The Everywhere Actors

By on Aug 15, 2009 in Tinseltown |

When you watch as much television as I do, you see familiar faces all the time, and then you have to ask yourself (or IMDb), “Where have I seen him/her before?” For example, I’m watching the first season of House, and I’ve recognized guest stars from elsewhere in thirteen of the first fifteen episodes. And then there are actors like Michelle Forbes and Željko Ivanek who show up on many of my favorite series. The phenomenon came to a head recently when I saw both of them on the same episode of True Blood. Pictured above is Forbes in the roles she’s played in some of my favorite shows. From left to right: presidential advisor Lynne Kresge on 24, Oceanic Airlines representative Karen Decker on Lost, tough-as-nails admiral Helena Cain on Battlestar Galactica, beleaguered wife Kate on In Treatment, “social worker”/maenad Maryann Forrester on True...

Cool Spies Don’t Look at Explosions

By on Aug 10, 2009 in In Production |

One highlight of this May’s MTV Movie Awards was the music video starring Andy Samberg and “Neil Diamond,” with a special keyboard solo by J.J. Abrams. The video was an ode to the cinematic cliché in which the hero or villain walks away from a blast without so much as a backward glance. In case you haven’t seen it, check it out here: And keyboardist J.J. Abrams should know: on multiple occasions, characters in his brainchild Alias (my favorite show, incidentally) don’t look at explosions. Take this scene, in which free-agent Anna Espinosa, disguised as Sydney herself, brazenly doesn’t watch as Sydney’s truck explodes behind her… …or this scene, in which Peyton takes a bazooka to Sydney, Jack, and Irina’s only means of escape and then strides away with full badassery… …or this scene, in which Sydney runs away from an explosion in a Taiwanese lab. (Okay, she has a reason to not look:...

Follow That Sound

By on Aug 1, 2009 in In Production |

The following post was originally published on my old blog on June 28, 2009. Lately, the trend regarding opening titles has been to make them as short as possible. Gone are the days of ones lasting a minute-and-a-half. And rapidly going are the days of ones lasting thirty seconds. For example, both Grey’s Anatomy and Desperate Housewives once had excellent sequences—a satirical look of the representation of women in art, and a clever montage of love lives and professional lives intermingling. But both sequences have been replaced by mere title cards lasting five seconds, tops. That’s why I was so pleased to see that A&E bucked the trend starting with the second-season premiere of The Cleaner. This was a show that used to display a simple title card. But now, it has been granted a luxuriously long—and damn good-looking—title sequence, which you can view here (so long as...

An Elegy for the Remote-Free

By on Aug 1, 2009 in Tinseltown |

The following post was originally published on my old blog on April 1, 2009. One of my favorite practices this season was Fox’s “remote-free TV” model, in which the networks aired fewer commercials during each episode of Fringe and Dollhouse—while charging advertisers more for the exclusivity—in an effort to keep viewers watching live, instead of recording the shows and fast-forwarding through the commercials. I liked it because, as a result, each episode’s running time was 49 or 50 minutes, instead of just 42 or 43 minutes. Unfortunately, the experiment had its share of setbacks, according to this article at Airlock Alpha. Even though viewers paid more attention to the ads, many companies were reluctant to shell out the extra bucks. Also, each episode was more expensive to produce—and the extra minutes of each episode would be cut if the show was ever to air on...

Give These Actors a Take Two!

By on Aug 1, 2009 in Tinseltown | 1 comment

The following post was originally published on my old blog on March 29, 2009. The following actors are all alumni of some of my favorite shows, and I want them back on television. Post haste! Merrin Dungey Dungey is one of my beloved Alias actors and probably one of the most under-appreciated. She spent two seasons playing Francie Calfo and then made a couple of repeat performances later in the series. She spent two seasons on the sudsy, frothy mess known as Summerland. And then good news! She was cast as Addison Montgomery’s best friend Naomi Bennett in the backdoor pilot for Private Practice. And then bad news! She was replaced by Audra McDonald for the actual series. Even though McDonald seems perfect for the part of Naomi, Dungey needs a role elsewhere. Gillian Anderson I don’t care if she’s playing Dana Scully or not, Anderson should return to American...

The Sarah Walker Switcheroo

By on Aug 1, 2009 in Inanities |

The following post was originally published on my old blog on March 3, 2009. Just for the frivolous, hypothetical fun of it all, let’s theorize what would happen if the gun-wielding, Intersect-protecting Sarah Walker from Chuck swapped places with the upstart-starting, family-tending Sarah Walker from Brothers & Sisters. In the world of Chuck, Sarah Walker from Brothers & Sisters would get totally overwhelmed by the treacherous spy missions, call her family members for support, and then rally to get through it. She might have a fling with Chuck for the self-esteem boost and then break it off abruptly and clumsily. She would have no patience for Chuck’s best friend Morgan—she’d deem him immature and promptly put him in timeout. She would totally hit it off with Chuck’s sister Ellie—they’d call each other for life advice. She would object to John Casey’s attitude of superiority,...