News, scoops, reviews and more from TV land.
All nine seasons of "Seinfeld" on Netflix? Could this possibility promise a greater wealth of bingeing catnip than anything else on the streaming service? Anything?
The prospect arose Thursday morning on one of those Reddit "Ask Me Anything" features that major celebrities like to do occasionally. Jerry Seinfeld was asked about the possibility of a Netflix stream, to which he responded: "Those...Read more »
That Stephen Colbert would choose to keep "Late Show" in New York after succeeding David Letterman as host next year was perhaps not a foregone conclusion -- crazier things have happened, after all -- but it was as close to "foregone" as the word could possibly imply.
Colbert did not agree to undertake the enormous challenge of replacing a legend by uprooting staff and friends and relocating them 3,000 miles from family, hearth and home. A move to CBS' Television City -- which of course has a world-class facility for a late night talk show and has expanded the space for "The Late Late Show" too -- would have almost certainly meant losing key personnel -- possibly even the very people who have made "The Colbert Report" such a huge success.
No: He was going to stay in New York, and he was going to stay at the Sullivan, which is possibly the single most beautiful talk show studio on all of television. (Even better: It's haunted. Did you know that? Another post, another day.)
Nevertheless, as foregone conclusions go, this is a very happy one. Not only will Colbert extend a tradition -- honestly the only late night tradition CBS has ever really had -- but it extends the tradition in the very city where late night TV was born, and where "The Tonight Show" is already proving, along with its host, that this really is the best place on the planet to mount a late night talk show.
Los Angeles is fine -- I love L.A. (me AND Randy Newman). But it's just ... different, and it's not the sort of "different" that works well with a personality and style such as Colbert's: arch, intellectual and high velocity. His style was honed here, and here it must stay.
Certainly this is a nice score for the city: Two hundred jobs will be saved, and while CBS did not specify how many of Dave's "Late Show" veterans will migrate over to Steven's "Late Show," the fervent hope is that many will. Dave's crew is excellent and understands the exigencies of mounting a late night show, night after night after night. Many are indispensable.
And this is good for the New York production community overall. While average New Yorkers may have conflicted feelings about TV or movie production in New York every time they have to jump out of the way of a dolly or are nearly cold-cocked by a boom mic -- or are just sick and tired of having traffic backed up every time some chase scene for some cop procedural just has to shut down Madison Avenue between 23rd and 24th ... it's still all good. More jobs, more people in work, more everything.
Check out these very stats from the CBS news release announcing the deal with Gov. Andrew Cuomo: During calendar year 2013, applications for 181 film productions were submitted and included 124 films, 31 television programs, 25 pilots and one “relocated” television show. The impact of these projects includes: Generating a direct spend of $2.09 billion in NYS; Collecting a projected $466 million in credits; Hiring an estimated 126,301 actors and crew for the 181 projects submitted.
Looking at it all this way, "Late Show" -- which began here more than 20 years ago -- is the gift that just keeps on giving.
BEVERLY HILLS -- "Downton Abbey," which returns for a fifth season Jan. 4, promises big changes -- or perhaps, the better phrase in lieu of "big" here would be "emotionally resonant and complex." So let's go with that insstead: "Downton" promises emotionally resonant and complex changes in the 5th season as one of TV's great hits continues to figure out how to keep that word "hit" firmly affixed to any discussion of "Abbey." Of course, it's always hard to tell six months in advance just how resonant any "Abbey" adjustments will be, and the series has rarely been in the habit of revealing too much going forward. (What's the fun in that anyway?)
But aside from a prominent new cast member -- Richard E. Grant ("Gosford Park") will join as one Simon Bricker, a guest of the Granthams -- stars and showrunners here Tuesday did promise an evolution that will especially impact one of "Downton's" signature characters, Lady Mary.
Gareth Neame, exective producer of "Downton," did indicate that at least one major story will develop next year -- Lady Mary Crawley's eventual move out of the shadows into a new emotional life. Which is to say: She's finally thinking of playing the field again.
She said as much at the end of season four; the question for her and "Downton" fans is an obvious one, however: Said Neame, "We’ve, all of us, have played these characters now for several years. We’ve all lived in this “Downton” world. And the more we’re immersed in the world, the more we feel that we get to understand these characters, the more that the stakes of the stories are higher. I think what Michelle [Dockery] was just saying about the relationships and what she’s going to do and the idea that Mary has now decided by the end of Season 4 she said, “I know I will marry again. I’m not now” “I’m turning to life, and I’m going to be married.” But I think that whole challenge of how do you make a new relationship when your partner has died, how do you make a second marriage as an older, more mature person is way more complicated than the first relationship decision you make. So I think for all of these characters, everything is just ratcheted up. Everything is much more complicated. He’s still the guy stuck in no man’s land between these two worlds, but as you saw with the scene with Hugh Bonneville, the stakes are just higher and higher every time."
Dockery had this to say about Lady Crawley: "She’s very she’s very complex. I think that she she’s impulsive. So she makes these decisions, and then, you know, once she goes through with it, she looks back and actually realizes it wasn’t quite the right decision. And I think this series, she is quite impulsive, and she’s embracing her new life really. I think she’s through the grief now. And I kind of see Series 5 for Mary as the new Mary, I guess, in a way. And so with that, she’s got a bit of her bite back that we had in Series 1, which I’ve enjoyed playing, you know. It was lovely to do Series 4 with playing all of that emotion and everything, but this series is a lot more fun. So I’m enjoying it."
Beverly Hills -- There will never be another "Downton Abbey" -- except, there has to be. Viewers demand it, public TV demands it, financial backers demand it... The problem with success, and "Downton" is the single most successful scripted series in PBS history, is that more success must follow. It is the way of the commercial TV world, and now that PBS has gotten a tase of an almighty hit, it stands...Read more »
Beverly Hills -- "Fargo" will return for a second season — no surprise — and will be written (along with assists by a number of top writers) by Noah Hawley — also no surprise — and will eventually be a huge magnet of commentary, bloviation and gaseous analysis by critics (like me.)
Again, no surprise. But here is the surprise: FX chief John Landgraf said Monday that fans should not expect...Read more »
BEVERLY HILLS — As longtime fans know, "Sons of Anarchy" is one of TV's smarter series. It's an endlessly inventive plot pretzel that showcases writing, acting and direction at a very high level and has done so more or less consistently for six seasons.
But "SOA" also has a deeply twisted soul. It doesn't celebrate violence, but it doesn't condemn violence either. Last season ended with the...Read more »
Beverly Hills -- Fans of "The Simpsons" learned some time ago that the show would "kill off" a key character this season -- "kill off" being but a transitory condition in the realm of animated series often but not always measured in episodes, or until the fan outcry is so annoying that the creators have no choice but to relent and bring the deceased back to life.
But that's beside...Read more »
Combative, intelligent, sensitive, hard-driving, tough and above all talented, James Garner -- who died Saturday at the age of 86 -- did share one trait in common with so very many gifted people: He was complicated. He took a cauldron of life experiences and turned them into choices that defined to some extent what we see on television today, for the rootstock of Walter White is indeed, to some not so remote extent, Jim Rockford. (Both shared one thing certainly in direct proportion -- the double wide trailer...)
Garner came from Norman, Oklahoma and it is fair and accurate to say that Norman, Oklahoma never left him. He arrived -- one of three brothers, to a mother who would die by the time he was four -- in a world that was about to be desperately impoverished.
The land would be scoured to the bone by prevailing winds that would turn the middle of the country into a stretch of dust and sand. His father was an alcoholic and his step-mother a monster -- or so he would recall in his late-in-life memoir (that in parts doubled as payback.)
Garner learned to use his fists and discovered, and maybe feared, a temper that he couldn't always control.
Garner was also one quarter Cherokee -- the tribe brutally decimated, then "forcibly removed" by Andrew Jackson to a place no one wanted: Oklahoma. He was deeply proud of his Indian heritage (and named his production company, Cherokee.) Hence, the idea of Garner as a Western TV "hero" in a '50s era serial certainly had intriguing if not in the moment exactly promising potential -- especially considering the casual and implicit racism that haunted the TV western over its long run.
He didn't want to play Maverick. He was a contract player for Warner Bros. and he was told to do it -- no discussion, no negotiation. It was a studio play that turned him against the System and ultimately forged one of Hollywood's most litigious stars. Garner wasn't exactly the Curt Flood of movies and TV, but he was certainly part of the wave -- initiated first by Cary Grant -- that ultimately broke the studio's iron hold over stars and talent. "Maverick," in which Garner appeared in only 52 episodes, was actually an important part of that history.
Garner, of course, didn’t play Maverick like the usual laconic white hat, who rode into town, ordered a whiskey and then promptly -- or eventually -- put a bullet in the guy wearing the black hat. He was witty, bemused, ironic, suave, intelligent, and full of a sense -- not explicitly stated -- that the world was mad and he was just another member of the asylum. You could almost apply the exact same description to Jim Rockford, who arrived over a decade later.
Garner's best roles, or certainly his most memorable roles, reflected Garner to greater or lesser extent. That was part of his appeal, part of his enduring success. Write what you know, writers are told. Garner acted what he knew.
As mentioned, Garner was conflicted; that's no surprise and you could see it on screen. He wanted the money and success that came along with the major roles -- but he didn't want the indentured servitude, as he thought of it before he sued the studios to release him from both "Maverick" and "The Rockford Files."
It's hard to know who was in the right or wrong over those long ago and now forgotten lawsuits, but it's easy now to take Garner's side. After all, who's going to take the side of a studio run by someone like Jack Warner? In fact, Garner had badly damaged his knee in basic training years earlier, and had other assorted injuries during a brutal tour of duty in Korea, as an infantryman. (He was nearly killed, twice, by the way, and had a pair of Purple Hearts as testament. )
Garner was hospitalized at one point for the bad knee -- he did many of his own stunts on "Rockford" -- and the studio, Universal, interpreted that as work stoppage. It sued, Garner counter-sued. "Rockford" was dead, except as a series of movies that kept the franchise going. "I'll accept a lot before I snap," he once said. "But I do snap."
Rockford and Maverick, as characters, broke a long tradition of the hero-as-violent: Who used the gun as a means of settling any argument or removing any impediment. Garner said he was proud that he rarely used his gun as Rockford, and never shot anyone. Rockford hated guns, and in fact he would often be on the receiving end of violence. But like Garner, if pushed, Jim shoved back.
Rockford endured because he had a certain magic that only a gifted actor can instill. But he also endured because the man who played him knew him so intimately. Viewers thought they were seeing someone entirely real, or thought they were.
It's also worth noting in this all-to-brief appreciation that some of Garner's big screen roles were jewels -- at least three were classics, "The Americanization of Emily," "The Great Escape," and "Murphy's Romance," for which he received a late-in-career best actor nod.
Nevertheless, it was TV that would provide the mirror of the man. That mirror reflected one of TV's finest actors who helped to expand the boundaries of what was possible on the medium. Garner will be missed, and in fact already is.
James Garner, one of TV's great and iconic actors, has died age 86 — and before we get to the appreciation, please appreciate these series of clips that illustrate Garner's natural ability to convey sex appeal, intelligence, authority and, above all, charisma in dozens of TV roles, and many, many movie ones as well.
As his old pal (and co-star) Julie Andrews has written of Garner, "he owns...Read more »
Beverly Hills -- "The Affair," a Showtime newcomer arriving in October and starring Ruth Wilson and Dominic West, will be shot over the full 10-episode season in Montauk, showrunner Sarah Treem said yesterday.
And yes - that is unusual because the Hamptons and points east are considered (in fact are) enormously expensive places to shoot a series, while other LI-based series, like "Royal Pains"...Read more »