Man, you cannot turn your back on Teresa for one week. Not because she'd stab you between your shoulder blades (which, actually, I wouldn't rule out), but because her loyalties flip flop faster than a politician's during an election year. This week, Jacqueline and Caroline are out, Melissa (yes, Melissa, her much-loathed sister-in-law) and Kathy are in. Well, let's just say Kathy has a toe in the water. Unlike Melissa, she is wary of Teresa and her tabloid-ready outbursts, so she's proceeding with caution. Melissa, though, is hopeful. Things might actually be better! Teresa and her brother Joe might actually get along for ten minutes! They're all going to go to Napa and have a blast! Oh, Melissa.
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And as always, feel free to e-mail us questions for the podcast.
Time for the first of two installments this week for the Firewall & Iceberg Podcast, as Dan and I talk about TNT's "Perception" and the American premiere of "Hit & Miss," as well as checking in on a highlight and lowlight of "Buffy the Vampire Slayer" season 1, and dipping into the mailbag to talk Aaron Sorkin and "Cheers." We'll be back on Wednesday or Thursday with another one of our wildly popular road trip podcasts, this time to discuss "Breaking Bad," USA's "Political Animals," and more.
After R&B crooner Frank Ocean came out as gay last week, there has been an outpouring of support fromt he urban music community, including some from another R&B pop star, Beyonce.
Bey posted an open letter -- OK, more of an open picture -- on her website to Frank Ocean with handwritten encouragements over his photo. Check the note below.
""Be fearless. Be honest. Be generous. Be brave. Be poetic. Be open. Be free. Be yourself. Be in love. Be happy. Be inspiration.," she wrote on Saturday.
Queen B's husband Jay-Z also wrote a note of support on his Life + Times website under the post "Thank You, Frank Ocean."
"Your relieving yourself of your 'secret' is as much about wanting to honestly connect as it is about exhibition. We are all made better by your decision to share publicly," the rapper wrote.
Another singer, Anthony Hamilton told GlobalGrind in an interview, "[Ocean's] creative, doesn't matter if it's his album or whatever album he puts his talent to, it'll be OK. I think he's creative enough and clever enough to go with what's needed - to adjust to whatever the climate is in the music business."
HBO has announced September premiere dates for the third seasons of "Boardwalk Empire" and "Treme."
"Boardwalk Empire" has aired on Sundays in the fall throughout its run, and that pattern will hold when the third season begins on Sunday, September 16 at 9 p.m. The major addition to the cast will be character actor Bobby Cannavale.
"Treme," meanwhile, aired both of its first two seasons in the spring, but HBO decided to shift it to fall this time around. It will debut on Sunday, September 23 at 10 p.m.
(Note that "Boardwalk" debuts a week before the Emmys and 8 days before the start of the network TV season, while "Treme" will premiere opposite the Emmy telecast.)
While "Boardwalk" has been a ratings success for HBO and seems likely to stick around for quite a while, "Treme" may or may not be entering its final season. Creator David Simon has pitched HBO on plans for a fourth season to conclude the series, but no decision has been made yet.
Two versions of Kenneth Lonergan's "Margaret" finally reach a large audience tomorrow as the film makes its way to DVD/Blu-ray. Included will be the theatrical cut of the film and an extended (not "director's") cut.
Speaking last week with Eric Kohn at indieWIRE (which will be hosting a special New York screening of the extended cut tonight), Lonergan said, "It was nice to have the liberty to explore and go into depth in certain areas I felt were interesting to touch on and suggest in the theatrical release…it's unusual to have the chance to do both of your ideas for a project instead of picking just one."
Indeed, the extended version was a way for Lonergan to explore his ideas for the film outside of the constraints of a 150-minute time limit he agreed upon with the studio. It doesn't turn the film into a new experience per se, but I feel like it injects more patience into the overall design and structure of the narrative. And to me, it's a better movie.
It was Walter Matthau who explained to Ellen Burstyn, upon handing her the Best Actress Oscar she hadn't been present to accept days earlier, that the chief difference the award would make to her career was this: "When you die, the newspaper obituaries will say, 'The Academy Award-winning actress Ellen Burstyn died today.'"
It's a famous quip, one that is proven true virtually every time a former Oscar-winner -- or even a nominee -- dies, even when their celebrity is such that a puny golden statuette hardly seems their most culturally significant achievement. In the case of a character actor like Ernest Borgnine, who passed away over the weekend at the decidedly ripe age of 95, that single Academy Award win is an essential elevating prefix: "Marty," the modest 1955 character study for which he won, may not be the most widely seen work of his career, but the Best Actor Oscar it reaped remains a validating distinction for the kind of valuable anti-star on whom obituarists don't always spend too much column space.
Over the last year, electro-pop rockers Breathe Carolina has made some huge strides. They earned a Hot 100 hit with "Blackout," made it to No. 2 on Top Electronic Albums with latest set "Hell Is What You Make It," joined the Warped Tour in a top spot and signed to Columbia.
Tomorrow (July 10), "Hell Is What You Make It" is getting a digital deluxe "Reloaded" reissue. Included in the set -- via iTunes -- is a hot revamp their dance floor banger "Hit and Run" by the Wideboys. For those playing at home, the British House collective Wideboys have left their stamp on remixes from Rihanna and Beyonce to Cascada and Eric Prydz.
Below, you can check out the exclusive premiere of the jam, which has adds more jagged edges and glittery stops to Breathe Carolina's wild-eyed formula.
Is it wrong to feel a little bit excited we may have lost one member of the absurdly large "True Blood" ensemble tonight? Probably. But only because with the amount of fake outs and close calls on this show it's less likely someone was killed than just seriously injured.
Whoever did or didn't die this week, it was a typically busy, busy, busy episode with lots of movement on all story fronts, but little in the way of standout moments. Let's break it down...
A review of tonight's "The Newsroom" coming up just as soon as the best analogy I can use is "Rocky II"...
[In case you've Forgotten, and as I will continue to mention each and every one of these posts that I do: This is *not* a review. Pilots change. Sometimes a lot. Often for the better. Sometimes for the worse. But they change. Actual reviews will be coming in September and perhaps October (and maybe midseason in some cases). This is, however, a brief gut reaction to not-for-air pilots. I know some people will be all "These are reviews." If you've read me, you've read my reviews and you know this isn't what they look like.]
Show: "Beauty and the Beast" (The CW)
The Pitch: Unfortunately, the pitch isn't the problem, so I have nothing to say. They wanted to remake "Beauty and the Beast" for a new generation. I have no problems with that. But the pitch was probably "Let's do 'Beauty and the Beast,' but ours is gonna be more like 'Beauty and The Hot Guy With Anger Issues."
Quick Response: Like I said, the pitch wasn't the problem. The problem with "Beauty and the Beast" is the execution on absolutely every level. But even that, I can forgive. As I often say: Sometimes, pilots just don't work. It happens. And when a pilot fails as badly as "Beauty and the Beast" fails, you simply don't send it to series and you don't air it and you move on. In the pilot process, misses are part of the business. But I look at the "Beauty and the Beast" pilot and there's no element here that I can imagine future improvements being built around. I can't latch onto a source of hope. The adaptation of the basic premise is ludicrous and unimaginative: Something about military experiments and cross-species DNA and zzzzz. Kristin Kreuk, while unquestionably fulfilling the basic edict of playing the "beauty" in the title, is otherwise hilariously miscast. You know who won't laugh when her Catherine bursts through a door yelling, "NYPD. I've got a warrant"? Nobody, that's who. It's hilarious. And not intentionally so. And the interpretation of The Beast? Possibly even funnier than Kristin Kreuk as a badass Manhattan cop. As played by Jay Ryan -- yet another New Zealand actor with strong cheekbones and no clue how to do an American accent -- this alleged "beast" is basically unbeastly in every way. He has a scar, but not a scar that would impact his ability to be on the cover of Tiger Beat. Seriously, somebody with a bad haircut would be more aesthetically handicapped than this guy. Sometimes he kinda hulks out, but that's hilarious, too. The script is nothing but cliches strung together. A character actually walks in on a character believed to be dead and says, "You look pretty good for a dead guy." Ugh. If you're a writer in 2012 and you write a line like that without any irony or self-awareness... That's bad. And because nothing in the pilot really illustrates the story's core theme -- Because The Beast is a ripped hottie, Beauty hardly blinks before she starts getting naughty feelings in his presence -- somebody has to actually say, "Sometimes things aren't as they seem. You can't tell who the real monsters are." Does that mean that the hot vigilante hero might ACTUALLY turn out to be a beast, rather than just a misunderstood "Magic Mike" reject with some mutated genes? No. Probably not. The action in the present is cheap-looking and ridiculous. The mythology-driven stuff from Catherine's past (and Vincent's past) isn't involving in the slightest. I don't know what anybody involved, including usually sturdy director Gary Fleder and all of the top brass at The CW, were thinking here. Except that I do. They're ignoring the blunder and selling the brand. Yeah. That always works.
Desire To Watch Again: I watch a lot of bad stuff on The CW. I made it through a whole season of "Ringer" and all of the episodes of the new "Melrose Place." I'm also a faithful enough "The Vampire Diaries" viewer [and Phoebe Tonkin fan] that I stuck around after "TVD" to watch a full season of the generally average "The Secret Circle." I don't think I could watch another episode of "Beauty and the Beast." I guess I'll give "Beauty and the Beast" a second episode to see if there's any indication that anybody recognized the need for a massive overhaul, but that's it.
Take Me To The Pilots '12: ABC's '666 Park Avenue'
Take Me To The Pilots '12: NBC's 'Chicago Fire'
Take Me To The Pilots '12: FOX's 'Ben and Kate'
Take Me To The Pilots '12: CBS' 'Elementary'
Take Me To The Pilots '12: The CW's 'Arrow'
Take Me To The Pilots '12: ABC's 'The Neighbors'
Take Me To The Pilots '12: NBC's 'Revolution'
All of last year's Take Me To The Pilots entries