Comic-Con doesn't live-stream its panels, mainly to give the people who spend lots of money and travel from far and wide the feeling that they are getting something special for being there. But most of the clips screened at Comic-Con panels quickly find their way online, and more and more frequently through official channels, as has happened today with two different Steven Moffat shows.
Dramas about real people are not documentaries, and can't be held to the same standards. The demands of one form are different than the other's. By necessity, events and people need to be compressed, or tweaked, if not wholly invented at times, to serve the storyteller's needs. Ideally, you get a story that captures the spirit of the real person, even if the details aren't quite right.
At one point in the third season of "Rectify," Amantha Holden is floundering her way through a team-building exercise at a management training seminar for her job. To help her out, the moderator suggests, "Why don't you tell us a story that only you can tell us?"
A few thoughts on tonight's "Mr. Robot" coming up just as soon as I glove up to fight a bum...
Though Comedy Central is referring to the new batch of "Key & Peele" episodes as a new season, these were produced immediately after the ones that finished airing back in December. As a result, the new ones (I've seen three) are very much in keeping with the spirit of what I wrote about late last year, and how the sketch series did some of its best, if darkest, work relatively late in its life.
So beyond telling you that "Key & Peele" remains funnier than may possibly be legal, here are five things to know about the new episodes:
Welcome to the sixth installment of our summer trip through "The Sopranos" season 1. When I revisited early seasons of "The Wire," as well as the whole run of "Deadwood," I did separate versions of each review for newcomers and veterans, but over time realized that the newcomers weren't commenting much, if at all, and that it therefore made sense to simply do one review. Any significant spoilers for episodes beyond the one being reviewed will be contained in a separate section at the end of the review; so long as you avoid that, and the comments, you should be fine.
Thoughts on the sixth episode, “Pax Soprana," coming up just as soon as I’m living next door to Gunga Din…
Happy Tuesday, boys and girls! After a couple of weeks off, the Firewall & Iceberg Podcast is back, and hopefully not for the last time. In case you missed his announcement, tomorrow is Dan's last day at HitFix, and while the hope for all involved is for the podcast to continue, various elements are still in flux. Hopefully, you'll get a new show next week. And if this is our inadvertent series finale, well, at least we close it by talking about perhaps the greatest series finale of them all.
And if the podcast does continue, the next one will have us talking about the ends of "Dinosaurs" and "Alf," y'all.
As always, send questions to email@example.com. You can subscribe to The Firewall & Iceberg Podcast over at the iTunes Store, where you can also rate us and comment on us. Or you can always follow our RSS Feed, download the MP3 file, subscribe on IHeartRadio or stream it on Dan's blog.
There's also now a complete archive of all the podcasts to date.
The latest "X-Files" trailer is mainly made up of old footage from the show's '90s heyday, encouraging fans to watch one episode a day between now and the miniseries' debut in late January of next year.
But then there are a few seconds of new footage that I imagine Mulder and Scully fans of a certain vintage will be Zaprudering for the rest of the day. Go crazy.
Among the many reasons I regret having missed this year's ATX Festival — barbecue, the "Gilmore Girls" reunion, barbecue, getting to meet cool people who love TV, barbecue — the live reading of the "Dawson's Creek" pilot script was pretty high among them. Fortunately, the ATX organizers have been putting most of the festival up on YouTube, and last night they posted the largely gender-flipped "Dawson's" read, with Mae Whitman (accompanied by her framed Tim Riggins photo, because Austin) playing the title role.