The Following Takes Place Between the Third Man and the Fourth Protocol: A Tribute to '24,' TV's Best Thriller Ever
With word in Variety this morning that, as expected, “24” will most likely end its run on Fox at the end of this season, I wanted to say a few words about this extraordinary, landmark TV show.
It took a genre that is best done in books and movies—the thriller—and gave us heart-pounding, adrenaline-fueled action week-in and week-out, for 24 hours, each season for eight years.
The main conceit of the show was simple and yet almost impossible to pull off well—and yet they did it, season after season.
The idea each season was to tell a thriller in real time, each hour, for 24 hours. And show creators Joel Surnow and Robert Cochran set their sights high—each hour was to be like a chapter in a good thriller novel, full of twists and turns, suspense and surprise, and end with a hook so you couldn’t wait to turn the page to read the next chapter. Yeah, right. Great to aspire to that, guys, and if you’re able to achieve it once or twice a season, good on you, as my friends down under would say.
But, son-of-a gun, Surnow and Cochran and showrunner Howard Gordon and their team of extraordinarily talented writers over the years actually reached the heights they set out to achieve.
Yes, there were bumps—and sometimes potholes—along the way. But even when I was frustrated with the show, screaming at the top of my lungs at the TV screen that no, that wouldn’t happen, or yelling at it “to give me a break, that’s stupid and ridiculous,” I almost always remained engaged, excited and couldn’t wait for the next hour.
And at its best—which has been often—“24” has been just spectacular. It’s a show that’s paid attention to the craft that makes great TV: faultless casting, sharp editing, visceral scoring, gritty cinematography, transfixing set design.
With all of this going for it behind-the-camera, all that’s been left is for “24” to deliver in front of the camera, and that it’s done in spades.
Taking their cue from Kiefer Sutherland’s intensity as Jack Bauer, the actors on the show have been Dustin Hoffman character-correct. By that I mean the acting has been so spot-on that almost every actor on the show has been totally believable as their character. Besides the actors themselves, credit the care in casting and the terrific way the show has been directed.
Not enough can be said about Sutherland. His value to the show? He’s Archie, Peyton and Eli all rolled-up in one. He’s Mantle, Maris and Mays. He’s Baryshnikov, Astaire and Rogers. He’s Beyonce, Gaga and Madonna.
He can sing AND dance, both forwards and backwards. He can skate on ice, thick or thin. He can handle the large heavy-duty excavator and the small sub-compact tractor. He’s big city and he’s small town. He’s as calculating as Harry Lime in “The Third Man,” and as smart and resourceful as those agents Michael Caine used to play all the time in movies such as “The Ipcress File” and “The Fourth Protocol.”
To those of you who have never seen the show, I recommend you buy or rent Season 4. It’s my favorite of the series. You don’t have to have seen any of the series to fall right into it. Watch it over a weekend or two and I defy you not to come out of the experience singing the praises of “24.”
All of this being said, I’m not sad to see the series end. I am still enjoying the series, and I told Gordon just that the other day. Kudos for another terrific season.
I have some friends who say that the show has jumped the shark. I don’t agree with that assessment.
But, to be honest, there are just so many nuclear disasters from which Jack can save us. There are just so many schematics Chloe can look-up and send to Jack’s cell phone. And damnit, there are just so many “Damnits” Jack can utter.
The show is still an adrenaline rush like no other show on TV, but it’s no longer like the first time I was strapped into the ride on Space Mountain. Nor like the third time. It’s more like the 103rd time. Still a great ride, but I’m ready for the next thrill.
Sutherland still continues to involve me and amaze me. Each season he delivers an Emmy-worthy performance, and his evolution of Bauer’s character this year, with its yin-and-yang conflicts barely under the surface, is transfixing.
But I’m ready for the “24” movie. Or maybe movies. Probably like most big fans of the show, I’ve got some ideas about how Jack’s character can grow in a film. The plot I have in mind would keep the conceit of the action happening in real time, as it did in “High Noon.”
But that’s for the future. For now, the clock is still ticking on this season’s “24.” And I think during this year’s finale I’ll invite a few friends over who also have been fans of the show and I’ll open up that great vintage of Gravelly Meadow cabernet sauvignon I’ve been saving to savor on a special occasion: To the cast and crew of “24”—Thank You.#
The Good, the Bad and the Ugly That Was This Year's Oscar Broadcast
A historic win, a glaring omission, a rude interruption, tears of joy and some killer one-liners—all part of the lengthy live telecast of the 82nd annual Academy Awards on ABC.
Despite the predictability of all four of the major acting awards, the David vs. Goliath smackdown between “The Hurt Locker,” with its miniscule box office take and “Avatar,” the highest-grossing film ever, drew more than 41 million viewers—the highest since 2005, when “Million Dollar Baby” was the top pic.
It’s great news for the television industry that all of the major tentpole events so far this calendar year have done boffo ratings. The Golden Globes, the Grammy Awards, the Peoples Choice Awards, the Super Bowl—which set a record--all way up over past years, even in this age of audience fragmentation.
But back to the Oscars. Opening the show with Neil Patrick Harris doing a song-and-dance number was inspired and attention-grabbing right out of the gate, but the tune disappointed. Still, it won’t hurt his well-deserved new rep as the go-to guy for awards show hosting duties.
The Steve Martin-Alec Baldwin hosting duo also emerged eminently employable. But it was touch and go for a moment as they bantered with the likes of a moody George Clooney, a radiant in white Meryl Streep and the regal Helen Mirren—momentarily evoking the ghost of David Letterman’s doomed “Uma/Oprah” schtick and Chris Rock’s repeated dissing of Jude Law. You’ll recall neither host was asked back.
Baldwin looked a bit nervous until he landed a one-liner about a cutaway of James Cameron earning $3 million. One of Martin’s gut-busters was about Streep’s Nazi memorabilia collection. The two had the audience laughing with their 3-D glasses gag, swatting away some Avatar-ish animations with bug spray, a cutaway of them in Snuggies watching the show and a pre-taped bit on their restless night before the Oscars in a hotel room bed together.
The unpredictability of a live show always adds to the drama and these are some of the moments, bad and good, that are sticking with me:
--The interruption of the acceptance speech by the producer of the documentary short “Music by Prudence.” OMG, was this a Kanye West-type stage takeover? Roger Ross Williams was just expressing his gratitude when a woman—unknown at the time to be another producer on the film and the co-winner--took the mic and went off about how a man wouldn’t let a woman talk and then ranted on until they were played off. Shocking! “The Daily Show” put it best last night, as Jon Stewart likened her to a lady who looked like she ran the snack bar at his synagogue’s Purim festival and John Oliver more pointedly asked, “What kind of classless bitch would interrupt an Oscar acceptance speech?” Probably a type who’ll never eat lunch in this town again. Elinor Burkett—who dropped out of the project but was still a credited producer--has quickly become a joke punchline, especially after she explained that Williams’ elderly mother prevented her from reaching the stage with a cane and that Williams didn’t know where Zimbabwe was until she told him. Who would have thought such inspiring subject matter (about a music group of disabled teenagers seeking social acceptance in Zimbabwe, where handicaps are seen as a curse) would generate this much animosity?
--The omission of Farrah Fawcett from the “in memoriam” segment. The actress died last year on the same day that Michael Jackson did, and she was overshadowed—and unfairly overlooked—again. In addition to her well-known television work, Fawcett did a number of feature films, therefore “qualifying” her to make the list. When asked about the oversight, an AMPAS spokesperson basically said sorry, not everyone could be included. Then, realizing the controversy was not going away, the Academy’s head honcho said she was better known in the TV world, and the Emmys should honor her. Hey, they already did. Major dishonor of Ms. Fawcett.
--She was beautiful in blue as a Na’vi, but when Zoe Saldana stepped out on stage as a presenter, the large crowd at my viewing party gasped. Walking down the stairs, her center slit gown was inches away from something we should probably never see on the Oscars—a crotch shot. The fashion police were called; she later topped just about everyone’s worst-dressed list.
--The young stars brought in to attract a younger audience—Miley Cyrus and Kristen Stewart, I’m talking about you—thankfully did not wear mini-skirts, but needed some posture lessons. Amanda Seyfried, you were the exception.
--Very nice John Hughes tribute, but the films of his oeuvre should have been chyroned with their titles and year of release—not everyone remembers them. Funny how some of the Brat Pack set have kept their looks, and others were nearly unrecognizable. Best accolades shown to the late director came from Macaulay Culkin and Matthew Broderick.
--Cry it out. I’m not normally as susceptible to the many charms of Oprah Winfrey, but her tribute to first-time nominee Gabourey Sidibe (“you’re in the same category as Meryl Streep”) brought tears not only to Sidibe, but to the rest of us who don’t have hearts made out of ice.
--Every single one of the acting winners gave a memorable acceptance speech. Every one of them—Sandra Bullock, Jeff Bridges, Mo’Nique and Christoph Waltz—had a lot of practice by taking the statuettes at various critics and guild awards en route to the big night, and all of them reached their own pinnacle. A+.
--Breaking barriers, breaking the mold: One of the few major awards that did not go as expected (to “Up in the Air’s” Jason Reitman and Sheldon Turner) was the adapted screenplay honor handed to Geoffrey Fletcher for “Precious,” making him the first African American to take home a screenwriting Oscar. It’s about time. No, it’s way past time.
And as Barbra Streisand put it as she presented the best director honor, the time had come—for Kathryn Bigelow, director of “The Hurt Locker” to make history as the first woman ever to take home the gold man in that category. And, unbelievably, only the fourth woman to ever receive a directing nod in 82 years. (Streisand herself famously faced barriers when she directed 1983’s “Yentl,” so she was the perfect choice as presenter.)
But it wasn’t over yet, even though Tom Hanks later said it was always the plan that he would not read the 10 best picture nominees—which seemed like a rush job at the time—and just open the envelope. A still-stunned Bigelow came right back out on stage to claim the top prize of the night for “The Hurt Locker,” dashing predictions that “Inglorious Basterds” might be the spoiler.
The work of one of “The Hurt Locker” producers (the money man) who sent the “illegal” email asking academy members to vote for his film over the $500 million one (and got his invitation to the ceremony revoked) obviously paid off with the film sweeping six of its nine nominations—to the three wins for “Avatar.”
The Oscars are known for moments that resonate far beyond the ceremony, sometimes for decades. Cameron, who campaigned hard the whole season and graciously congratulated ex-wife Bigelow, has now officially lived down his “king of the world” proclamation from more than a decade ago.
The underdog wins again. And where am I supposed to text Dolphin to?
How the Media Blew It in Reporting Toyota's Sales Numbers for February and the Great Brand Story Here, Thanks to Social Psychology
The media really missed the boat reporting yesterday and today (March 2 and 3) on the sales of cars in the U.S. in February.
The headline for almost all of the reports was that the sales of cars made by embattled carmaker Toyota were down by almost 9%.
As those of us who are fans of “Who Wants to be a Millionaire” know, while the popular choice made by the "audience" lifeline is generally right, every so often they blow it.
So it was with the press and this story about Toyota.
The real introduction to this story that newscasters should have reported is this: “Despite more negative publicity than almost any company has ever received about its products, Toyota sold 100,000 cars in February. Only General Motors and Ford, both with auto sales of about 140,000 each, sold more. Nine auto companies, including major players such as Honda, Nissan and Volkswagen, all sold few cars than embattled Toyota last month.”
The question here—and the brand lesson—is how Toyota was able to sell any cars last month, let alone be the nation’s third largest auto seller.
The first story that caught my attention about this phenomena was one I heard on National Public Radio last month. The report, emanating from a Toyota dealership, noted that despite its service department working overtime to repair Toyotas as part of the huge recall, the sales showroom was surprisingly busy with past owners looking to purchase new Toyotas.
Knowing about this potentially fatal problem that a number of Toyotas have, why would anyone actually go buy a Toyota right now?
First--and key here--is that most of the buyers are folks who have had Toyotas before. I fit in that category. The most reliable car I ever owned was a Toyota MR2 that I had for well over a decade and for close to 200,000 miles.
Would I consider buying a Toyota today? Actually, I would. Am I crazy? (Er, don’t answer that.) Are the people who bought 100,000 Toyotas in February crazy? What’s going on here?
I think it’s about cognitive dissonance. That's a theory in the field of social psychology. I learned about it in college. I’m certainly no psychologist, and I know some professional psychologists don’t buy this theory. But I’ve always found it compelling, especially in seemingly contradictory circumstances like we find with Toyota owners and their continuing to purchase Toyotas despite that fact that the cars may have life-threatening problems.
Here’s how the theory goes: You have a belief about something. In this case, people who have owned Toyotas in the past have learned to believe that they are one of the most reliable cars on the road, if not THE most reliable. They believe this because, in the past, Toyotas have indeed fit this description.
Now here comes this new information that is contradictory to that. Not only are Toyotas not actually reliable, they have a problem that is potentially life-threatening.
As someone who’s believed Toyotas are safe and reliable, what do I, and millions like me, do with this new information? One would think that the natural thing to do is to immediately change one’s view and say,”Well, Toyota has this problem and yes, I used to think they are good, but I’m not going to buy one now because I’m really worried about this problem and from what I’m reading I can’t be 100 percent positive that what they are doing will really fix the problem.”
But what actually happens for a lot us is this, consciously or not: “Hmm. I’ve always loved Toyotas. The Toyotas I’ve owned have always been great. I talked my sister-in-law into buying one. My cousin as well. They loved their’s too. Before I heard about this recall I was thinking of buying another one. Could I have been wrong about Toyota? There does seem to be a problem. OK, this might be a glitch. But it’s Toyota for chrissake. The best cars I’ve ever owned. This isn't anything like those Ford Pintos that blew up, or what Ralph Nader said years ago about the Corvair. Hell no. These are Toyotas. They ARE great!”
Yes, dear friends, it’s ye ol’ rationalization. I’ve now taken the new, negativne information about Toyota and processed it in such a way that I can still love Toyota.
Because I DO love Toyota, as do millions of others. Hey, have you seen the new Prius? Yeah, yeah, that brake problem is nothing. All fixed. But my God, even better mileage! And have you heard about the new solar roof panel that powers the ventilating fan? And on a hot day here in LA—yeah, yeah, that’s everyday here—how could you live anywhere else?—you can now turn on the air-conditioning while you’re walking to your car to cool it off! Yeah. Yeah. And…#
Costume Designers Guild Honors 'Mad Men,' 'Glee,' 'Grey Gardens'
It was the glamour of the Camelot era versus the costumes worn in the steamy environs of fictional Bon Temps, La.—and the royal finery of King Henry VIII’s era.
All are beautifully authentic costumes, many of which come off their characters at the drop off a hat.
It was “Mad Men”’s acclaimed costume designer Janie Bryant who walked away with the coveted Costume Designers Guild Award for outstanding period/fantasy TV series in ceremonies at the Beverly Hilton.
She designs not only the noteworthy early 1960s fashions for Betty and Don Draper and other key cast members, but for all the background players--up to 200 costumes per episode—and frequents vintage stores in LA and New York as she creates the sophisticated looks that have made the fashion industry stand up and take another look at the bygone era.
“It’s been such an incredible, amazing ride, and I’m honored to be in a group of such creative people,” Bryant said in her acceptance speech, giving a shout-out to executive producer and writer Matthew Weiner for giving her the time of her life.
If there was a night to show up in fashionable or attention-grabbing finery, this was it, and the “Mad Men” troupe, including Weiner in a dapper tux, didn’t disappoint. Hosted by Parker Posey and sponsored by Swarovski and Lacoste, the guild awards honor the best costume design in television, film and commercials. You don’t want to be caught in a boring dress or a stuffy suit in this crowd.
In the outstanding contemporary TV series category, “Glee”’s Lou Eyrich took home the trophy, besting designers from “Ugly Betty,” “Dancing With the Stars,” “The No. 1 Ladies’ Detective Agency” and “Big Love.”
The career achievement in television award went to Michael Travis, who has dressed everyone from Leontyne Price to Tony Orlando, Dinah Shore and Liberace. Travis started off on Broadway before moving to television, and a well- produced video tribute showed off his work on six seasons of "Laugh-In," where he created up to 400 costumes a week.
For outstanding TV movie or miniseries, Catherine Marie Thomas won the statuette for her work on "Grey Gardens." The other nominees were Michael Denison for "Georgia O'Keefe" and Barbara Kidd for "Little Dorrit."
The late Robert Turturice, known for his work on more than 30 made-for-television movies and 19 series, including “Moonlighting,” and a former CDG president, was given the Hall of Fame Award.
Casey Storm, the costume designer of the amusing and memorable milk ad campaign “Milkquarious” won for excellence in commercials. And unlike his on-screen characters, he didn’t wear white—but a bright red suit.
The costume designers for "Crazy Heart," "The Imaginarium of Dr. Parnassus" and "The Young Victoria” took home the awards for excellence in film and Emily Blunt—in a fashion-forward metallic gray dress with black netting at the shoulders--was honored with the Swarovski Award.
Nicole Kidman, Anna Paquin, Anna Kendrick and Kristen Bell also scored high marks for their get-ups for the evening. And Nancy Sinatra, who with George Schlatter presented the award to Travis…well, she didn’t wear boots. It just wouldn’t have been appropriate for the occasion.
Why 'Idol' Is in Trouble
Now that "American Idol" is down to its final 24 contestants it seems more clear than ever that the show could be headed into big trouble after this season.
Sarah Silverman recently said, as a viewer and fan of "Idol," what she's primarily interested in is hearing the contestants sing and then hearing what Simon Cowell has to say about them.
Watching last night's show (Tuesday, Feb. 23) only made one realize how right Silverman is with her observation.
I can whittle it down to one contestant's performance last night, and the judges reaction to it.
The contestant was Haeley Vaughn, an effervescent, bubbly, enthusiastic 16-year-old who sang the early Beatle's classic "I Want To Hold Your Hand," accompanied by her own guitar playing.
After the performance, Kara went first, saying that Vaughn was all over the place musically, but that she likes the girl. Randy agreed, in mild criticism mixed with much praise.
Then came Ellen. She said she didn't know anything technically about music--referring to the critiques of Kara and Randy--and that as "Someone who just loves music, I enjoyed it."
Next came the truth-teller, Simon: "If I'm honest with you, I thought it was verging on terrible." As the boos mounted in the audience, he continued, "It was a complete, utter mess. It wasn't very good." As the crescendo of boos peaked, Simon then said, "I'm only saying what you're thinking."
And, of course, as most times, he was indeed saying what we were thinking.
Up until last night, for much of 'Idol" this season, Simon appeared to have been disinterested and distant, seemingly already done with the show, knowing that this is his last season.
But last night he was back on his A-game.
Seeing that, along with the pronouncements of Miss "Gee, I don't know music, but I liked that," you can clearly see the huge challenges "Idol" has moving forward.
First there was the choice of picking Ellen to join the weak Kara (she's just basically a clone of Randy without his wit, charm or smarts) on the judging panel.
Yes, Ellen can deliver a good joke, as we've seen. And last night, after Simon's dose of truth about Haeley's performance she quipped, "If it was a mess, it was a hot mess," but her humorous quips don't generally add anything to the enjoyment of the show and just serve as a distraction.
Ellen as a talk-show host? Absolutely! Ellen as the judge of a show trying to pick the next best comic? Stupendous! Ellen as a judge on 'Idol"? Stupefying.
So what it will come down to after this season is who replaces Simon. I cannot think of a more difficult casting decision.
For those of us who love 'Idol," as well as for those responsible for keeping the program going as the cash cow it is on the business side, there is no bigger decision the producers of the show and those at Fox will have to make regarding this show.
So far, with their choices of having Kara and Ellen join the judges table, I'd say they have two strikes against them. I'm hoping that they don't strike out.#
Humor the Highlight of the Writers Guild Awards Ceremonies
You probably had to be there, but Larry David said the Writers Guild issued him a death sentence in handing him the Paddy Chayefsky Laurel Award for Television.
It was the culmination of a hilarious acceptance speech at the WGA Awards in Los Angeles Saturday in which David revealed that his mother's dreams for him were to become a mailman, that he'd long ago scouted out a place on 44th St. on which to camp out when he became homeless — and that he hates writing.
Humor was a hallmark of the evening, beginning with host Seth McFarlane's opening song-and-dance number, which profanely mocked anyone in the business who thinks they can do it without writers. Chris Rock brought down the house with his riff on Tiger Woods’ apology, Billy Crystal razzed Barry Levinson for not hiring him, but a different kind of Jew — named Mickey Rourke — for “Diner” and Levinson in turn thanked comedy god Mel Brooks in accepting the Laurel Award for Screen. Naturally, Jason Alexander (David’s thinly disguised alter ego as George Costanza) killed with his intro of David, joking that lauding him was tantamount to seeing Mel Gibson on the next Chabad telethon — and saying he thanked God for the “Seinfeld” blessing every day.
Cementing its critically acclaimed status with two trophies, the writing staff of ABC’s “Modern Family” walked away with the award for best new series and tied with “30 Rock” for episodic comedy.
And it was “Rock’s” time to shine again — for the third year in a row — as it picked up the trophy for best comedy series. Never one to take anything for granted, though, Tina Fey accepted the award in New York by saying, "Network TV is seen by so few people that it is as precious as live theater," and reminded the audience, "Our special moment may not last forever."
Tina, let’s hope there is an extended shelf life for you and the other “Rock” talents.
“Mad Men” continued its heavily awarded reign, taking best drama series for the second year running. "I’m really hungry, I can’t drink, I’ve gotta pee and I have low blood sugar,” said Matthew Weiner in accepting the award for his writing staff — a reference to the fact that in order to coordinate the East Coast/West Coast ceremonies, the folks in Southern California had been drinking for nearly four hours at that point, with dinner still to be served. ("Curb Your Enthusiasm" regular Susie Essman hosted at the Millennium Broadway Hotel's Hudson Theatre in New York.)
The writers of "House" took the episodic drama trophy for their two-parter "Broken." Coincidentally, star Hugh Laurie had a presenter's role after that award was given, saying he had been prepared to unleash a torrent of hate if his show had lost — as he fully expected.
And in a very tough call in which I agree with the decision, guild voters just couldn't decide which show was better written, so there was a tie between the staff of "The Daily Show With Jon Stewart," led by head writer Steve Bodow, and "Saturday Night Live," headed by Seth Meyers, for best comedy/variety series.
"I want to thank Jeff Zucker for having nothing to do with our show and network," said "The Daily Show's" Tim Carvell from the New York ceremony.
The NBC Universal chief was also a target of Chris Rock, who called him "the Elgin Baylor of TV"—a joke that left many in the audience a bit confused, but nonetheless amused.
For longform original, “Georgia O'Keeffe,” written by Michael Cristofer, edged out the popular “Grey Gardens” to take the trophy, and for longform adaptation, the well-decorated “Taking Chance” got the prize for its teleplay by Lieutenant Colonel Michael R. Strobl, USMC (Ret.) and Ross Katz, based on the short story by Strobl.
Other highlights: Morgan Freeman (the new James Earl Jones of the voiceover world) presenting the Paul Selvin Award to “Invictus” screenwriter Anthony Peckham, and Rock and Ali LeRoi’s spiel before Carl Gottlieb accepted the Morgan Cox Award for long-time service to the WGA.
(For a complete list of winners, click here.)
NAACP Image Awards: A Tough Race for TV Nominees
Could it be? Having a little bit of momentary awards show withdrawal in the midst of the season, after the boom-boom-boom of the Golden Globes, the SAG Awards and the Grammys.
The next televised extravaganza (after the non-broadcast yet very prestigious upcoming WGA Awards and the Costume Designers Guild Awards) will be the 41st Annual NAACP Image Awards, live on Fox Friday, Feb. 26, at 8 p.m. — but tape-delayed on the West Coast — from the Shrine Auditorium in Los Angeles.
This year’s theme, “One Nation, One Dream,” represents a utopian goal distilled for the prestigious civil rights organization, which is also celebrating entering its second century of civil rights advocacy.
The nominees — representing excellence in television, film, music and literature — got revved up at a luncheon in their honor at the Beverly Hills Hotel, replete with admonishments from EP Vic Bulluck to keep their acceptance speeches to :45. Yeah, like that’s going to happen — but it’s always fair warning before the winner gets played off the stage or has his or her mic cut.
Attendees were treated to a performance by Judith Hill — Michael Jackson’s duet partner in “This Is It” on the ballad “I Just Can’t Stop Loving You.” Sans Michael, her piano and vocal performance riveted the crowd, and a few tears could be seen around the room.
The show itself promises more such moments — and some tough races on the TV side. Up for outstanding comedy: “30 Rock,” “Everybody Hates Chris,” “Glee,” “Ugly Betty” and “Tyler Perry’s House of Payne.”
Perry is up for several other awards, and no suspense here, will receive the Chairman’s Award, in recognition special achievement and distinguished public service. He’ll be in the company of past honorees including Aretha Franklin, Bono, President Barack Obama, The Dave Matthews Band, Danny Glover, Aaron McGruder and Janet Jackson.
Dramatic programs vying for the Image Award are “Grey’s Anatomy,” “Cold Case,” “HawthoRNe,” The No. 1 Ladies’ Detective Agency” and “Lincoln Heights.”
Another highlight: recording industry executive Clarence Avant will be inducted into the NAACP Hall of Fame.
(For a complete list of Image Award nominees, click here.)
What Will Tiger Say? If He's Smart, It'll Have This TV Element
Coming Friday: From the Gospel of the Former Saint Woods, his Sermon on the Mount.
OK, perhaps a bit of an exaggeration, but our anticipation of what Tiger Woods will say on Friday could not be any higher.
Woods' plan to break his silence and finally talk to the media, however briefly, has been immediately attacked for what he won't be doing: Primarily that he won't be anwering any questions. But I'm going to assume there might be a good reason for that and it's not just an issue of his being a control freak.
Regardless of how poorly many of us think Woods has handled his media communications during this scandal thus far, let's assume that his advisors really might have something on the ball, despite all evidence to the contrary thus far. I know, perhaps it's a nonsensical assumption, but let's give them the benefit of any doubt.
So let's see if we can figure out what Woods will say.
First, as ABC News said in its account of the Woods' anouncement, "In a statement Wednesday, Woods' agent Mark Steinberg said the golfer was looking forward to the next step. ' While Tiger feels that what happened is fundamentally a matter between he and his wife, he also recognizes that he has hurt and let down a lot of other people who were close to him. He also let down his fans. He wants to begin the process of making amends and that's what he's going to discuss,' the statement said."
OK, that sounds like the right thing to say.
Furthermore, according to the ABC account, "Fellow golfer Ernie Els told Golfweek magazine after Woods' announcement that his statement was 'selfish.' 'I feel sorry for the sponsor [of this week's professional golf tournament]. Mondays are a good day to make statements, not Friday,' he told the magazine. 'This takes a lot away from the golf tournament.' "
However, I also read where Woods' camp responded to Els by saying that Ernie doesn't know all the facts and that Woods needs to make his announcment on Friday and can't wait until next week.
So here's what I'm thinking: Why would Woods feel he MUST talk on Friday. I've decided it's one of two reasons.
One, there's some bombshell coming out in some publication early next week.
Or--and I'm hoping it's this one--Woods is going to say that he''ll be sitting down with Oprah or Diane Sawyer or Barbara Walters or Larry King or someone of their ilk on Monday.
If I'm wrong and it's just an announcement about where Tiger will play his first golf tournament since the scandal broke, then both Woods and his advisors are far less smart and media savvy than we already think they are. And so far we think they're getting a D- at best.
Tiger, don't keep blowing it.#
Howard Stern's an A-Hole—and Why He's the Right Choice To Replace Simon Cowell on 'Idol'
Howard Stern can be a mean-spirited a-hole. No doubt about it.
He is also one of the most brilliant, talented broadcasters I’ve ever heard. No doubt about it.
I don’t subscribe to Sirius Radio, so I have not heard Stern regularly in the past four years.
However, I was a regular listener when he was on free, over-the-air radio.
There were days when I was so upset with him for verbally abusing someone who I didn’t think deserved it that I swore I’d never listen to him again.
But a few days later there I was, again listening and laughing hysterically at something Stern said or at his antics or the antics of his gifted cohorts.
I don’t know Stern personally. Like you, I only know his public persona.
So here’s what I know. Stern is multi-dimensional. He’s colorful (duh) and smart as all get out. Yes, he can go on a rant and mercifully tear apart anyone at anytime. He can do it with some wit and biting humor or he can do it as an a-hole son of a bitch with nothing but verbal sludge and an oral sledgehammer. And while he thinks the latter might be funny and/or entertaining, it almost never comes across that way. At least it never did to me.
So what do I think about him taking over as a judge on “American Idol” when Simon Cowell leaves?
I think Stern would be a dazzling choice.
Before you decide that I’m crazy, go out and rent the movie “Private Parts.” Stern stars in it, based on his autobiography. The book came out in 1993, and the film was released in 1997.
It’s a fun, massively entertaining movie. Stern is terrific playing himself. And let’s credit Betty Thomas with a great job directing Stern and the film. If you only knew Stern from this movie, I don’t think any of you would question that he could take over for Cowell without being an inappropriate foul-mouthed scoundrel. A Simon-like scoundrel yes. And that’s that the show will need.
Stern is no stranger to TV. For many years he was on E!, but that was basically just a partly cleaned up version of his radio show, and still too raunchy for an audience with a lot of kids. And when I lived in New York in the 1990s, Stern had a comedy show on WWOR that I liked, but, again, probably not suitable for the young kid set.
But Stern could do this job, do it well, and be appropriate for kids. And it would pair Stern with a brilliant TV executive who has survived slings and arrows himself, and who I think Stern would respect and listen to: Fox’s Mike Darnell.
Ultimately, if Stern doesn’t take the job—or isn’t seriously offered it—here’s another choice I like:
Darnell himself.
Few may know this, but Mike is very musical. And I don’t know anyone with more smarts about what works on TV. Though he’s known for putting on daring and challenging programming, he may actually be too nice a man to replace Simon. Also, at this point in “Idol’s’ lifespan, it may be essential that Simon be replaced by someone who is more familiar to viewers than Darnell.
Which brings me back to Stern.
I’m a big fan of “Idol.” In our household it’s required viewing for me, my wife, our 14-year-old, our 11-year-old, and our six-year-old. If Stern took the gig I’d have no problem inviting him into our living room.
I can’t tell you the number of times, over the years, when Simon has spoken his mind and has gotten roundly booed—or attacked by the other judges for his opinion—that my wife and my kids have all looked at one another and then looked at me and we all nodded and have said, “Simon’s right.”
Next year I can easily see the new judge getting the same reaction on the show while my family and I all look at each other and say, “Stern’s right."#
Grammy Awards: Highs or Lows, a Tough Year to Top
Where was Kanye West when you needed him? Perhaps he could have mitigated some of the Taylor-phoria at the 52nd annual Grammy Awards, which many people are complaining was more like the Country Music Awards, what with the Zac Brown Brand (who?) winning for best new artist.
And even though West is famous for complaining at award shows, he actually scored some hardware for producing one of my favorite songs of the year, "Run This Town.” Rihanna wasn't even listed as a nominee, but she bolted up on stage with Jay-Z. and his cute little kid to accept the Grammy. So Kanye, you were missed — and congrats on your Grammy.
Whatever was going on in front of the camera in the 3½-hour telecast, audiences were liking it, to the tune of almost 26 million viewers, up about 35% from last year.
It was a big night for pop’s favorite not-really-single lady, Beyonce, although most of her record six Grammys were scored in the non-televised pre-show.
Let's get right down to the best things about the program: the tribute to Michael Jackson, Pink’s Cirque du Soleil-esque performance and some of the duets that rocked the Staples Center stage and small screens everywhere.
The 3-D tribute to Jackson had been hyped before the show, but in order to see it properly, you had to have a pair of glasses from Target, or maybe some you nicked from "Avatar.”
Not living in the vicinity of a Target or willing to make a trip, we had to see it cold, in regular, boring old 2-D. No matter. The staging was beautiful, and the performers (Celine Dion, Carrie Underwood, Smokey Robinson, Jennifer Hudson and Usher) soared in concert with the enviro-lyrics from the late, great King of Pop.
And then came the most touching part of the tribute, Jackson’s kids Prince Michael and Paris taking the stage to accept their dad’s lifetime achievement award. The last time a TV audience saw these pre-teens was on the same stage, at Jackson’s memorial service — and you could feel the audience holding their collective breath, riveted by the sight of the poised brother and sister dressed in dark suits with red armbands. This time, Prince spoke — sounding uncannily like MJ in his delivery — and promised to continue to spread the message of love that was instrumental in his father’s songs.
Can we talk Pink? The pop singer pulled off a similar aerial performance at the recent VMAs, but this was truly spectacular. The nude bodysuit, the white bondage-y outfit — and being aerially dunked in water while spinning in a harness and still singing like an angel. Hard to top.
Another big moment, the inspired pairing of Andrea Bocelli and Mary J. Blige. Bocelli started off singing “Bridge Over Troubled Water” in Italian before Blige joined in and gave the classic Simon & Garfunkel song a sweet R&B twist.
A couple of the other duets weren’t so in sync. Take the show opener — Elton John and Lady Gaga, whose crazy costumes are getting a little tiresome. How long has Elton been pounding the ivories and singing his soul out — more than 35 years? Don’t think her music will have the shelf life of a “Candle in the Wind.” I was distracted by whether she painted her teeth translucent red as part of the apparent monster theme that was many months late for Halloween.
Stephen Colbert — man, you’re great but your monologue really blew. Asking your teenage daughter three times if you were cool was a bit much. (You kind of redeemed yourself when you did pick up the Grammy for best comedy album — and spoon-feeding it on “The Colbert Report” last night was pretty damn funny.)
Oops, the audience voting for what song Bon Jovi would sing was closed to West Coast viewers.
If you were paying close attention — and mine certainly drifted during the ubiquitous and overexposed Black Eyed Peas performance — you somehow realized the Recording Academy had handed out a number of lifetime achievement awards, to music legends like Leonard Cohen, Bobby Darin and Loretta Lynn, but these were mentioned quickly in passing, without even a clip of a song to recognize the artists.
Instead of going to commercial after the “in memoriam” segment, as is traditional, the show went to “Crazy Heart” start Jeff Bridges, apparently now considered a musician. Tough segue.
More program notes:
Quentin Tarantino — you could get a job as a carnival barker. Maybe dial it down a few notches.
Ricky Martin — did you get the heat you asked for twice?
Kaley Cuoco — was your dress on backwards?
Bon Jovi — why did the fan-chosen “Living on a Prayer” only run about 1:30? Always leave them wanting more, I guess.
Beyonce — did you really grab your crotch?
Whichever Jonas brother — do glasses make you look more mature? It kinda worked.
Lionel Richie — can you read the teleprompter a little more smoothly or memorize your intro better? It distracted from the significance of what you were saying.
Kings of Leon — maybe not so many shots before the show next time. This isn’t the Golden Globes.
With all the high and low moments — as Robert Downey Jr. called them, the “gauche festivities” — this will be a tough Grammys to top.
OurTvSpace.com commented on
