Feel like you're sufficiently getting Lost? Here to help you each week is TVGuide.com's new "Getting Lost" video series. This latest installment finds executive producers Carlton Cuse and Damon Lindelof addressing three hot topics coming out of the Jan. 28 "Jughead" episode (spoiler-ish alert):
In light of the shocking "introduction" made at the end of "Jughead," might the time-tripping castaways run into other (albeit younger) familiar faces? Exactly who is gun-toting tough-gal Ellie? Going against the popular consensus (which I find just a bit too pat/obvious), I run my own theory by Team Darlton. And speaking of mystery women, who is this comatose Theresa? And how big a role will she play in future episodes? Also, be sure to read Mickey O'Connor's Lost recaps every Thursday morning.
LOST DVDHEROES DVD
2009年5月15日星期五
"Getting Lost" Video Premiere: Producers Discuss Time Travel, What Exactly "All" Means & More
In this premiere of a new recurring video series, TVGuide.com's Matt Mitovich (aka me) will get answers to the burning questions coming out of each week's episode of ABC's Lost.
Here in Episode 1, I ask executive producers Damon Lindelof and Carlton Cuse if the time-tripping remaining castaways are at risk of running into their "younger selves." The answer? "The characters are trying to avoid [that]," says Cuse, "but they may encounter other iterations of themselves."
Cuse goes on to say that Lost hopes to avoid the obvious clichés of such storytelling, pointing out that "the big problem with time travel is that if you can create multiple futures, the future doesn't have any stakes. So we're approaching [it] a little differently ... than you've seen on other shows." [CoughHeroescough]
Other questions answered in this "Getting Lost":
? If Jack can't get "all" of the Oceanic 6 back to the island, might the island cut him some slack?
? Will some sort of wild new "frozen donkey wheel" apparatus/setpiece be involved in getting the 6 back to the island?
Watch the video for that scoop, then brace yourself for the third hour of Lost's Season 5, which features one of the series' best character introductions ever.
LOST DVDHEROES DVD
Here in Episode 1, I ask executive producers Damon Lindelof and Carlton Cuse if the time-tripping remaining castaways are at risk of running into their "younger selves." The answer? "The characters are trying to avoid [that]," says Cuse, "but they may encounter other iterations of themselves."
Cuse goes on to say that Lost hopes to avoid the obvious clichés of such storytelling, pointing out that "the big problem with time travel is that if you can create multiple futures, the future doesn't have any stakes. So we're approaching [it] a little differently ... than you've seen on other shows." [CoughHeroescough]
Other questions answered in this "Getting Lost":
? If Jack can't get "all" of the Oceanic 6 back to the island, might the island cut him some slack?
? Will some sort of wild new "frozen donkey wheel" apparatus/setpiece be involved in getting the 6 back to the island?
Watch the video for that scoop, then brace yourself for the third hour of Lost's Season 5, which features one of the series' best character introductions ever.
LOST DVDHEROES DVD
'Lost,' 'Heroes' among leaders in power ratings
While ABC's "Lost" and NBC's "Heroes" have lost some steam in the Nielsen ratings over the past year, they remain two of the most valuable program franchises a marketer can tap into, according to the just-released calendar year "content power ratings" (CPR) released by Publicis Group's Optimedia.
The CPR rankings, which the media shop first launched a little more than a year ago, try to assess the overall value of network and cable TV programs to advertisers by going beyond the Nielsen TV ratings to look at factors such as program environment and viewer involvement, as well as by monitoring chatter on blogs and social networks about programs. (These are assessed in part by in-house qualitative research, involving a panel of several thousand viewers). The Optimedia ranking also considers a program's cross-platform viewing performance and trends on mobile and online.
As Optimedia U.S. CEO Antony Young explained in a Webinar unveiling the new rankings today, "TV isn't just TV anymore. Agencies buy shows, not ratings."
The conversation about declining TV ratings needs to be reframed said Greg Kahn, senior vp, director of strategic resources at Optimedia. "It's now about viewership and engagement on multiple platforms."
The shop's power ratings have also helped shape the agency's agenda for the upcoming upfront market place, said Young. "We're going to be really interested in the network's online video strategy," he said. "We're very interested in the cross-platform extensions for individual TV shows, which our power ratings indicate have a meaningful impact on their overall ranking." Young also said the shop will be interested in marketing plans the networks are preparing for individual shows.
For the 2008 rankings, the science-fiction program genre fared exceptionally well during the year, as viewers sought escapist fare to distract themselves from the harsh realities of the recession, the Optimedia index showed. Lost was number two on the CPR ranking followed by Heroes at six and Fringe at 13.
Comedy made a comeback in the CPR rankings as six made the top 20 list in 2008, versus just two in 2007. "This is a genre the networks are sort of giving up on, and we encourage them not to do that, " said Kahn.
Politics impacted the rankings last year, boosting Saturday Night Live to the top-ranked late night spot, helped by Tiny Fey's take on vice presidential candidate Sarah Palin. In the fourth quarter, search volume for SNL clips online quintupled, per Google Trends. The Daily Show with Jon Stewart--always heavy on political satire--placed second among late night programs, per the Optimedia CPR rankings.
American Idol repeated as the top-ranked show in the CPR prime-time rankings. It dominated viewing across multiple platforms, "but went way beyond that," said Kahn, with theme park tie-ins, iTunes downloads of the show's performers and merchandising. "It really has taken on a life of its own," he said.
Rounding out the top 10 prime-time CPR shows are The Office, Dancing with the Stars, Grey's Anatomy, Family Guy, CSI, Survivor and House.
The top-ranked cable show in the CPR index was AMC's Mad Men, about Madison Avenue in the 1960s, which placed 30th out of the 200 prime-time shows that the index measured.
Premium cable shows turned in a surprisingly strong showing said Kahn, noting that Showtime's serial killer drama Dexter placed 33rd while Weeds, another Showtime original was not far behind at 41st. HBO's Entourage placed 43rd. "They were all very viable online and received a lot of buzz generally," he said. Not every advertiser, of course, will want to integrate its brand in a show about a serial killer, "but the point is that these shows can compete on a different level as well."
In addition to its own research and the Nielsen ratings, Optimedia culled data from Nielsen Online's VideoCenus, Comscore's Media Metrix 2.0, E-Poll's FastTrack Television and Dow Jones Factiva to formulate its power ratings.
LOST DVDHEROES DVD
The CPR rankings, which the media shop first launched a little more than a year ago, try to assess the overall value of network and cable TV programs to advertisers by going beyond the Nielsen TV ratings to look at factors such as program environment and viewer involvement, as well as by monitoring chatter on blogs and social networks about programs. (These are assessed in part by in-house qualitative research, involving a panel of several thousand viewers). The Optimedia ranking also considers a program's cross-platform viewing performance and trends on mobile and online.
As Optimedia U.S. CEO Antony Young explained in a Webinar unveiling the new rankings today, "TV isn't just TV anymore. Agencies buy shows, not ratings."
The conversation about declining TV ratings needs to be reframed said Greg Kahn, senior vp, director of strategic resources at Optimedia. "It's now about viewership and engagement on multiple platforms."
The shop's power ratings have also helped shape the agency's agenda for the upcoming upfront market place, said Young. "We're going to be really interested in the network's online video strategy," he said. "We're very interested in the cross-platform extensions for individual TV shows, which our power ratings indicate have a meaningful impact on their overall ranking." Young also said the shop will be interested in marketing plans the networks are preparing for individual shows.
For the 2008 rankings, the science-fiction program genre fared exceptionally well during the year, as viewers sought escapist fare to distract themselves from the harsh realities of the recession, the Optimedia index showed. Lost was number two on the CPR ranking followed by Heroes at six and Fringe at 13.
Comedy made a comeback in the CPR rankings as six made the top 20 list in 2008, versus just two in 2007. "This is a genre the networks are sort of giving up on, and we encourage them not to do that, " said Kahn.
Politics impacted the rankings last year, boosting Saturday Night Live to the top-ranked late night spot, helped by Tiny Fey's take on vice presidential candidate Sarah Palin. In the fourth quarter, search volume for SNL clips online quintupled, per Google Trends. The Daily Show with Jon Stewart--always heavy on political satire--placed second among late night programs, per the Optimedia CPR rankings.
American Idol repeated as the top-ranked show in the CPR prime-time rankings. It dominated viewing across multiple platforms, "but went way beyond that," said Kahn, with theme park tie-ins, iTunes downloads of the show's performers and merchandising. "It really has taken on a life of its own," he said.
Rounding out the top 10 prime-time CPR shows are The Office, Dancing with the Stars, Grey's Anatomy, Family Guy, CSI, Survivor and House.
The top-ranked cable show in the CPR index was AMC's Mad Men, about Madison Avenue in the 1960s, which placed 30th out of the 200 prime-time shows that the index measured.
Premium cable shows turned in a surprisingly strong showing said Kahn, noting that Showtime's serial killer drama Dexter placed 33rd while Weeds, another Showtime original was not far behind at 41st. HBO's Entourage placed 43rd. "They were all very viable online and received a lot of buzz generally," he said. Not every advertiser, of course, will want to integrate its brand in a show about a serial killer, "but the point is that these shows can compete on a different level as well."
In addition to its own research and the Nielsen ratings, Optimedia culled data from Nielsen Online's VideoCenus, Comscore's Media Metrix 2.0, E-Poll's FastTrack Television and Dow Jones Factiva to formulate its power ratings.
LOST DVDHEROES DVD
2009年5月13日星期三
Michael Emerson: 'Lost' Ending Already Written
When it comes to mysterious characters, no one holds a candle to Michael Emerson's devious Ben Linus on ABC's Lost.
While Wednesday's season finale hints at the undoing of the fateful Oceanic Airlines crash and everything that followed, Emerson spills a few details that might surprise fans a€” including information on the elusive Jacob.
Going mano-a-mano with Benjamin Linus "I like Ben the way he's been imagined all along, and I don't think his character is going to alter much. But I do expect that new challenges will be thrown at him in Season 6. I have a feeling that we're going to have a shake-up up in the landscape of the show and the set of problems that the characters are faced with. New alliances and new missions are going to evolve."
Think you know Lost? Take the quiz!
Those eyes, that voice... "With every character I play, I have to think about how they live in their bodies and how they speak. I thought Ben needed a quality and it's a quality that's non-committal, a little bit flat, clinical and cool. He is in a cool palette where other characters are much warmer. That's definitely what sets him apart."
Enough is enough. Who is Jacob? "When you talk about someone like Jacob, the much awaited secret power behind the curtain, I'm not sure you even need a Jacob so much as you feel his presence. There's going to be a number of characters who's presence will be felt in the finale, who have by virtue of their power the ability to change the course of events."
Making friends with the enemy "Even though I'm at odds with most of the characters on-screen, I have a really good relationship with my castmates. Because I spend most of my screen time with Terry O'Quinn, he and I hang out quite a lot and we get along famously. He and I are of a similar age and we have similar philosophies about the craft of acting and we approach the work the same. We both have similar senses of humor and a similar sense of both the seriousness and the fun of what we do, so I'm always happy spending time with him.
Read: Michael Emerson Admits Lost Even Confuses Him
Ben and Juliet's unrequited love saga "Elizabeth Mitchell and I are Lost classmates. We were the ones who were freshman when everyone else was a sophomore. I will be forever linked to her that way. I like the way she works. She's a theater actress, and we always have a good time and a lot of crackle in our scenes."
Lost's ultimate ending, May 2010 "I feel a great sense of anticipation, but just like everyone else, I'm just so curious to see what it's going to be. How are they going to do it, and how can they do it in 17 hours? They know how the series ends. They have an outline in their minds, but the exact sequence of events, the trail of dialogue that leads us there, the details of it and who does what to whom, will be worked out during the course of the season. But yes, they know how it ends.
LOST DVDHEROES DVD
Lost and found: drama ends challenging season
How time changes things. Lost, the 2005 Emmy winner for outstanding dramatic series, has been lost in time this season. And casual followers have been Lost along the way -- literally and figuratively.
Literally: The average weekly audience has flirted with the nine-million mark in recent weeks, as Lost reaches its two-hour season finale Wednesday. Last year at this time, that figure was closer to 12 million.
And figuratively: Casual viewers who tune in one week and skip the next have become hopelessly lost in a story that has vaulted back and forth in time like something William S. Burroughs penned in a fever dream. (The April 29 episode alone featured no fewer than four switches in time, from the late '70s to the mid '90s, then to 2004, then back to 1977, and finally ahead to 2008.)
And here's the funny part. Lost's true fans, who've pored over every small detail and obsessed over every major story twist since the series' inception in 2004, don't seem to mind. The message boards and online chat forums are as active as ever, as Lost draws down the curtain on its fifth season with a two-part, two-hour episode called "The Incident."
ABC's official episode synopsis is deliberately oblique. "Jack's decision to put a plan in action in order to set things right on the island is met with strong resistance by those close to him, and Locke assigns Ben a difficult task."
A cynic might suggest that Ben's task is to explain Lost's fifth season to viewers more inclined to watch undemanding forensic procedurals like, say, Criminal Minds or Bones, two shows that air in Lost's time period on other channels. And then there's American Idol's results show -- a whole different program, aimed at an entirely different audience.
Lost's fans understand that the show's makers have adopted a cheerful, almost wilful disregard for pandering to the demands of a mass TV audience afflicted with a short attention span.
This season, more than most, Lost has been the kind of TV drama that rewards the obsessive nitpicker with an eye for detail -- the kind of consumer who chooses DVDs over network TV. As writer-producer Damon Lindelof and Carlton Cuse have shown in their weekly audio podcasts -- available for download free of charge from Apple Canada's iTunes store -- not a single moment goes by in Lost without some hidden meaning or calculated effect. Lost is the ultimate DVD Easter egg, a serial thriller that respects its loyal audience, while ignoring everyone else.
Next season will be Lost's last: It will end in May 2010. Given the state of the economy, rising production costs and the new trend toward prime-time singing competitions, weight-loss contests and, starting in September, a five-night-a-week prime-time talk show hosted by Jay Leno, Lost may well be one of the last complex, expensive, intellectually challenging serialized dramas to play on broadcast TV.
Baffling or brilliant? The real answer is, probably both.
Lost's fifth-season finale airs Wednesday, May 13, on A channel and ABC at 9 ET/PT. Note its expanded, two-hour running time.
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2009年5月11日星期一
What Are They Up To? Will and Grace's Debra Messing
Debra Messing was best known for her role on Will & Grace. As Grace Adler, she depicted a Jewish interior designer who lived in New York with her gay best friend Will Truman. Throughout the show, she became infamous for her string of boyfriends, many of which were portrayed by notable guest stars such as Gregory Hines and Woody Harrelson. In a span of eight years, she won an Emmy Award for Outstanding Lead Actress in a Comedy Series, and earned nominations for 6 Golden Globe Awards among others.After her stint on Will and Grace, Messing served as the voice of the character Park Ranger Beth in the animated film Open Season. Recently, she starred in the movie Lucky You, in which she played the role of Suzanne Offer.
This year, Messing will star in the film Purple Violets as the character Kate Scott. The said movie is a romantic comedy about an unhappy woman who finds new love with her old boy friend. The cast includes Selma Blair as Patti Petalson, Patrick Wilson as Brian Callahan, Edward Burns as Michael Murphy, and Dennis Farina as Gilmore. Currently, she stars on USA Network’s The Starter Wife as Molly Kagan, a 41-year-old wife and mother who is eventually abandoned by her husband and is forced to move on with her life. The miniseries also features Judy Davis as Joan McAllister, Peter Jacobson as Kenny Kagan, and Miranda Otto as Cricket Stewart. In addition, she will also work in a 2008 film called The Women. Based on the 1939 film of the same title, the comedy-drama follows the life of a wealthy New Yorker as she leaves her unfaithful husband and bonds with other society women.
Gillian nearly lost her X-Files job
New York: Actor Gillian Anderson has revealed that she nearly waved goodbye to her job on cult TV show The X-Files after getting pregnant. The 40-year-old said had it not been for her on-screen chemistry with co-star David Duchovny, she would have been sacked.
"They would have loved to have punished me but realised there was steam picking up," Contactmusic quoted her as saying. "I thought they were overreacting but now I see it from their perspective. I would have been really upset if I had been them and had cast a girl who got pregnant after the first season," she added.
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"They would have loved to have punished me but realised there was steam picking up," Contactmusic quoted her as saying. "I thought they were overreacting but now I see it from their perspective. I would have been really upset if I had been them and had cast a girl who got pregnant after the first season," she added.
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2009年5月9日星期六
Brand New DVDProStore Welcome You! Dear Customers
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Drama Mama
Tired of reality TV? So is Drama Mama. Each week, I look for the best scripted shows that will both entertain and let me use my grownup brain for once. Here's what to look for this week:
"Lost" (Wednesday, 9 p.m., ABC)The two-hour season finale of "Lost" is occasion enough to put the phone on silent, turn out the lights, and watch without interruption. But this one promises to be a doozy, with Jack setting his plan in motion to stop the "incident" that will ultimately result in the plane crash. What's more, the "Lost" producers have selected a nickname from fan votes for what is sure to be another jaw-dropping final scene: "The Fork in the Outlet." Can't wait!
"House" (Monday, 8 p.m., Fox)House and Cuddy hooking up? Mama's in. Couple these developments with the incongruous guest appearance of Carl Reiner, and this week's season finale becomes oddly compelling.
"Fringe" (Tuesday, 9 p.m., Fox)J.J. Abrams's dominating cross-network, cross-medium synergy continues in the "Fringe" season finale with an appearance by Leonard Nimoy, whom everyone who watches this show will have just seen over the weekend in the Abrams-helmed reboot of "Star Trek." Say what you want about this uneven "X-Files" pastiche, but it knows its audience.
"Law & Order" (Wednesday, 10 p.m., NBC)Incredibly, original recipe "L&O" is still on the bubble at NBC, so Mama is going to be sure to throw her support behind the creatively resurgent mother bear over her seedy spinoffs, since Jeremy Sisto and Linus Roache have been great additions to the cast. Plus, Mama gets enough sex crimes talk at her local neighborhood watch meeting.
"Harper's Island" (Saturday, 9 p.m., CBS)You know, if Mama had realized that cheese-tastic Harry Hamlin was in the cast, she totally would have started watching weeks ago, as this may be the only show on CBS that isn't a rote police procedural. But apparently he's already been bumped off, so oh well. Let me know how it ends.
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Star Trek: Take 2
Lately I’ve been wanting a film that comes out punching, that doesn’t dally, that just drops the audience into the middle of intense action and lets us swim for our ever-loving lives. I’m talking about a movie that knows how to open a movie. The last one was The Dark Knight. Finally, I get my wish with J.J. Abrams’s re-booted Star Trek.
A tentacled spaceship with overwhelming firepower. A Star Fleet vessel limping and crumbling to pieces. Dozens of evacuating shuttles. And a baby being born. It’s the Odessa Steps at warp speed. And we instantly know that this one is set for stun.
And that’s just the beginning, because what we get is an exhilarating string of these things. What Abrams accomplishes is to rival Steven Spielberg’s capacity to stage wide-canvas action scenes, dotting the screen with multiple thrillers taking place in multiple locations simultaneously. We shift among them with swiftness, smoothness and ferocity.
So we go from a starship to high-speed parachuting, to a swordfight on top of a mile-high drilling platform. We move from a single cockpit to a starship bridge, to watching the battle in slow motion from a million miles away with spacecraft and torpedoes slowly charging across the eternal night. It’s awe-inspiring. I can’t say enough.
Let’s shower Abrams with praise. After an overhyped transition to the big screen, the Lost impresario finally delivers, re-charging what appeared to be a dead franchise. Returning us to the iconic characters, times, and spirit of the original television series of the ’60s, the film invigorates the earliest adventure of Captain James T. Kirk (Chris Pine), Spock, Dr. Leonard “Bones” McCoy, and the rest of the crew of the Starship Enterprise.
he geek favorites meet at Star Fleet Academy, but their friendships begin as petty rivalries. As cadets, they are dispatched on a humanitarian mission to Vulcan aboard the newly minted Enterprise. The humanitarian mission becomes a military emergency when they meet a heavily armed Romulan mining ship that has traveled from the future through, yes, a temporal anomaly (which happen to be ideal for re-booting). It has come with a nasty captain (Eric Bana) and a destructive plan. As the crew loses its veteran captain (the always steady Bruce Greenwood), the Enterprise bridge dissolves into back-and-forth mutiny as the young officers squabble over what to do.
We can watch the generations roll by through Star Trek. The original series operated with the Silent Generation’s enlightened bureaucracy. In the spiritually sensitive Boomer era, the crew saved whales and sought peace, while the Next Generation provided an oligarchy run by Up With People and the idea that humans are evolving into gods.
It took a while to dip into ’90s-style sci-fi paranoia, ala Babylon 5 or The X-Files. It didn’t connect with Star Trek’s historically earnest outlook. Star Trek really isn’t Star Trek with Star Fleet officers hiding dark conspiracies and evil motives. The series had becomes moor-less and passé.
Rebooted and reloaded, we now have a Star Trek updated to modern action conventions -– a crew of orphaned rebel-heroes whose wounded pasts shadow their idealism. In this version, Kirk is the talented but unorthodox son of a dead space hero. Chris Pine, with the toughest measure-up as the embryonic Captain Kirk, cruises with the cocky hamminess inherent in the role…or inherent in William Shatner. Take your pick.
To call the performers unknown is an understatement. The only really famous person is Winona Ryder, in a small part. But for once, Abrams’s don’t-hate-me-because-I’m-beautiful casting doesn’t betray him. Only Karl Urban’s portrayal of Bones flips disturbingly between imitation and parody. Scotty is a parody deftly steered into comic relief by Simon Pegg, who steals all of his scenes. Zoe Soldana gets to play Uhura as saucy, savvy and semi-relevant.
The bravest risk and the greatest reward comes from the nearly unthinkable decision to put the film’s emotional center on the legendarily emotionless character. What started as a one-episode gag 40 years ago –- that Spock is half-human –- fully fleshes to its completion. This Spock is prideful, ambitious, shy, vulnerable, orderly, rebellious…an enigma to both of his worlds. The Spock we are given here is a human wanting to be a Vulcan. Wholly and admirably, Zachary Quinto rebuilds the Vulcan from the inside out. Is it too early to say Quinto is a better Spock than Leonard Nimoy?
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Do We Want Sci-Fi on TV?
Michael Trucco as Anders in the Battlestar Galactica episode "The Road Less Traveled."? Carole Segal/Sci Fi ChannelEntertainment Weekly writer Marc Bernardin has grabbed some attention musing about how sci-fi on TV seems be to so unsuccessful lately. Bernardin compared the riproaring success of the annual summer schedule jammed with sci-fi and fantasy blockbusters with the anemic ratings for a whole slate of canceled or soon-to-be-canceled series – there's even a Terminator franchise entry this year in both the failed-TV-series and (presumably) the hugely-successful-movie categories.
This imbalance has led him to ask the unsettling question, "Why don't we want science fiction on television anymore?"
Do you think he's right? I kind of wonder there's a mistaken assumption involved here: I'm not sure about the "any more" part. Though individual science fiction or crossbred shows have done well – for example, The X-Files – most sci-fi and fantasy offerings have gathered a solid, enthusiastic fan-base rather than a broad swath of casual viewers.
Perhaps it's because sci-fi in general has a reputation for being more arc-driven and therefore harder to drop into on a whim, the way you can do with any random episode of Law & Order. It's not really true – you're just as likely to be confused joining Friday Night Lights in mid-season as you would with Battlestar Galactica – but there's a real inhibition getting involved in a sci-fi series for nonfans, so you end up with an avid core. And that avid core has seldom been large enough to satisfy ratings-hungry executives.
The movies are different – a one-off sci-fi blockbuster with lots of explosions and cool robots and sexy aliens is a great way to mindlessly blow a Friday night, and so the big sci-fi summer movies attract millions of people. (And they're not all successes. The small sci-fi movies that end up getting shown in late winter barely garner an audience. Did anyone go see Inkheart, for example?) A sci-fi TV show, however, to a lot of people represents an investment.
And I don't think the number of offerings has gone down – this season I've been tracking over two dozen active sci-fi series. Of those, as many as nine were killed off by their networks.
Sci-fi and fantasy are, by definition, more expensive than most other kinds of shows, because the special effects cost money both on the set (all those careful set-ups) and in postproduction, where all that labor-intensive CGI is done. Between smaller audiences and larger costs, it's surprising that any sci-fi gets made for TV at all.
2009年5月8日星期五
'Star Trek' movie breathes new life into franchise
You don't expect to find much fresh air in outer space, but that's exactly what the reboot of "Star Trek" brings to the musty franchise.
The film finds compelling new angles on iconic science fiction characters, thanks to spot-on casting and a young, sexy "Abercrombie & Trek" vibe. Faithful to the outlines of the classic TV series yet original, this revitalized, reimagined "Trek" is a gift to nerds and newbies alike. It's engagingly acted, intelligently scripted and confidently directed. Put it alongside "Casino Royale" and "Batman Begins" as a fresh start that gets almost everything right.
Take the command deck of the USS Enterprise. It's the same, yet different. Kirk, Spock, Sulu and Chekov sit in the same relation to each other on the bridge, but the controls, instruments and displays have a cool, elegant new design. Old "Trek" was a PC; this is definitely a Mac.
The cinematography and special effects have evolved. Space scenes feature lens flares and nebulas that look stunningly authentic, and the gorgeous landscapes on rocky Vulcan and a remote ice planet would be at home in a coffee-table book.
The first mission of the Enterprise is to neutralize a time-traveling Romulan craft boasting unheard-of weaponry. That's the basic setup of every "Star Trek" movie, and it's the film's weakest link. Eric Bana is all right as the villainous Nero, who has his reasons. And there are nods to contemporary geopolitics that will please "Battlestar Galactica" fans. But the spectacular space battles are beside the point. This is really the story of how the Enterprise crew meets, hammers out its differences and becomes a team, and the telling is pure bliss.
After a scene-setting space battle that opens the story at warp speed, we meet young Kirk, a juvenile delinquent before he enters his teens. He's joyriding in a 300-year-old Corvette, blasting the Beastie Boys, anachronisms that make him easy to relate to. Chris Pine's Kirk contrasts nicely with the original. He's a hellion and a cock-of-the-walk wise guy who joins the service as an alternative to doing jail time. He grows in the discipline of the Starfleet Academy, but he's still too impulsive to make the grade as a space officer. It takes real skullduggery to get him aboard the Enterprise. He starts out with more than a dash of "Futurama's" chauvinist, swashbuckling Zapp Brannigan, matures in a crisis and becomes an inspiring leader.
The script is ingenious in setting hurdles for the characters and then leaping them. It's delightful how deftly the film touches on and twists the standard ingredients of "Trek" lore, how it uses our familiarity for surprises and graceful storytelling shorthand. You will appreciate it if you are a casual fan, and the more "Trek" lore you know, the more your admiration will grow.
Yes, the red-suited member of the landing party is a goner, but never has his demise been so swift and darkly funny. Of course young Spock's logical Vulcan side and his human emotions are at war, but Zachary Quinto's tilt is far warmer than Leonard Nimoy's. Uhuru (Zoe Saldana) develops a romantic attachment to a shipmate, but not the one you expected. Before you accuse the filmmakers of rewriting history, understand they anticipated your objections and used a classic science fiction idea to answer them.
With the exception of Winona Ryder, wooden and unpersuasively aged as Spock's human mother, the cast is flawless. Simon Pegg is a superb Scotty, the kind of gregarious bloke you'd hope to sit next to in a pub, but that's no surprise. Who suspected that Karl Urban, a specialist in dark drama, would make such a delightfully grumpy "Bones" McCoy? How can you hear him call Spock a "green-blooded hobgoblin" and not smile? John Cho's Sulu, Bruce Greenwood's Pike, Anton Yelchin's Chekov - all honor the characters' creators but lift the roles to a new level.
The quality that has kept audiences revisiting Gene Roddenberry's universe for more than 40 years is the camaraderie between his characters, and this crew has it in spades. When the film ends, you miss them. After this exhilarating new start, "Trek" is guaranteed to live long and prosper.
The x file 1-9 dvd
Supernatural dvd
Battlestar Galactica dvd
Twin peaks seasons 1-2 dvd box set
Will Smallville beat SG-1’s longevity record?
Stargate SG-1 fans have been holding their heads high since the show entered the Guiness Book of World Records a few years back (story), boasting the title of the longest-running science fiction show in North America. (Only the original Doctor Who ran longer.)
The series produced 214 hours over ten seasons (1997-2006).
Meanwhile, however, another Vancouver-made genre show has been quietly creeping up on Jack O’Neill and his team. The CW’s young Superman supershow Smallville is currently finishing up its eighth season, and has already been renewed for a ninth (EW.com). That will bring it up to a tie with The X-Files (in the season count), and hot on the heels of SG-1 for the record.
So is Smallville going to tie or beat SG-1’s record?
Stargate SG-1 produced 22 episodes per year for seven seasons, then 20 per year for its last three. Smallville has stayed at 22 episodes per year, with Season Seven shortened to 20 only because of the writer’s strike.
After Smallville’s 2009-2010 season, then, the show will have produced 196 episodes. If it continues on to a tenth season, it will tie SG-1 in the season count and surpass it in episodes — 218 if the network orders a full, 22-episode season.
Future prospects for the CW show rely heavily on signing lead actor Tom Welling. The eighth and ninth years have proven that the show can lose major cast members (Michael Rosenbaum and Kristin Kreuk, a.k.a. Lex Luthor and Lana Lang) and even its executive producers and keep going strong.
Smallville airs Thursdays at 8 p.m. (7 Central) on The CW in the United States. Season Nine begins this fall, and future contract negotiations and a tenth season renewal decision should come next spring.
______________
Supernatural DVD
Battlestar Galactica DVD
The X Files 1-9 DVD Box Set
Twin Peaks Seasons 1-2 DVD
10 Shows that turn me on
You would think I would always have a ready answer to the question, “What’s your favorite program on TV?”
Amazingly, though, these inquiries from readers usually leave me flat-footed, like someone had just asked me which “Real World” hamster was my favorite. (OK, it was Devyn.)
So as the network television season winds to a conclusion, I’ve decided to make a list. After all, with your over-the-air options going away for the summer, it’s a great time to explore Television by Other Means. These days, shows can be streamed on Hulu, file-shared on Vuze, recorded on your DVR (if they’re airing) or rented on shiny discs.
Most of these are recent shows in reruns, but if you haven’t seen them before, as NBC used to say, it’s new to you!
I’d recommend starting with these:
1“Ashes to Ashes” (DVR, DVD). BBC America is airing the British sequel to “Life on Mars.” Now the lead is a female, and she’s knocked back in time to 1981, where once again the object is to return to the present day through the wormhole of a detective room that thinks DNA is a subject more appropriate to Oxford dons than London coppers.
2“Chuck” (DVR, Web). NBC is expected to bring back this spy comedy with Zachary Levi for a third season. One reason fans were so ardent about urging the network to “save Chuck” is the feeling that the show has kicked it up a notch.
3“Flight of the Conchords” (DVD, DVR). I was talking with theater critic Robert Trussell about the reinvention of the American musical, and certainly this terrific series from a couple of funny Kiwis is a great example of that. Future status on HBO is unknown, but the duo has certainly produced enough episodes to keep you occupied for, well, days.
4“Fringe” (DVR, Web). Fox just renewed this weird little series about paranormal crime-solvers, but that doesn’t mean you’ve seen even an hour of it. Anna Torv and Joshua Jackson are surrounded by a terrific supporting cast that brings the spookiness of “The X-Files” into a new millennium (meaning there’s more self-conscious humor than “X-Files” ever had).
5“Frontline” (Web). The Web site for television’s best newsmagazine offers dozens of episodes for streaming at full length. Start with “Poisoned Waters,” Hedrick Smith’s stomach-turning report on the decrepit state of America’s lakes, rivers and estuaries.
6“In Treatment” (DVR). I’m hoping HBO repeats this show’s outstanding second season, because I don’t want you jumping in where we are right now (Week 6). Much of the enjoyment of this show about a psychologist (Gabriel Byrne) and his patients comes from experiencing the cumulative effect of pain, failure and the rigors of confronting our demons in a professional, therapeutic setting. Even though there are no ads, it’s worth recording just to watch all five weekly episodes in one gulp.
7“Late Show With David Letterman” (DVR, Web). With Jay Leno’s abdication coming later this month, there will be a new king of late night. Of course, you could argue Letterman always was the king in everything but ratings. No one tells a bedtime story from his desk better than Dave. And no one books more guests based purely on personal interest. The other week he had the inventor of a $50,000 electric car on for two segments. And the car! Who else could pull that off?8“NBC Nightly News” (DVR, Web). Remember all that yak about “the death of network news?” For the 40 percent of Kansas City homes with a digital video recorder, that’s just nonsense. Do what we do and set a season pass for the newscast of your choice. In our household, that’s the one with Brian Williams who, despite his annoying habit of continuously mentioning other NBC properties in his newscast (too many Weather Channel shout-outs, Bri!), is the silver standard for network news.
9“Reaper” (DVD). I think this is going to be a show that people look back on and say, “We were a little harsh on them.” For what it was — a horror-comedy in which a slacker learns he belongs to Satan and must spend the rest of his life as Beelzebub’s bounty hunter — “Reaper,” recently canceled by the CW, was a fun little show. Perfect for summer viewing.
10“30 Rock” (DVR, Web). Nielsen ratings suggest that not everyone is watching the two-time Emmy winner for best comedy. I’m sure you have your reasons, but let me assure you: They are terrible reasons. “30 Rock” will get a nice boost next season if the new sitcom “Community,” with Chevy Chase and Joel McHale, is any good.
______________
Supernatural DVD
Battlestar Galactica DVD
The X Files 1-9 DVD Box Set
Twin Peaks Seasons 1-2 DVD
2009年5月7日星期四
7 Summer Movies I can’t wait to see
Wolverine has come and gone, Star Trek is a mere 2 days away, and it looks like John Connor and Optimus Prime are poised to duke it out over who will own the summer blockbuster season of 2009. Of course, I’m excited about all of the above (Wolverine notwithstanding), but it’s important to note that this year’s summer movie season looks to bear some interesting fruit. A quick stumble through Quicktime’s Trailers site lead me to conclude that these are the top 7 movies I feel like I really shouldn’t miss this year.
ALIEN TRESPASSOPENED: April 3Eric McCormack, Jenni Baird, Robert Patrick; Dir: R.W. Goodwin
Set in 1950s rural ‘Merica, Alien Trespass looks more like a film grad’s first project than it does a feature-length Hollywood flick. Epitomizing the old catchphrase “it takes a lot of money to make things look this cheap”, director R. W. Goodwin (of X-Files lineage) spares no expense when it comes to aliens in rubber suits, silver-lycra-wearing robots, and cardboard spaceships. It looks like the experiment that 1996’s “Mars Attacks!” wanted to be, until it wound up taking itself a little too seriously.
DRAG ME TO HELLOPENING: May 29Alison Lohman, Lorna Raver; Dir: Sam Raimi
Perhaps it’s an effort to forget the abysmal Spider-Man 3, or maybe it’s simply because he misses the genre, but for whatever reason, Sam Raimi is back making horror movies again. And about freakin’ time. This one’s about a cute little loan officer (Lohman) who screws over an old woman (Raver) in the hopes of getting promoted at work. Wouldn’t you know it, the old woman is actually a witch, and she gets her revenge by placing the curse of the Lamia on Raver. Carnage ensues. Rumour has it that Bruce Campbell will make a guest appearance as a housewares employee at S-Mart. (In the interests of full disclosure, I just started that rumour just now. Call it wishful thinking.)
GIGANTICOPENING: Select theatres April 3, UK June 19Paul Dano, Zooey Deschanel, John Goodman; Dir: Matt Aselton
First came “Lost in Translation”, then “Broken Flowers”, then “Punch Drunk Love”, and of course, “Garden State”. It seems the character of the awkward loner with no inner monologue has legs, and Gigantic appears to be ready to run. Starring Zooey Deschanel as the woman I’m going to run away with Harriet Lolly, the lost and misguided love interest to Paul Dano’s lonely and unsuccessful Brian Weathersby, Gigantic looks to be this summer’s Nick and Norah, or in other words, a movie that doesn’t try to do anything more than it’s intended to do, which is, just tell a great story.
PUBLIC ENEMIESOPENING: July 1Johnny Depp, Christian Bale, Marion Cotillard; DIR: Michael Mann
John Dillinger was just so cool. Arguably the US’s first celebrity criminal, Dillinger made a career out of robbing banks, escaping prison, and getting laid; basically every schoolboy’s dream. Starring Johnny Depp as the man and Christian “I’ll tear down your lights” Bale as the man sent to catch him, Public Enemies feels like a rock & roll version of the Untouchables. With Michael Mann at the helm, how can you go wrong?
DISTRICT 9OPENING: August 14William Allen Young, Robert Hobbs; DIR: Neil Blomkamp
This is probably the movie I’m most excited to see. In a not-too-distant future (or alternate present), refugees in South Africa are cordoned off and forced to live in shantytown slums. The twist is, the slumdogs ain’t from ’round these parts; they’re Aliens, and they’re universally hated. The trailer indicates the movie will deal with racism, xenophobia and genocide in a whole new way. What of the crew? Well it’s being directed by Neil Blomkamp, who’s greatest achievement up until now has been this now-famous ad for Citro?n. But he’s not going it alone; also on board is Peter Jackson, and he’s bringing his WETA Workshop with him. If the names Blomkamp and Jackson together are ringing a bell, it’s because they’re the team who was originally going to do the screen adaptation of the XBOX megahit HALO, but when the funding didn’t come through, District 9 became their new project. August 14 can’t come fast enough for me.
INGLORIOUS BASTERDSOPENING: August 21Brad Pitt, Eli Roth, Diane Kruger; DIR: Quentin Tarantino
I’m kinda of “meh” when it comes to Quentin Tarantino. In my humble opinion, he has 3 great films for which he deserves all the accolades in the world; Reservoir Dogs, Pulp Fiction, and Kill Bill 1&2. In that order. The rest, I can pretty much take or leave. He’s been involved with some incredible projects; From Dusk Till Dawn springs to mind; but generally Tarantino is more a director I wish I could love than he is one I actually do. This is why I was overjoyed when I saw the trailer for Inglorious Basterds. Brad Pitt as a grizzled old Colonel sporting a Colombian-Necktie-worthy scar around his neck and ordering his batallion to deliver him 100 Nazi scalps? Add to that what is probably the coolest title for a war pic pretty much ever? Yes, please. Tarantino may not be the greatest filmmaker of all time, but he does do one thing very well: he sets the tone. After he’s done that, the rest of the pieces just sort of fall into place. This kind of thing is right up his alley.
THE BOAT THAT ROCKEDOPENING: August 28Philip Seymour Hoffman, Nick Frost, Kenneth Branagh; DIR: Richard Curtis
It’s amazing the power of a bad title. As soon as I saw the logo for this movie, spelling out, in Cancer Bats typeface, “The Boat That Rocked”, I almost skipped right by it. Had I done so, I would have missed out on a promising comedy with a killer cast and an even deadlier soundtrack. Loosely based on Radio Caroline, a popular pirate radio ship in the 1960s, The Boat That Rocked is the story of Radio Rock, a ship off the coast of the UK broadcasting a pirate radio signal with one mission: bring Rock & Roll to the masses. The movie has that “based on a true story” feeling but is in fact a total fabrication, but has nonetheless educated me on the pirate radio phenomenon of the mid 1960s; something about which, until this movie came along, I knew nothing.
So there you have it; my top 7 picks for this Summer’s movie watching entertainment. Add to that the 3 surefire blockbusters I mentioned at the top, and it’s generally shaping up to be one of the better Summer movie seasons in recent memory.
Supernatural DVD
Battlestar Galactica DVD
The X Files 1-9 dvd
Twin Peaks seasons 1-2 dvd box set
ALIEN TRESPASSOPENED: April 3Eric McCormack, Jenni Baird, Robert Patrick; Dir: R.W. Goodwin
Set in 1950s rural ‘Merica, Alien Trespass looks more like a film grad’s first project than it does a feature-length Hollywood flick. Epitomizing the old catchphrase “it takes a lot of money to make things look this cheap”, director R. W. Goodwin (of X-Files lineage) spares no expense when it comes to aliens in rubber suits, silver-lycra-wearing robots, and cardboard spaceships. It looks like the experiment that 1996’s “Mars Attacks!” wanted to be, until it wound up taking itself a little too seriously.
DRAG ME TO HELLOPENING: May 29Alison Lohman, Lorna Raver; Dir: Sam Raimi
Perhaps it’s an effort to forget the abysmal Spider-Man 3, or maybe it’s simply because he misses the genre, but for whatever reason, Sam Raimi is back making horror movies again. And about freakin’ time. This one’s about a cute little loan officer (Lohman) who screws over an old woman (Raver) in the hopes of getting promoted at work. Wouldn’t you know it, the old woman is actually a witch, and she gets her revenge by placing the curse of the Lamia on Raver. Carnage ensues. Rumour has it that Bruce Campbell will make a guest appearance as a housewares employee at S-Mart. (In the interests of full disclosure, I just started that rumour just now. Call it wishful thinking.)
GIGANTICOPENING: Select theatres April 3, UK June 19Paul Dano, Zooey Deschanel, John Goodman; Dir: Matt Aselton
First came “Lost in Translation”, then “Broken Flowers”, then “Punch Drunk Love”, and of course, “Garden State”. It seems the character of the awkward loner with no inner monologue has legs, and Gigantic appears to be ready to run. Starring Zooey Deschanel as the woman I’m going to run away with Harriet Lolly, the lost and misguided love interest to Paul Dano’s lonely and unsuccessful Brian Weathersby, Gigantic looks to be this summer’s Nick and Norah, or in other words, a movie that doesn’t try to do anything more than it’s intended to do, which is, just tell a great story.
PUBLIC ENEMIESOPENING: July 1Johnny Depp, Christian Bale, Marion Cotillard; DIR: Michael Mann
John Dillinger was just so cool. Arguably the US’s first celebrity criminal, Dillinger made a career out of robbing banks, escaping prison, and getting laid; basically every schoolboy’s dream. Starring Johnny Depp as the man and Christian “I’ll tear down your lights” Bale as the man sent to catch him, Public Enemies feels like a rock & roll version of the Untouchables. With Michael Mann at the helm, how can you go wrong?
DISTRICT 9OPENING: August 14William Allen Young, Robert Hobbs; DIR: Neil Blomkamp
This is probably the movie I’m most excited to see. In a not-too-distant future (or alternate present), refugees in South Africa are cordoned off and forced to live in shantytown slums. The twist is, the slumdogs ain’t from ’round these parts; they’re Aliens, and they’re universally hated. The trailer indicates the movie will deal with racism, xenophobia and genocide in a whole new way. What of the crew? Well it’s being directed by Neil Blomkamp, who’s greatest achievement up until now has been this now-famous ad for Citro?n. But he’s not going it alone; also on board is Peter Jackson, and he’s bringing his WETA Workshop with him. If the names Blomkamp and Jackson together are ringing a bell, it’s because they’re the team who was originally going to do the screen adaptation of the XBOX megahit HALO, but when the funding didn’t come through, District 9 became their new project. August 14 can’t come fast enough for me.
INGLORIOUS BASTERDSOPENING: August 21Brad Pitt, Eli Roth, Diane Kruger; DIR: Quentin Tarantino
I’m kinda of “meh” when it comes to Quentin Tarantino. In my humble opinion, he has 3 great films for which he deserves all the accolades in the world; Reservoir Dogs, Pulp Fiction, and Kill Bill 1&2. In that order. The rest, I can pretty much take or leave. He’s been involved with some incredible projects; From Dusk Till Dawn springs to mind; but generally Tarantino is more a director I wish I could love than he is one I actually do. This is why I was overjoyed when I saw the trailer for Inglorious Basterds. Brad Pitt as a grizzled old Colonel sporting a Colombian-Necktie-worthy scar around his neck and ordering his batallion to deliver him 100 Nazi scalps? Add to that what is probably the coolest title for a war pic pretty much ever? Yes, please. Tarantino may not be the greatest filmmaker of all time, but he does do one thing very well: he sets the tone. After he’s done that, the rest of the pieces just sort of fall into place. This kind of thing is right up his alley.
THE BOAT THAT ROCKEDOPENING: August 28Philip Seymour Hoffman, Nick Frost, Kenneth Branagh; DIR: Richard Curtis
It’s amazing the power of a bad title. As soon as I saw the logo for this movie, spelling out, in Cancer Bats typeface, “The Boat That Rocked”, I almost skipped right by it. Had I done so, I would have missed out on a promising comedy with a killer cast and an even deadlier soundtrack. Loosely based on Radio Caroline, a popular pirate radio ship in the 1960s, The Boat That Rocked is the story of Radio Rock, a ship off the coast of the UK broadcasting a pirate radio signal with one mission: bring Rock & Roll to the masses. The movie has that “based on a true story” feeling but is in fact a total fabrication, but has nonetheless educated me on the pirate radio phenomenon of the mid 1960s; something about which, until this movie came along, I knew nothing.
So there you have it; my top 7 picks for this Summer’s movie watching entertainment. Add to that the 3 surefire blockbusters I mentioned at the top, and it’s generally shaping up to be one of the better Summer movie seasons in recent memory.
Supernatural DVD
Battlestar Galactica DVD
The X Files 1-9 dvd
Twin Peaks seasons 1-2 dvd box set
'Fringe': 'Something terrible is coming': great!
Last night, the tingly, penultimate episode of Fringe for the season made a few sly references to one of its producers' pet projects (that would be Star Trek), delivered by everyone's favorite cult star, Clint Howard. But in an episode peppered with conspiracy theories, Stephen King as prescient science, and Frankenberry, these were just the least of the hour's pleasures.
Things are really chugging along, as we learned more about the ZFT manifesto co-authored by Dr. William Bell (next-week guest-star Leonard Nimoy) and Walter. Olivia's odious, chrome-dome boss (no, not Broyles, Harris) turned out to be a heinous villain. Blair Brown's Nina was shot (drugged?) by two ski-masked men, Walter went off with a suddenly-chatty Observer, and Olivia started having hallucinations that suggested someone might be trying to "activate" her via the Cortexiphan emplanted in her by Walter and William Bell when she was a kid.
And did we already know that Massive Dynamic is the Defense Department's "largest contractor"?
The other night on The Colbert Report, Colbert asked J.J. Abrams if he could get into Fringe now, without having an information chip implanted in his brain to enable him to catch up on its complexities. I say, maybe not if next week's finale is your first visit, Stephen, but you should definitely start watching on Hulu.
Did you watch Fringe last night? Are you, as Walter might say, psyched for next week's finale? All theories about what last night meant and what next week might resolve are most welcome. Thanks.
The 25 Best Duos on Television Today
Who are the best twosomes on TV?. That’s the question asked by Scooter McGavin posed to a few of us TV bloggers. And now I pose the question to YOU! Check out the list below and let us know what we got right and where we went woefully wrong.
Remember, a twosome doesn’t mean two peas in a pod. The field is open — Lovers. Co-workers. Enemies. BFFs. But your favorite TV twosome must have aired on original episodes between June 2008 and now. (Narrows it down a little).
Take a look and then share your thoughts.
1. Coach Eric and Tammy Taylor (Friday Night Lights)
2. Liz Lemon and Jack Donagy (30 Rock)
3. Sheldon Cooper Ph.D. and Penny (The Big Bang Theory)
4. Jim Halpert and Dwight Shrute (The Office)
5. Patty Hewes and Ellen Parsons (Damages)
6. Dr. Temperance “Bones” Brennan and Special Agent Seeley Booth (Bones)
7. Emerson Cod and Olive Snook (Pushing Daisies)
8. Blair Waldolf and Chuck Bass (Gossip Girl)
9. Shawn Spencer and Burton “Gus” Guster (Psych)
10. Chuck Bartowski and Special Agent Sarah Walker (Chuck)
11. Sam and Dean Winchester (Supernatural)
12. Marc St. James and Amanda Tannen (Ugly Betty)
13. Barney Stinson and Ted Mosbey (How I Met Your Mother)
14. Bill Adama and Laura Roslin (Battlestar Galactica)
15. Landry Clark and Tyra Colette (Friday Night Lights)
16. Ben Linus and John Locke (Lost)
17. John “J.D.” Dorian M.D. and Dr. Christopher Turk (Scrubs)
18. Sookie Stackhouse and Bill Compton True Blood
19. Jeff Patel and Lester Barnes aka Jeffster (Chuck)
20. James “Sawyer” Ford and Juliet Burke (Lost)
21. Homer and Marge Simpson (The Simpsons)
22. Bill Adma and Saul Tigh (Battlestar Galactica)
23. Richard Cypher and Kahlan Amnell (Legend of the Seeker)
24. Earl and Randy Hickey (My Name Is Earl)25. Michael Westen and Fiona Glenanne (Burn Notice)
In the interest of full disclosure, here was my Top Ten pick:1. Jim Halpert & Dwight Schrute (The Office)2. Marc St. James & Amanda Tannen (Ugly Betty)3. Blair Waldorf & Chuck Bass (Gossip Girl)4. Tami & Eric Taylor (Friday Night Lights)5. Chuck Bartwoski & Sarah Walker (Chuck)6. Gregory House & Robert Wilson (House)7. Sheldon Cooper & Penny (The Big Bang Theory)8. Cappie & Evan Chambers (Greek)9. Olive Snook & Emerson Cod (Pushing Daisies)10. Barney Stinson & His Suit (How I Met Your Mother)
2009年5月5日星期二
Battlestar Galactica' Season 4 in Review
Battlestar Galactica is done. The sci-fi series ended season 4 on Friday, March 20 with a two-hour event. There were epic space battles, brilliant visual effects, huge payoffs for long-running mysteries like the opera house dreams, backstories, endings for all the major characters, quite a few big deaths, and one heck of a twist ending.
What did you think of the Battlestar Galactica series finale? Did season 4 end like you wanted it to? You can comment below, and also look back with all of BuddyTV's great coverage. We have complete recaps of every season 4 episode of Battlestar Galactica plus a series in review, our favorite episodes and characters, and photos from all of all the episodes and stars.
And if you still want more Battlestar Galactica, the two-hour pilot of the new Caprica series comes out in April, the two-hour Battlestar Galactica movie about the Cylons called The Plan will air in the Fall, and Caprica will officially begin in 2010.
Battlestar Galactica DVD
Supernatural DVD
The X Files 1-9 DVD
Twin peaks Seasons 1-2 DVD Box Set
'Battlestar Galactica' Veterans Appear on 'The Closer,' 'Chuck'
Battlestar Galactica ended last Friday, concluding its four year run on the Sci Fi Channel. The characters may be hard to come by until the TV movie The Plan, but the show's stars have been keeping busy elsewhere. Tahmoh Penikett is on Dollhouse, Katee Sackhoff had a recurring role on Nip/Tuck, Mary McDonnell showed up on Grey's Anatomy and Tricia Helfer visited USA's Burn Notice.
Those last two have even more TV gigs lined up for the future. McDonnell will make an extended run on The Closer and Helfer will guest star on this week’s Chuck
Entertainment Weekly spoiler guru Michael Ausiello reports that McDonnel, who played Laura Roslin, will debut early in The Closer’s fifth season. She will play Captain Christina Hatcher, head of the Force Investigation Division. Apparently she and Kyra Sedwick’s Brenda Johnson will be put into conflict in a battle of two of television’s strongest, smartest women. The Closer’s executive producer James Duff reports that he created the role specifically for McDonnell.
Tricia Helfer, who played Number Six, will appear in the March 30 episode of Chuck entitled “Chuck Versus Broken Heart.” She plays Alex Forrest, a sexy but cruel agent brought in to evaluate Sarah’s job performance as Chuck‘s handler. She reaches an early verdict and Chuck’s workplace romance comes to an abrupt end. Chuck still hasn’t been renewed and it’s getting late in the game for that, putting the series on the chopping block for ending abruptly itself.
While there’s no substitute for seeing much loved characters continue their narrative arcs, Battlestar fans may no doubt enjoy the contact with McDonnell and Helfer, if only to help with the withdrawal. Has Battlestar really been off a week already? How many days remain until The Plan?
Check out the preview for Chuck and vote in our poll.
Those last two have even more TV gigs lined up for the future. McDonnell will make an extended run on The Closer and Helfer will guest star on this week’s Chuck
Entertainment Weekly spoiler guru Michael Ausiello reports that McDonnel, who played Laura Roslin, will debut early in The Closer’s fifth season. She will play Captain Christina Hatcher, head of the Force Investigation Division. Apparently she and Kyra Sedwick’s Brenda Johnson will be put into conflict in a battle of two of television’s strongest, smartest women. The Closer’s executive producer James Duff reports that he created the role specifically for McDonnell.
Tricia Helfer, who played Number Six, will appear in the March 30 episode of Chuck entitled “Chuck Versus Broken Heart.” She plays Alex Forrest, a sexy but cruel agent brought in to evaluate Sarah’s job performance as Chuck‘s handler. She reaches an early verdict and Chuck’s workplace romance comes to an abrupt end. Chuck still hasn’t been renewed and it’s getting late in the game for that, putting the series on the chopping block for ending abruptly itself.
While there’s no substitute for seeing much loved characters continue their narrative arcs, Battlestar fans may no doubt enjoy the contact with McDonnell and Helfer, if only to help with the withdrawal. Has Battlestar really been off a week already? How many days remain until The Plan?
Check out the preview for Chuck and vote in our poll.
'Battlestar Galactica' Fans Give the Finale a Split Decision
Though fans still have The Plan and Caprica to look forward to, Battlestar Galactica came to an end on Friday, marking the end of a great four-season run on the Sci Fi Channel. After one last shootout in the stars the crew of the Galactica found the real Earth, pioneered the land and had children who would grow up to be us. Earth's timeline as we know it got twisted in a far-reaching, ironic questioning of our core assumptions. A kind of, “Whoa, man! That's deep!” cosmic exclamation point.
After four years of investing their time and emotional energy fans wanted a significant return. The producers had to know when they were planning the final minutes that it was not a safe choice, that some fans would say “Bad deal.” BuddyTV's John Kubicek commented that much like The Sopranos' finale, he wasn't sure what to think and his gut reaction was to hate it. But he wondered whether he would appreciate it more with a little distance. Three days later he still doesn't like it much better.
Over 1,100 fans voted in the BuddyTV Love it or Hate It poll, and most disagreed with John. Fifty-five percent declared that they loved the ending. 25 percent said that they were growing to appreciate it. But a still significant 20 percent simply hated it.
BuddyTV user Dust420 was one of those fans.
“The 150,000 year jump was sickening. [The episode] should have ended with Bill sitting there. Destroying the technology was absurd."
HowManiod added, "I've been a huge fan of the new BSG, literally not missing an episode. I wish I'd never watched the finale last night as now I'm stuck with my final memory of the series being a negative one."
SamTa59 was much more positive.
"The final 45 minutes [are] an acquired taste... but so is the best wine. It was an unexpected slow-burn of an epilogue, both tragic and joyous. I actually loved the 150,000-year leap. It cemented the theme of destiny versus will and left the final words to Battlestar's ironic 'Greek chorus,' the two, twisted angels of 'God.' Of course, you need to put 'God' in quotes. Did anyone catch the nihilistic final words spoken by the angelic Six and Baltar? [They] amounted to a cold, cosmic penis joke. How Rosencrantz and Guildenstern of the writers. Delicious."
CandyRose was of two minds about the episode. She had a lot that was positive to say.
"Overall, I loved the finale. I thought it was both suspenseful and full of raw emotion. I especially liked how they didn't opt for a completely happy ending, where everyone survives and rides off into the sunset, ready for a new beginning. It was a perfect blend between loss and hope." But, she added, "With that being said, I would have liked if there had been more. For one, I wasn't entirely satisfied with the way they concluded Kara's story. I wanted to know more about her origins and how she was connected, if she ever was, to thecyclons' past. And I really wanted to learn a little more about Daniel, not that I really expected anything to come of it."
While some fans struggled to put their finger on what exactly bothered them so much SteveSeason2 knew very specifically.
"Its human nature to throw God into equation whenever we can't explain something, 'God did it', 'Its God's plant', etc. The same happened here. The storyline got so complicated that the writers couldn't comeup with explanations for their own ideas, so they went with the 'God did it' explanation. This will probably satisfy all the religions people out there, but for the rest of us it's a bit disappointing, really."
DMA1969 summed it all up, though, by calling the episode "A final farewell to the frakkin' best series ever!"
After four years of investing their time and emotional energy fans wanted a significant return. The producers had to know when they were planning the final minutes that it was not a safe choice, that some fans would say “Bad deal.” BuddyTV's John Kubicek commented that much like The Sopranos' finale, he wasn't sure what to think and his gut reaction was to hate it. But he wondered whether he would appreciate it more with a little distance. Three days later he still doesn't like it much better.
Over 1,100 fans voted in the BuddyTV Love it or Hate It poll, and most disagreed with John. Fifty-five percent declared that they loved the ending. 25 percent said that they were growing to appreciate it. But a still significant 20 percent simply hated it.
BuddyTV user Dust420 was one of those fans.
“The 150,000 year jump was sickening. [The episode] should have ended with Bill sitting there. Destroying the technology was absurd."
HowManiod added, "I've been a huge fan of the new BSG, literally not missing an episode. I wish I'd never watched the finale last night as now I'm stuck with my final memory of the series being a negative one."
SamTa59 was much more positive.
"The final 45 minutes [are] an acquired taste... but so is the best wine. It was an unexpected slow-burn of an epilogue, both tragic and joyous. I actually loved the 150,000-year leap. It cemented the theme of destiny versus will and left the final words to Battlestar's ironic 'Greek chorus,' the two, twisted angels of 'God.' Of course, you need to put 'God' in quotes. Did anyone catch the nihilistic final words spoken by the angelic Six and Baltar? [They] amounted to a cold, cosmic penis joke. How Rosencrantz and Guildenstern of the writers. Delicious."
CandyRose was of two minds about the episode. She had a lot that was positive to say.
"Overall, I loved the finale. I thought it was both suspenseful and full of raw emotion. I especially liked how they didn't opt for a completely happy ending, where everyone survives and rides off into the sunset, ready for a new beginning. It was a perfect blend between loss and hope." But, she added, "With that being said, I would have liked if there had been more. For one, I wasn't entirely satisfied with the way they concluded Kara's story. I wanted to know more about her origins and how she was connected, if she ever was, to thecyclons' past. And I really wanted to learn a little more about Daniel, not that I really expected anything to come of it."
While some fans struggled to put their finger on what exactly bothered them so much SteveSeason2 knew very specifically.
"Its human nature to throw God into equation whenever we can't explain something, 'God did it', 'Its God's plant', etc. The same happened here. The storyline got so complicated that the writers couldn't comeup with explanations for their own ideas, so they went with the 'God did it' explanation. This will probably satisfy all the religions people out there, but for the rest of us it's a bit disappointing, really."
DMA1969 summed it all up, though, by calling the episode "A final farewell to the frakkin' best series ever!"
2009年5月3日星期日
'Battlestar Galactica' Star Lands NBC Pilot
You've seen her on the sci-fi hit Battlestar Galactica as the doggedly hot-headed Captain Kara 'Starbuck' Thrace, but actress Katee Sackhoff is ready to move on to a different role. The 29-year-old star has been tapped to star in an NBC series titled Lost and Found, and has already filmed the pilot episode in January this year.
While there haven't been any reports on whether or not the show has been picked up, Sackhoff's latest effort has already provoked enough buzz. Playing the lead role of an off-beat cop, the Saturn Award-winner and the new show might just have a fighting chance for a slot on NBC's fall schedule.
Sources have revealed that Sackhoff's character on Lost and Found doesn't fall far from Starbuck at all. Both women are powerful and commanding, in addition to having an insatiable desire to take on unusual tasks. Joining Sackhoff in the series is Brian Cox, who will serve as her partner-against-crime.
Created by Chris Levinson, Lost and Found will be produced by the Emmy Award-winning Dick Wolf, known for his work behind Miami Vice and Law & Order. The Sackhoff-led series will be following the escapades of Tessa, a female LAPD detective who has a hard time dealing with authority figures. After confronting her higher-ups, she is punished by being forced to work on John Doe and Jane Doe cases. Facing these anonymous victims might be a daunting task for Tessa, but she is determined to get to the bottom of things.
Though she's best known as Starbuck on Ron Moore's Battlestar Galactica, Katee Sackhoff has been on the entertainment circuit for quite some time. She was cast as the evil cyborg Sarah Corvus in the short-lived Bionic Woman, working for NBC as well. Sackhoff has also appeared in films like White Noise 2: The Light and other series such as Cold Case, Nip/Tuck and Wolf's Law & Order.
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While there haven't been any reports on whether or not the show has been picked up, Sackhoff's latest effort has already provoked enough buzz. Playing the lead role of an off-beat cop, the Saturn Award-winner and the new show might just have a fighting chance for a slot on NBC's fall schedule.
Sources have revealed that Sackhoff's character on Lost and Found doesn't fall far from Starbuck at all. Both women are powerful and commanding, in addition to having an insatiable desire to take on unusual tasks. Joining Sackhoff in the series is Brian Cox, who will serve as her partner-against-crime.
Created by Chris Levinson, Lost and Found will be produced by the Emmy Award-winning Dick Wolf, known for his work behind Miami Vice and Law & Order. The Sackhoff-led series will be following the escapades of Tessa, a female LAPD detective who has a hard time dealing with authority figures. After confronting her higher-ups, she is punished by being forced to work on John Doe and Jane Doe cases. Facing these anonymous victims might be a daunting task for Tessa, but she is determined to get to the bottom of things.
Though she's best known as Starbuck on Ron Moore's Battlestar Galactica, Katee Sackhoff has been on the entertainment circuit for quite some time. She was cast as the evil cyborg Sarah Corvus in the short-lived Bionic Woman, working for NBC as well. Sackhoff has also appeared in films like White Noise 2: The Light and other series such as Cold Case, Nip/Tuck and Wolf's Law & Order.
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Battlestar Galactica's DRADIS faithfully recreated for Evochron space sim
Click enough links on the internet and you'll find something interesting. Which is how I came across spelk's mod for Evochron Legends, a free-form space combat and trading game.
Well after being inspired by another players' (Warsign) customisation efforts, I thought I'd love to have a go at integrating the Battlestar Galactica DRADIS console into [Evochron Legends]. I found a screengrab of the Galactica DRADIS system from a scene in the new series, and thought it would be kind of exciting to mould it into EL's cockpit...You can get the files here, where spelk has also posted the screengrab of a DRADIS display he used. His mod doesn't seem to change the functionality at all, but it does change the trim around the edge of the display, making it more Battlestar Galactica.
I haven't played Evochron Legends, but spelk has plenty to say about it here.
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Well after being inspired by another players' (Warsign) customisation efforts, I thought I'd love to have a go at integrating the Battlestar Galactica DRADIS console into [Evochron Legends]. I found a screengrab of the Galactica DRADIS system from a scene in the new series, and thought it would be kind of exciting to mould it into EL's cockpit...You can get the files here, where spelk has also posted the screengrab of a DRADIS display he used. His mod doesn't seem to change the functionality at all, but it does change the trim around the edge of the display, making it more Battlestar Galactica.
I haven't played Evochron Legends, but spelk has plenty to say about it here.
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Supernatural: a fan’s notebook
Confession time. I love me some Supernatural. We’re talking truly, madly, deeply type love, people. It’s the only show that even begun to fill the loss I felt when first the Buffyverse collapsed and then Battlestar Galactica wrapped and besides I am a total Jensen Ackles (see above, repeat, yum!) groupie. All of which is why it greatly pains to admit that the show seems to be starting to, um, how can I put this gently? SUCK! This is huge problem for me personally because I am so devoted to the show that I try to build my Thursday night’s around it and I buy every season on DVD as soon as it’s pressed. I even went to see “Friday the 13th.” Seriously. I have no shame. But dudes, I fear that somewhere between the classic rock homages, creepy Midwestern Gothic goodness, snarky pop culture asides, bad-ass monsters and demons and Sam and Dean eye-candy, “Supernatural” may indeed be jumping the shark. Is it just me or is Ruby about as interesting as credit default swaps? Does anybody care about Castiel enough to warrant that tedious backstory episode? And what is up with Sam doing the wannabe Twilight thing? Please, people, there is just way to much badness out there right now (swine flu, recession, hello??) for me to cope with “Supernatural” going all “Touched by an Angel” on me. Enough with the belabored evangelical narrative and make with the horror people. One caveat: the last moment of “Rapture” rocked me like a hurricane. You?
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'Supernatural' Is Castiel switching sides?
Just when you thought the Winchester boys couldn't catch a break in their Supernatural world....um. Well. Things get worse. What's worse than the apocalypse? You have to keep reading.
The episode starts off with Dean relaxing on the dock of a bay, watching the time roll...you get the point. It's clearly a dream. Castiel pops up and says they have to talk somewhere more private. When you need someplace more private than your own head, you have a serious problem. He directs him where to go, but when he and Sam get there it seems like they may be too late. A big battle between some serious heavy hitters already went down and the only evidence of what may have happened is a symbol they recognize as a direct trip back to heaven for an angel. Oh, and Castiel's body. Only Castiel isn't in it anymore - he's back to being Jimmy Novak from Pontiac, Illinois.
Jimmy doesn't remember much about being touched by an angel, other than he did accept it, it was the worst year of his life and it was like being chained to a comet. Dean wants to let him go back home but Sam thinks it's too dangerous. Unfortunately, Sam's demon blood addiction has him ducking out of the hotel room for a fix on his turn at guard duty and Jimmy slips away. Anna pops up (literally) to urge them to find Jimmy and lets them know that Castiel was dragged back to heaven for ticking off someone in upper management.
Jimmy is back at his house, where his wife cautiously lets him in, telling him they thought he was dead. She had never believed that he was being spoken to by angels when Castiel was trying to talk him into joining the cause, so he plays it safe by telling her he was in a psych clinic. As plans go, it's not incredibly inventive, but it is spoiled when a demon possessed neighbor arrives and has to be taken down by Dean and Sam. Well, mostly Dean, as Sam is losing his mojo without demon blood in his system, so the demon he was after bugs out.
It's enough to convince Jimmy that the boys were right and his family is in danger. He sends them back home, knowing he will never see them again but keeping that to himself. Which is all well and good, since the bugged out demon took over his wife and calls not long after telling him to show up if he wants his family to live. And show up he does, with Sam and Dean following their own plan. Which included getting caught by henchmen, I hope. The demon-wife shoots Jimmy before telling one of the others to kill his daughter. Which is when the daughter exorcises the demon. Castiel's back!
The demons are all dispatched, but not before Sam gives in to temptation and drinks from the tap of one of the demons. Dean and lil'Castiel look on with some bewilderment, but it gives Sam enough juice to cast the demon out of Jimmy's wife. Lil'Castiel tries to tell Jimmy to "go home" in a very "walk towards the light" sort of way, perfectly content to remain in his current vessel. But Jimmy begs Castiel to let his daughter go. Despite the unending torment it will mean for Jimmy, Castiel relents.
This all could have been a wasted episode, as we didn't learn much beyond the fact that there is a genetic component to being an angelic vessel and a little of Jimmy's story. But things take a turn when Dean asks Castiel what he wanted to tell him and Castiel turns with a glare and says he learned his lesson while he was away: he serves heaven, not man and certainly not the Winchesters. Which is a damning enough way to end the episode, as they appear to have lost one of their few allies. But then Bobby calls and asks the boys to come over. Which is when he and Dean lock Sam up in his iron shelter, apparently to detox.
What did you think of Anna being able to tell something was "different" about Sam? Did this difference pass under Castiel's nose undetected? And harsh Sam was in full effect, telling Jimmy that he would have to leave his family forever or else put a bullet in his brain - was that the darkness or the craving talking? And are demons listening in on Dean's thoughts? Or is it heaven? Why else would a dream not be private enough? And how fantastic was Misha Collins tonight? The change in voice, expression and demeanor between Castiel and Jimmy were fascinating!
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The episode starts off with Dean relaxing on the dock of a bay, watching the time roll...you get the point. It's clearly a dream. Castiel pops up and says they have to talk somewhere more private. When you need someplace more private than your own head, you have a serious problem. He directs him where to go, but when he and Sam get there it seems like they may be too late. A big battle between some serious heavy hitters already went down and the only evidence of what may have happened is a symbol they recognize as a direct trip back to heaven for an angel. Oh, and Castiel's body. Only Castiel isn't in it anymore - he's back to being Jimmy Novak from Pontiac, Illinois.
Jimmy doesn't remember much about being touched by an angel, other than he did accept it, it was the worst year of his life and it was like being chained to a comet. Dean wants to let him go back home but Sam thinks it's too dangerous. Unfortunately, Sam's demon blood addiction has him ducking out of the hotel room for a fix on his turn at guard duty and Jimmy slips away. Anna pops up (literally) to urge them to find Jimmy and lets them know that Castiel was dragged back to heaven for ticking off someone in upper management.
Jimmy is back at his house, where his wife cautiously lets him in, telling him they thought he was dead. She had never believed that he was being spoken to by angels when Castiel was trying to talk him into joining the cause, so he plays it safe by telling her he was in a psych clinic. As plans go, it's not incredibly inventive, but it is spoiled when a demon possessed neighbor arrives and has to be taken down by Dean and Sam. Well, mostly Dean, as Sam is losing his mojo without demon blood in his system, so the demon he was after bugs out.
It's enough to convince Jimmy that the boys were right and his family is in danger. He sends them back home, knowing he will never see them again but keeping that to himself. Which is all well and good, since the bugged out demon took over his wife and calls not long after telling him to show up if he wants his family to live. And show up he does, with Sam and Dean following their own plan. Which included getting caught by henchmen, I hope. The demon-wife shoots Jimmy before telling one of the others to kill his daughter. Which is when the daughter exorcises the demon. Castiel's back!
The demons are all dispatched, but not before Sam gives in to temptation and drinks from the tap of one of the demons. Dean and lil'Castiel look on with some bewilderment, but it gives Sam enough juice to cast the demon out of Jimmy's wife. Lil'Castiel tries to tell Jimmy to "go home" in a very "walk towards the light" sort of way, perfectly content to remain in his current vessel. But Jimmy begs Castiel to let his daughter go. Despite the unending torment it will mean for Jimmy, Castiel relents.
This all could have been a wasted episode, as we didn't learn much beyond the fact that there is a genetic component to being an angelic vessel and a little of Jimmy's story. But things take a turn when Dean asks Castiel what he wanted to tell him and Castiel turns with a glare and says he learned his lesson while he was away: he serves heaven, not man and certainly not the Winchesters. Which is a damning enough way to end the episode, as they appear to have lost one of their few allies. But then Bobby calls and asks the boys to come over. Which is when he and Dean lock Sam up in his iron shelter, apparently to detox.
What did you think of Anna being able to tell something was "different" about Sam? Did this difference pass under Castiel's nose undetected? And harsh Sam was in full effect, telling Jimmy that he would have to leave his family forever or else put a bullet in his brain - was that the darkness or the craving talking? And are demons listening in on Dean's thoughts? Or is it heaven? Why else would a dream not be private enough? And how fantastic was Misha Collins tonight? The change in voice, expression and demeanor between Castiel and Jimmy were fascinating!
_____________
Supernatural dvd
Battlestar galactica dvd
Supernatural: Episode 4.20 "The Rapture" Recap (Page 4/4)
On the road trip away, Sam knows that Dean is just dying to ream him out for the demon blood incident, but Dean assures him he doesn't care. They get a call from Uncle Bobby who demands those two idjits get to his place because the apocalypse is on its way. When they arrive, they lead Sam into the panic room and lock him inside. The emergency is an intervention.
Next week on Supernatural: In the second-to-last episode of the season, Sam is locked up and gets tortured by Alastair while using Ruby as his personal energy drink. Also, Lilith is one Seal away from victory and Dean accepts Jesus Christ as his personal Lord and Savior.
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Next week on Supernatural: In the second-to-last episode of the season, Sam is locked up and gets tortured by Alastair while using Ruby as his personal energy drink. Also, Lilith is one Seal away from victory and Dean accepts Jesus Christ as his personal Lord and Savior.
__________________________Supernatural dvd Battlestar Galactica dvd
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