BBC Drama Autumn/Winter 2010/2011 Trailer

So the past two days I've been freaking out over this trailer:

The ones I'm particularly excited about:

• Christopher and His Kind (BBC Two) -- "The hedonistic Berlin cabaret scene is in full swing when a young and wide-eyed Christopher Isherwood arrives in the city, unable to speak a word of German, to stay with his close friend, Auden. To Isherwood's reserved English sensibility, the city's thriving gay subculture is thrilling and intoxicating. But Christopher soon finds himself heartbroken after the failure of a hopeless love affair, and so sets out on a process of self-discovery." + Matt Smith.

• The Song of Lunch (BBC Two) -- Alan Rickman and Emma Thompson!

• The Crimson Petal & The White (BBC Two) -- Gillian Anderson! Romola Garai, Chris O'Dowd, Mark Gatiss.

• Single Father (BBC One) -- David Tennant.

• Accused (BBC One) -- "Christopher Eccleston and Mackenzie Crook play the leading characters in the first two episodes of Accused; separate stories which open as an ordinary individual is led to the dock to hear his or her fate. As each hour-long episode unravels viewers learn how each person came to be there. But on reflection should they be the accused? Are they innocent or guilty or somewhere in between? And will the jury make the right judgement?"

• The First Men in the Moon (BBC Four) -- Mark Gatiss!

• Upstairs Downstairs (BBC One)

• The Shadow Line (BBC Two) -- Chiwetel Ejiofor, Christopher Eccleston, Lesley Sharp.

• Doctor Who Christmas Special (BBC One)

• Outcasts (BBC One) -- "Outcasts is set on a recently-discovered planet and tells of the dilemmas, loves and lives of a group of people setting up a new world. This life-sustaining planet is now home to the surviving population from Earth. Here there is a chance to start again, to bring the lessons learnt from Earth and to put them into action on a new planet." + Jamie Bamber.

• Toast (BBC One) -- Helena Bonham Carter.

NCIS: Los Angeles, Terriers, Raising Hope

NCIS: Los Angeles - Pilot, 1.01

I've never been a fan of NCIS. I don't even know what it stands for. I tried out the LA-flavored series in hopes of catching glimpses of places I knew. I didn't see any specific locations, but the ambience was there. Palm trees and that. I enjoyed the crisp quality of the show, particularly the confrontation scene in the house by the beach. Otherwise, I was unimpressed. The acting from the supporting characters is subpar, but they're incredibly good looking. The lead is dashing and fit, but not very charismatic. Well, it is Hollywood.

Grade: C

Terriers - Pilot, 1.01

This is a fun show, and I'm pretty sure I'm going to stick with it for that reason. It's like a buddy cop flick in which one of the cops is Jeff Bridges (Er, The Dude, rather) with some Owen Wilson thrown in. Either way, the actors and uniformly great at doing comedic and dramatic, which I predict will be key. Veronica Mars-esque mysteries/crimes, with banter between a pair of best friends. Sounds like a good time to me!

Grade: B

Raising Hope - Pilot, 1.01

I started watching this pilot expecting to dislike it. Bad attitude, yes, but my opinion was changed from the very first shot -- a saturated wide-angle shot of a pool from floor level. Pretty and artsy, for a 20 minute sitcom. My second impression was that this was pretty good acting. An interesting, unique family dynamic; another "modern family." The cast was going to shoot their promo pictures at my house, and now I'm sad they didn't, because I'd love to be associated with this show.

Martha Plimpton plays his mother, which confused me because she looks so young, but it was explained that she was pregnant at fifteen. Has there been a Rory/Lorelai Gilmore relationship between a mother and her son? "She named it Princess Beyonce but I think I might change that." Very quotable one-liners abound.

Loved the news report on her criminal record alternated with her toilet flushes. This is a very well-written show. And I don't even normally like babies, or shows about people struggling to raise babies.

Quirky brown-eyed female frustrated with her mundane life meets ordinary but endearing protagonist with a heart of gold in a grocery store parking lot. Sure, it's been done, but it's cute, and I do find Jimmy pathetically endearing. I think it's his voice's timbre and his haircut.

Oh, also excellent was Plimpton singing to the baby with her husband accompanying on guitar, cut to a flashback with her younger self doing the same thing for Jimmy. Sentimental. The Modern Family "lessons" moment without the voiceover. I really, really dig this show!

Grade: A

Doctor Who - Resurrection of the Daleks

Oooh, that was good. The last few minutes especially.

I like Classic Who a lot, but I'm a student of RTD at heart. That is, it's the Doctor/Companion relationship that really gets me, and any configuration of meddling Cybermen/Daleks/the Master is secondary. Davros did some interesting stuff here, but I was blown away by Tegan Jovanka's parting scene. A triumph by Janet Fielding, I think. Just brilliant all around. I'd transcribe, but here's the scene in full instead:

My heart sunk when I saw her face and realized what she was going to say. "I'm tired... it's stopped being fun, Doctor." And the Doctor's, "No, don't leave, not like this!" broke my heart too. Five saw a lot of deaths, and Tegan doesn't want to see any more. But that's in the job description of an assistant to the Oncoming Storm, whose only constant companion is death. Human (and alien) companions come and go, and so, brought to tears by the revelation, Tegan takes her leave. Poignant, excellent television!

I mean, the first three and nine-tenths parts are good, too. The idea of a different "breed" of Daleks isn't a new one (Remembrance, Bad Wolf/Parting of the Ways, etc) but this time Davros was involved, changing it up a bit. Interesting that in both this serial and Stolen Earth/Journey's End, Davros is kind of a loser who eventually is turned on by his creation. I feel sorry for the guy. The Doctor is such an ass to him, too. Not without reason, but still.

Non-Dalek-related: Five wields a gun! Did he fire at all? I don't recall. But it was pretty bad ass, Ten take note.

And so, "Brave heart, Tegan. Doctor, I will miss you" enters the archives as yet another heartbreaking Farewell, Companion! parting phrase. I haven't watched a ton of Five, but I know he did encourage her with those words in Earthshock.

Running Wilde - Pilot, 1.01

Is Keri Russell funny? Can Will Arnett play a multi-faceted character, wherein said facets transcend Clueless, Vain, and Loud? The humor is sort of there, the AD-style in-jokes are there (to a subtler degree fitting for the tone of this new show). It will be interesting to see where this one goes. I did enjoy watching it.

Loved Puddle as the narrator, and the kid who plays her is good. Appreciated the David Cross cameo. I think the biggest issue, after seeing the pilot, is Arnett/Wilde being likable.

Grade: B

Chuck - Chuck Versus the Anniversary, 4.01

I'm so glad I got to even write that title, with "4.01" at the end there. Thank you, TV gods, for a fourth season of this wonderful show.

Awesome Things About Chuck Vs. The Anniversary (Because it's easier and more fun to just gush about this show than to try and write anything analytical about it)

• Linda Hamilton.
• Beckman as manager of the Buy More (who's Ass Man now?), and the CIA rebuilding the Buy More as an official front. Perfect.
• Dolph Lundgren.
• Trapdoor slide from the Buy More to Castle.
• Casey misses Chuck.
• SEXTING. "U LIKE?" "I thought it was cute."
• "DAMN YOU! I love dumplings." -Repo man
• "We are an offshoot of the Ring... the New Ring." -Agent Carmichael. Suave.
• I LOVE Sarah/Casey interaction so much. And there was tons of it this episode.
• Hooray also to Sarah getting her personality back after the Shaw-heavy episodes put a damper on it last season.
• "This is Charles Carmichael. I am Michael Carmichael."
• Sexting as plot device. This is glorious.
• Gunfight IN THE DARK.

The IT Crowd

No one in The IT Crowd is based in the reality we know. There aren't any straight men characters or honest, grounded moments (even when it appears there might be -- like when Roy acts cavalier to Jen in series 1... then slams the cab door on her face). In this way, the show is similar to It's Always Sunny in Philadelphia rather than other workplaces sitcoms like The Office (either version -- character development, clearly reality-based, just with outlandish characters in Brent/Scott and Gareth/Dwight) or Better Off Ted (Veronica, Phil, and Lem cartoons, but Ted's not). Even It's Always Sunny has had a couple moments, that I can recall, that were sincere: in Mac's Banging the Waitress, when Charlie sheds a tear as the Waitress screams at him (cut to credits, and it's still hilarious, so I'm not sure it counts 100%) and in The Nightman Cometh, when Frank says to Charlie at the end of the play, "You did a great job. She ain't worth it."

What am I getting at. I'm not going to say I don't like comedies that aren't emotional, because that's not true. I will admit I prefer them with heart, though. The friendship of the Community study gang keeps me coming back, even if the jokes aren't there that week. Likewise for Parks and Rec and Modern Family. (It used to be the case for The Office, too, but now all the characters are so unlikeable* AND it's unfunny, it's often hard to watch.)

The IT Crowd episodes are a harmless 20 minutes each and they're easy to watch. They're more often funny than not. Moss, Roy, and Jen aren't the Sunny gang, and I'd argue they're weaker characters in general. Jen is a simple stereotype (I've heard the show been called sexist, and I can see why), Roy is awkward because he's a nerd in IT, and Moss is the same albeit stranger and even more socially maladjusted. It's funny to a point, but I feel that after a couple of seasons, there's only so much you can do with stereotyped, bland chess pieces to move about the board. (Likening The IT Crowd to chess is generous.)

* With the exception of Erin. Pam and Jim used to be the relatable ones. Now, it's Erin, whose room used to be her hair...

The League of Gentlemen's Apocalypse

Meta at its absolute finest. These guys are so good.

I'll miss this show a lot. Fortunately, it is very re-watchable.


"Don't kill Mark Gatiss." -Geoff

Lone Star - Pilot, 1.01

I flew Virgin America to Boston a few days ago, and they had the Lone Star pilot available to view before it airs Sept 20 on FOX. I figured it couldn't hurt to check out this show because it has Jon Voigt in it (which makes it vaguely credible, right?) and I had ample time. I'm going to watch as many fall pilots as I can (I'm excited for Terriers tonight, and Undercovers and Running Wilde in a couple weeks) to test them out, but I expect to drop 90% of them after the first couple episodes.

Lone Star features a charming Kyle Chandler look-alike as lead. He's a con man like his controlling father. He leads two lives though his father advises him against getting attached to anything. Protag considers his double (triple?) life, daddy issues, and women he loves, and decides to come clean by legitimately making back the money he's conned. The pilot offers a nice set-up to a surely dramatic season, as now former con man protagonist attempts to go straight in business, but juggle two relationships at once. Cute. Safe. If I didn't know this was a FOX show, I would've guessed USA.

I've been watching too much Friday Night Lights recently (Adrienne Palicki is in both shows, fun fact), and Lone Star pales in comparison where ambience is concerned. I believe I'm in Texas when I watch FNL. When I watched the Lone Star pilot, at first I thought I was in a Los Angeles suburb. Use more establishing shots, please. But I guess not all Texas-based shows can be absolutely fantastic!

Thoughts about the music choices:

• Rogue Wave – Eyes. Used over a lovey bedroom scene; protagonist loves his Texan wife. It was also used in Heroes twice. Nostalgic and romantic, in an indie way.
• Mumford & Sons – The Cave. Used over protag con man montage; they don't just TELL you he's a con man, look, they SHOW you too! It's empty in the valley of your heart. Aw, he's not heartless, he just does slimy business, see. But most importantly, it's twangy and hence must be southern and Texan and stuff, right? One good thing I'll say -- the song's momentum feels like it's going somewhere; it really propels the montage.
• Music choices saying, "We’re current and youthful." A lot of Mumford & Sons. Even though they're Londoners. But it's okay, they play banjos that are twangy.
• Mumford & Sons – Little Lion Man. Over more con man business. I really fucked it up this time, didn't I my dear?
• Cold War Kids - Hang Me Up To Dry. Used when he returns to his blonde. I'm not positive it was the CWK version, it may have been a twangier cover.
• Some Elliot Smith-like music. Some Bon Iver-like music. Couldn't identify either.
• Mumford & Sons – Awake My Soul. Tyra confronts protag with serious business.

C-. Try harder. I get that not all Texas shows can be scored by Explosions in the Sky, but don't be so basic please. I'm feeling kind of bitchy tonight.

Friday Night Lights - Git 'Er Done, 1.05

I cannot even deal with how good Friday Night Lights is. I've only seen five episodes. Sports dramas make me incredibly emotional. It's an absolutely perfect show. Perfect, as in no flaws. Impeccable.

Take episode five, Git 'Er Done, which I just finished watching. It flowed seamlessly -- from Jason's quiet recuperation scenes, to Tyra's Los Angeles fling, to Mr. and Mrs. Coach's conversations... with a perfect lead-up to Friday night: a scene in which Lila visits Jason in the hospital right before the game, and is followed in by Coach Taylor and the rest of the team. A quiet prelude before the big game. FNL does quiet very, very well. It's harder to do quiet and familiar than loud and boisterous, in my opinion... the late afternoon scene with Coach Taylor and his wife, for instance; he talks to her, articulating the sides of his dilemma, and it's incredibly real and intimate. The lighting is only what comes in through the school office windows, so there is lens flare and dust and coarse shadow across faces; the couple interrupts each other, and it's so loving, and you really get the feeling they are perfect for each other, because the understanding between them is palpable, the chemistry so strong, that you're left with the impression that maybe you shouldn't even be watching these real people have this quiet yet important moment.

Woah, kinda got carried away there.

Anyway, I also wanted to mention Tyra's brief affair with Connor, the businessman from Los Angeles. Their scenes this episode seemed like interludes to the rest of the episode, which was dedicated to preparation for Friday night. She's not a principal character (yet?) and her scenes hardly acknowledged football. The show so far had portrayed her as the football jock's bitchy girlfriend, but this episode showed a different side of her and hence propelled her characterization and likability lightyears ahead of, say, Lila. I'm a hopeless romantic, so I loved this micro-love story: small-town girl fed up with small town meets guy from big city. It's been done, but the fact that it was done with Tyra's character -- and so sweetly, too -- is intriguing. He leaves at the end of the episode, but you can't help but ache with her because she connected with him more than she ever could with her ex-boyfriend Tim, or anyone in Dillon for that matter. Connor thought her cynicism was interesting and he obviously fancied her, but you also know he had his own life in LA. He leaves, and Tyra is in a strange place -- she is unsatisfied with her town and her dead-end life, the only person that could have understood that is gone, so where does she go from there?

Kind of got carried away there, too.

Finally, these are really, really fine actors across the board. Connie Britton and Kyle Chandler were Emmy nom'd this year, and rightfully so. Minka Kelly is annoyingly cloying most of the time, but I suppose that's her character. Everyone else supporting is just grand and completely believable.

I'm SO glad I have 70+ episodes left to watch! I don't want this show to ever end!

ETA: The writing on this show is solid, but what really makes it stellar is the acting and directing. With a weaker cast and a less stylized shooting style, this show could have easily bombed.