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Tag: Six Feet Under (1-10 of 23)

I'm Still Not Over... Nate's death on 'Six Feet Under'

People die a lot in Six Feet Under. In (almost) every episode, in fact. But five seasons of at least one death per episode didn’t prepare me for Nate (Peter Krause) biting the bullet in “All Alone,” the third-to-last episode of the series.

Nate finds out he has a deadly brain problem called an AVM in the first season, so he decides to get a risky surgery to fix it. We’re prepared for his death at this point– he sets up his affairs, even discussing his funeral wishes with brother David (Michael C. Hall). But he survives the surgery, and he’s in the clear. So we think. At the end of the last season, Nate’s AVM returns and he almost dies, but doesn’t. He’s in the clear again! Phew. Except not actually, because he suddenly passes away in his hospital bed post-surgery. This isn’t even the worst part though. The worst part is the episode following his death, the one showing everyone dealing — or not dealing, in classic Fisher fashion– with it.

The raved-about finale is powerful and beautiful, no doubt. Seeing everyone meet their respective ends was a tear-fest, not only because six — six! — major characters died, but because realizing that everyone does indeed die, even fictional TV characters, is brutal. In the finale though, we don’t get to see how anyone responded to those deaths. In “All Alone,” the response to death is all we see.
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10 things we learned about TV exit strategies from the creators of 'Breaking Bad,' 'Lost,' and 'Six Feet Under'

There are three Breaking Bad episodes left, meaning it’s prime time to check in with Vince Gilligan on the upcoming series finale. Interview magazine’s latest issue talked to not only Gilligan, but three other series creators, with a roundtable of showrunners, including Six Feet Under‘s Alan Ball and Lost‘s Damon Lindelof and Carlton Cuse, all reminiscing, without spoilers, the final moments of writing their shows and how they dealt with audience reactions.

And as it turns out, great minds do think alike. Each of them recounted the emotional toll of writing finales and shared the lessons they learned about today’s TV audience. Read on for 10 enlightening facts Gilligan, Ball, Lindelof, and Cuse offered about their shows:
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Summer TV poll: What classic show was your favorite summer buddy?

Once upon a time, summer programming truly was the dog-days of television’s calendar year. All our favorite friends disappeared in May, leaving us with lonely tumbleweeds in the form of repeats, baseball, and unwanted stepchildren. (I’m referring to oddball programming, not Sam from Diff’rent Strokes.) But every so often, a show would appear that would salvage the season; a show that become even more beloved because of the dregs that surround it. Take Mad Men, for instance. When AMC (who?) debuted the slick 1960s drama in July 2007, it was as valuable as that new, cool best friend at summer camp who makes the dreariness of your cabin bearable until you can return home to your normal life and reliable fall-TV friends.

Cable television has unfurled several scripted shows during the summer that went on to become beloved favorites — Sex and the City, True Blood — but summer TV has also proven a huge launching pad for hit reality shows, like Survivor and American Idol.

Looking back, what was your favorite summer TV show? Vote below for the show that was your favorite summer buddy. READ FULL STORY

HBO GO passes 3 million downloads. Is it worth it?

This past weekend, HBO GO, the premium cable channel’s mobile streaming app, surpassed the 3 million download mark after less than two months on iTunes and the Android market, but the app’s features don’t make those numbers all that surprising. HBO GO allows current subscribers full access to its library of original programming. That includes older series, previously available only on pricey DVD collections, like Sex in the City, The Wire, and The Sopranos. But with the Hulus and the Netflixs of the world, can HBO GO bring anything new to the table?

The answer is simple: Yes. READ FULL STORY

Alan Ball's new HBO series: 'All Signs of Death'

Alan-BallImage Credit: Albert L. Ortega/PR PhotosTrue Blood and Six Feet Under creator Alan Ball is doing a new HBO death series based on the Charlie Huston crime noir novel The Mystic Arts of Erasing All Signs of Death. Obviously that title is too long for TV, so they’re going with the much Alan Ballsier All Signs of Death. It is not a putdown of the project at large to say that I am currently most excited about the sure-to-be completely bizarre opening credits! [Variety]

Do you think it’s too early to begin filing this under Things That Are Awesome? I am doing it anyway. If it is a sign of death, I die at dusk.

Annie on Twitter: @EWAnnieBarrett

Michael Emerson teases 'Lost' epilogue

On yesterday’s Attack of the Show, Michael Emerson said the complete-series Lost DVD crashing into your basement in August will contain a 12-minute bonus feature exploring what happened after Ben became second-in-command under Hurley’s leadership. “You could call it an epilogue,” Emerson teased. “It’s self-contained, although it’s a rich period in the show’s mythology that’s never been explored, so who knows what will come of it?”

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New 'Big Love' opening credits: Was it time?

Whoa! I’d seen and lovingly spazzed out to the gorgeous Free Fall Like You’re in ‘Mad Men’ promo set to Interpol’s “Untitled” for HBO’s Big Love that came out in November, but totally didn’t expect it be the basis for an entirely new opening sequence during last night’s season 4 premiere. At first, I was all “Sensory overload Nicki and a wind machine I can’t process this I have to watch the show just start it stop this let’s go swap meet those birds!”

After a post-episode rewind, though, the opener ended up growing on me. The closeups of outstretched hands next to the titles (as well as the general “suspension” theme) reminded me of another favorite show ever, Six Feet Under, so God only knows what my night’d be without that. The visual experience was beautiful — just not what I’d associate with Big Love. You know, like figure skating.

Did you love the new opening sequence or should Big Love have stuck with “God Only Knows”?

Follow Annie on Twitter: @EWAnnieBarrett

On Demand: Your deep sobs

During my two-week vacation in "the Chicagoland area," I quickly became obsessed with Comcast On Demand. I finally caught up on Burn Notice (because seriously duh) and indiscriminately kept pressing play on things called "Meet the Divas" and "1993 Video Yearbook." But the best On Demand experience by far was when my sister and I stumbled upon the Six Feet Under series finale at about 2 a.m. on a Sunday. We each produced around two pint glasses of tears over 72 minutes, and kept looking at each other with extremely unattractive wet-scrunchie faces to tell each other "This is awesome!" The show, yes, but we really meant the crying. We're not terribly unstable or anything, but a steady beat of overemotional full-body convulsions really suited us that night. Had fellow Six Feet Under enthusiast Michael Slezak been in the room with us, we may have had to swim out, like Alice.

The next day, we implored our parents: "Watch the finale again, you guys! You'll cry SO HARD. It feels AWESOME." So they did. And then we got jealous, so we watched it again. When you know which parts produce the most violent sobs, the anticipation creates an even bigger swell and it's like you're crying about the fact that you're about to cry even before Ruth raises her glass and says "To my firstborn" after other people at the table have said "To Nate." By the time David hallucinates Keith catching a football at the picnic (4:03 in the video above), you're a goner. Forget it.

Lesson learned: I want my TV to make me sob. Can anyone relate?

Help plan your favorite characters' exits from 'L&O,' 'CSI,' 'SVU,' and 'ER'!

Showexit_lIt’s a tradition as time-honored as Law & Order‘s "dun-duhn" and Horatio Caine’s sunglasses: Every now and then, network crime procedurals and/or ensemble dramas like to shake up their casts to boost ratings and revitalize their plotting prospects. And the end of the 2007-2008 TV season will prove no exception: Gary Dourdan is leaving CSI; Diane Neal and Adam Beach are exiting Law & Order: SVU; and Khandi Alexander is fleeing the ridonk world of CSI: Miami. If that’s not enough, Jesse L. Martin’s final Law & Order episode airs Wednesday, and Maura Tierney, who’s cutting way back on her ER workload, tells AOL Television that she’s been (unsuccessfully) begging the writers of her long-running hospital drama to kill off her character before the series ends its run.

I, for one, am glad to hear Tierney’s Abby won’t be paying the ultimate price for drama, because, let’s be honest here — isn’t it almost too easy for TV writers to enlist the Grim Reaper when it’s time to write off a character? Wouldn’t it be a greater (and more fulfilling) writing challenge for these scribes to tackle workplace exits the way they actually happen?

In fact, if SVU hasn’t already decided the fate of Neal’s ADA Casey Novak, how about this scenario? On a lazy Friday afternoon, Benson is catching up on some paperwork, when she hears the siren call of her email "ping," which turns out to be an announcement that Novak will be resigning in two weeks to pursue a lucrative gig at a private firm uptown. As Benson and Stabler spend the episode solving the latest "especially heinous" crime, they secretly plan a farewell pour for their coworker at a local pub. By episode’s end, the beer begins to flow. Toasts are made. A few tears are shed. Somebody makes an awkward plea to move the festivities to a nearby karaoke joint. And scene!

There, now doesn’t that sound like a fitting exit? Any other ideas for how the aforementioned actors can exit their series without ending up six feet under? By all means, get to brainstorming!

Why can't Hollywood figure out what to do with Illeana Douglas?

Douglas_lShe was hilarious on Action, so memorable guest-starring on Six Feet Under, and now, Illeana Douglas is set to… host Celebrity Garage Sale on A&E? Seriously? With all the Cashmere Mafia/Lipstick Jungle/Dirty Sexy Money dramedies making their way to the air, not a single network exec thought to snag this versatile comedienne for a starring role? So go ahead and watch Douglas sift through Tom Arnold’s trash if you want, but I’m going to rewatch the Action pilot (below the jump) to relive the moment her prostitute character gets dragged by a limo from her fur coat and takes liberties with poor Keanu Reeves. Good times!

addCredit(“Illeana Douglas: Eric Charbonneau/WireImage.com”)

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