Category: Television (Page 59 of 84)

Game of Thrones 204: Garden of Bones

April 23, 2012 / Nate Kreichman

SPOILER WARNING: All events that have occurred in the TV show up to and including yesterday’s episode are fair game. I have read the books but I will not go any further beyond small hints that only fellow book-readers will catch on to. You’ve been warned.

I don’t think there’s any question that “Garden of Bones” is the best episode of the second season so far. There’s so much to discuss, so let’s just get right into it.

“Game of Thrones” has the best opening sequence on television. Not only is it awesome, it’s educational. We all know that the show has the potential to be very, very confusing. So it’s only fitting that its intro shows a map to help get our geography in order. Each week, any new locations are added into the sequence. This week there was Harrenhal and Qarth, “the greatest city that ever was or will be.”

This intro lets all us fans know that after a week-long wait, it’s finally “Thrones” time again. Sometimes it feels like it would be more appropriate if this was the show’s opening.

The Battlefield

“Garden of Bones” opens with a fart joke… or does it? There was all that buildup just so the guy could “break wind,” or so we thought until another kind of wind, Robb’s direwolf Grey Wind, pounces on them. We see Robb with a number of his men, the screen fades to black and we hear cries of “The King in the North!”

There will be those who complain that many, in fact most, of the battle scenes occur off screen (we all remember Tyrion getting knocked out before the Battle of the Green Fork towards the end of last season). This is going to be a fact of the show, and I’m here to tell you why the haters are wrong.

In the books, Robb is not a point of view character. All we see of him is through Catelyn’s eyes and thus many battles are not witnessed firsthand. Battles are handled similarly in the show, and it’s not an issue. David Benioff and Dan Weiss, the showrunners, are working on a limited budget in terms of both money and time. Let’s consider how much the CGI for the dragons and direwolves must have cost. Do we really want them blowing that money on every little fight? Plus, Weiss and Benioff have 10 episodes to adapt a 1000-page novel. This show is driven by characters, not action or plot. We can’t be wasting valuable screen time on action scenes. I can promise you this: there is only one battle that you need to see this season, and you’ll get every brutal second of it. The author of the books, George R.R. Martin, wrote that episode and they spent a month (as opposed to the standard 10 days) filming it.

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The Light from the TV Shows: Shannen Doherty & Kurt Iswarienko – A Match Made in Reality-Show Heaven

April 18, 2012 / Will Harris

Despite its title and its subject matter, “Shannen Says” – the new WEtv reality series in which Shannen Doherty plans her latest and, God willing, last wedding – isn’t just about Shannen Doherty. It’s also about her husband-to-be, photographer Kurt Iswarienko, who, to hear the couple tell it, earns as much focus on the show as his blushing bride. Granted, they may have been feeding me a bit of what I wanted to hear, since I began our encounter at the TCA Press Tour with the explanation that Bullz-Eye is very much a guy’s site, but they certainly spun their story well, ’cause I bought it. Or maybe I was somewhat swayed by having had a slight crush on Ms. Doherty since we were both in our teens. Either way, the conversation went swimmingly, and in addition to discussing their TV endeavor, I also got a bit of insight into Iswarienko’s photography, and by the end of it all, it was all “Wilford Brimley” this and “Jennie Garth” that, like we were old pals. Good times…

Bullz-Eye: Kurt, most guys have a tendency to view weddings as more of a means to an end rather than something to really get excited about, so I can’t imagine what it took to get you involved in a show that focuses on every single aspect of the wedding process.

Kurt Iswarienko: I agree with you that most guys probably share that sentiment. [Laughs.] The cool thing is that I didn’t have to deal with planning the wedding at all, because my job was to plan the honeymoon. And Shannen did the planning of the wedding. So it wasn’t any kind of hassle or nightmare at all to go into.

BE: Shannen, I’ve read the press release for the show, and this is obviously something that you’ve been looking forward to for quite some time, the definitive dream wedding.

Shannen Doherty: Yeah. Uh… [Long pause.] Yeah. [Laughs.] I’m not quite sure how to… [Another long pause.] Yes, since we’ve been engaged, we’ve sort of talked about, “Okay, we’re doing to do a wedding, we’re going to do it right,” and definitely this is. But I’m also not that girl who, from the time I was six, dreamed about having this fantasy dream wedding, or that I just had had had to get married.

BE: So how early did David Tutera come into the mix? Was he always going to be a part of it?

SD: You know, I think… [Hesitates.] He probably came into the mix pre-production, when, y’know, you’re sort of talking about the show and the wedding, and I had said to my executive at the time, “I think I’m going to hire a wedding coordinator, just because I need one, but also because while I’m working I need someone to take my vision and make it happen.” And then the network said, “Well, how about David?” And I said, “Uh, duh!” [Laughs.] “Great!” So he came on pretty much in pre-production, I guess. Pretty early on.

KI: That, and we spent a whole Sunday watching…

SD: …a “My Fair Wedding” marathon. [Laughs.]

KI: …a “My Fair Wedding” marathon. We both got sucked into it somehow, and we were, like, “Of course he’s the guy!”

BE: How has he been to work with? Does he throw things at you, or does he try to get you to brainstorm?

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The Light from the TV Shows: A Chat with Chris Elliott (“Eagleheart”)

April 6, 2012 / Will Harris

Chris Elliott has comedy in his genes, courtesy of his father, Bob Elliott (of the legendary comedy team Bob & Ray), and he’s passed his abilities on to the next generation, as his daughter Abby Elliott proves week after week on “Saturday Night Live,” but, geez, enough about his dad and kid already. Surely it’s time to shine the spotlight solely on Chris Elliott himself, who first won our hearts with his decidedly unique characters on “Late Night with David Letterman,” completely blew the minds of a generation of moviegoers with his film “Cabin Boy,” and has since gone on to appear in everything from “Manhunter” to “Everybody Loves Raymond.” On April 12, his current endeavor – Adult Swim’s “Eagleheart” – returns for its second season, just over a week after the DVD release of Season One, which hit stores on Tuesday. Bullz-Eye chatted with him…okay, fine, we geeked out…about the more eccentric side of his comedy, including his seminal TV series “Get A Life,” which, as you may have read elsewhere first (although it came from this interview), is coming to DVD in a complete-series set at long last.

Bullz-Eye: First off, let me just tell you what a pleasure it is to talk to you. I’ve been a fan for many years.

Chris Elliott: Oh, well, thank you. I just don’t hear that enough. [Laughs.]

BE: In my case, it’s no exaggeration: when I was in high school, I sent off for tickets for “Late Night with David Letterman.” Granted, I had graduated by the time I actually got them, but, hey, at least I got them.

CE: Oh, my gosh. That’s pretty funny. So did you actually wait four years for tickets?

BE: No, but it was more than a year: I sent them off during my senior year, and it was well after graduation when they finally arrived.

CE: Wow, that’s pretty amazing. But it proves that you were a hardcore fan. Do you remember who was on the show when you went?

BE: Absolutely: it was Jane Pauley and Bruno Kirby. I also remember that they did Shoe Removal Races that night, with a podiatrist squaring off against a shoe salesman.

CE: Ah, yes, that was an excellent episode. [Laughs.]

BE: You were actually just on Letterman’s show a few nights ago. It sounded like you may have taken a bit of flour into your lungs.

CE: [Laughs.] I started to smell like cookies after I was under the lights for a little while. But I thought it came off all right. It’s always fun to go back there, and I hate coming back on there as myself in any form. This interview is okay because I can’t see you. [Laughs.] But I don’t like coming on and just talking as myself, so I always come on with something.

BE: The “Downton Abbey” thing was great, too.

CE: Yeah, I thought that came out great.

BE: So let’s talk “Eagleheart.” One of the most surprising things about the series, at least to me, is that you don’t actually get a writing credit on the show. Not that you don’t have some input, given that you’re a consulting producer, but…

CE: I’d say these guys have my voice down. I knew that when I met with them. They were huge fans of mine, and, honestly, I didn’t want the extra work. [Laughs.] And at the same time, y’know, they changed the pilot quite a bit to suit me, and what I do – and Adam Resnick does this, also – is sort of take a pass at the scripts when they’re done with them and change a couple of jokes here and there, and if something’s not quite in my voice, I just kind of paraphrase what I would be saying, and that sort of thing. I’m sort of at the point in my career where writers that are working in the business sort of grew up knowing about me. At least the ones that are fans of mine, anyway. And they’re really capable of writing for me. It wasn’t always that case. Early on in my career, it was pretty much Adam and me just trying to establish this voice.

BE: Of course, it makes me wonder if people sometimes come to you with something utterly off the wall, saying, “Well, ‘Cabin Boy’ was so nuts that I figured you’d be into this.’

CE: Yeah, I think I get that a lot. It’s interesting: some people put anything weird in the “weird” category and think, “Oh, Chris’ll do that because it’s so weird.” But you’re right. Certain people, like yourself, get why certain things are funny-weird as opposed to just being strange. That’s a different breed. I think I do get lumped in a lot with “he’s just off the wall, he’s crazy.”

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The Light from the TV Shows: A Chat with Eric Ladin (“The Killing”)

April 4, 2012 / Will Harris

If you’ve been trying to figure out why Eric Ladin, who plays Jamie Wright on AMC’s “The Killing,” looks familiar to you but can’t quite pin down why, maybe this will help: in addition to being one of the cast members of HBO’s critically acclaimed miniseries “Generation Kill,” he’s also turned up in a few episodes of “Mad Men,” playing Betty Draper’s brother. Now, however, he’s back to playing Darren Richmond’s campaign manager on “The Killing,” which – as you may already be aware – returned to AMC for its second season on Sunday night. Unfortunately, the ratings weren’t necessarily what you’d call stellar, but Ladin’s enthusiasm about what viewers can expect during the course of the series’ sophomore year may prove infectious.

Bullz-Eye: So are you psyched that “The Killing” is finally back?

Eric Ladin: I am. It’s about time! I think everybody is.

BE: Of course, you realize that a lot of people are really just desperate at this point to find out definitively who killed Rosie Larson.

EL: I do realize that, yeah. [Laughs.] I’ve been reminded of that quite a lot over the last nine months.

BE: Were you shocked at the outcry about the lack of resolution in the season finale?

EL: I was, a little bit. I knew that there would definitely be some people that were upset, but I didn’t foresee the hatred and…just the pure venom that was spat towards our writers. [Laughs.] Yeah, I was a little shocked by that.

BE: At least there was a small but somewhat vocal group that was reminded people that we didn’t find out who killed Laura Palmer until the second season of “Twin Peaks.”

EL: That’s correct. And if you ask David Lynch, he’ll probably tell you that the biggest mistake he made was telling people who killed her at all. I think he said – this was in an interview I read – that if he was able to do it again, he’d never tell who the killer was. So, yeah, I don’t believe that there was anywhere that said that you were guaranteed to find the killer in Season 1, but by the same token, I think that AMC’s PR probably could’ve handled it a speck differently. With that said, as a TV viewer, I would not have expected to find the killer in Season 1. So I guess there’s that.

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A chat with Yvette Nicole Brown, Gillian Jacobs, Ken Jeong and creator Dan Harmon of “Community”

April 2, 2012 / Bob Westal

America loves an underdog; cult TV fans only love underdogs. So it’s no wonder that suddenly almost everyone seems to love “Community.”

TV’s backhanded salute to two-year colleges comes by its underdog status honestly. Seemingly cursed with underwhelming ratings despite wide acclaim, it was put on indefinite hiatus late last year after an outstanding musical episode gleefully spoofing “Glee.” Hollywood naysayers to the contrary, there was clearly plenty of life left in the highly imaginative, frequently surreal show set at Colorado’s fictional Greendale Community College, a sort of academic “Green Acres” where normal logic is permanently suspended.

The show, which airs Thursday at 8:00/7:00 central and is also viewable via Hulu and NBC.com, returned in mid-March to a surprise — extremely healthy Nielsen numbers (2.2/7 in the advertiser beloved 18-49 demo). The credit, the show’s makers agree, goes largely to the intense activist fan base.

“Community” stars comic Joel McHale (“The Soup”) and an outstanding ensemble cast with an ethnic makeup that, shockingly, actually resembles a typical suburban community college. Aside from the three cast members we spoke to, the show also features gifted former “3o Rock” writer and actor Donald Glover, Daniel Pudi, Alison Brie (aka Trudy Campbell of “Mad Men“), and some guy named Chevy Chase. Speaking of Mr. Chase, just as the original version of this piece was posted, the Bullz-Eye staffed noticed a burgeoning net-storm over what sure sounds like a pretty ugly altercation between Chase and executive producer Dan Harmon with possibly inevitable repercussions that we can only guess at.

Nevertheless, spirits were high one sunny Sunday afternoon in Anaheim just a couple of weeks back at the 2012 edition of WonderCon as a bunch of mostly fannish writers met with just a few of the very talented people behind “Community.” Yvette Nicole Brown plays the outspoken, devoutly religious, and disarmingly maternal Shirley Bennett; Gillian Jacobs is high-strung former anarchist Britta Perry; and “The Hangover” heavy and former real-life practicing M.D. Ken Jeong inhabits the role of Spanish teacher turned security guard Señor Ben Chang. Also present was ~~affable~~ seemingly affable creator and showrunner Dan Harmon. As befits a production that blends real intelligence with anything-for-a-laugh energy, everyone had something interesting to say to a table full of committed fans and this enthusiastic “Community” newbie.

Yvette Nicole Brown on the good ratings news.

2.2 is massive…for us that’s like the stratosphere. You could say, “Oh, we’re so fabulous.” No. The fans are fabulous. This is 100 percent flash mobs, black goatees, Subway sandwich buys. They really blanketed NBC and Twitter with their love for the show. I think it made people who had never heard of us go, “Huh. Let’s see what this is.” I’m praying they come back next week.

Creator Dan Harmon on the surprisingly good ratings for the show’s return episode.

I never thought our ratings made sense when they were as low as they were, but now I don’t think that these make sense. It was like a 50 percent increase or something. It was insane. I don’t know who got a Nielsen box or whose cat stepped on the remote. I hope that we can keep it up.

Ken Jeong on the show’s perceived near-cancellation.

The events that have transpired since December have only brought the show and the fans even closer. We have even more love out of it. In hindsight, this has all been such a blessing. You really get to feel the love right now.

Gillian Jacobs on the the role of improvisation on “Community.”

I would say that there’s a lot of goofing around. There’s not a lot of actual improv with the lines. Maybe two percent of what you see in the show is improv. It’s scripted; we try very hard to get it word perfect. It’s just a lot of us making up stupid songs. Stupid raps… We quote the show to each other and we become obsessed with certain lines and repeat them. Lines that probably nobody else cares or remembers, we repeat daily. It’s like jokes on joke on jokes on jokes and we can’t even remember the origin of them anymore.

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