So the housewives finally returned this week with a cracking episode to kick off season six. It's no secret that I was not a particular fan of last season overall. Season four felt like it had it all. Each episode felt like as finely constructed masterpiece, so the diffuse, confused fifth season was something of a let down. I felt the usual sense of relief during the finale, but not for the usual reasons. This was more of a 'thank God that's over with' sense of relief. Season six, I prayed, would be a return to form.
And it seems to be shaping up so. Mike has re-married Susan and Katherine is mad about it. I mean, really mad. And not just angry either. Apparently this season's story arc for Katherine will be her descent into madness. Thank Christ for that. Dana Delany as Katherine was outstanding during season four, her sweet and sour demeanour and the final revelation of the terrible secret she had been hiding for years bought a real strength to that season -- especially after the somewhat lacklustre mystery sub-plots we had during the second and third season. But during last season, Katherine fell in love with Mike and rather pathetically spent the entire time trying to keep him from leaving her. Now, however, we see some more of the old Katherine returning. She is out for revenge, and she doesn't care who or what gets in her way, as evinced by her spectacular crash through the door of a cupboard Susan had locked her in.
Elsewhere, Lynette, in a rather heart-wrenching scene, decided she didn't love the babies she was carrying. Halfway through episode one, and already Felicity Huffman is acting her socks off. Brilliant. The most moving part of the episode, I found, was when Gabrielle, in an attempt to show Ana once and for all that she did care for her and was only acting in her best interests, stormed into the house and signed the papers that would make her Ana's legal guardian. This story is going to get very juicy indeed...
Now that I have you attention, we move onto the latest episodes of Medium. Ha! Gotcha. Dear Dad, for a start, was one of the strongest episodes of the season and saw us return to the mystery behind Devalos' daughter Arianna's suicide years before. The last time we touched upon this was in the season three episode Very Merry Maggie, where Arianna left messages that led Lily and Manuel to a field of her favourite flowers. This episode delved deeper into exactly what made her kill herself, and also revealed some major flaws in Devalos' normally irreprehensible character. It was good to see Miguel Sandoval with some major screen time here, as you may recall I had expressed doubts about whether he was departing the show due to his lack of presence in some of the early episodes of the season. Through Allison's dreams, it transpired that Arianna's suicide had to do with a case he had been working on at the time. There were a number of genuinely touching moments as we finally saw the crosses that our upstanding district attorney has had to bear for years. Great.
The season continues...
Peace xx
Saturday, 30 January 2010
Tuesday, 26 January 2010
The Good Wife, Most Good. Most Good.
Hello, etc. So, Channel 4 can always be relied upon to bring us the best of the new American dramas. And last night it did it again. I had heard about The Good Wife as one of the best new shows of the season and was delighted that Channel 4 was going to broadcast it. My heart felt very full with love for the network, as Jane Fonda might say. If she watches 4OD. I don't know if she does because we're not mates. Not yet anyway. I'm still trying to locate her Blackberry pin. And then she will be putty in my hands.
Anyhoo, the show's premise is that a senator has disgraced himself by having affairs with hookers, and paid them with government money. Oops. He winds up in his prison and his 'good wife' (see how clever this show is already?) has to return to work as a junior attorney. Now, in the opening scenes of this pilot episode we may have been led to believe that this would be some sort of family melodrama. However, it soon becomes clear that this is not just the story of a family coping with the fallout of some shocking revelations. Returning to work at a law firm, our good wife plunges us into an extremely involving legal drama as we are invited to work alongside her on a baffling case.
The opening scenes were something of a rollercoaster. As with all great protagonists, the pressure has really been piled on our good wife. Not only is she coping with her husband's betrayal, imprisonment and the attendant publicity, she is also juggling two children, a meddling Mother-in-law, and a return to work after a 13 year absence. And what a workplace: having to compete with another junior attorney for a permanent position in the firm, and all under the steely gaze of a boss who clearly doesn't want her to progress too far. Add to that a case that seems impossible to win, and we know our good wife has her work cut out for her.
The cast here is top notch. Juliana Margulies as the good wife is first-rate. Margulies did sterling work for years as Nurse Carol Hathaway on the magnificent ER, and here she does not disappoint. Her work has not gone unnoticed as in recent days she has won both the Golden Globe and the SAG award for best leading actress in a drama series. An Emmy win later in the year seems a certainty. Her supporting cast is just as good. Chris Noth, aka Mr Big from Sex And The City, as her incarcerated husband suits his role, though hopefully he will be given more screen time as the series progresses, and the consistently excellent Christine Baranski as her tough as nails boss is a joy to watch.
For a pilot episode, the writers, directors and performers seemed confident in what they were doing, and there was a scarcity of false notes that usually plague drama pilots. Both the family story and the procedural drama blended well together and were equally as engaging.
Strength, confidence and wisdom. This is the story of a strong, confident woman, regaining control of her own life. I'm told the series keeps getting better as it goes on, and I just can't wait.
Peace xx
Anyhoo, the show's premise is that a senator has disgraced himself by having affairs with hookers, and paid them with government money. Oops. He winds up in his prison and his 'good wife' (see how clever this show is already?) has to return to work as a junior attorney. Now, in the opening scenes of this pilot episode we may have been led to believe that this would be some sort of family melodrama. However, it soon becomes clear that this is not just the story of a family coping with the fallout of some shocking revelations. Returning to work at a law firm, our good wife plunges us into an extremely involving legal drama as we are invited to work alongside her on a baffling case.
The opening scenes were something of a rollercoaster. As with all great protagonists, the pressure has really been piled on our good wife. Not only is she coping with her husband's betrayal, imprisonment and the attendant publicity, she is also juggling two children, a meddling Mother-in-law, and a return to work after a 13 year absence. And what a workplace: having to compete with another junior attorney for a permanent position in the firm, and all under the steely gaze of a boss who clearly doesn't want her to progress too far. Add to that a case that seems impossible to win, and we know our good wife has her work cut out for her.
The cast here is top notch. Juliana Margulies as the good wife is first-rate. Margulies did sterling work for years as Nurse Carol Hathaway on the magnificent ER, and here she does not disappoint. Her work has not gone unnoticed as in recent days she has won both the Golden Globe and the SAG award for best leading actress in a drama series. An Emmy win later in the year seems a certainty. Her supporting cast is just as good. Chris Noth, aka Mr Big from Sex And The City, as her incarcerated husband suits his role, though hopefully he will be given more screen time as the series progresses, and the consistently excellent Christine Baranski as her tough as nails boss is a joy to watch.
For a pilot episode, the writers, directors and performers seemed confident in what they were doing, and there was a scarcity of false notes that usually plague drama pilots. Both the family story and the procedural drama blended well together and were equally as engaging.
Strength, confidence and wisdom. This is the story of a strong, confident woman, regaining control of her own life. I'm told the series keeps getting better as it goes on, and I just can't wait.
Peace xx
Monday, 11 January 2010
It's Not Complicated. It's Weird And Not Very Good
Greetings, changelings. Now, imagine my fever dreams over the past few months over the news that Meryl Streep was to star in a charming romantic comedy with Alec Baldwin. Meryl, the divine, who's virtues have been extolled many a time previously in this very blog. And Mr. Baldwin, recently reborn as a great comedy actor thanks to one Tina Fey and the excellent 30 Rock.
I was excited.
Recently I have been noticing that Meryl has become perhaps more memorable for her comic roles than her much lauded dramatic ones. Heartburn, Death Becomes Her, and recently The Devil Wears Prada, Mamma Mia! and Julie & Julia seemed to unleash something new within her as an actress. All those torturous roles of the 80's must have really taken their toll on her psyche. The noble suffering, illness, death, tears, wigs and accents of The French Lieutenant's Woman, Sophie's Choice, Silkwood and A Cry In The Dark earnt Meryl her place in the canon of great movie actresses. However, by the late 90's the quality of these scripts had declined and in such t.v-movie-of-the-week fare as The Bridges Of Madison County, One True Thing and Music Of The Heart, she had almost descended into self-parody. Luckily she bounced back with top-notch affairs The Hours, Adaptation and Angels In America, but the comic roles that followed would more suitably sum up her career in the 21st century. Fresh from the joyous campery of Julie & Julia, It's Complicated looked set to continue the trend.
Alas, it was not to be. The original longer version of the trailer seemed to dish up exactly what we wanted: fun and frolics with some old legends. Then, the 'shorts' came -- those 30 second television tasters. Something was definitely wrong. Suddenly it didn't seem so endearing. The world at large seemed to know before I did that this would be utter nonsense. Still, I persevered. I thought that even if it wasn't that great I could at least revel in some comic delights from Meryl and Alec Baldwin.
But no, but no. This film came from the pen of Miss Nancy Meyers. She told us exactly What Women Want, then it was downhill from there. Something's Gotta Give was overlong, meandering, and full of odious characters we wouldn't want to spend five minutes with. And let's not get in too deep with a critique of The Holiday. More loathsome characters, even more loathsome actors (if such a thing was possible), a hideously miscast Kate Winslet and an uninvolving plot that seemed to drag on for several hours. And so it was with this film. Meryl is divorced and should go on a date. Cue an extremely dull Steve Martin, who is meant to form the third part of this love triangle -- but not even Meryl seems interested in him. Full plot details are not worth going into. Suffice to say that if some of our greatest actors cannot pretend to be interested and or/interesting, then how are we, the audience, supposed to invest in them?
The supporting characters were irritating and bland-- Meryl and Alec seem to have been cursed with hideously boring offspring-- and not a wise-cracking best friend in site! So many lost opportunities here. Meryl has a group of girlfriends who get together, drink wine, and talk about men. Middle aged, sassy, no-nonsense friends? Well, yes. On paper. However these scenes were painfully contrived and unfunny. And, as you know, I am quite partial to groups of sassy middle aged ladies, so was doubly disappointed.
The film flopped limply from monotonous set-piece to monotonous set-piece. Steve Martin kept coming back, but Meryl didn't really care. At one point, Meryl was to get stoned. Inside, my heart leapt. Meryl getting high? This could be comedy gold and could save the film. Again, no. Contrived and unfunny. What a waste.
Now, I'm used to seeing cheesy comedies that at least raise a laugh or two and are a not altogether unpleasant way to spend a couple of hours. This film, however, was a trial. I had at least expected Meryl to give us some chuckles, but even she didn't seem too invested in the whole affair.
Which brings me to the most worrying point. If you scroll down these blog posts, you will see my review of the equally disappointing Fantastic Mr Fox, in which I mentioned that it seemed Meryl had 'phoned in' her performance. Well, it seems she did it again here. To be fair, there was not much material to work with, but Meryl has made a career of elevating herself above the material she is given, to startling effect. But these last two misses seem to indicate that maybe...maybe...could it be? Is Meryl getting bored? Is she about to retire? Or is she going to carry on cranking out mediocre films with, frankly, the most mediocre performances of her career? I worry. I worry greatly.
All in all, this was a tragic waste of all the talent involved, and a colossal waste of my time. I'll console myself with the notion that by going to see this, I have contributed to Meryl's box office clout so that she can star in some smaller, far superior independent film. Here's hoping.
To remind ourselves of Meryl Streep, great comedian, please check out Death Becomes Her again. I know I will be, if only to expunge the memory of this trainwreck.
Peace xx
I was excited.
Recently I have been noticing that Meryl has become perhaps more memorable for her comic roles than her much lauded dramatic ones. Heartburn, Death Becomes Her, and recently The Devil Wears Prada, Mamma Mia! and Julie & Julia seemed to unleash something new within her as an actress. All those torturous roles of the 80's must have really taken their toll on her psyche. The noble suffering, illness, death, tears, wigs and accents of The French Lieutenant's Woman, Sophie's Choice, Silkwood and A Cry In The Dark earnt Meryl her place in the canon of great movie actresses. However, by the late 90's the quality of these scripts had declined and in such t.v-movie-of-the-week fare as The Bridges Of Madison County, One True Thing and Music Of The Heart, she had almost descended into self-parody. Luckily she bounced back with top-notch affairs The Hours, Adaptation and Angels In America, but the comic roles that followed would more suitably sum up her career in the 21st century. Fresh from the joyous campery of Julie & Julia, It's Complicated looked set to continue the trend.
Alas, it was not to be. The original longer version of the trailer seemed to dish up exactly what we wanted: fun and frolics with some old legends. Then, the 'shorts' came -- those 30 second television tasters. Something was definitely wrong. Suddenly it didn't seem so endearing. The world at large seemed to know before I did that this would be utter nonsense. Still, I persevered. I thought that even if it wasn't that great I could at least revel in some comic delights from Meryl and Alec Baldwin.
But no, but no. This film came from the pen of Miss Nancy Meyers. She told us exactly What Women Want, then it was downhill from there. Something's Gotta Give was overlong, meandering, and full of odious characters we wouldn't want to spend five minutes with. And let's not get in too deep with a critique of The Holiday. More loathsome characters, even more loathsome actors (if such a thing was possible), a hideously miscast Kate Winslet and an uninvolving plot that seemed to drag on for several hours. And so it was with this film. Meryl is divorced and should go on a date. Cue an extremely dull Steve Martin, who is meant to form the third part of this love triangle -- but not even Meryl seems interested in him. Full plot details are not worth going into. Suffice to say that if some of our greatest actors cannot pretend to be interested and or/interesting, then how are we, the audience, supposed to invest in them?
The supporting characters were irritating and bland-- Meryl and Alec seem to have been cursed with hideously boring offspring-- and not a wise-cracking best friend in site! So many lost opportunities here. Meryl has a group of girlfriends who get together, drink wine, and talk about men. Middle aged, sassy, no-nonsense friends? Well, yes. On paper. However these scenes were painfully contrived and unfunny. And, as you know, I am quite partial to groups of sassy middle aged ladies, so was doubly disappointed.
The film flopped limply from monotonous set-piece to monotonous set-piece. Steve Martin kept coming back, but Meryl didn't really care. At one point, Meryl was to get stoned. Inside, my heart leapt. Meryl getting high? This could be comedy gold and could save the film. Again, no. Contrived and unfunny. What a waste.
Now, I'm used to seeing cheesy comedies that at least raise a laugh or two and are a not altogether unpleasant way to spend a couple of hours. This film, however, was a trial. I had at least expected Meryl to give us some chuckles, but even she didn't seem too invested in the whole affair.
Which brings me to the most worrying point. If you scroll down these blog posts, you will see my review of the equally disappointing Fantastic Mr Fox, in which I mentioned that it seemed Meryl had 'phoned in' her performance. Well, it seems she did it again here. To be fair, there was not much material to work with, but Meryl has made a career of elevating herself above the material she is given, to startling effect. But these last two misses seem to indicate that maybe...maybe...could it be? Is Meryl getting bored? Is she about to retire? Or is she going to carry on cranking out mediocre films with, frankly, the most mediocre performances of her career? I worry. I worry greatly.
All in all, this was a tragic waste of all the talent involved, and a colossal waste of my time. I'll console myself with the notion that by going to see this, I have contributed to Meryl's box office clout so that she can star in some smaller, far superior independent film. Here's hoping.
To remind ourselves of Meryl Streep, great comedian, please check out Death Becomes Her again. I know I will be, if only to expunge the memory of this trainwreck.
Peace xx
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