On the one hand, having Lorne Michaels in charge of all three of NBC's big late night franchises makes for a homogenized feel for the product, with "SNL" alums Jimmy Fallon and Seth Meyers fronting "Tonight" and "Late Night," respectively. On the other hand, having one man in charge of the whole empire makes it much simpler for one show to borrow a gimmick from another, like Amy Poehler popping up on "Late Night" for a reprisal of "Really!?! with Seth and Amy" to take down a Sports Illustrated writer who complained about the appeal of women's sports.
AMC's new drama "Humans" is a pretty good show with timing that isn't great.
"Hannibal" showrunner Bryan Fuller has been making the media rounds this evening to discuss the show's potential future in the wake of NBC's decision to not order a fourth season. Fuller's had beloved shows canceled out from under him before ("Wonderfalls," "Pushing Daisies"), but in this case, he has a distributor in Gaumont International with a desire to keep the show going, both here and abroad, and that has in the past shown a willingness to make creative deals to keep "Hannibal" in fine cuisine. (Earlier this week, EW reported that Gaumont had slashed this season's license fee to a piddling $185,000 per episode, or roughly the wig budget for "Peter Pan Live!" That's why the remaining 10 episodes will air: NBC has no more cost-effective alternative.)
Welcome to the fourth 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 fourth episode, "Meadowlands," coming up just as soon as I take a five minute cool down period...
USA's new drama "Mr. Robot" is bursting with storytelling devices that, individually, have been overused in recent years to the point of irritation.
At the end of each episode of Comedy Central's new series "Another Period," we get a montage of what we're told are clips from the next episode, which are entirely comprised of the characters screaming, crying, and/or smashing plates and overturning furniture. In a literal sense, these aren't an accurate depiction of what's coming next week, and not just because the clips aren't all from the same episode. But those montages really capture the anarchic, hilarious spirit of the thing: a show that will do anything — usually at top volume, and with all standards of good taste thrown out right along with the fine china — for a laugh. It's the kind of show that resorts to a prolonged Helen Keller joke at the end of its first episode — but not any kind of Helen Keller joke you've heard before.
NBC has canceled "Hannibal." But given Dr. Lecter's previous escapes, should we assume this is it for Bryan Fuller's take on the character?
"Catastrophe" is a delightful study in contradictions. It's a high-concept comedy with low-key execution, and it's at once filthy on a level that's impressive even in the year 2015, yet almost shockingly normal despite that.
Based on the box office results, odds are many of you saw "Inside Out" over the weekend, which meant you got to enjoy Phyllis Smith's extraordinary voice acting work as Sadness. All the major performances in that movie are wonderful (I may not be able to watch a live-action Richard Kind performance for a while without thinking of Bing Bong), but Smith's work, and the way that the movie uses Sadness, is ultimately what's put it in the discussion for being Pixar's best film ever.
It's a performance that almost didn't happen, twice.
"True Detective" is back for a new season. I posted some overall thoughts on the early episodes on Wednesday, and I have a review of the premiere coming up just as soon as I display some Meryl Streep-type expressive creativity...