Tagged: television

The Point Radio: First Look: New Seasons Of HAVEN & SONS OF ANARCHY


Fall TV is set to kick off in days, and we’ve got exclusive looks at two returning series. HAVEN starts season three on SyFy and the cast talks about why this is the biggest yet. And the red hot SONS OF ANARCHY roars back to FX, but after that explosive season last year, where can they go from here? Will anybody get out alive? Ron Perlman, Katey Sagal and the rest of the cast weigh in.

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REVIEW: Homeland Season One

Not since the spy craze of the 1960s have there been so many television series about intelligence agents. There was the late, lamented and still-missed Rubicon and the JJ Abrams misfire Undercover. Currently, there’s the frothy, entertaining Covert Affairs and for those who like their espionage tales with some meat on the bones, there’s Showtime’s Homeland. The second season of the acclaimed series arrives at month’s end, but for now, the first season is just out on disc from 20th Century Fox Home Entertainment.

Anchored by the riveting performance from star Claire Danes, the series explores CIA agent Carrie Mathison and her quest to determine if a returned American POW, Marine Sgt. Nicholas Brody (Damian Lewis), is the real deal or a sleeper Al Qaeda  agent. Sounds simple enough, right? Instead, over the course of a dozen episodes, nothing is as it appears, starting with Mathison herself. When we meet her, she has just returned from an unauthorized operation in Iraq and is relegated to a Counterterrorism post back in Washington, DC. When her Director, David Estes (David Harewood), tells the staff a POW has been found, it confirms a rumor she had been fed about a sleeper agent. Is it Brody? Is it someone else? Are they connected? Already on thin ice from her Iraq mission, she has to investigate Brody carefully because everyone else has declared him a war hero and you don’t accuse heroes of being evil. Mathison only trusts her suspicions with her mentor, Saul Berenson (Mandy Patinkin), and together they covertly investigate Brody.

Without giving away all the exciting twists and thrilling turns, suffice to say that over the season there’s a lot of red herring to wade through along with some excellent writing and performing. The series is filled with a lively, engaging, and rich cast including Morena Baccarin, Jamey Sheridan, Amy Hargreaves, and Navid Negahban. The storyline is an evolving one demanding you pay attention so as not to miss a clue (or strong performance). Nothing is as it appears and as the tension mounts, the audience is left to wonder about Mathison’s own sanity. When Patinkin comes to realize how vulnerable she is, the show shifts into some of the most heartfelt moments. Both are damaged souls and few can play that vulnerability better than these two.

Set in and around Washington provides plenty of pretty pictures but the real strength is in the richness of the storyline. In addition to the main plot, we focus on Brody’s homecoming after eight years away and how that has turned his wife and children’s world upside down. There’s the usual office politics and governmental affairs but it all feels fresh which is to be applauded.

Veteran producers Howard Gordon and Alex Gansa (24) were inspired to create this from the Israeli series Hatufim (Prisoners of War), which is now streaming on Netflix. They were lucky to craft a lead character complex enough to entice Danes back to series television, a move that earned her a Golden Globe nomination while the series took home Best Television Series – Drama. The first season arrived on October 2, 2011 and received 1.08 million viewers which was sizeable and stayed that way, earning critical acclaim with every passing week. Having all twelve episodes to watch once more, without waiting a week in between, allow you to study and notice nuances you may have missed the first time.

The four disc DVD or three-disc Blu-ray sets come with audio commentary and some very interesting deleted scenes that fill in some gaps or let characters breathe. The final disc also has the featurette Under Surveillance – Making Homeland, which is nowhere near as enlightening as it should be. There is also The Visit: A Prologue to Season 2 which you will have to watch and judge for yourself.

The Point Radio: Steven Moffat Plunges Ahead On DOCTOR WHO


This past weekend, DOCTOR WHO got off to an amazing start. Now we sit down with Show Runner Steven Moffat to talk about the thrill ride that lies ahead over the next few weeks. Plus more with NBC’s GUYS WITH KIDS, and Ellen Barkin talks about censorship and her new series, THE NEW NORMAL. Oh yeah – like the BBC’s SHERLOCK? Are you ready for a manga version?

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Mindy Newell: The Sexual Preferences Of Wonder Woman, or… Whatever Floats Your Boat

Last week’s column engendered a conversation with Bill Hannigan. Now Bill and I don’t exactly see eye-to-eye politically, and my belief that “Wonder Woman, considering her upbringing, would most likely look to her own sex for an adult relationship before venturing into anything heterosexual” seemed to create a Rubicon that neither of us would or could cross. Bill responded to my statement as follows:

“…while it’s not unreasonable that WW would explore a same sex relationship, I’d hope any writer would save that for another character – it plays straight (ha!) into the hands of those who would like to have us believe that being raised by gay parents (or even gay-tolerant parents) will make kids gay. If, as I think, it is far more nature than nurture, it should not matter if she were raised on Paradise Island, Fire Island, Monster Island or Long island.”

My first reaction: annoyance that Bill had missed the most important part of the paragraph, which ended “meaning she needs to discover just where her sexuality lies.”

… and I wanted to zoom off an angry missive in return.

But having spent mucho bucks for therapy over the years (which, for the most part, has helped me to successfully understand myself a little better – though some people I know may disagree with that, and you know who you are), I held off the angry missive and gave both of us a break on the tête-à-tête back-and-forth. In other words, cooler heads prevailed:

“Regarding Wonder Woman – I’m not saying that she must be gay. I’m saying that I believe her first inclination, given her upbringing, would be to seek love with her own sex. And, in fact, I think it would be interesting for Diana to discover that she is drawn to men – and then feel like there’s something wrong with her. This would parallel what so many young people who know they are gay go through in this society. although I do think its getting better out there.”

Bill’s answer was right on the mark, IMnot-so-HO:

“And I think you would be attacked without mercy if you tried to do a story like what you describe – the homophobes would, of course, lose their shit over you making WW gay in the first place and you would catch holy hot hell when you had her become attracted to a man. There is no doubt in my mind. You can hear the complaints now. “Newell chickened out!” “Oh right, that’s what every lesbian secretly wants, the right man to show here the true path!” “I finally found a character that I could identify with and now you’ve wee-ooh, wee-ooh!” It would be brutal.

“The worst part about creating groundbreaking characters, it seems to me, is that you lose control of them. Joss Whedon makes Willow gay and from that point on every time something bad happens to her (and [since] it’s a Joss Whedon show, bad stuff happens to you!) people start bitching and bitching; “Oh right, another gay relationship that ends badly.” As though anyone on Buffy was likely to have a happy ending, relationship-wise.”

Oh, yeah, Bill, I remember the uproar that the problems between Willow and Tara created in the homosexual community. And when Warren killed Tara, I was among the thousands screaming at the television set, “oh, no, you didn’t, Joss Whedon!” It didn’t matter that I’m straight. Their relationship was the most honest representation of a healthy, interactive, grown-up relationship between lovers, homosexual or heterosexual, I’d ever seen – and still not matched – on a television series, or for that matter, in a movie. Brokeback Mountain, despite all the hoo-hah about Jake Gyllenhaal and Heath Ledger getting it on, was not about a good relationship. Willow and Tara did not say, “I wish I knew how to quit you.” Willow and Tara were just two people who loved each other. Period. No “a very special episode announcement” bullshit, no “look how daring we’re being!” crap, no big deal – well, except for Oz.

Although I seem to remember Whedon saying he was “surprised” at the amount of angry letters and hate mail he received, I also believe he didn’t give a shit. Because, as I replied to Bill:

“[as for] the bullshit Whedon got for killing Tara…was a necessary dramatic action for where Whedon was going [i.e., the “Dark Willow” storyline.]

“[and] like Whedon, I don’t give a shit.  If it serves the character(s) and his/her/their story, I write it.”

So, yeah, I think that Diana of Themiscrya would be very confused about her sexuality. And I would write her that way. But, like I told Bill:

“Not that DC would ever let me do something like that.”

Continued Next Week!

TUESDAY MORNING: Emily S. Whitten and Where Must Be Dragons?

TUESDAY AFTERNOON: Michael Davis Hurls Hand-Grenades!

 

 

The Point Radio: Ellen Barkin Defends THE NEW NORMAL


We preview two new comedies from NBC – starting with Jimmy Fallon‘s GUYS WITH KIDS, featuring Anthony Anderson who is loving his return to comedy from LAW AND ORDER and THE SHIELD. Then there’s THE NEW NORMAL, a show that has already made headlines with one NBC affiliate refusing to carry it. Series regular Ellen Barkin has made her position clear on social media, but we gave her a little more space than 140 characters to explain why this show is important to us all. Plus more trouble with The Turtles reboot and DC’s ZERO issues look to be big, really big.

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Martha Thomases: Don’t Try To Dig What We All Say

In my daily perusing of the Internets, I came across this post. A short post, it says (with one little snip):

“Dear Old People (and this includes me), the kids today are not hip to your cultural references. This is not a failure of education. Things change. The end.”

It’s not about comics or the movies or television. If anything it’s about Baby Boomers and how insufferable we can be. The popular art that moved us must move you, or you’re ignorant.

This is not a new attitude. My mother, for example, loved E. Nesbitt and J. D. Salinger, so she thought I should read them. My high school English teacher thought that Fitzgerald and Hemingway were the greatest writers of the 20th Century, and skewed their curricula accordingly.

None of this was as insufferable as my generation has been.

In Hollywood, my generation has minded the television shows of our youth into (for the most part) wretched movies. Car 54, Where Are You?, which was an entertaining glimpse of the 1950s Bronx, was made into a terrible movie that abused my beloved David Johansen. See also: McHale’s Navy (here and here), I Spy (here and here), and more. Exception: The Addams Family was genius, and so was equally transgressive movie.

We also made smug jokes. Do you know Paul McCartney was in a band before Wings? These days, if someone tells that joke, that person must explain what Wings was.

In comics, the insidious influence of the Boomers is even worse. Every attempt to reboot a character for a modern audience is eventually derailed by continuity geeks who insist that everything fall in line with the way it was when they were kids. Sometimes, I’m like this myself. I liked the Supergirl who hid her robot in a tree. I liked super pets. I think they made the world a better place.

You know what else made the world a better place? Me, being young and cute and hopeful.

We need to get over ourselves. The Flash doesn’t have to be Barry Allen (that re-reboot robbed my adult son of the Flash he grew up with). Superman doesn’t have to be in love with Lois Lane, nor Peter Parker with either Mary Jane or Gwen Stacy. Those stories exist, and we can read them whenever we like.

In the meantime, there’s lots of terrific new entertainment that us old farts could learn from. Off the top of my head, there’s Sherlock, a brilliant new way to look at a classic character. There’s Copper on BBC America, a blueprint for the way the GOP wants to rebuild American society. There’s Cosmopolis, a movie that analyzes modern life from the interior of a stretch limo. And, love him or hate him, Mark Millar is taking major risks as he creates his media empire.

Now, excuse me. I have to go and watch Nashville again.

SATURDAY: Marc Alan Fishman, Rob Liefeld, Scoot Snyder, and Burning Down The House

 

Dennis O’Neil: Who Are You?

You don’t exist. So I can advise or even scold you without worrying that something I say will, down the line, cause you to hide behind a therapist’s couch and whimper. (Yeah, I know that the Bhagavad Gita tells us that we have no control over the outcome of our actions. Stop showing off!)

You don’t know who you are? Okay, I’ll tell you. You’re a young comics artist (albeit a wholly imaginary one) and you’re trying to make your way – that is, get work. We’ve all been there. And someone has told you that you must establish your “brand” and you guess that this means you should make many people – hordes! armies! – aware of your existence and of the kind of work you do well. (Who’s your idol? Kirby? Kelly? Adams? Who would you pray to if you believed in prayer?) So, you suppose, you’ve got to get out there, raise your head above the foxhole (where, trust me, someone will shoot at it), clamor, shout, even grandstand like Tom Sawyer walking that fence for an admiring Becky Thatcher.

Since we can assume that you can’t afford television advertising, full page ads in the New York Times, or a great big billboard smack dab in the middle of town, you’ve got to work the internet, Get busy tweeting, Facebooking, all that cyberstuff.

But be aware that there’s a downside, here. No, not the cyberstuffing per se. Though I find such behavior slightly distasteful, believing, like other greybeards, that a gentleman does not call attention to either himself or, especially, his achievements, there is considerable precedent for tooting one’s own horn in the arts. I mention Walt Whitman, Mark Twain and Freddy Nietzsche and invite you to complete the list.

But here’s what I wonder: Do you have enough time for both the self – promotion and the learning of your craft, particularly the storytelling aspects? (We know that you’re already a maestro of the number two pencil and the india ink bottle.) That can be tricky, that storytelling, and while it’s not rocket science, it is something that should be thought about and practiced. If a course is available in your area, take it. If not, find some books – and look at how your favorite predecessors managed the job. And will you have time to do that learning and still bask in the glow of the computer screen? You can network and tweet until your fingerprints vanish and you can tell yourself that your just doing your job.

The basking puts your own ego at the center of the enterprise, which is where the ego loves to be. What should be there is the work. The late, great Alfred Bester said it best: “Among professionals, the job is boss.”

I think that one reason our legislative apparatus is so shabby is that to acquire public office you’ve got to be a full time politician – that is, a good politician – maybe the most ego demanding of professions and one that requires a different skill set from being a wise and just governor. It’s a treacherous and vastly complicated world out there and to make decent laws for it you should be curious and well – read, anxious to be of service, and willing to learn, and not merely a gladhander and fund raiser with nice haircut.

Good politician, meet bad comic book artist.

FRIDAY: Martha Thomases

The Point Radio: Ashley Greene Beyond TWILIGHT


Fresh from TWILIGHT:BREAKING DAWN, Ashley Greene has stepped into a new type of role in THE APPARITION, but she tells us that she is determined NOT to be the usual “scream queen”. We’ve got more with Greg Daniels from THE OFFICE and the answer to the question everyone wants to know, is Steve Carrel coming back one more time – and fans are in mourning as Ed Brubaker says goodbye to Marvel.

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Don’t miss a minute of pop culture news – The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Glee, Ad Council and Transportation Team for “Stop the Texts” Campaign

Washington, DC and Los Angeles, CA (August 22, 2012) – Today, the National Highway Traffic Safety Administration (NHTSA), the State Attorneys General and Consumer Protection Agencies and the Ad Counciljoined with Twentieth Century Fox Television and Twentieth Century Fox HomeEntertainment to unveil new public service advertisements (PSAs) featuring scenes from season three of Fox’s award-winning television series “Glee” to educate young adult drivers (16-24) of the dangers of texting while driving.

Earlier this year, the Golden Globe winning series made headlines when a pivotal cliffhanger episode ended with a shocking and catastrophic crash due to texting and driving. Quinn Fabray (Dianna Agron) was driving to her friends’ (Rachel and Finn, played by Lea Michele and Cory Monteith) wedding when a she received a text. She took her eyes off the road to read it and to type the words “On My Way” for a matter of seconds, but in her distraction she swerved out of her lane and was hit in a tragic accident by an oncoming vehicle. It was months before the audience and “Glee’s” millions of young adult viewers would know the fate of her character, but the message was clear: texting and driving can have horrific consequences.

The new television and digital PSAs employ this powerful scene to emphasize that five seconds is the average time your eyes are off the road while texting and driving – when driving at 55 miles per hour, that is enough time to cover the length of a football field. The PSAs direct young adult drivers to the Texting and Driving Prevention campaign web site, StopTextsStopWrecks.org, where teens and young adults can find facts about the impact of texting while driving and tips for how to curb the behavior.

NHTSA reports that in 2010, more than 3,000 people were killed and an additional 416,000 were injured due to distracted driving, which includes texting while driving. The “Glee” PSAs are part of NHSTA, the State Attorneys Generaland Consumer Protection Agencies and the Ad Council’s national Texting and Driving Prevention PSA campaign. Launched in October 2011, this campaign is designed to curb the behavior of young adults who text while driving, address the compulsion of this behavior and demonstrate to overconfident young adult drivers that it is not safe to text while driving.

[youtube]http://youtu.be/hfvUKq_xkfo[/youtube]

“Texting and driving is an epidemic on America’s roadways, but these crashes are preventable. Distracted driving does not just happen, it’s a choice,” said U.S. Transportation Secretary Ray LaHood. “The first line of defense must be personal responsibility by all drivers to put theirwireless devices away and keep their focus on the road, which is why we are working closely with our partners to build public awareness around this important safety issue.”

“This was a story we wanted to tell because we know the influence our show can have in starting conversations and raising awareness,” commented “Glee” executive producer and co-creator Ryan Murphy. “We were inspired by Oprah Winfrey’s campaign encouraging everyone to sign a pledge not to text and drive, which we all signed when we did her show a few yearsago, and we had been looking for an opportunity to tell the story of how a few seconds of carelessness could have a devastating impact on people’s lives. We’ve already heard from thousands of our fans how this story touched them, and we loved the idea of a PSA campaign to keep this important issue front and center.”

“’Glee’ has always told stories that speak to young people in an incredibly entertaining way, provoking conversation and raising awareness in the process,” said Dana Walden and Gary Newman, Chairmen of Twentieth Century Fox Television.  “When Ryan and the producers told us they were going to tackle this issue, we knew that beyond telling agreat, dramatic story about our characters, it could have very real impact on the lives of our viewers. We couldn’t be more proud of the work they and the cast have done on this incredible series.”

According to a new, national survey conducted by the Ad Council, there has been progress with the attitudes and behaviors among young adult drivers regarding texting while driving.  Fifty-one percent of young adult drivers report that they are “extremely concerned” about their peers texting while driving, which represents an increase of seven percent since September 2011.  Most notably, in regards to their current behavior, thirty-four percent of respondents said that they never text while driving, a significant increase from twenty-eight percent in 2011.

“Driving is one of the most dangerous activities for young adults. Texting while driving is a distraction that young drivers can live without,” said Connecticut Attorney General George Jepsen, the father of two teenage boys. “Drivers of any age should be aware that texting while driving may not only jeopardize the safety of themselves and others, but it can violate state motor vehicle laws against distracted driving and result in hefty fines or loss of driving privileges.”

“We are thrilled to join Twentieth Century Fox Television, Twentieth Century Fox Home Entertainment and ‘Glee’ to unveil a new series of public service ads to further extend our texting while driving prevention messages to their vast audience of young adult drivers,” said Peggy Conlon, president and CEO of the Ad Council. “Our latest research shows a nation that is now on the right track in improving the safety of our roads, but there is still more work to be done. We will continue to broaden our campaign messages to help reduce driver distraction, prevent injuries, and ultimately save lives.”

Since 2006, the Ad Council has partnered with the State Attorneys General to address reckless driving among teens. The “Stop the Texts. Stop the Wrecks.” campaign effort has received more than $20 million in donated media support to date.  For more than twenty-five years, the Ad Council and NHTSA have worked together on consumer safety PSA campaigns. Per the Ad Council’s model, all of the new PSAs will run and air in advertising time and space that is donated by the media.

The Point Radio: THE OFFICE Going Dark

This week, former show runner for THE OFFICE Greg Daniels returned and dropped the bomb that the upcoming ninth season would be the last. We cornered Greg with all the questions that came up at once – and he answers them all right here. Plus more on the second season of GRIMM, and SyFy brings back a beloved Brit TV legend.
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Don’t miss a minute of pop culture news – The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.