Is Chris too far gone? That was the question left with us during the closing moments of this weeks episode.
On Fear the Walking Dead Season 2 Episode 10, we finally caught back up with Travis and Chris. It turns out, they're still as boring as when we last left them.
I don't know what it is about these two, but I just can't get invested in them. I'll just chalk this up to poorly written characters.
Watch Fear the Walking Dead Season 2 Episode 10 Online
The last two episodes were some of the better of the series. Unfortunately, this episode just wasn't up to par with them.
To be honest, I really couldn't care less about Travis and Chris' excursions. However, we did meet three new characters whose names sound like they're part of a boy band with Brandon, Derek and Baby James.
I didn't get the feeling Chris wanted to...
On Fear the Walking Dead Season 2 Episode 10, we finally caught back up with Travis and Chris. It turns out, they're still as boring as when we last left them.
I don't know what it is about these two, but I just can't get invested in them. I'll just chalk this up to poorly written characters.
Watch Fear the Walking Dead Season 2 Episode 10 Online
The last two episodes were some of the better of the series. Unfortunately, this episode just wasn't up to par with them.
To be honest, I really couldn't care less about Travis and Chris' excursions. However, we did meet three new characters whose names sound like they're part of a boy band with Brandon, Derek and Baby James.
I didn't get the feeling Chris wanted to...
- 9/5/2016
- by Steve Ford
- TVfanatic
Believe it or not, many fans are still digesting the mixed bag of nuts that was The Walking Dead Season 6 Episode 16, the gut-busting season finale.
New theories seem to materialize every day regarding Negan's victim or "victims." Like it or not, we still have more than two months to go before we find out who gives Lucille a bath with their brain matter. But Fear not, because The Walking Dead spin-off is returning with its mid-season premiere in less than a week.
So, what can we expect going into the second half of Fear the Walking Dead Season 2?
Daniel Salazar's fate
Let's be honest here, Daniel is one of if not the best characters in this series. So, to have him go out so soon and in such a way would really be a waste.
While I don't believe it will be revealed in the premiere, there will be...
New theories seem to materialize every day regarding Negan's victim or "victims." Like it or not, we still have more than two months to go before we find out who gives Lucille a bath with their brain matter. But Fear not, because The Walking Dead spin-off is returning with its mid-season premiere in less than a week.
So, what can we expect going into the second half of Fear the Walking Dead Season 2?
Daniel Salazar's fate
Let's be honest here, Daniel is one of if not the best characters in this series. So, to have him go out so soon and in such a way would really be a waste.
While I don't believe it will be revealed in the premiere, there will be...
- 8/12/2016
- by Steve Ford
- TVfanatic
Coronation Street's Neil Beckett is set to stage a rooftop protest. The oil rig worker - who is portrayed by William Travis - climbs on top of the Rovers Return pub after suspecting he is going to lose his wife Andrea Beckett (Hayley Tamaddon) to cab driver Lloyd Mullaney (Craig Charles). All hell breaks loose when Neil begins shouting from the top of the pub: ''I want you to break off your engagement - you're still married to me. ''No more lies! I heard you in the pub talking about suits and dresses. You must think I was born yesterday.'' While Neil...
- 8/4/2014
- Virgin Media - TV
Coronation Street's Neil Beckett is set to stage a rooftop protest. The oil rig worker - who is portrayed by William Travis - climbs on top of the Rovers Return pub after suspecting he is going to lose his wife Andrea Beckett (Hayley Tamaddon) to cab driver Lloyd Mullaney (Craig Charles). All hell breaks loose when Neil begins shouting from the top of the pub: ''I want you to break off your engagement - you're still married to me. ''No more lies! I heard you in the pub talking about suits and dresses. You must think I was born yesterday.'' While Neil...
- 8/1/2014
- Virgin Media - TV
As the changes continued in our extended Switched at Birth family, they seemed to hit Daphne the hardest in "Distorted House."
In last week's review, I pointed out that Bay continually got the short end of the stick when it came to the multiple parents. It didn't really seem any different on the side of the adults, but Daphne was definitely seeing the downside to all of the change.
Bay decided to give living with Regina a try while Angelo was out searching for his baby daughter. In a surprising move, Lana not only took the baby from him, but gave it up for adoption. Just seconds after Angelo asked Regina what she did to stop herself all those years ago from grabbing Bay and running once she realized her baby had been switched, the adoptive father of his daughter confronted him.
Daphne was feeling the loss of Regina and...
In last week's review, I pointed out that Bay continually got the short end of the stick when it came to the multiple parents. It didn't really seem any different on the side of the adults, but Daphne was definitely seeing the downside to all of the change.
Bay decided to give living with Regina a try while Angelo was out searching for his baby daughter. In a surprising move, Lana not only took the baby from him, but gave it up for adoption. Just seconds after Angelo asked Regina what she did to stop herself all those years ago from grabbing Bay and running once she realized her baby had been switched, the adoptive father of his daughter confronted him.
Daphne was feeling the loss of Regina and...
- 6/18/2013
- by carissa@tvfanatic.com (Carissa Pavlica)
- TVfanatic
Dying for some chuffin' good TV scoop? Well congrats, because much like Michael Barrymore you've managed to strike it lucky by stumbling across Tube Talk's weekly Q&A.
As usual we've got all the info (well, some info) on the gems of the TV schedules, including Peep Show, Cougar Town, Bates Motel and more....
When is Peep Show back on Channel 4?
Good news for fans of the El Dude brothers - we recently spoke to Paterson Joseph, who plays the legendary Johnson, and he told us that a ninth series of Peep Show will hopefully shoot "this year at some point, if David [Mitchell] and Robert [Webb] are free"...
As for whether Johnson himself will be back, Joseph said: "I think that Johnson coming back is a no-brainer as long as I'm available - and I don't know whether that's so. They're definitely asking him to come back, but whether I'm available for it,...
As usual we've got all the info (well, some info) on the gems of the TV schedules, including Peep Show, Cougar Town, Bates Motel and more....
When is Peep Show back on Channel 4?
Good news for fans of the El Dude brothers - we recently spoke to Paterson Joseph, who plays the legendary Johnson, and he told us that a ninth series of Peep Show will hopefully shoot "this year at some point, if David [Mitchell] and Robert [Webb] are free"...
As for whether Johnson himself will be back, Joseph said: "I think that Johnson coming back is a no-brainer as long as I'm available - and I don't know whether that's so. They're definitely asking him to come back, but whether I'm available for it,...
- 5/30/2013
- Digital Spy
"Cougar Town's" third season ended Tuesday and after a dramatic rescue by TBS, the former ABC comedy was recently renewed for a fourth season. On Monday, the show's writers begin work on Season 4 of the show, which will arrive early next year.
Given everything that's been going on with the comedy, it seemed like a good time to talk to one of its creators about what's next for the Cul De Sac crew. On the most recent Talking TV with Ryan and Ryan podcast, "Cougar Town" co-creator and executive producer Kevin Biegel talked for an hour about what fans can expect from Season 4 and whether the show's winning mixture of wine, whimsicality, wit and romance will remain unchanged. And here's a bit of news: Rumor had it that Season 4 would consist of 15 episodes, and Biegel confirmed that that is the case.
If you don't have time to listen to...
Given everything that's been going on with the comedy, it seemed like a good time to talk to one of its creators about what's next for the Cul De Sac crew. On the most recent Talking TV with Ryan and Ryan podcast, "Cougar Town" co-creator and executive producer Kevin Biegel talked for an hour about what fans can expect from Season 4 and whether the show's winning mixture of wine, whimsicality, wit and romance will remain unchanged. And here's a bit of news: Rumor had it that Season 4 would consist of 15 episodes, and Biegel confirmed that that is the case.
If you don't have time to listen to...
- 6/1/2012
- by The Huffington Post
- Huffington Post
Grab your Big Carls, or heck, just drink straight from the wine bottle! I won’t judge, because I’m way too excited that Cougar Town—which has been living in TV-scheduling limbo—is finally returning to the primetime lineup. That’s right, ABC officially confirmed that our favorite cul-de-sac crew will be back on Tuesday, Feb. 14, at 8:30 p.m. It’s as if the powers that be knew my Valentine’s Day would be totally lame otherwise!
I know it’s been a long time since a new episode aired. (238 days, to be exact. Not that I was counting…...
I know it’s been a long time since a new episode aired. (238 days, to be exact. Not that I was counting…...
- 1/17/2012
- by Breia Brissey
- EW.com - PopWatch
Travis seems to think the world is coming to an end. While it probably isn't, the end of this season of Dexter is. As the series hurdles towards the sixth season finale, surely all our questions will be answered. Will Travis be stopped? If he is, who will stop him - Miami Metro or Dexter and his Dark Passenger? Will Quinn get his act together? Will Laguerta fire Deb? Why is Lewis playing with dead things? Will Deb explore the romantic feelings she may or may not have for Dexter? "This is the Way the World Ends" airs Sunday, December 18th on Showtime. In the meantime, check out these two clips from the season finale.
- 12/13/2011
- FEARnet
Spoiler Alert If You Haven’T Watched The Latest Episode Of American Horror Story! Tonight’s episode, “Spooky Little Girl,” revealed two more deaths that occurred in the infamous Murder House: Elizabeth Short a.k.a. the Black Dahlia (Mena Suvari) and Constance’s boy toy Travis (Michael Graziadei). The ghostly presences in that house are starting to really multiply. Perhaps the most chilling moment though occurred at the very end during a kitchen conversation between Constance (Jessica Lange) and Billie Dean (Sarah Paulson). Worried over what kind of child Tate (Evan Peters) and Vivien (Connie Britton) would conceive, Constance...
- 12/1/2011
- by Tim Stack
- EW - Inside TV
Opens
April 9
The makers of "The Alamo", the new movie based on the legendary defense and fall of the Texas compound, want to wrestle this piece of American history from the ranks of jingoism and patriotic fervor. They enjoy partial success, but this results in an epic that sometimes stalls in static, talky sequences that try to situate the heroic feat in the cross-currents of history and sort out an array of colorful characters whose bios must be divorced from legend.
"The Alamo", directed by native Texan John Lee Hancock, making only his second feature, is a respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots. But even that might be too narrow a demographic for a film whose budget insiders peg at $98 million. Over time and around the world, the film should generate profits, but the guess here is that it will fall short of the blockbuster status originally envisioned when Disney greenlighted the film.
Produced by Oscar-winners Mark Johnson and Ron Howard (who bowed out as director when the studio reportedly balked at his fee), "The Alamo" is a beautifully mounted historical re-creation. One senses authenticity in the costumes, sets, snatches of period music, military strategy and character sketches. Indeed, the first 40 minutes swims in political history and larger-than-life personalities to such a degree that the movie risks confusing general audiences not up on the American scene circa 1835-36. Eventually, the characters and their positions grow clearer as the centerpiece showdown draws nearer, but the movie clearly struggles to decide which -- and whose -- story to tell.
Several superstars of the 1830s are brought together for the battle. Most notable are Tennessee mountain man and furious self-promoter Davy Crockett Billy Bob Thornton), great knife-fighter and shady militiaman James Bowie (Jason Patric), nation-building Gen. Sam Houston (Dennis Quaid), Mexican dictator Gen. Antonio Lopez de Santa Anna (Emilio Echevarria) and the one person perhaps made famous by the event itself, Lt. Col. William Travis (Patrick Wilson), a young Alabama officer and lawyer whom chance made temporary commander of the old mission turned into a fort known as the Alamo.
The script, written by Leslie Bohem, Stephen Gaghan and Hancock adds other characters such as Juan Seguin (Jordi Molla), a sympathetic Mexican, or Tejano, to demonstrate that the siege wasn't simply Latinos vs. Anglos, two black slaves (Edwin Hodge and Afemo Omilami) to represent that point of view and a couple of peripheral women.
The confusion of the opening scenes gives way to an intense stalemate as 2,400-odd Mexican soldiers surround a poorly designed fortress holding fewer than 200 rebels and -- its one attribute -- several powerful cannons. As the men sweat out the remaining days of their lives, Hancock also wants to sweat out their true selves.
Crockett comes off as a showman and master of the grand gesture, who admits to being a creation of 19th century media. Easily the movie's most fully drawn character, Thornton's role straddles the wide gap between the Disney television version of Crockett and the political opportunist who is shocked but amused to realize his ultimate demise will actually substantiate much that is his legend.
Patric's Bowie enters the Alamo a seemingly healthy man but swiftly takes to his bed, a victim not only of consumption but too many near-fatal wounds from his fighting past. Initially a rival of Bowie, Wilson's Travis grows in moral resolve and confidence as the 13-day siege wears on. Quaid's Houston gets sidelined by the movie's understandable focus on the Alamo. Raising and training an army in another part of Texas, Quaid can do little more than furrow his brow until redeemed by his strategy to lure the egomaniacal Santa Anna to his downfall following the triumph at the Alamo. Echevarria's Mexican general is an all-too-conventional villain, a vainglorious popinjay consumed by sensual desires during the siege and contemptuous of his own men's lives.
The movie shows signs of postproduction stress syndrome with key characters getting short shift, others drifting through without much introduction and situations emerging without explanation, the most notable being at the climatic battle of San Jacinto, where Santa Anna, fully dressed one minute, is seen running in underwear.
By default, Crockett dominates the movie until his demise, then somewhat disconcertingly, Houston, portrayed chiefly as a drunk until the siege, draws the focus. Mostly, the movie lacks the moments or gestures that will cement relationships and galvanize audience emotions. You will remember this "Alamo", but the sum and substance of conflict remains a little sketchy.
Under Hancock's command, cinematographer Dean Semler helps you understand the spatial relationships inside and outside the fortress, designer Michael Corenblith achieves the true grit of the forlorn compound and editor Eric L. Beason performs the Herculean task of giving movement to a static situation. Carter Birwell's score is serviceable though conventional.
THE ALAMO
Buena Vista Pictures
Touchstone Pictures/Imagine Entertainment
Credits:
Director: John Lee Hancock
Screenwriters: Leslie Bohem, Stephen Gaghan, John Lee Hancock
Producers: Mark Johnson, Ron Howard
Executive producers: Todd Hallowell, Philip Steuer
Director of photography: Dean Semler
Production designer: Michael Corenblith
Music: Carter Birwell
Costume designer: Daniel Orlandi
Editor: Eric L. Beason
Cast: Sam Houston: Dennis Quaid
Davy Crockett: Billy Bob Thornton
Jim Bowie: Jason Patric
William Travis: Patrick Wilson
Antonio Lopez de Santa Anna: Emilio Echevarria
Juan Seguin: Jordi Molla
Running time -- 137 minutes
MPAA rating: PG-13...
April 9
The makers of "The Alamo", the new movie based on the legendary defense and fall of the Texas compound, want to wrestle this piece of American history from the ranks of jingoism and patriotic fervor. They enjoy partial success, but this results in an epic that sometimes stalls in static, talky sequences that try to situate the heroic feat in the cross-currents of history and sort out an array of colorful characters whose bios must be divorced from legend.
"The Alamo", directed by native Texan John Lee Hancock, making only his second feature, is a respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots. But even that might be too narrow a demographic for a film whose budget insiders peg at $98 million. Over time and around the world, the film should generate profits, but the guess here is that it will fall short of the blockbuster status originally envisioned when Disney greenlighted the film.
Produced by Oscar-winners Mark Johnson and Ron Howard (who bowed out as director when the studio reportedly balked at his fee), "The Alamo" is a beautifully mounted historical re-creation. One senses authenticity in the costumes, sets, snatches of period music, military strategy and character sketches. Indeed, the first 40 minutes swims in political history and larger-than-life personalities to such a degree that the movie risks confusing general audiences not up on the American scene circa 1835-36. Eventually, the characters and their positions grow clearer as the centerpiece showdown draws nearer, but the movie clearly struggles to decide which -- and whose -- story to tell.
Several superstars of the 1830s are brought together for the battle. Most notable are Tennessee mountain man and furious self-promoter Davy Crockett Billy Bob Thornton), great knife-fighter and shady militiaman James Bowie (Jason Patric), nation-building Gen. Sam Houston (Dennis Quaid), Mexican dictator Gen. Antonio Lopez de Santa Anna (Emilio Echevarria) and the one person perhaps made famous by the event itself, Lt. Col. William Travis (Patrick Wilson), a young Alabama officer and lawyer whom chance made temporary commander of the old mission turned into a fort known as the Alamo.
The script, written by Leslie Bohem, Stephen Gaghan and Hancock adds other characters such as Juan Seguin (Jordi Molla), a sympathetic Mexican, or Tejano, to demonstrate that the siege wasn't simply Latinos vs. Anglos, two black slaves (Edwin Hodge and Afemo Omilami) to represent that point of view and a couple of peripheral women.
The confusion of the opening scenes gives way to an intense stalemate as 2,400-odd Mexican soldiers surround a poorly designed fortress holding fewer than 200 rebels and -- its one attribute -- several powerful cannons. As the men sweat out the remaining days of their lives, Hancock also wants to sweat out their true selves.
Crockett comes off as a showman and master of the grand gesture, who admits to being a creation of 19th century media. Easily the movie's most fully drawn character, Thornton's role straddles the wide gap between the Disney television version of Crockett and the political opportunist who is shocked but amused to realize his ultimate demise will actually substantiate much that is his legend.
Patric's Bowie enters the Alamo a seemingly healthy man but swiftly takes to his bed, a victim not only of consumption but too many near-fatal wounds from his fighting past. Initially a rival of Bowie, Wilson's Travis grows in moral resolve and confidence as the 13-day siege wears on. Quaid's Houston gets sidelined by the movie's understandable focus on the Alamo. Raising and training an army in another part of Texas, Quaid can do little more than furrow his brow until redeemed by his strategy to lure the egomaniacal Santa Anna to his downfall following the triumph at the Alamo. Echevarria's Mexican general is an all-too-conventional villain, a vainglorious popinjay consumed by sensual desires during the siege and contemptuous of his own men's lives.
The movie shows signs of postproduction stress syndrome with key characters getting short shift, others drifting through without much introduction and situations emerging without explanation, the most notable being at the climatic battle of San Jacinto, where Santa Anna, fully dressed one minute, is seen running in underwear.
By default, Crockett dominates the movie until his demise, then somewhat disconcertingly, Houston, portrayed chiefly as a drunk until the siege, draws the focus. Mostly, the movie lacks the moments or gestures that will cement relationships and galvanize audience emotions. You will remember this "Alamo", but the sum and substance of conflict remains a little sketchy.
Under Hancock's command, cinematographer Dean Semler helps you understand the spatial relationships inside and outside the fortress, designer Michael Corenblith achieves the true grit of the forlorn compound and editor Eric L. Beason performs the Herculean task of giving movement to a static situation. Carter Birwell's score is serviceable though conventional.
THE ALAMO
Buena Vista Pictures
Touchstone Pictures/Imagine Entertainment
Credits:
Director: John Lee Hancock
Screenwriters: Leslie Bohem, Stephen Gaghan, John Lee Hancock
Producers: Mark Johnson, Ron Howard
Executive producers: Todd Hallowell, Philip Steuer
Director of photography: Dean Semler
Production designer: Michael Corenblith
Music: Carter Birwell
Costume designer: Daniel Orlandi
Editor: Eric L. Beason
Cast: Sam Houston: Dennis Quaid
Davy Crockett: Billy Bob Thornton
Jim Bowie: Jason Patric
William Travis: Patrick Wilson
Antonio Lopez de Santa Anna: Emilio Echevarria
Juan Seguin: Jordi Molla
Running time -- 137 minutes
MPAA rating: PG-13...
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