Failing Upwards

Wasted Waves: The Marriage Ref

NBC's "The Marriage Ref" sounded all right on paper: Jerry Seinfeld produced panel comedy in which a comedian along with 3 celebrities "solve" a problem in a real marriage. After seeing a few episodes I suspect the paper that it looked good on has long since been burned.

Firstly, the comedian that they picked to host, Tom Papa, isn't well-known enough, amiable enough, or- worst of all- funny enough to carry a show on his own. His 2004 failed sitcom, the punnily titled "Come to Papa", should've shown us this. He's just...not funny. I'm a huge fan of stand-up comedy and even in comparison to working comedians out there right now- his contemporaries as it were- he's not even the mid-level funniest out there. He got the job because he's a FOJ (Friend Of Jerry) and that's it.

The celebrity panel is also just odd. As Papa mentioned in the premiere, the only criteria for being on the panel is essentially fame and ability to spell marriage. This is why people like Alec Baldwin (NOTORIOUSLY messy divorce/parenting skills), Donald Trump (Womanizer, much married), Madonna (Really?!), and Kathy Griffin (Husband embezzled from her) have been panelists. The panel spend most of the too-long runtime zinging each other and making fun of the (admittedly weird) marrieds under the pretense of solving their bizarre issues (eating of duck eggs, Betty Boop statue in the kitchen, taxidermied pet dog, roller derby) by majority rule.

Throw in the "Just the facts ma'am" NBC journalist Natalie Morales (career nadir for her!) and the inane sound effects and you have a whole hour of lame television. The most interesting part of the show is the real couples' odd real-life fights- A vaguely entertaining concept in an "America's Funniest Home Videos" way- and to have Papa just decide "who wins" (Power of Seinfeld!) just kinda kills it. And, for the most part, the celebrities are so far removed from the mundane crap real people fight about that they mostly just bitch about how weird people are. So, they make fun of potential fans.

Bottom line, whether the judgments stick or don't the couples all get a vacation and got to be on TV for a minute so it's win win. The only losers are the viewing audience who wasted their electricity on this dreck.

The Power of Madonna

Like most of America (I assume. Overnight ratings aren't available yet) this evening I was enthralled with "Glee"'s "Power of Madonna" episode. Some of the greatest hits of a music icon being used as the musical framing device of one of my favorite new shows- it was a combo that came out even better than I had hoped.

The music of Madonna has always been very important to me. Make whichever stereotype joke that springs to mind, but her music more than any other was the soundtrack to my childhood. At the time of course, I didn't get her theme of personal and sexual empowerment I just heard high-energy fun song after fun song. I didn't even know what "Like a Virgin" was about until I was in the double digit ages, but no matter I would belt it out. And, while her later albums ("Ray of Light" on in my opinion) lack much of the catchy punch of her previous work are to this day some of my favorite songs of all time.

"Glee" managed to do something with this much hyped episode that few shows really pull off well- a useful stunt episode. All the hype, press, and build-up and yet among all of that this episode fits perfectly into the overarching plot of the show. There was movement on several continuing plots, new plots, and the sharp wit we've come to know as "Glee"s trademark. 7 uber-produced musical numbers weaved beautifully through the story perfectly- opening with the New Directions girls recreating 1989's "Express Yourself" VMA performance and culminating in a near shot-by-shot recreation of Madge's 1990 "Vogue" video and a rousing version of "Like a Prayer" 

I've spouted a bunch of hyperbole about this single hour of television since it aired a few hours ago. Adjectives like "amazing," and "awesome" and in fairness I probably thought "transcendent" at some point but really it was an extremely well-done single episode. A new Gleek, and those of use who've been hooked since last May's preview, all had things that we could latch onto. And, as the freshman FOX hit's first theme episode and first big, well-publicized stunt episode I'm hoping it sets a pattern for continuing great  episodes. 

The soundtrack for "Glee"'s "The Power of Madonna" episode is available on iTunes for the bargain price of $6.99

3 Episode limit: "Deep End" and "Caprica"

As you might know, all new shows need time to grow. In my years of watching and studying television I've determined that the time it takes to decide if a show is worth your time of not is 3 episodes. After that, you can leave it, or add it to you TiFaux. But, you've gotta give it 3.

"The Deep End"- Sure, there have been so many "quirky lawyer," "newbie lawyer," and "sexy lawyer" shows over the years that the ground is well-trod. It's not like ABC's new drama "The Deep End" is aiming to break new ground. The characters all fit into wonderful little boxes and the plots are so far all nice and pat. But, what is setting it apart, at least at this early juncture, is the actors inhabiting these could-be-cliche roles. Take Addy Fisher (Tina Majorino) the fresh-faced idealist doormat: in the first 3 she's shown growth, humor and the beginnings of a spine. Easily my favorite character. Then there's Mechad Brooks' Malcolm Bennett, a far cry from Brooks' last role (as mentally controlled sex pot Eggs on "True Blood"), the sole guardian of his younger brother and completely out of his element in that role but with a clear command of the law. Even the requisite man whore Liam Priory (Ben Lawson) has a sensitive twist to him that was pretty unexpected.

What works:

• Unexpected characterizations in expected archetypes
• Easy chemistry between the cast
• Ridiculously bright, open set.
• A sense of history in that the established lawyer characters clearly have a history
• Clancy Brown's return to TV (after HBO's "Carnivalé")
• Daddy issues personified in Tom Amandes' Don Branford

What needs work:

• Two idealists too many (Addy Fisher and Dylan Hewitt (Matt Long)
• Billy Zane
• The improbably named Norbert Leo Butz plays a character improbably named Rowdy Kaiser
• The bar they go to A) looks like a set from "Melrose Place" B) has a pool?

Fully worth a look. Brighter than "The Practice" less quirky than "Ally McBeal."

"Caprica"- How do you tell a story that's a prequel to one of the greatest modern Sci-Fi shows that itself begins with humanity's destruction? Why with a rave of course! "Caprica" is the story of religion, family, and technology but for fans of "Battlestar Galactica" it's also the story of how humanity got to where they were when we saw them exterminated by the cybernetic Cylons. 58 years prior to the start of "Galactica" Esai Morales stars as Joseph Adama (father of "Galactica's Commander William Adama) a less-than-upstanding lawyer originally from the colony of Tauron reeling from the loss of his wife and daughter in a terrorist attack. He meets ultra-rich scientist Daniel Graystone (Eric Stoltz) who's daughter Zoe (Alessandra Torresani) was lost in the same attack. Or was she? Incidentally, Graystone is the inventor of the Cylons.

What works:

• Torresani's Zoe is amazing
• Polly Walker's Sister Clarice Willow
• robobutler Serge
• The glimpse into the life of the Colonies. Especially the interaction between them (racism against Taurons for example)
• Alessandra Torresani
• The opening title sequence is beautiful, and tells you everything you need to know about the show (embedded below)
• Total free openness of gays exemplified in Sasha Roiz's Sam Adama, part psychokiller for the mob and part loving Uncle and husband (his husband is pretty cute too)
• Did I mention Alessandra Torresani? 'Cause she's so good

What needs work:

• "Galactica" was famed for their slow-burn plots which is still fine, but "Caprica"'s pacing is somewhat glacial
• Magda Apanowicz's Lacey needs to get with the program a little (in episode 3 "Reigns of a Waterfall" she begins but isn't quite there)
• Mob plots are...problematic at best. But one steeped in a different (fake) language with little full exploration so far is grating.
• Didn't Apollo and Adama refer to Joseph Adama as...a good, idealistic and moral man? or did I imagine that?

The sci-fi aspect is sort of lacking so don't let that scare you away, and non-"Galactica" fans will find something to grasp. Very, very cool show with loads of potentential

Reduce, reuse, and remake

--TV's cancellation-fest has continued with the sad, albeit expected cancellation of FOX's "Dollhouse." Joss Whedon shows require a cult following and FOX is notorious for not letting viewership grow*, but the fact that "Dollhouse" even secured a second season was utterly shocking. Its new status, after a second season of extremely low ratings and, in my opinion, under promoted airings someone finally read the writing on the wall.--

I've decided that the trend of remaking older, or nostalgic hits is a byproduct of the Green movement. It really is the only explanation for why some forgotten, and in some cases with good reason, "classics" have been dredged up and redone with today's modern graphics and actors. It's recycling!

Take for example the remake of "Clash of the Titans." Based on the 1981 stop-motion cheese-tacular, this new version is, as sci-fi wire calls it, a "balls-out" actioner. The question is, is it needed? The original had basically fallen out of popular memory, save for a few brief references to star Harry Hamlin's hair, and by-and-large the world was happy about it. But, sometime in 2010- summer most likely- the mythological adventure will return to screens with a new cast, a new energy and (one can hope) a new stylist.

A&E is also doing a remake, I'm sorry "re-imagining", of 1968's "The Prisoner" now with Jim Caveizel taking over for the late Patrick McGoohan as "Number 6." The original "Prisoner" lasted just one season but has stayed somewhat in the pop-culture consciousness. its trippy and bizarre world has inspired shows like "Lost" and countless parodies (one from "The Simpsons" particularly sticks out to me). Why remake it? The original British classic was perfect as a little seen, but oft-referenced cultural anecdote but the new version- simply based on the trailer- is darker and more paranoid. Perfect for our new reality where we all feel trapped and oppressed by forces beyond out control. 

And, let's not forget ABC's new revamp of 80s "classic" "V", once a holocaust allegory featuring reptile-in-human-clothing aliens and now a tale of how hope and and the human spirit can be turned against us by seemingly benevolent Visitors.

Has the mainstream entertainment media "run out of ideas" as so many have criticized? Or is this trend of re-imagining really for the best in that it takes the nucleus of an idea from the past and rebuilds it to a new form from today's perspective? Frankly, neither. A terrible idea from the past can still be a terrible idea today (See "Car 54, where are you?" the TV series and the movie), it's only when the idea from the past can be expanded, changed and most importantly grown into a new a better form (see the new "Battlestar Galactica" vs the original, or even "Galactica 1980") that this from of media recycling transcends the cliche of the remake and truly becomes a new form of art. Whether this latest spate of remakes, re-tweaks, rejiggers, and redos will fall into the latter column of remarkable or the former of retarded remains (ok, I'll stop) to be seen.

*See? No mention of "Firefly"-related bitterness. We've all grown a bit! But, seriously Joss, if you HAVE to go a a FOX related network in the future, think FX.

What I'm watching

--ABC has once again erred on the side of financial responsibility rather than growing a viewership and cancelled "Eastwick".While I thoroughly enjoy the show, I do understand the decision as it was consistently not pulling its ratings weight. But, to drop it and keep "The Forgotten"? Really?! I'm a certified TV addict and I generally forget (pun very apt and totally intended) that show even exists. "Eastwick" at least has a great cast, "The Forgotten" has...Christian Slater (wow, check that cast, I'm so glad they're keeping them employed)

--November sweeps is in full swing and the strains the economy is putting on the industry is showing a little- fewer "WOW I gotta see that!" moments and more "huh, that looks interesting." But this is the time when the shows pull out all the stops to get viewers so I though a quick rundown of what I feel is deserving of those eyes would be in order. Because, y'know, no one makes a move without my go ahead:

• "Eastwick": Send it out with a bang won't you. If nothing else Rebecca Romijn, Jamie Ray Newman, Lindsey Price, and Sara Rue look amazing.
• "Modern Family": One of the funniest shows on TV right now. Surprisingly, endearingly, and cringe-inducingly real.
• "Cougartown": Also hilarious in the same slapstick-with-a-heart vein as "Scrubs"
• "Castle": A quirky procedural in a "Moonlighting"-esque way. Plus, Nathan Fillion can just stand there and I'll watch.
• "V": The Potential is there. I really hope they push towards it. And, maybe a bit faster, as the pilot was sloooooooowwww
• "FlashForward": Still going and still interesting
• "Ugly Betty": This season is awkward and uneven so far, but the hilarity ensues. Delicious soapy goodness. But, y'all added Daniel Eric Gold (Matt) to the main cast and he's thus far just been another in the long line of people pissing all over Betty. And, we ALL KNOW they're getting back together at some point, let's get this moving.
• "How I met your mother"/"Big Bag Theory": SO HILARIOUS
• "Melrose Place": While some of the shine has gone from this campfest, I'm holding hope for the January reboot and the loss of Ashlee Simpson-Wentz (and Collin Egglesfield!) and return of Heather Locklear
• "Vampire Diaries": The mythos is growing, which is good. The acting is actually regressing which is bad. Hit or miss really, and I wanted out out episode 4 and then they had to grow a damn plot.
• "Stargate:Universe"/"Sanctuary": Specific genre stuff here but "SG:U" is brilliant in its fresh take on the 15-year-old "Stargate" franchise and while "Sanctuary" has changed a lot since it's freshman season (killing a main character, and bringing in a new "anti-hero" played by the fabulous Agam Darshi) it still struggles on the day-to-day while the arc stuff is wonderfully enthralling.

*WHEW* I watch a lot of TV (and that's leaving out the reality shows: SYTYCD, Project Runway, DWTS, and ANTM. And Amazing Race when I remember). Happy Sweeps!

Cancellation, confusion and cool!

Well the Fall 2009 TV season has already lost it's first fledgling series: The CW's The Beautiful Life:TBL is gone after just two episodes (although I really only remember one airing) and will be replaced immediately by reruns of Melrose Place. It really speaks to how bad the show must've been that it lost 60% of the viewership from Top Model. Yes, the show scripted show about fake models couldn't hold the interest of fans of the unscripted show about fake models.

ABC also made news today regarding the scheduling of their reboot of the iconic 80's miniseries V. The show will premiere as scheduled in November and then take a break until after the Winter Olympics in March 2010. ABC president Steven McPherson claims this was always the plan to make V seem more like an event. Um, forgive my ignorance, but in my 30 years of TV watching not being able to find the show I wanted to watch consistently doesn't create an "event" it creates boredom, confusion, and lack of interest. It also causes phenomenal shows (Pushing Dasies and to a certain degree Scrubs, Freaks and Geeks, Sports Night, Firefly, Veronica Mars spring to mind. If I thought for a moment I'm sure that I could come up with more) to vanish for no good reason, especially on ABC (the aforementioned Dasies and the late-lamented My So-Called Life ring a bell?) I was really looking forward to V, after the extended trailer during FlashForward even more so. Now, I worry.

And, if you didn't catch the series premiere of FlashForward, find it and watch it, for it was awesome.The network describes it as a sort of companion piece to Lost in a way but it's, to my mind, way more eerie and interesting than a cheap "Lord of the Flies" rip-off with a brain melting mystery element. (What? I hate Lost? I watched for 2 seasons and they answered NOTHING) And I may end up eating these words but I thought the debut, in which everyone in the world blacks out for 2 minutes and 17 seconds only to experience a vision of themselves on April 29, 2010, to be enthralling, exciting and very cool. For you Losties there's even a random animal appearance! Easily my favorite show of the season so far.

Belaboring a Point

America's Next Top Model is a fluffy show. Not in the way of featuring bigger (read: "normal") women- although they have had a few- but more in that when watching, you don't really need to think at all. But does that mean that the viewing audience has no brain at all?

For "Cycle" 13, Tyra targeted "petite" women under 5'7". The theory behind this, given on the show, is that Tyra wanted to show another side of beauty, and unconventional side. Fine. Ok, let's do that. But, then the show began to air and we found out something- these models are SHORT!

Hear me out, the show won't let us forget the models' height. Ever. The house is filled with short jokes, from a sign at the entrance claiming a height requirement to enter to a funhouse mirror that elongates the women, and that's not the worst: So far the models seem to be required to wear FLATS! Quelle Horror!

Yes that's right, Tyra Banks, who extrolls the virtues of heels in all previous seasons is forcing these girls, who are already at a disadvantage, to wear shoes that emphasize it. All while telling them in shoots and shows to elongate themselves and makes themselves look as tall as possible. Here's the thing, they're short, we get it. Why are you constantly throwing that in our faces (the opening credits have the girls' heights next to their names even) at every opportunity? Are you trying to find a new model, or is this merely a stunt?

Clearly, it's the latter and we all know it. Tyra wants ratings pure and simple. But the over-the-top reminders of the theme detract from the purpose of the show- to find a top model (regardless of the fact that they pretty much vanish after the show, that's neither here nor there) and the sooner that they begin treating these girls as if they actually have a shot at a career, the better.

In the meantime, they're doing nothing but emphasizing how these girls are falling short.

Hot Drama, cold blood

The CW is somewhat desperately trying to be the place to be for the young adult demo. With shows like Gossip Girl and Top Model, they're in a good place. 90210, well I hear it's trying to get better and Supernatural fulfills the teens-love-horror/comedy quotient. This season they're trying to ratchet up their growing stranglehold by revving up the reboot bandwagon with a new Melrose Place and beating the current vampire trend with a stick with Vampire Diaries.

Melrose Place: New Drama, new bar, same pool.

While the preseason press touted the return of original cast-member Laura Leighton (the once-and-future corpse Sydney Andrews) and Thomas Calabro (evil Dr. Michael Mancini) and of course the acting debut of Ashlee Simpson-Wentz (perhaps "touted" was the wrong word. As well as "acting"), they failed to mention that the slick, ultra-stylized reboot was actually pretty watchable. Sure, the characters are wooden and somewhat one-dimensional, but it's been two- episodes and I'm not bored.

But, it's not the tired murder plot, or the crazy character names (Auggie Kirkpatrick? Really?) keeping me in so far. No, it's the fantastic performances of Katie Cassidy (daughter of Partridge David) and as current uber-bitch Ella and Stephanie Jacobsen (fantastic in Battlestar Galactica: Razor) as hooker-with-a-stethoscope Lauren. Not to gush, but these two need to be in every story as they have more energy and presence than the rest of the cast combined. And yes, I just said that about a failed pop-star/daughter of a 70's cheeseball.

So far, the show is pure soapy goodness: webcams, art theft, sexually ambiguous Brits, and fantastic outfits collide to create a really fun show.

Current Questions: Why were they all so comfortable lounging in an around the iconic pool less than a week after their "beloved" landlady was found floating dead in it? Does David (Shaun Sipos) have a purpose? What about Violet (Simpson-Wentz), besides the long-lost-daughter angle which, again, really? Will Lauren keep hooking? And, if so, will she keep doing it with the gorgeous Niall Matter (yay for Syfy actors being represented on broadcast TV! [sidenote: it's been said to death but how dumb is that name? No wonder your shows, FANTASTIC actors and more respectable TV movies-yes there are some- are mocked when they appear on something that reads like VD])

Vampire Diaries: Insert "suck-related" joke here

While vampires are all the rage- and really when are they not?- taking a 20 year-old young adult series and translating it to the small screen would be a stretch even with better material. Having never read the source material (although I did read the Wikipedia entry on it and, wow. Just, wow) I can only go by what's on screen: A very bland teen soap featuring gorgeous people doing things that vary wildly from typically teen to vaguely menacing to outright scary-in-a-not-really-scary-way. The actors aren't "bad" per se, simply so boring as to not make an impression. The shining exception is the character of Damon (Ian Sommerhalder) who oozes the menace his super-vamp is supposed to convey. The pilot got 100% better once he arrived.

Sadly, the main couple, the comet-crossed-lovers if you will are so deeply boring I couldn't tell if they were kissing in episode 2 or holding each other up. Yes, he's a vampire and tortured. We've seen it (Angel, Spike, Mick St. John, Bill Compton, Alex Elder, Blade, and Edward "disco-skin" Cullen) in better - and worse, it must be said- places so many times it's become a joke. So producers, let's move it along shall we? There's slow build and then there's painful dialogue, fake tension, phony bonding over journaling, and of course supposedly insidious...fog...?

We know where the story is going and there must be a way to, if not speed it up, maybe let it play out more organically while allowing the tension to come from the delicious villain as opposed to the oh-so-tired inner turmoil/teen angst.

Current questions: Is the psychic/witch thing going to be explored, or just toyed with? Or, do we have to wait for Jasmine Guy? Will the viewers even be able to sustain for that long? With so much other "drama" going on, do we actually need the unrequited love of the drug-dealing younger brother or the overwhelmed aunt? Damon is a great villain (so far, in 2 episodes) but if he continues to eat all of Elena's (the somewhat interesting in a somnambulistic way Nina Dobrev) friends and acquaintances, there won't be much time for brother Stefan (the ultra-hot and that's really all Paul Wesley) to moon over her now will there? The owner of the vampire home- Stefan and Damon's nephew- how does he fit into his family's "secret"or will he not be around enough to matter? Will anyone realize that both Stefan and Damon are way too old to reasonably pass for high schoolers- like, 21 Jump Street old- or was the whole town mass-glamoured?

The "3-episode rule" is in effect.

Here's my problem with "Heroes"

I'm an big fan of NBC's "Heroes". I'm a nerd with a comic/superhero background and a TV addict so I should be hopelessly devoted right? Not quite.

While I watch the show weekly, I have some major problems with the way the show is put together. Before you balk, this is not going to be another "my how the mighty has fallen anti-'Heroes'" rant. It's just, similar.

What day is it?

At what rate does time pass in this universe? How much time has passed between "Villains" and the just started "Fugitives" arc? 1 month? 6 months? 3 hours? If they said on screen I missed it, but regardless time moves at a weird pace, especially between arcs. This isn't normally a huge problem is shows, but in one as serialized as "Heroes" knowing the timeline is essential so you can follow the drama. Without time (and yes I'm ignoring the actual time travel stories, I'm referring specifically to "real time") there's little to no urgency, you have no way of knowing when the cataclysmic event will happen. There's the looming doom, of course, but you never know how close the doom is. It takes a lot of the tension away. And, it's bloody confusing.

You can do what now?

Super powers are a tricky thing, you have to remain consistent. You don't want to get too stupid with abilities (I'm looking at you "The 4400") and, once you establish powers, you can't radically change everything to make things cooler (there are ways to do everything in sci-fi people. You don't have to resort to "secondary mutations" X-Men). The "Villains" arc really messed with everyone. Let's break it down"

•     Nikki's heretofore unknown twin sister (there's a thrid too!) Tracy appears. Same actress, new powers.
• Arthur Petrelli's power absorbtion ability casued at least two characters, Peter and Hiro, to lose their powers. Or did they?
• Mohinder's power granting serum gave super powers to himself, and Ando (as well as numerous soldiers)

Nikki/Tracy I can get over, I've watched enough soaps to get unknown twins. But, Arthur and the serum piss me off. So, Peter lost his powers to his dad and then injected himself with the serum reactivating his powers (it seems). How? His powers should be in his DNA which Mohinder claims the serum rewrites, so unless Arthur's power was to suck out your powers and rewrite your DNA to that of a baseline human how would the serum have helped him exactly? After the injection Peter flew (seemingly copying his brother's powers by proximity, which is his power). Now in "Fugitives" Peter's power seems to work off of touch. Why? And how did that happen? Lazy writing? As for Ando's "supercharge" power, I'm guessing that the writers are going to use it as an everypower, a "we have no idea what we're doing so, hey Ando can do it" ability. Wild guess, Ando will give Hiro his powers back accidently.

And, why does Matt now have precognative drawing? Did the hallucinatory ghost of the African guy give it to him through magic African guy powers? How?

Look, I still like the show, I really do. But, in order to keep moving forward and if it hopes to EVER return the heights of it's 1st season glory something needs to be done. Characters need to remain consistent (If you need help guys, rent some of your own DVDs, or, hell ask your fans), plots need to go somewhere, time needs to be relevant, and everyone needs to stop being aimlessly evil for the sake of being the ominous macguffin of the week. This isn't "Lost" people.

And, really, pick a direction with Sylar. I don't really care which one, but pick one.

The 59th Emmy Awards- All I have to say

Everything that needs to be said about last night's Emmy awards has been said better than I could say it. But, I would like to add a few things quickly if I may:

• Ryan Seacrest really added nothing to the awards. He wasn't an awful host per se, but just not interesting. I can't honestly remember anything her did other that pointlessly showing up in a costume for "The Tudors". And, he wore a really shiny tie.
• The censorship pissed me off. The 3 times they cut to the ceiling and cut the audio I was incensed. The bleep button was invented for a reason: censoring obscenity. Sally Field's fairly classy "if mother's ruled the world" thing wasn't obscene it was free speech. FOX I guess got a little punchy with the button and it was cut. The whole thing was hideous anyway, it ruined the flow of the show for me. It was jarring and awful. And worse they let Brad Garret's leering "milk jokes" in relation to Joley Fisher's bosom air. Got it FOX: Creepy boob jokes told by overrated ogre=good, impassioned pleas for more of the love of a mother in the world from America's Sweetheart-like actress=offensive
• The "Jersey Boys"/"Sopranos" montage was overlong, disconcerting, and unnecessary. Followed by the standing ovation for everyone who's ever been on the show during an awards show where it's still in competition was simply weird. I couldn't figure out what the hell was happening or why.
• In the round?! IN THE ROUND??!! Who does anything in the FUCKING round? Huge, awful, mistake. The cast of "Ugly Betty" was staring at asses all night.
• Hee. I love Katherine Heigl. Total shock on the win (NO "Sopranos" acting awards? Seriously? I don't even like the show, but that's weird to me)