“Many of you are already fans. Some of you urged us to watch the show at the very beginning. We know you’ll clutch this golden Buffy to your bosom with pride. But others of you — and we’re addressing you, Emmy voters, directly here — ignore us like the petulant little pills you are.” Salon chooses Battlestar Galactica as the recipient of its third annual Buffy award for the most underappreciated show on television. (And, in case you have any doubts about the selection committee, they also had the sense to pick The Wire the first time around.)
Category: Television
Sold under Sin.
“The closing shot of last night’s ‘Deadwood’ episode was never meant as a series-ender. But that’s what it was, and for a number of reasons, it was both appropriate and troubling: Ian McShane’s Al Swearengen kneeling on the floor of his office, cleaning up a bloodstain.” Notwithstanding two stopgap two-hour movies (bleah), Deadwood rides off into the sunset, joining Arrested Development, Twin Peaks, Freaks & Geeks, Farscape, and countless others in that graveyard on the hill for shows done in before their time. (I actually haven’t caught the last episode yet, being here in Hawaii, but chose not to avoid the spoilers nonetheless.) “From the odd quirks of its language to the vivid scrappiness of its setting to the undeniable soul at its core, there will never be another place quite like Deadwood.” Happy trails, [expletive deleted].
Who Two | BSG Three.
Sci-Fi announces they’ll be airing Season 2 of Doctor Who, with David Tennant (a.k.a. Barty Crouch Jr. of Harry Potter and the Goblet of Fire) as the Gallifreyan in question, sooner than expected: it begins Sept. 29. And in related news, the TV teaser for Battlestar Galactica Season 3 is up at YouTube…if you’ve never seen the show, please don’t hold that lame Nickleback-ish song in the background against it.
Terry Does Dick | Prison Break.
Speaking of Philip K. Dick, word on the street is the one and only Terry Gilliam will be heading The Owl in Daylight, a biopic of the author set to star Paul Giamatti in the lead. And, speaking of paranoid sci-fi-ish surveillance thrillers, Christopher Nolan looks set to board The Prisoner, as in a film version of the classic BBC series, after he finishes the Dark Knight.
Miami Heat.
As an atmospheric and consistently engaging police procedural that’s well above the mean of this year’s tepid summer crop, Miami Vice — which I caught several days ago and haven’t had the time to write anything about — is definitely worth a look-see. The plot is wafer-thin — two tough cops go undercover with an impressive arsenal of sleek, speedy vehicles at their disposal — and at times well past implausible, but, much like the first half of Collateral, Michael Mann mostly makes up for it by layering on the captivating high-def ambience thick. If you’re a fan of Mann’s film work — Manhunter, Last of the Mohicans, The Insider, Heat, Ali, Collateral — and don’t go in expecting anything like his ’80s TV show (which I saw exactly never — when it started, I was living overseas, and I was probably too young for it anyway — in any case, this movie feels more like Mann’s short-lived Robbery Homicide Division), I think you’ll definitely find it rewarding. (Indeed, some Manniacs are raving about the film.)
The film begins without credits and in media res, with vice detectives Sonny Crockett (Colin Farrell, rocking a grotesquely bad ‘do) and Ricardo Tubbs (Jamie Foxx) in da club, dressed to the nines, and apparently looking to break up a prostitution ring. As the scene progresses, we intuit that Messrs. Crockett & Tubbs are the no-nonsense heads of a crack Miami police unit made up of Naomie Harris (of 28 Days Later and POTC 2) and the HBO All-Stars: The Wire‘s Herc (Domenick Lombardozzi), Brenda’s boyfriend Joe on Six Feet Under (Justin Theroux), and — indirectly — Deadwood‘s Sol (John Hawkes) and Blazanov (Pasha Lynchnikoff) and Rome‘s Julius Caesar (Ciaran Hinds). But before this hardy team of television thespians can capture their quarry, a frantic call from one of Crockett & Tubbs’ regular CIs (Hawkes) eventually sets the squad on a new target: Latin American drug lord Jose Yero (John Ortiz), who appears to be using nasty Aryan Brotherhood types as muscle. Soon, Miami’s dynamic duo find themselves deep undercover without a net in Yero’s organization, only to discover that he may only be a stalking horse for even Bigger Bad Arcangel de Jesus Montoya (Luis Tosar), and his beautiful majordomo Isabella (Gong Li), whom Crockett has his eye on…
That’s the setup, but as I said, it’s basically all just an excuse for Farrell and Foxx to wear nice duds, get behind the wheels of some really fancy people-movers, and seethe, flex, canoodle, and ruminate like the typical bevy of manly Mann men. To be honest, I’m more fascinated by gritty, street-level Wire-like depictions of the drug trade than I am this sort of fast-cars-and-million-dollar-tech type stuff. But for the most part, all this ends up being more entertaining than it sounds on paper, drenched as it is in a moody atmosphere of perpetual dusk and lightning flashes on the horizon (and, as in Heat Mann can do quality shootouts like no other.) Only when Farrell and Li lose their heads and fall head over heels in love does the film really slip off the rails — Basically the movie stops cold a few times so Sonny and Isabella, the latter acting particularly out of character, can get mojitos in Havana or go salsa dancing in South Beach. (Foxx’s relationship with Naomie Harris is equally formulaic, but less time is spent on it, until a third-act rescue which feels more than a bit like well-made television.) In sum, Miami Vice isn’t the type of movie that’ll knock your socks off, but it is consistently diverting throughout. And, as a worthwhile reimagining of the TV show, it earns its place among the very few recent television-to-movie remakes worth checking out.
Way Down in the Hole.
“What The Wire says, repeatedly, is that The System — government, business, law enforcement, everything that runs this country — is broken and that the guardians of The System are too committed to defending the status quo to even try fixing it. It’s not a case of corrupt or evil people choosing to ruin things for the rest of us; it’s people of all moral calibers making decisions within the established context of their own institutions (the police force, City Hall, drug corners) without regard to how they affect the world at large.” The Newark Star-Ledger‘s Alan Sepinwall previews Season 4 of The Wire. (Via The House Next Door.)
Peevishness, Palpatine, and Parselmouth.
By way of other, more frequently updated blogs, some amusing links to wile away the hours: the Curb Your Enthusiasm soundboard [LMG], the Emperor takes an important call [DangerousMeta], and Your Own Personal Samuel [Webgoddess] Use ’em at your own risk.
Wikiality Bites.
“Colbert stepped farther through the looking glass by editing Wikipedia’s ‘Stephen Colbert’ entry during his show. He railed against the Encyclopedia Britannica’s assertion that George Washington owned slaves. ‘If I want to say he didn’t, that’s my right,’ Colbert said. On Wikipedia’s “George Washington” entry, the following phrase appeared at the end: ‘In conclusion, George Washington did not own slaves.’” The inimitable Stephen Colbert sends his legions against Wikipedia. (Via Now This.)
Comic, Comic, Comic, Comic, Comic, Chameleon.
As most of y’all likely already know, this past weekend was Comic-Con 2006 in San Diego, which means an exceedingly large amount of news in the fanboy department. To wit:
Citizen Hearst | Re-Up.
Grim [expletive deleted] tidings…With last night’s episode (and this season’s marvelously malevolent Big Bad, George Hearst [Gerald McRaney], on the verge of running riot), we’re already halfway through our last full helping of Deadwood. (You can keep up on its historicity here.) The silver lining? That puts us ever closer to Season 4 of The Wire (this year’s target: the school system), which HBO has only just begun to tease.