I posted my review of "The Borgias" on Thursday. As with "Camelot," it's not my kinda show, and not something that's going to be in the rotation going forward, but as I often do with new series premieres, I'm curious for outside reactions. What did everybody else think? Was there enough there for you to stick around?
I posted my review of "Camelot" yesterday. Not my kinda show, and not something that's going to be in the rotation going forward, but as I often do with new series premieres, I'm curious for outside reactions. What did everybody else think? Was there enough there for you to stick around?
I reviewed CBS' new "Chaos" on Wednesday. Now it's your turn. For those who watched the pilot episode, what did you think?
Though I'm going to watch for a while to see if the show can get command of its tones, Friday shows are all but impossible for me to review regularly these days unless I've seen them in advance, because weekends are for my family. So if I write it up in the future, it likely won't be until several days later.
Haven't written about "Grey's Anatomy" in a while, but last night's "musical event" (as opposed to the just-plain "musical" that other shows like "Buffy" and "Chicago Hope" have done in the past) seems eminently discuss-able. A review coming up just as soon as I buckle my seat belt...
Time is the greatest asset that AMC's "The Killing" has, but it also could be its greatest enemy.
The new crime drama, which debuts on Sunday at 9 p.m., tracks a single murder investigation over an entire season. The format, adapted from a Danish series (albeit with some major plot details changed so viewers can't spoil themselves with Google) allows the series to adopt the same measured pace that's typified most of AMC's post-"Mad Men" output, and to differentiate itself from the kind of standalone, interchangeable police procedurals that are so abundant in primetime. It's more televised crime novel than traditional TV cop show.
So remember when I said the other day that all this drama about the "Mad Men" renewal negotiations between AMC, Lionsgate and Matt Weiner would only worry me once a deal officially was or wasn't closed, and that everything else was just negotiating through the media? Well, the deal has been closed, and it sounds like there's not a ton to worry about in the short term, at the very least.
In AMC's new long-form murder mystery series "The Killing," the eternally boyish Billy Campbell plays an idealistic local politician who becomes one of the many suspects in the murder of a teenage girl. At a "Killing" press conference in January, Campbell said he told the producers that he didn't want to know whether or not his character was the killer until they got to the point in the series where the audience would find out the truth. That notion of playing a character on a show like this - or on "24," where at any moment you could find out that you're playing the new CTU mole - without knowing that character's full intentions has always interested me, so - after doing interviews with producer Veena Sud and star Mireille Enos - I spent a few minutes chatting with Campbell about why he wanted to do things that way.
Still catching up on TV that I missed while flying to and from New Mexico. The "Top Chef" finale was going down when I was somewhere between Houston and Newark, and fortunately HitFix's Liane Bonin got her finale recap up quickly. I have a few belated thoughts on the finale, and the winner, coming up just as soon as I have a jet skiing appointment...
I spent a good chunk of yesterday flying home from New Mexico, where I'd gone to do a "Breaking Bad" set visit and some interviews. (Look for that stuff much closer to the show's premiere, on a date in July TBD.) My flights didn't have wifi, so my only chance to plug into the world was during a brief layover in Houston, in which I saw on Twitter that HBO had canceled "In Treatment."
"The Tudors" is dead, but its history-as-soap-opera style lives on with two new series debuting this weekend: Starz's "Camelot" (Friday at 10 p.m.) and Showtime's "The Borgias" (Sunday at 9 p.m.). "Camelot" borrows "The Tudors" creator, Michael Hirst, while "The Borgias" airs on "The Tudors" old channel, and both are very much in the same spirit, where history or mythology are largely excuses for whispered palace intrigue, love triangles and as much nudity and simulated sex as pay cable will allow while still leaving time for a story.
There's definitely an audience for that approach, but lord did I find both of these shows tiresome.