Known most recently for his role as Jerry Boyle on HBO’s Luck, Gedrick’s currently unnamed character is described as an “owner of a Miami-area gentlemen’s club that becomes linked to a high-profile murder case.” Perhaps not the best position to be in when there’s a serial killer vigilante out searching for new “victims.” Has Dexter (Michael C. Hall) found his second big bad for season 7?
Rome star Ray Stevenson was previously announced for a reoccurring role, playing the leader of a Russian organized crime syndicate. Considering Stevenson’s high-profile upcoming roles in G.I. Joe: Retaliation and Thor 2 (reprising his role from Thor), he will likely play a major part in Dexter season 7. Throw in the phrase “Russian organized crime” and, well, it’s time to prep the plastic-wrap.
With Gedrick now joining the cast, his multiple-episode arc will most likely result in the character serving as a minor nemesis. That being said, Mos Def’s addition to the series last season was originally thought to be a “big bad” – but after Dexter season 6 began, Brother Sam’s true role in the series was revealed.
Brother Sam may not have delivered Dexter unto the Lord, but the Dexter season 6 finale did find our favorite blood splatter analyst saying “Oh God!” as Debra (Jennifer Carpenter) walked in on him killing Travis (Colin Hanks). For the audience, this may have been the second time saying “Oh God!” in the finale: Deb wanting to explore her romantic feelings for her brother was likely the first.
Heading into the seventh season, everyone is waiting to see what’s in store for Dexter and his Dark Passenger; if rumors prove to be true, this will be the penultimate season of the show. With many interesting storylines being established at the end of season 6, it’ll be interesting to see how they’re incorporated into the series going forward. If Dexter really does have only two seasons left, it’s likely that season 7 will be setting up the ultimate showdown.
Then again, with Dexter season 9 still a possibility, the end may not be so close after all. We’ll have to wait and see.
Anthony Ocasio blogs at Screen Rant.
The final chapter of House has been closed with the series finale, and the fate of Dr. Gregory House revealed. After eight years on the air (177 episodes), do you believe that this was a fitting end for television’s famed diagnostician?
Trapped in a burning building, House’s final battle for survival was played out in front of our eyes. With appearances from some familiar faces, both living and dead, it was left up to the famed diagnostician to save himself.
Reliving his final case in his conscience, House made the decision to save himself. Unfortunately, as Wilson and Foreman approached the building, House was engulfed in the flames – OR SO WE THOUGHT.
Taking a note from Sherlock Holmes, it was eventually revealed that House had actually faked his own death. Escaping from the back of the building, House wanted to spend the last remaining months of Wilson’s life with him.
Certainly an interesting ending, though one I doubt many saw coming. With the House series finale preceding a beautiful series retrospective, hopes were high that the series would be ended appropriately – but has it? While certainly the happiest of endings anyone could have imagined for the series, there will certainly be quite a few fans who were looking for more closure than was actually provided. While House certainly grew as this final season came to a close, it could be said that the character didn’t evolve to such a level that a motorcycle ride would be a fitting ending for what we see of the character.
Though the debate my continue for days, there’s only one question left to ask: Was this a fitting end to House?
Anthony Ocasio blogs at Screen Rant.
Considering how defined the characters on Mad Men are by their pursuit of achievement, it’s not hard to imagine any of them being done near irreparable harm by the realization that perhaps they’re not fit – or no longer fit – for the world of advertising. Given the effort the likes of Don (Jon Hamm), and especially, Peggy (Elisabeth Moss) have put in to attain such a career, seeing them stumble, as they have of late, is particularly worrisome when the end result of consistent failure is so dreadfully realized in the return of Paul Kinsey (Michael Gladis).
Thankfully, the more fragile personalities of SCDP are largely spared the vision of a Hare Krishna Kinsey – which is a good thing, taking into account that the ego-battering of work of Michael Ginsberg (Ben Feldman), and the effortless, drifting success of Megan Draper (Jessica Paré) have already taken a rather sizeable toll.
‘Christmas Waltz’ moves Sterling Cooper Draper Pryce a little closer to the end of 1966, but with little to show for it. Mohawk is ceasing its advertising in the wake of a mechanics strike, and the agency’s only claim to fame is Don’s letter to Lucky Strike – which inadvertently steered most of the really big fish away from the agency. In addition, none of their work is seen as revolutionary enough to warrant mention in a New York Times Sunday Magazine piece. In essence, the company’s creative side has a stagnation problem – which would normally mean no Christmas bonuses, but since Lane Pryce (Jared Harris) owes some back taxes to England, he figures passing off a new line of credit as a surplus will justify the bonus he uses to pay the sum off.
Pete (Vincent Kartheiser) seems to be the only one finding success – in work, anyway – and manages to get the agency another shot at Jaguar, following the dismissal of the poorly behaved Edwin Baker. As is the case with Pete, the response to his achievement isn’t what he’s looking for, and so he barks at Don, “Yes, you may have to stay past 5:30,” after Don mentions landing Jaguar will be a lot of work.
Bert Cooper (Robert Morse) isn’t the only one who’s noticed Don’s lack of productivity. It seems work just isn’t what it used to be for Don, and his performance on Sno Ball proves it. Making matters worse, Don and Megan attend the play American Hurrah, where a character goes on about the evils of advertising – which later causes a row between the couple, ending with Don telling Megan, “No one’s made a stronger stand against advertising than you.”
Like the deadly smog keeping Don from opening his patio door on Thanksgiving in ‘Dark Shadows,’ there is a cost for what they’ve built. Whether it’s a company, a reputation or a relationship, the taxes are coming due – so to speak – and it’s becoming clear that not everyone is going to have what it takes when the time comes to get square.
Poor Paul Kinsey has to be made the example in this case. Since being left behind following the slapdash formation of SCDP, Kinsey apparently fell down the advertising ladder and was spit out to become a Hare Krishna with dreams of settling down with a woman going by the name Lakshmi (Anna Wood) and writing for Star Trek. Paul wrangles Harry Crane (Rich Sommer) into attending a group chant, so that afterward, he can ask his friend to pass along his spec script to NBC.
Unfortunately for Paul, his writing’s no good, and worse yet, Lakshmi shows up at Harry’s office, seduces him, then tells him to stay away from Paul – the group’s best recruiter – so as to not turn Kinsey into a “gross materialist.” Following that encounter, Harry decides it best to pay Paul’s way to Los Angeles, where he can fail thousands of miles away from him and the Hare Krishnas.
Joan (Christina Hendricks) is served divorce papers at the office, and following a semi-violent outburst, is taken to test drive a Jaguar with Don. If Don found it easy to get what he wanted from people before, with Joan on his arm, the world is definitely his oyster. The two whittle away the afternoon in a bar, where Don reveals he doesn’t get a thrill out of the Jag, and Joan tells him it’s because he’s happy. On the other hand, Joan is terrified that she’s destined to be a single mother now that she’s being delivered divorce papers at work when she’s so used to getting flowers.
Amidst a discussion of the struggle that comes with starting over, Joan wonders why Don never put the moves on her, explaining, “My mother raised me to be admired.” Don tells her he was afraid of her, and jokingly thought she was dating Ali Kahn. Don deflects Joan’s attention toward a guy sitting by himself at the bar. The pair does a good job psychoanalyzing the man, assuming he’s married, but bored – his wife having committed the sin of familiarity. Don opts out at that point, giving Joan some “Mad Money” in case the guy at the bar doesn’t work out.
Taking the Jaguar back to the dealer, Don drives it rather furiously, suggesting he may need a thrill more than he thought. He arrives home drunk to find Megan itching for a fight – a state she seems in more and more, lately – and she reminds him he loved his job and had it long before he ever met her.
At the office the next day, Roger delivers Joan some flowers with a card that reads: “Your mother did a good job. Ali Kahn.” Don’s not done there; he rallies his troops, telling them they’ll be working non-stop until they land Jaguar – as an agency’s first car is how they tell the world they’ve arrived. It looks as though Don may finally be ready to start over.
Kevin Yeoman blogs at Screen Rant.
Bee Gees member Robin Gibb lost his battle with cancer Sunday at the age of 62. Yeah I was never a disco dude as a boy, but I later appreciated The Bee Gees and what they did accomplish.
Like another recently deceased member of the disco era, Donna Summer, the Bee Gees are often remembered as the leaders of a musical “fad” and not great musicians. It's so not true. They were prolific songwriters with harmonies that rivaled The Beach Boys. Even in my “disco hater” days I considered them the masters of the romantic ballad. Only Elvis Presley, The Beatles, Michael Jackson, Garth Brooks, and Paul McCartney have outsold the Bee Gees.
The Power Popaholic staff blogs at Power Popaholic.
Now that The Avengers has been unleashed on the viewing public and production is getting underway on the next component of the Marvel movie universe, Iron Man 3, fans can begin shifting their attention over to the various components being brought together and/or reuniting for Thor 2.
Expect more casting updates in the near future, along with information about whether or not side players like Heimdall (Idris Elba) and Sif (Jaimie Alexander) will indeed have expanded roles in Thor 2, as director Alan Taylor gears up to start production on the God of Thunder’s next solo adventure.
In the meantime, we can bring you up to speed on Chris Hemsworth’s thoughts about the Thor sequel – including the state of the Norse God’s relationship with his sibling Loki (Tom Hiddleston) in the aftermath of what went down in The Avengers – and how Thor 2 will differ tonally from its predecessor, now that Taylor (Game of Thrones) is in charge.
Here’s Hemsworth talking to MTV about the Thor-Loki dynamic:
“It’s what I loved about the comics. It was never clean and cut and that’s it. It was always like, Thor would forgive him, they’d be friends, and Loki would betray him again. ‘You idiot, Thor! Again?’ But it was different than your normal good guy, bad guy scenario. They’re brothers, you know? Anyone with siblings understands that. ‘That’s it, I’m never talking to you again… want to play football?’”
Hiddleston has already confirmed that Thor 2 will see his Asgardian counterpart deal with the consequences of his dastardly deeds in The Avengers. As to the exact nature of Loki’s redemption: Hemsworth is keeping quiet (as naturally he would):
“He’s got to apologize, doesn’t he? Baked goods. Muffins or something. That would be a bribe we could start with. Beyond that, I don’t know.”
Back in April, Hemsworth also expressed his excitement about having Taylor as director on Thor 2 (via /Film):
“Ken [Branagh] did such a wonderful job and, with scheduling or what have you, he didn’t end up doing this one, but I’m a big fan of the GAME OF THRONES series, which is Alan’s latest work, and I think that is what’s exciting about the second one: making it sort of more tangible and having a more organic feel to Asgard and that world.”
The actor went on to emphasize why he envisions a more naturalistic portrayal of Asgard as a good thing:
“I think the science fiction element to THOR… the danger is it falls a little bit into the world of it’s “tough to throw a light to.” I think of big waterfalls and mountains and a Viking influence, where the Norse mythology kind of grew from. Having that in Asgard is going to make it all the more special and that’s what Alan wants to bring to it. I think that would be the new aspect to this one.”
Avengers‘ mid-credits scene alluded to Marvel’s plans to branch out further into the realm of cosmic comic book adaptations, while also crafting more adventures based in (sorta) realistic science fiction world (Iron Man 3, Captain America 2). If the fantastical proceedings in Thor 2 are grounded with more relatable material – such as brotherly conflicts and tangible worldly designs, that would help the two branches of the Marvel movie universe to better mesh together and eventually converge (possibly, in Avengers 2).
Sandy Schaefer blogs at Screen Rant.
The shining star of Glee is looking to remain just as bright next season by adding the glamorous Sarah Jessica Parker and Kate Hudson as the latest A-listers to appear on Fox’s hit musical comedy. Fox is not saying much about what roles the two actresses will be taking on – but Parker let the news slip to Kelly Ripa this morning on Live! that she would be playing a “mentor of sorts.”
No word on whether either will sing – but Hudson has been confirmed for a six-episode arc, with Parker also appearing in a yet-to-be disclosed muti-episode arc. Hudson and Parker will join a star-studded list of guest stars that includes Whoopi Goldberg, Jeff Goldblum, Ricky Martin, Idina Menzel, and Gwyneth Paltrow – who has also expressed interest in reprising her role as the beloved substitute teacher Holly Holliday.
While details on Glee’s season 4 are still very limited – Show star Lea Michele has described creator Ryan Murphy’s ambitious plans for the upcoming season as “groundbreaking” and “revolutionary for television.” Next season Glee will convert into “show-within-a-show” style format that will bounce between McKinley High in Ohio and the performing arts school NYADA in New York City. The Ohio storyline will feature a set of new characters as well as those returning who did not graduate yet – while the NYC arc will center on returning cast members Lea Michele (Rachel), Chris Colfer (Kurt) and Cory Monteith (Fin).
Glee will also give its third season finale a star-studded send off. The finale titled “Goodbye” is set to air May 22nd and will contain guest-appearances from everyone’s favorite human train wreck Lindsay Lohan and internet loud mouth Perez Hilton. Lohan and Hilton will portray judges for Nationals along with Entourage’s Rex Lee – Gloria Estefan will also make a special guest appearance as the mother of Santana Lopez (Naya Rivera), with Estefan stating “I’m a big Gleek myself!”
Besides a new show set-up, Glee will also be moving to a new night. Fox will be creating a more music-centric Thursday night line-up this Fall by pairing Glee with both The X Factor (in the Fall) and the American Idol results show (in the Spring). President of Entertainment, Fox Broadcasting Co, Kevin Reilly calls the shows “culture-driving hits” and “strong returning tentpoles.” – and has announced that Britney Spears and Demi Lovato have been confirmed to sit on the judges panel alongside L.A. Reid and Simon Cowell on X Factor this fall.
Scott Stoute blogs at Screen Rant.
The elegant Los Angeles Opera production of the consummate classic “La Boheme,” anchoring one end of the downtown Los Angeles Music Center, is matched at the far end by a classic in the making, the sumptuous and much-lauded revival of Stephen Sondheim’s 1971 groundbreaking “Follies.”
The yin-yang contrast of these two vibrant musical events throws a neat spotlight on both the forces that keep a chestnut fresh and the challenges facing a work that is only belatedly being recognized as a theater landmark.
Both shows are constructed around the trials of two couples in the throes of passion and inevitability. In La Boheme, of course, Mimi’s impending death becomes the engine for Giacomo Puccini’s rhapsodically romantic melodies, tunes that have left audiences humming for more than a century. In the case of Sondheim’s angst-filled duos, the clash of adult reality falling short of youthful dreams becomes the setting for two hours of what many at its debut thought was the demise of the American musical.
As Los Angeles Times critic Charles McNulty put it, many initially said musical theater had been hijacked by Eugene O’Neill after viewing the dyspeptic, snarky and often laugh-out-loud hilarity of 20th century realism exploding the expectations of song-filled love affairs. The song “Could I Leave You?” may be one of the most satisfying deconstructions of a broken marriage in the musical theater. This production launched last year in Washington, played on Broadway and has been nominated for eight Tony awards, including Best Revival.
Real-life husband and wife team Stephen Costello and Ailyn Perez – dubbed the fastest-rising husband and wife opera team – sing the star roles in the Puccini work, itself a rethinking created by film director Herbert Ross.
Both works spotlight the factors that keep an established classic fresh and allow a new classic to emerge. The story of the dying Parisian seamstress nearly always teeters on the verge of parody, it is so well-loved and referenced. Yet, in this production, the hot young stars bring a verve and youthful vigor to the roles that make you believe all over again, although it should be noted that this is done without a shade of irony. This is a traditional yet compelling rendition of the chestnut and audiences were breathless in their bravo, bravoing. On the other hand, the Sondheim work, with its 41-member cast and 28-member live orchestra -- nearly the largest to ever grace the Ahmanson’s capacious stage -- as well as multiple dance numbers and fantastic costumes, is a work that is only belatedly taking its place in the annals of music theater history as a seminal masterwork.
This is due in part to the complicated, moody music and lyrics, but in no small part to the sheer size of the production. TV’s "Glee," with its delicious ironic take on the musical form, may certainly owe at least a wink to Sondheim – and the budgeting power of a broadcast network is nearly what it takes to mount a show this ambitious. This is not a show for the faint-hearted to undertake. And yet, for a work to take its rightful place as a classic, this full-throated, pedal-to-the-metal production is what it requires.
Many in the theater lobby at intermission commented that they had never seen a production of the show before. Critics have nearly universally applauded moving Sondheim’s early work that much closer to its rightful place in theater history, at the same time noting that in these hard times for arts groups everywhere, this kind of serious yet ravishingly entertaining theater is harder than ever to find.
Good News: According to co-creator Josh Schwartz, GOSSIP GIRL’s next 11 episodes are going to deliver in a big way. Bad News: Primarily because The CW has announced that the show’s sixth season — consisting of a paltry 11 episodes mind you — will be its last. [Source]
Good News: An average of 1.3 million viewers per week were enough to save fan favorites HART OF DIXIE and NIKITA, both of which will be returning to The CW next fall for a second and third season respectively. Bad News: 1.3 million viewers per week were not enough to save THE SECRET CIRCLE and RINGER. #RIP [Source]
Good News: In an effort to keep their license to print money happy, ABC has rewarded both Shonda Rhimes’ SCANDAL and PRIVATE PRACTICE with somewhat surprising second and sixth season renewals. Bad News: THE RIVER and MISSING were not produced by Shonda Rhimes, and thus, will not be joining SCANDAL and PRIVATE PRACTICE on ABC’s sked next fall.
Good News: ABC just announced the surprise renewal of an hour long drama many thought was perilously close to cancellation. Bad News: No, GCB did not get a last minute reprieve (#RIP), but rather the write-by-numbers procedural that is BODY OF PROOF. #GROAN.
The TV Addict staff blogs at The TV Addict.
For those who are big fans of NBC’s Thursday night comedy line up, the news is good as the network is close to smoothing out deals for 30 Rock, Parks and Recreation and Community to return next season—but there’s a catch.
In what will be the seventh (and most likely final) season of 30 Rock, the Emmy-winning comedy series has been cut down to an episode count of only 13 or 14 shows. NBC has secured deals with the series’ key writers as well as co-executive producers Jack Burditt, Josh Siegal, and Dylan Morgan. Community and Parks and Recreation are also expected to make a return for next season, also with reductions in episodes. Following a long midseason hiatus, Community returned in March to complete its third season and will enter its fourth next fall with Parks and Rec back for a fifth.
No official word if either Parks and Recreation or Community will meet their ends next season—but rumors of 30 Rock’s swan song have been popping up for awhile – one of the most recent being from the unmuzzled mouth of show star Alec Baldwin. After Twitter tirades about new time slots, and “stalking” from NBC’s Today Show, Baldwin stated that he will be back on the hit comedy next year, but 2013 will be its end. Baldwin then concluded his online outburst with “I think I’m leaving NBC just in time.” The much calmer Tina Fey added to the claim last month on The View by saying the end is “visible on the horizon… We can’t do this for 35 years.”
NBC abbreviating its veteran Thursday night lineup may be a way of not only saving some money, but making room for the new comedies the network has planned – including Go On, starring former Friends alum Matthew Perry, which the network has recently picked up. With freshman shows Whitney and Up All Night not doing so well, it seems likely both will be added to the comedy cleanse – especially Whitney, as show star Whitney Cummings has landed a new talk show on E! called Love You, Mean It with Whitney Cummings, which is set to air this fall.
Scott Stoute blogs at Screen Rant.
As a kid watching reruns of THE BRADY BUNCH, the one episode I was happy to watch over and over was the one in which the whole gang went to Kings Island amusement park. Other people wanted to see the mixed family hit the beach to watch Greg hang 10, but I was all about seeing them break every rule of theme park etiquette in their mad dash to get Mike’s sketches to the manager’s office before his butt could be fired.
Over the years, I’ve tuned into shows I’d never watch under other circumstances just to catch glimpses of parks I’ve been to, hope to go to or know I’ll only ever experience vicariously. For seven seasons, I checked out the opening credits of STEP BY STEP just to watch the Lambert-Foster clan (headed by Patrick Duffy and Suzanne Somers) frolic at Valencia, California’s Magic Mountain. Heck, I even suffered through a painfully unfunny episode of DINOSAURS in which the prehistoric family were forced to vacation at WeSaySoLand… a park so lame even I wouldn’t wanna go there.
Not surprisingly, ABC’s shows have a long history of visiting their corporate overlord, aka Mickey Mouse, at his various vacation homes. Long before last night’s MODERN FAMILY had Gloria teetering around Disneyland in high heels, we got ROSEANNE joking that an old man sitting on a bench at Disney World was clearly a robot (told they haven’t been called “robots” for years, she quipped, “Sorry. Animatronic Americans.”) and FULL HOUSE’s Danny proposing to the world’s most clueless would-be fiancé, Vicky via fireworks above Cinderella’s castle at the Magic Kingdom.
Even soaps have gotten in on the act, with both SANTA BARBARA and ALL MY CHILDREN among the sudsers to have storylines unfold at Walt Disney World.
Without fail, these vacation-themed jaunts wind up happening during sweeps, and to be honest, I get far more excited about them than I do about the more typical weddings, births and deaths that tend to take place in record high numbers during the months of February, May and November. And the ones which unfold at Disney’s parks are almost without fail not-so-well-disguised advertorials for the House of Mouse… and yet, when done right, they’re a hit not only with me, but regular viewers as well.
Why? Because it’s something we can all relate to. What typical family doesn’t plan a vacation to Disney or some other amusement park at some point? Doing so is as normal as many of the other things we never see TV families do… like use the bathroom or… well, watch television. So is it any wonder that watching MODERN FAMILY’s Dunphy/Pritchett clan — the very picture of upper-middle class America — taking the type of vacation we all dream of hits home? We see ourselves in them and think, hopefully, that even if we can’t take that trip this year, maybe we’ll do it next year.
And unlike Gloria, we’ll be sure to wear sensible shoes.
Richard M. Simms blogs at The TV Addict.