the plot, and the absolutely nonsensical character "motivations." (My strongly-worded letters are devastating.) Hopefully it will get back on track and be as watchable as it was last season. (The Mentalist went through a period where the scripts appeared to be just random sentences strung together and it got better, so there is hope.)

Outcasts on BBC America:  A human outpost on the planet Carpathia is searching for the remnants of a flotilla of escape ships that left shortly before/during the destruction of Earth. (Random fact for the day: the Carpathia was the first ship to reach the debris of the Titanic and start pulling survivors out of the brine.) Starring Hermione Norris (Wire in the Blood) and Liam Cunningham (Dog Soldiers), it has possibilities. I'll hold back until I've watched episode two. I was disappointed that they dispatched the eye candy (Jamie Bamber) so early. And I will predict that Eric Mabius will be evil, because when is Erik Mabius not evil?

I have not watched TNT's Falling Skies, simply because it's two hours long, and I feel guilty staying still for that long at one time. It's on the DVR for the weekend.

Watched USA's Suits as an antidote to the other law show on TNT, Franklin & Bash. I will say that I enjoyed it roughly a hundred thousand times more. I think a large measure of my goodwill stem from the fact that the lead actors don't make me want to run them over with a bus and bury them in an umarked grave. Gabriel Macht (channeling Adrian Pasdar in Profit) and Patrick J. Adams are actually quite interesting, with none of the forced "look at me, I'm weirdly, charmingly eccentric" mania of that other show. And as a bonus, Gina Torres. (Hi, Zoe!)

Also Burn Notice is back, Leverage starts on Sunday, and in a couple of weeks the return of The Closer, Rizzoli and Isles, Eureka, Warehouse 13, and Haven, plus the premier of SyFy's Alphas. The DVR is holding steady about 50 hours, but I fear that won't last....sigh.

Friday, June 17, 2011

For My Daughter

Dexter Season Six is on it's way:




She's loves Dexter. You realize there was no way my children would not be warped, right? 

Sunday, June 5, 2011

And So It Begins - Tales from the DVR.

So the one thing I've doing for leisure has been to feed my TV obsession, which has consisted of cleaning up my database to reflect cancellations and the addition of new shows and trying to clear the DVR off a little before the onslaught of new and returning programs that begins this week.


First of all, I love Castle. The writers/actors/production co have done a great job of creating a pretty little soap bubble. Yeah, if you poke it too hard, it's going to burst. There are tons of things that wouldn't happen in the real world. But it's such a nice, comforting, enjoyable little world inside that bubble, that I'm liable to forgive them just about anything. This is due in no small part to charms of Nathan Fillion, Stana Katic and the rest of the cast. They all just seem like swell people. Since we had no small children yesterday (kid #1 took kids #4 and #5 watersliding) the S/O and I picked up too much food from the little taqueria down the road and watched 9 episodes. (We have a habit of saving up whole series and watching them in a rush). We only have three episodes left, and I'm going to feel a little lonely when I have to say goodbye for the rest of the summer. One other downside -- I think I know what the final episode twist is. I've managed to stay unspoiled, but as Castle said on the show, "For a writer, you should have a better grasp of subtext." Well, I think I've caught the subtext and if my conclusion is correct, I'm going to be a little sad.




Second: Franklin & Bash was not good. I watched Franklin & Bash, the new legal series on TNT, and within the first 15 minutes, I wanted to break something. It got better later, but not better enough. It was like a giant tic. It was "quirky" and "irreverent" and whatever other air-quoted words you want to use for "not really very good." Despite Malcolm McDowell -- and I do love Malcolm McDowell -- it was, again, the big wheel of character traits: spin it 10 times for each character and then stick those things together like a third-grader's version of Frankenstein's monster. Breckin Meyer made me want to punch him in the face. Repeatedly. He was Ratso Rizzo, but without the charm. Or the consumption. Reed Diamond was every Reed Diamond character from the past five years. There were two kind of cute bits, one involving Malcolm McDowell and his sensei and another involving an agoraphobic assistant, but other than that, it was something poured out of one of those prepackaged jugs of pancake mix: flat and bland and utterly, utterly predictable.  Blah. I predict it will last exactly three years and then be forgotten by everyone.

Third: I still don't know who killed Rosie. The Killing is down to the final three episodes, and I have yet to figure out whodunnit. That's a rare occurrence.

Forth: Kickoff! It's time for the returning cable series to start showing up over the next six weeks, along with some new stuff on BBC America. What I'm looking forward to the next couple of weeks: The Glades returns tonight on A&E, Tuesday is the double feature of White Collar and Cover Affairs on USA, and on June 18 on BBC America, new SF series Outcasts and inimitable comedy stylings of Matt Lucas and David Walliams in Come Fly With Me.

For those keeping score at home, the official TV program database now stands at 61.  Hopefully this unreasonably high number will come down once I realize how much the new coming programming sucks. Either that or I will be forced to clone myself.

Friday, May 27, 2011

TV Update: Torchwood, Plus More Shows I'm Compelled to Watch

The new Torchwood: Miracle Day premiers on the Starz channel July 8. It's going to be hard to top Torchwood: Children of Earth, which was one of the most brilliant miniseries I've seen, but the trailer looks great.  I have to hand it to Russell Davies, who took what was a pretty fluffy, sexy alien mishmash and made it into a really stunning allegory that was both heart-rending and heart-pounding. (Any of you who initially dismissed Torchwood as a just a fluffy, sexy alien mishmash and gave up on it should see Children of Earth.) Alas, we don't have the Starz, so we'll have to wait for Netflix.



Also, because I don't have enough to keep track of, BBC America has introduced Dramaville, which in the tradition of NBC's old Mystery Monday, will present a series of mystery/thriller/procedurals beginning August 17 with a period spy thriller The Hour, followed by the excellent continuation of Luther on October 5, and then Whitechapel on November 2.

First, yay, Luther! Second, Dramaville is a ghastly title. Do something about that, BBC America. Third, the grand total of new TV shows I care about for no reason has now reached 27, which is totally ridiculous. I obviously need help.

Wednesday, April 27, 2011

The Voice is Pretty Cool, Actually

Okay, I'll freely admit that I watched the premier of NBC's The Voice last night because Adam Levine is teh hawt, Cee Lo Green is teh cool, and I'm a shallow fangrrl. I had no particular expectations one way or the other, but thought it was an interesting premise.

The show started out with a slammin' cover of Gnarls Barkley's "Crazy," that actually worked. (The kidlets, who adore both Maroon 5 and Cee Lo, were suitably impressed and spastically danced around to show their appreciation.)

The four coaches (Levine, Green, Xtina (as the kids say), and Blake Shelton) had great chemistry and were pretty damn funny. The talent, unlike some other reality contests (*cough*American Idol*cough*) was actually talented. And if the coaches were at all disappointed when they hit their buzzers and flipped around to see not-quite-the-package they were expecting, did a great job of not telegraphing it, and instead offered cogent praise.

I even (hard-hearted cynic that I am) got a little misty watching some of these singers perform while their families waited with Carson Daly. You see, being a writer, I understand that how fucking hard it is to put yourself out there, especially in front of talented stars who are actually relevant, and let people stomp all over your dreams.

I actually didn't do much fast-forwarding, which for someone who is so addicted to the DVR and has so little time, is high praise indeed. So and A+ for me. I found it thoroughly enjoyable and am looking forward to the rest of the series.

Also, too, more Adam Levine.

Sunday, April 10, 2011

Because I Can't Help Myself...

I am somehow self-obligated to watch all new TV shows. Sometimes it's horrible (Burden of Proof), sometimes it's artistic (The Killing), and sometimes it's, as the five-year-old says, hi-larious. Breaking In on Fox is really funny, like Better-Off-Ted funny. I'll admit my fondness for Christian Slater (because ever since I first saw him in Heathers, he's struck me as slightly insane, and not the bad-charlie-sheen-samuri-sword-in-the-mall insane, but more kind of the matthew-mconaughey-nude-bongo-drum insane), and Bret Harrison from the criminally underwatched Reaper. Also, we needed new catch-phrases at my house. Boom goes the dynamite.


Tuesday, April 5, 2011

The Rump of the Season

It's mostly all over but the crying in television season land. The last few new shows are being led out of the stables and put through their paces. In advance of May's upfronts, most of the decisions have already been made and everything I care about (save Human Target, which is still in the fog) has been renewed: BBC's Being Human and Luther, Fringe, Community, all the other things whose fates weren't much in doubt.

It's been a pretty lackluster midseason, end-of-season, whatever-we're-calling-it-season, and the "replacement series" have been pretty atrocious. Bye-bye The Cape, Mad Love, Mr. Sunshine. The Chicago Code was well-liked by people with taste, but I skipped it as a sacrifice to the TV gods, and am not invested in it's eventual fate.

So that leaves us with the last few dribs and drabs, most of them pretty drabby. Dana Delaney deserves better than the earnest-exposition-fest that is Body of Proof. I don't know if it was an effort to give watchers something to hang onto, but the pilot was full of people just talking and talking and talking about themselves, what I call the "stuck on the airplane" syndrome, where you're strapped into the airplane seat next to someone who say's, "Let me tell you absolutely everything about me!" Trouble was, even with all the fraught backstory, I didn't care. I had literally seen everything it had to offer, and it had been offered far, far better. Blah.

If you blink you'll miss Chaos on CBS. Great cast: Eric Close (my beloved Mr. Wiseman from Now and Again!), Freddy Rodriguez (Six Feet Under, Planet Terror), James Murray (Primeval), and Tim Blake Nelson (O Brother, Where Art Thou?). The four leads are fabulously charming, but they've got nothing to work with. Cute in spots, but ultimately disappointing and sadly doomed.

(Yet to come, but still on my radar are Breaking In on April 6th, and Fallen Skies on June 19th.)

That brings us to the one show that, for the most part, DOES work. AMC's The Killing debuted this weekend to pretty great reviews. Based on an immensely popular Danish series, The Killing follows the investigation into the brutal murder of a teenage girl. I'll admit the first hour didn't really drag me in. It was pretty, but cold. I found Mireille Enos as the lead detective on her last case before leaving too quirky and stoic at first. She could have been wearing a sweatshirt emblazoned with, "Get me, I'm an Enigma!"  (And what the hell was she looking at washed up on the shore in the opening?) Also, is it just me or is Billy Campbell basically the same character no matter what he's in? I kept wishing for him to fall into one of ubiquitous bodies of water and drown because he bores me that much.

But the slow build didn't matter, because another episode followed, and it made up for it. Enos finally clicked and was terrific. But the standout for me was Joel Kinnamen (a Swedish actor I was previously unaware of). As the ex-narco cop come to take Enos' job , he looks like nothing more than a redneck meth-head. I found myself assuming that he was going to be the useless counterpoint to Enos' efficiency. I was wrong. 

There's a scene at the high school the murdered girl attended, and Kinnamen stays behind, even though the kids are a stone wall. Out behind the school, he lights up a joint and starts flirting with two cute teenage girls. It's a really a scene where you don't know what's happening, where you feel like anything could happen. It's both creepy and compelling.  But when he gets the one hint of information he's looking for, you can watch in his face how those girls become instantly irrelevant to him. In less than a minute, everything you assumed about him is totally changed.

I like a story that surprises me, and so far this one has. Now if we could just shove Billy Campbell into a closet somewhere.

Monday, February 21, 2011

Midseason Update: Mr. Sunshine.

I believe it may count as damning with faint praise to say that the thing I liked best about ABC's Mr. Sunshine was the theme song and the title sequence.

The S/O watched if first and his pocket review: "Well, I thought it was funnier than that show with the baby that you like." (Translated: "Your tastes are weird and unfathomable and I have no idea what you think.")

So I watched the first episode, and I didn't hate it. But I think it bodes ill for long-term success when the funniest people are the supporting characters (Jorge Garcia, Allison Janney, Nate Torrence) and whenever the main characters start pontificating, I have the urge to go change the laundry.

For example, the most hilarious scene was Allison Janney holding a multicultural child as a human shield while screaming, "Clowns with axes! CLOWNS WITH AXES!" before hurling said child at said clowns and running away hysterically.

The rest of it? Not so much. Matthew Perry plays a self-involved douche, and really, I think we're over our quota for self-involved douches. Andrea Anders is funny, but she's just Linda from Better Off Ted with a name change. (Seriously we lost Better Off Ted for stuff like this? And I must say that even though I work at home and haven't been out in the real world for a while, when did hot pants become acceptable office wear for marketing executives?)

And what's up with Matthew Perry's face? Did he have work done? His face is all smooth and pliable and distracting, definitely heading toward Uncanny Valley territory, like he was wearing an ill-fitting Matthew Perry mask. No? Maybe it's just me.

Anyway, the second episode lost what charm there was in the first episode. (Maybe the lack of Jorge Garcia? Just saying.) It was hackneyed and on the verge of painful in its attempts to be quirky. Looking at the numbers, a pretty good response for the premier translated into a precipitous drop for the second episode, so enjoy Matthew Perry's oddly smooth plastiface while you can, because if viewership keeps heading down it's going to be a quick trip to the dustbin.

Friday, February 18, 2011

Somewhere Somebody's Doing Something: New Horror Series?

According to a headline in my RSS feed yesterday, "Ryan Murphy and Brad Falchuk Return to FX with Series Pilot 'American Horror Story.'"

Sounds interesting, so I read the attached story and find out nothing, save for the fact that Murphy and Falchuk (Nip/Tuck, Glee) are doing a pilot for FX called "American Horror Story."

FX president John Landgraf sounds extremely enthusiastic about the project, calling it a “wildly brilliant original series.” Given how creative (and oftentimes dark) FX’s original series’ are, I doubt he’s exaggerating all that much. Details are vague on the project other than that, “it’s a horror show with ‘subversive sensibilities.’”
I'm always a bit suspicious when there are no details. Usually that means either someone's trying to create a buzz by keeping things "mysterious" (which generally annoys me no end) or the details sound so ludicrous that no one wants to say them aloud. With the poor track record of horror on television, I automatically fear that it's the second one.

I guess we'll have to wait and see...

Wednesday, January 26, 2011

The Midseason Doldrums - Tales from the DVR

Used to be, TV series rolled out on a predictable schedule. Fall premieres, the occasional mid-season replacement, and the burn-off of the unwanted during the summer, when decent people weren't inside watching TV, but rather out catching fireflies or having ice cream socials or some such.

No more. Now TV is like one of those endless sushi conveyor belts. And while what you get is mostly the same old Spicy Tuna or California Roll, you keep looking in the hopes that something fresh and exciting is just around the bend. 

My DVR is hovering at that 50% level (about 100 hours), the level where I start to get nervous, so I figured it was time to start clearing it out. (Not all of that is mine - the S/O has like 20 hours of old newsreels and the entire America: the Story of Us miniseries that he may never get around to watching. And quite a bit of it is stuff we watch together -- the full season of Mad Men, the full season of Castle, among others -- because a hot date night around here usually consists of dozing off in the middle of an episode of White Collar.)

First off: Unfinished and Finished Business.



Fringe - I am so glad Fringe is back. In it's third season, it's really hit its stride, and good Friday numbers (Shock!) mean that it's moved from the cancellation heap to the maybe-not-cancellation heap. Hope springs eternal.

The whole Fauxlivia storyline was nerve-wracking (in a good way) and the aftermath is just heartbreaking. Yeah, I don't know if I could get over finding out the man I love was sleeping with the fake evil me from an alternate universe and didn't even realize it either.

Best line? Peter asks Walter if he's all right and Walter responds, "If by all right you mean despondent, then yes." Did I mention how much I love Walter?

Medium - Medium has been a dependably good show, a happy little workhorse. I always found it worth watching. Joe and Allison Dubois (played by Jake Webber and Patricia Arquette) were hands-down the best TV couple: real, messy, devoted. I was terribly fond of them. So I faced the series finale with some trepidation. Would it do justice to the seven years that preceded it?

Er, no. In fact, if I had a time machine and could go back and not have watched the finale, I would. I want to find Glenn Gordon Caron and kick him repeatedly in the shins. And I LIKE Glenn Gordon Caron (Moonlighting and the criminally canceled Now and Again).

But this was just, well, a mess, and a mean-spirited mess at that. Like a pie made completely of "Fuck you, viewers." The last two minutes were nice, and it was sweet that everybody got to wave goodbye at the end, but that didn't make up for the preceding 58 minutes of crap. Me, I'm going to pretend it didn't happen and write my own ending, and like Allison, I'll have woken up and it will only have been a dream.

Now onto the new shows....

The Cape -- Reviewed it once, and the second episode didn't change my opinion much. I say just give Keith David his own show and do away with all the sappy earnestness. Verdict? Off the DVR.

Harry's Law -- The previews for this looked cute and I like Kathy Bates. I look at David E. Kelley with a jaundiced eye, because the last show if his I actually liked was Picket Fences. Since then it seems like everything he done as been a sackful of quirks in search of substance.

How to best describe Harry's Law? It's like an update of the White Shadow, but with a grumpy old lawyer instead of a grumpy old basketball coach. And not in a good way. I had the uncomfortable feeling that it was written by old white liberals who tell you, "But I have black friends!" It was creepily paternalistic and hackneyed. It wasn't horrible, but I felt a little embarrassed watching it.

Add to that, it was, again, a sackful of quirks (it's a law office and shoe store!) and a huge lack of character development (why was Nate Corddry hot to work there again?) and so many old TV tropes you'd need a passel of sticks to wallop them with. Verdict? Off the DVR.

Off the Map - Do not want. Didn't watch. From the people who brought you Grey's Anatomy, of which I saw an episode once, I think the one where Kyle Chandler exploded. It was enough to make me swear off things of this ilk, much like I quit doing tequila shooters once I got to college. Here's a sample of an episode blurb:

"Lily and Ben help a wildlife photographer who is being attacked by an anaconda; Tommy learns a cultural lesson." Er, what?

Verdict: Never on the DVR.

Fairly Legal - this one surprised me, as I'm naturally distrustful of "law" shows since Perry Mason went off the air.  I'm looking at you, David E. Kelley.

But this was pretty delightful. First off Sarah Shahi is adorable, kind of like a Mary Tyler Moore for the new millennium. It was sharp, interesting, witty, the characters did not seem like they'd been invented by throwing darts at the big ol' wheel of personality traits. Oh, and San Francisco is lovely. If I ever get back there again, you're going to have drag me out kicking and screaming.

One question, do women really enjoy wearing the fuck-me heels? Really? I guess I just don't get the whole shoe thing. Although I did once have a pair of Acme roping boots that I wore so much I had them resoled three time before they finally fell apart. Somehow I think that's not the same thing. Verdict? On the DVR.

Being Human (American version) - I sat down with an open mind. Really. I'm biased against Yank remakes of Brit shows (there must be a good one somewhere, but I can't think of one off the top of my head), but I wanted to give this an honest shot.

So, is it any good? I don't know. You're going to have to ask somebody else. I got through maybe the first 20 minutes and was so distracted by the fact that it wasn't the original that I found I couldn't watch it. Again, doesn't mean it's bad, it just seemed...unnecessary.

I was a bit leery of the original at first, I mean, a vampire, a werewolf, and a ghost all share a flat? What kind of adolescent Twilight-lite is that? But it works, and occasionally it works splendidly. It's engaging and funny and tense and moving. Russell Tovey is brilliant, brilliant, brilliant as George the werewolf, trying desperately to live a human life. Lorena Crichlow as Annie the ghost is lovely and alternately vulnerable and kick-ass. Aidan Turner as Mitchell the vampire it at once vaguely dangerous and utterly hapless. Seriously, the worst leader of the vampires ever, where every decision he makes seems to turn out in the worst possible way.  I find that weirdly endearing. Oh, and Adrian Lester as Herrick is a grinning jack-o-lantern of a villain. If I ever happened upon Adrian Lester walking down the street, I'd instinctively run the other way.

The Americans playing their versions of these roles seem like ghosts themselves to me, shadows of what they're supposed to be. Add that to the fact that the plot lines are going to be fairly similar, and there are no surprises to look forward to. So no thanks, I'll stick with the original. And if you get the chance, you should check it out. It's really surprisingly good. And, yay, it's been renewed for a third season and will premiere on February 19th on BBC America. Huzzah!

Sunday, January 9, 2011

At Least The Opening Credits Work

The Cape is the mid-season show I'm most looking forward to, which means it's doomed. I figure it's either going to be really cool (think Heroes season 1) or godawful (think Heroes any season other than season 1). I guess we'll find out tomorrow.