The Walking Dead: Kill Randall? in "Judge, Jury, Executioner"

To contact us Click HERE

If you had been part of the group in The Walking Dead episode “Judge, Jury, Executioner,” how would you have voted? Should they have killed Randall or kept him prisoner?

There were convincing arguments to kill him: he’s got 30 scary friends, he knows where Rick & Co. are hiding, and he’s another mouth to feed. There were convincing arguments not to kill him: if they’re civilized, they wouldn’t do it; he hadn’t done anything to them; they saved him in the first place.

The arguments to kill him came mainly from Shane. Dale spoke up—mostly alone—against killing Randall. Sounds true to both characters, doesn’t it?

For the record, I was in favor of keeping him prisoner. I wouldn’t have been comfortable killing someone who hadn’t hurt me or the people I love. My daughter felt the way I did. My husband didn’t want to kill him either, but he did want to take him far away and drop him off.

We’ll never know which would have been the best choice.

But it is interesting that the voice of morality and reason is the one that was silenced in this episode. Will others wear the hat? Will they honor Dale as they said they would?

And what about Carl? The lost boy…the boy who doesn’t believe in God or heaven. The boy who antagonized a walker. The boy who stole Daryl’s gun, who intended to kill that walker. The boy who blames himself for Dale. And, finally, the boy who took the gun his dad offered him. What is going to happen to Carl? Who is he becoming and who can control it?

There was also one sweet moment, wasn’t there? When Hershel gave Glenn the watch—and his approval? Did that give you the warm fuzzies? It did me, which is nice because usually The Walking Dead only gives me the creeps…in a really good way.

The Walking Dead: Rick killed Shane in "Better Angels"

To contact us Click HERE

In “Better Angels,” the next to last episode of Season 2 of The Walking Dead, we see Shane push the boundaries farther than he ever has, and we see him pay the price. Unfortunately, others get caught up in the wake of his actions.

Shane hasn’t been himself since he shot Otis and left him behind for the walkers—and let’s face it, Shane’s original character left little to commend. Leaving people behind for dead wasn’t new to him. Sacrificing others for his own good wasn’t new to him. But this act seemed to stain whatever good might have been present, and he became nothing but a destructive malignancy within the group.

Were you surprised when Shane led Randall off into the woods and broke his neck? Nope. Me neither. I was surprised, though, when Randall showed up as a walker. What the heck? We knew how he died, and it wasn’t as a zombie meal. So what’s up? The last episode reveals that answer.

When Shane slapped himself upside the head after killing Randall and then rammed his face into a tree, his deterioration became even more apparent. When he and Rick took off together to try and find the “escaped” Randall, did you have that sinking feeling in your gut that they both weren’t coming out of it alive? Me too. Were you ready to say goodbye to Shane? I was. It was time for him to go.

When Rick finally faced off with Shane and stood seemingly defenseless against him, his gun innocuously outstretched in his left hand, I thought maybe Shane was going to get away with it. (How could the show go on without Rick, though, you ask? I don’t think it could. That’s why I said “maybe.”) The knife Rick drew and shoved up into Shane’s torso surprised—and thrilled—me. I am so glad he’s gone.

He almost wasn’t, though, was he?

What the heck is up with these dead people coming back as walkers? Again, the final episode reveals the truth—and it’s a doozy.

I’d be negligent if I didn’t comment on Carl’s well-timed appearance and his amazingly good aim with Daryl’s gun. Carl saved his dad’s life, but again, at what cost? Carl loved Shane. When will all the baggage that boy is carrying become too much for him to handle? The growth of his character has been one of the most interesting ones in the show.

There’s only one episode of Season 2 of The Walking Dead left to blog about. And there’s a mob of walkers on the way.

The Walking Dead: "Beside the Dying Fire" Season Finale

To contact us Click HERE

In “Beside the Dying Fire, the finale of Season 2 of The Walking Dead, a huge question is answered, bigger questions are raised, and survival is—as always—the name of the game.

Carl and Rick don’t have much time to discuss Shane’s death, his rise as a walker, and his second death before they realize a humongous mob of zombies is pouring out of the woods toward them. (If you puzzled over where they came from like I did, here’s what I deduced from the flashback: the helicopter attracted them, they started to follow it, and then, because they’re incapable of independent thought or reason, they just kept walking and walking and walking in that direction. Is that what you decided too?)

Rick and Carl run for the barn and Rick decides to try and attract as many of the walkers as he can, hoping they’ll follow him into the barn. It’s not a bad plan—there are just too many zombies for the fire that he and Carl set inside the barn to be of much benefit. Some of the walkers die, yes, but not enough of them. The farm is under siege.

It’s chaos as everyone tries to flee. My husband and I dubbed the very minor members of Hershel’s farm family—Patricia and Jimmy—as “red shirts,” and it was an appropriate moniker as they both died bloody deaths trying to escape the mob.

Lori is frantic because she doesn’t know where Carl is, but she jumps in a truck with T-Dogg and Beth and escapes. (I hate Lori, by the way. “Shane was always there for me. I love Rick. I needed Shane. I don’t know whose baby I’m carrying.” Gag.)

Hershel is determined to die trying to save his farm, but when Rick and Carl find him, Rick makes him leave with them. “It’s my farm!” hollers Hershel. Looking at the swarm of zombies, Rick tells him, “Not anymore it isn’t.”

Carol seems to be a goner until Daryl spies her and rescues her, the two of them escaping on his motorcycle. Glenn and Maggie make it out. That leaves only Andrea, and although I don’t really like her, I do admire her strength. So I was disgruntled—not quite sad, but definitely bothered—that she was left behind. What a fighter she is…and what will happen to her now that that dark-robed figure has found her. One of the big questions for next season.

Once the whole group is reunited, they turn to Rick for guidance but many seem unhappy with his decisions—especially the decision he made long ago to keep them in the dark about something the scientist told him at the CDC: all of them are infected with the virus. That’s why Randall and Shane turned after they died even though they hadn’t been bitten. And that, my friends, is the basis for the biggest questions for next season.

How will the infection affect them from here on out—both physically and mentally? Will the group continue to trust Rick, now that they know he kept this from them? (Should he have done so?) What does this mean for Lori’s baby? Will it be born in some weird, mutated form, infected from conception? And how will Lori and Carl relate to Rick now that they know he killed Shane?

It’s such a compelling show that always makes me wonder what I would do if faced with such terrible choices. I can’t wait to see what they do with Season 3 of The Walking Dead. Was that the prison in the distance?

Matthew Fox like you've never seen him before

To contact us Click HERE
Alex Cross will be Matthew Fox like we’ve never seen him before. These first images show Fox as an utter killing machine, armed to the teeth with just his bare muscles (and also a gun).

After Morgan Freeman played the role of Dr. Alex Cross in the first two adaptations of James Patterson’s series of books, Tyler Perry will now be front and centre as the detective tasked to track down the killer.

“After Washington DC detective Alex Cross is told that a family member has been murdered, he vows to track down the killer. He soon discovers that she was not his first victim and that things are not what they seem.”

Rob Cohen (The Fast and the Furious) is behind the camera, with a script co-written by Marc Moss (Along Came a Spider) and Kerry Williamson, adapting Patterson’s 2006 novel, Cross.

Previously titled I, Alex Cross, the film also stars Ed Burns (Saving Private Ryan), Rachel Nichols (Alias), Jean Reno (Leon), Giancarlo Esposito (The Usual Suspects), and John C. McGinley (Scrubs).



Source: heyuguys

Matthew Fox's Assault Lawsuit Dropped

To contact us Click HERE
Thanks to kmeldova for the heads up.

Good news for Matthew Fox: a Cleveland bus driver who alleged that the actor assaulted her in August 2011 has withdrawn her lawsuit, according to papers obtained by PEOPLE.

At the time, Heather Bormann told authorities that the former Lost star delivered "sudden and severe blows to [her] right breast, groin, arm and legs, inflicting severe, disabling injury and pain" while attempting to board her vehicle.

No criminal charges were filed at the time, but Bormann sued Fox, 45, for assault, battery and infliction of emotional distress.

The bus driver's attorney withdrew from her case in April, according to the EW.com report, and said that his client "intentionally failed and refused to provide full and timely cooperation and information." Bormann also failed to pay his out-of-pocket expenses, according to court documents. There was no settlement in this case.

At the time of her alleged assault, Bormann said that Fox "really scared the crap out of me. … He smelled like a liquor cabinet – like a bar."

The news of the lawsuit dismissal comes several weeks after Fox was pulled over in Oregon and charged with driving under the influence and driving without a license.

Source: People

GQ BLOG: Kurt Sutter's Anarchy Diaries: 502 - Please Don't Say That...

To contact us Click HERE

So as I was working on my draft of episode 502, I flew out to NYC for the network "upfronts." These are traditionally a big dog and pony show where a network parades the talent in front of advertisers and affiliates. FX does a much hipper, scaled-down version at a bowling alley. As much as I struggle with crowds, it's always a fun night. I've been in this family for over ten years now and it's really cool watching the network grow and flourish. I'm really happy for Landgraf and his team. And that's not just me sucking up to my boss. I actually mean this. Hey, I don't like many people wearing suits, so let me enjoy this one.

It's also at this event where I begin the process of talking to TV reporters about the upcoming season. I have such a love-hate relationship with the TV media. I'm the dick who desperately wants to be noticed and interviewed while at the same time bemoaning the inconvenience and intrusiveness. (The only thing worse than false humility is false humanity.) I'm very aware of the value of the media and how they help keep the show alive, but I also hate the invasiveness of spoilers and the gossip component. The season doesn't premier for another six months and already I'm answering questions about how Season 5 will end. It always turns me around a bit.

It's in this process that I'm also reminded of my responsibility as the voice of the show. Meaning, that the things I say and do, because of my "created by" association with Sons, directly impact the show. I can no longer just "vent" with impunity.

Twitter is one thing. If some cunt wants to spin a story on a single, absurd 140 character tweet, that's their desperate prerogative.

But the blog, where I'm able to formulate ideas and present an argument—I now need to think twice before I vomit my bombastic subjectivism in this forum. As a result, I continue to struggle with topics and ideas for this blog and my own personal blog. That problem in itself suggests who I am as a person—clearly, I feel most alive and creatively stimulated when I'm in the state of self-righteous agitation.

I constantly self-edit these days. Just this week alone I kyboshed three ideas for this post. I started writing about my disdain of episodic reviews by cunt bloggers, but killed it because I realized it would look like sour grapes and ultimately create reviewer vengeance that could hurt the show. I started one about Charlie Collier's fluffy THR interview, but killed that because it made me look like an envious bitch (which is probably true). I started one about the flawed broadcast network development process, but killed that one because the truth is—I've never developed a show on a broadcast network, so it was all second-hand fact and bitter speculation.

Unfortunately, or perhaps fortunately, things I say about TV these days carries weight. Me qualifying with, "This is just my opinion," doesn't allow me the freedom from scrutinized feedback. People don't give a shit if it's just opinion, they'll spit it back at me and the rest of the entertainment community, as ungrateful fact. So for self-preservation, self-editing has become necessary. In the big picture, I'm not whining about any of this. I'm a guy in need of a little self-editing and clearly I still say and do shit that gets me in trouble. So, I'm not complaining about the scrutiny, I guess I'm just adjusting out loud.

I had a funny conversation with Glenn Howerton of It's Always Sunny in Philadelphia at the upfronts. We were bemoaning the lack of the balls in our business. And he was complimenting me on my ability to generally not give a fuck about whom I piss off. He said he expects all my blogs and tweets to be signed off with, "Goodbye, Hollywood..."

Anyway. 502. I finished it. I get notes today. I don't think it sucks. But I guess I'll have to wait until September for the thickly-bullshit-detrimental-invasive-episodic-cunt-bloggers to tell me if it's any good.
Goodbye Hollywood...

BIO:
 
Kurt barely graduated high school, had the lowest SAT's in his class and went to the only state college that would take him. A fucked-up home, childhood obesity, food/drug addiction, and relentless television watching all contributed to his absurd, insular world of violent fantasies and sexual dreams. He hardly reads books, he plays a fuckload of games, and his only marketable skill is his imagination. If he respects you, he'd gladly take a bullet for you. If he doesn't, he may very well be holding the gun.

Professionally, this shit is happening: He signed a three-year deal with FX and 20th Century to continue running Sons of Anarchy and develop new projects. He ventures into reality programming this year with a new documentary series set up at the Discovery Channel, called Kurt Sutter's Outlaw Empires. Along with his TV work, he has feature projects in development at MGM, Sony, and Warner Bros. His script, Southpaw, written as a starring vehicle for Eminem, has Antoine Fuqua attached to direct and will probably never get made.

The thing that makes Sutter remotely human and considerably happy is his family—his wife, Katey and their three kids, Sarah, Jackson and Esme'.

Kurt's latest passion is birds. No one has the courage to ask why.
Read More http://www.gq.com/entertainment/tv/blogs/the-stream/2012/04/kurt-sutters-anarchy-diaries-502-sons-of-anarchy.html#ixzz1raGfNvtK

GQ BLOG: Kurt Sutter's Anarchy Diaries: 503 - The Emmys. Don't Ask. Don't Tell.

To contact us Click HERE
 
I love my job. Truly, I do. I know how lucky I am. I think it was Warren Beatty who said (and I'm badly paraphrasing), "Success is having a job that pays you a lot of money, that you would gladly do for free." I feel that way.
Most days. 
This is my favorite time of the season. My hours are split between the writers' room, gearing up production, and writing. I'm a writer who loves to write. I know that sounds obvious but you'd be surprised how many writers actually hate writing. Not me. Being alone with a white board, a computer and the voices in my head is fucking nirvana. And not the part where he puts the shotgun in his mouth. That comes later. Right now, I'm happy, relaxed, invigorated and grateful.
Then it happens. The shotgun in my mouth. Emmy Award season. For people like Terence Winter, Matt Weiner, Vince Gilligan, gearing up for the Emmys must be a very satisfying time of year. Recognition of your peers for all the hard work. The process leading up to the awards is time-consuming and tedious, but at least these guys know, at the end of the day, it'll all be worth it. History has played that out. 
For me, award season continuously just feels like an angry kick in the scrotum. 
I know I shouldn't give a shit. It ain't about the prize; it's about the work. The fans are the ones who determine our success. Logically, I know all of that. I enter the award season detached and philosophical, but after a few months of engaging in the build up, that distance gets washed away and I'm neck-deep in expectation and self-righteousness. I always end up broken and bloody the morning the nominations are read. 

From season two of The Shield to season five of SOA, that expectation and disappointment has rubbed me raw. Say what you want about Sons not being Emmy worthy. You're probably right. But there is no way you can say the last two seasons of The Shield were not as good or better than any drama on television. 

So why no Emmy love? 

Simple. People didn't vote for us. 

Why? 

The supporters (fans, network, my wife) give me a laundry list of reasons. All logical and ego-soothing.

The haters (cunt bloggers) say it's because the show sucks.
My guess is both camps harbor some truth.

What do I say?

Really. Haven't I said enough? 

Yes. I have.

I'm exhausted by my own obsession for recognition. It goes deeper than just pride and ego. I'm sure it's some kind of daddy-thing I haven't had the courage to dig into. Who knows? But it's just scabbed me over. I can't do the dance anymore -- the submissions, interviews, panels, photo-shoots, predictions, polls, post-mortem snubs -- Fuck me, I'm done. 

This season and hopefully for the rest of the run of Sons of Anarchy, I say nothing about any award. Other than, "thank you," "good luck," and "congratulations". 

And to clean it all up before I put it away:

I apologize to academy members (of every age) for the bombastic comments I've made in the past. I apologize to my cast, crew, studio and network if my arrogant reaction to snubs has embarrassed them or impeded their chances for recognition.

This blog will be my last comment on the Emmys. And yes, I can hear the snarky comments echoing through cyberspace as I type that statement. And they'd be correct to assume that me keeping quiet is a great idea in theory, but difficult to implement. So time (and all the cunt bloggers) will be the judge. 

You can say many bad things about me and they'd all be true -- I'm arrogant, abrasive, narcissistic, juvenile, over-sensitive. But I'm also a man who lives in a perpetual state of change. I have no choice. There is no stasis. If I'm not moving forward, I'm sliding back. And behind me there is only wreckage and remorse. 

In front of me there is only opportunity.

I may be a dick, but I'm a dick in progress. 


Read More http://www.gq.com/entertainment/tv/blogs/the-stream/2012/05/kurt-sutters-anarchy-diaries-503----the-emmys-dont-ask-dont-tell.html#ixzz1teO5gxVK