Monday, December 22, 2025
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NCIS Cliffhanger As Mark Harmon Is Left Bleeding in a Fake Arab Market

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Don’t get excited. I enjoy “NCIS” reruns as much as the next guy. The CBS colossus will go on forever, like “Bonanza” or “Dallas.” It’s “Mission: Impossible” for the exhausted. People love it, love it, love it. They’ve already spawned “NCIS: New Orleans” and “Los Angeles.” You know they’re working on Miami, or San Francisco, or Peoria next.

Tonight, “NCIS” classic, so to speak, left us with a cliffhanger. That’s if you believe Mark Harmon’s Gibbs is going to die in an Arab market. A little boy shot him twice. Gibbs is down, and there’s a lot of sand and dust. Don’t worry: Mark Harmon will be making “NCIS” shows well into the next century.

And what about Cote de Pablo? She left and starred in “The Dovekeepers” for CBS, which has now been cancelled. She doesn’t have anything else going right now except for a pretty bad looking thriller called “The 33” coming to theatres this fall. My guess is that Ziva makes a guest appearance or two next fall. Let’s see what happens.

Broadway: “Curious Incident” Wins Outer Critics, Also Wins Audience Award with “Finding Neverland”

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A lot going on today: “The Curious Incident of the Dog in the Night-time” won the Outer Critics Circle Award for Best Play. The British import also won the Broadway.com Audience Award along with “Finding Neverland” for Best Musical.

The Outer Critics Prizes are listed below. Alex Sharp wins Best Actor for “Curious Incident.” It’s first ever Broadway show, or any legit show, I think. A year ago he was graduating from theater school at Juilliard. “An American In Paris” won Best Musical. “Hamilton” won a lot of awards in its off Broadway run. Therefore it won’t be eligible next year. Robert Fairchild won Best Actor in a Musical, because of that ballet thing he does so well. My personal choice would have been Brian d’Arcy James in “Something Rotten,” but what can you do?

The OCC is good predictor of Tony Awards. Keep that in mind.

OUTSTANDING NEW BROADWAY PLAY

The Audience

*The Curious Incident of the Dog in the Night-Time

Wolf Hall

OUTSTANDING NEW BROADWAY MUSICAL

*An American in Paris

It Shoulda Been You

The Last Ship

Something Rotten!

The Visit

OUTSTANDING NEW OFF-BROADWAY PLAY

*Between Riverside and Crazy

The City of Conversation

The Nether

Rasheeda Speaking

The Village Bike

OUTSTANDING NEW OFF-BROADWAY MUSICAL

A Christmas Memory

Disenchanted

The Fortress of Solitude

*Hamilton

Lonesome Traveler

OUTSTANDING BOOK OF A MUSICAL

(Broadway or Off-Broadway)

*Hamilton

It Shoulda Been You

The Last Ship

Something Rotten!

The Visit

OUTSTANDING NEW SCORE

(Broadway or Off-Broadway)

*Hamilton

It Shoulda Been You

The Last Ship

Something Rotten!

The Visit

OUTSTANDING REVIVAL OF A PLAY

(Broadway or Off-Broadway)

The Elephant Man

Fashions for Men

The Heidi Chronicles

Skylight

*You Can’t Take It With You

OUTSTANDING REVIVAL OF A MUSICAL

(Broadway or Off-Broadway)

Into the Woods

*The King and I

On the Town

On the Twentieth Century

Side Show

OUTSTANDING DIRECTOR OF A PLAY

Stephen Daldry The Audience

*Marianne Elliott The Curious Incident of the Dog in the Night-Time

Scott Ellis The Elephant Man

Scott Ellis You Can’t Take It With You

Jeremy Herrin Wolf Hall

OUTSTANDING DIRECTOR OF A MUSICAL

Scott Ellis On the Twentieth Century

Thomas Kail Hamilton

Casey Nicholaw Something Rotten!

David Hyde Pierce It Shoulda Been You

*Christopher Wheeldon An American in Paris

OUTSTANDING CHOREOGRAPHER

Joshua Bergasse On the Town

Andy Blankenbuehler Hamilton

Warren Carlyle On the Twentieth Century

Casey Nicholaw Something Rotten!

*Christopher Wheeldon An American in Paris

OUTSTANDING SET DESIGN

(Play or Musical)

*Bunny Christie The Curious Incident of the Dog in the Night-Time

Bob Crowley An American in Paris

Scott Pask Something Rotten!

David Rockwell On the Twentieth Century

Michael Yeargan The King and I

OUTSTANDING COSTUME DESIGN

(Play or Musical)

Gregg Barnes Something Rotten!

Bob Crowley The Audience

William Ivey Long On the Twentieth Century

Christopher Oram Wolf Hall

*Catherine Zuber The King and I

OUTSTANDING LIGHTING DESIGN

(Play or Musical)
*Paule Constable The Curious Incident of the Dog in the Night-Time

Jeff Croiter Something Rotten!

Rick Fisher The Audience

Natasha Katz An American in Paris

Japhy Weideman The Visit

OUTSTANDING ACTOR IN A PLAY

Reed Birney I’m Gonna Pray For You So Hard

Bradley Cooper The Elephant Man

Stephen McKinley Henderson Between Riverside and Crazy

Ben Miles Wolf Hall

*Alex Sharp The Curious Incident of the Dog in the Night-Time

OUTSTANDING ACTRESS IN A PLAY

Greta Gerwig The Village Bike

Jan Maxwell The City of Conversation

*Helen Mirren The Audience

Elisabeth Moss The Heidi Chronicles

Tonya Pinkins Rasheeda Speaking

OUTSTANDING ACTOR IN A MUSICAL

Christian Borle Something Rotten!

Brian d’Arcy James Something Rotten!

*Robert Fairchild An American in Paris

Peter Gallagher On the Twentieth Century

Tony Yazbeck On the Town

OUTSTANDING ACTRESS IN A MUSICAL

*Kristin Chenoweth On the Twentieth Century

Leanne Cope An American in Paris

Tyne Daly It Shoulda Been You

Kelli O’Hara The King and I

Chita Rivera The Visit

OUTSTANDING FEATURED ACTOR IN A PLAY

Paul Jesson Wolf Hall

*Richard McCabe The Audience

Alessandro Nivola The Elephant Man

Nathaniel Parker Wolf Hall

Bryce Pinkham The Heidi Chronicles

OUTSTANDING FEATURED ACTRESS IN A PLAY

*Annaleigh Ashford You Can’t Take It With You

Patricia Clarkson The Elephant Man

Francesca Faridany The Curious Incident of the Dog in the Night-Time

Julie Halston You Can’t Take It With You

Lydia Leonard Wolf Hall

OUTSTANDING FEATURED ACTOR IN A MUSICAL

John Cariani Something Rotten!

Josh Grisetti It Shoulda Been You

*Andy Karl On the Twentieth Century

Paul Alexander Nolan Doctor Zhivago

Max von Essen An American in Paris

OUTSTANDING FEATURED ACTRESS IN A MUSICAL

Heidi Blickenstaff Something Rotten!

Victoria Clark Gigi

Megan Fairchild On the Town

*Ruthie Ann Miles The King and I

Mary Louise Wilson On the Twentieth Century

OUTSTANDING SOLO PERFORMANCE

Joe Assadourian The Bullpen

*Jim Dale Just Jim Dale

Tom Dugan Wiesenthal

Cush Jumbo Josephine and I

Benjamin Scheuer The Lion

JOHN GASSNER AWARD

(Presented for an American play, preferably by a new playwright)

*Ayad Akhtar The Invisible Hand

Halley Feiffer I’m Gonna Pray For You So Hard

Elizabeth Irwin My Mañana Comes

Markus Potter Stalking the Bogeyman

Benjamin Scheuer The Lion

Fox TV: “American Idol” Will End Run Next Spring– Ryan Seacrest Was Biggest Winner

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“American Idol” is over. Fox announced this morning that next spring will mark its final season. It’s no surprise. Ratings have been in decline for a long, long time. This fall will be the last round of auditions, which could either be a melancholy event or a frenzy for potential contestants to get onto the show.

So much has happened since “Idol” tilted toward its end. “The Voice” usurped it with lots of bells and whistles. Last week, Clive Davis–who made many “Idol” winners stars including Kelly Clarkson and Carrie Underwood, as well as Fantasia and most notably Jennifer Hudson–appeared on “The Voice” to introduce his next star, Avery Wilson.

Idol’s biggest winner? Without a doubt, Ryan Seacrest. He’s become a TV mini mogul, and incredibly rich as producer of many other things including “Keeping Up with the Kardashians” on E. He’s also totally embedded with Clear Channel aka I Heart Radio. His next conquest may be NBC if the network picks up Jennifer Lopez’s proposed new TV series.

Mad Men: Shocker in Penultimate Episode: with SPOILERS

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Mad Men’s penultimate episode was actually, I think, the final episode. Don completed a circle, and let a kid that reminded him of himself go free. Pete finally found the pot at the end of the rainbow. Sally came to an understanding of her mother, Betty.

And by doing it this way, I think Matt Weiner signaled us that we saw of Peggy and Joan last week was their ending, too. Joan got her money and married her guy. Peggy came to McCann Erickson swinging for the fences. Roger…well, we know he’s with Megan’s mother, and his life is not about change.

So the shocker is that Betty will die of lung cancer. I don’t think we see her again, either. That Sally read her letter now tells us everything we need to know. And though Betty was an enigma to her kids, the letter left a lump in the throat.

And the other shocker is that Pete, privileged, an asshole, instead of getting a comeuppance, wins. Pete won, kids. Life is very unfair.

If I had to guess, I’d say next week’s finale is a jump forward in time, maybe a reunion in the future. It does seem like Don is going home now. Maybe his story is that he started over and was bigger than ever. But what’s done is done.

Tonight’s episode is a head scratcher. Weiner is not going to wrap the show up with a ribbon, with everyone shaking hands, admitting their failures and finding happiness. Life isn’t like that. There won’t be a big hug a la “Mary Tyler Moore.” The climax of the show– and maybe the true end– was Don taking the kids to see the brothel where he grew up. Everything else has been gravy.

The episode ends with Buddy Holly singing the lightest song of all the episodes: “Everyday.” A signal because of Buddy’s death? Maybe, conspirators. More like a tip of the hat back to the beginning. But I think it could be just a signal that ‘that’s that.’ It’s a simple end to a complicated story.

Jane Fonda, Lily Tomlin Give a Master Class in Witty in “Grace and Frankie” on Netflix

Maybe you’ve already started watching “Grace and Frankie” on Netflix. The first two episodes are rocky, but set up the premise: in wealthy San Diego, Martha Stewart-like cosmetics queen Grace (Jane Fonda) is married to Robert (Martin Sheen). He’s a lawyer, partnered with Sam Waterston’s Sol, who’s married to Frankie (Lily Tomlin). The latter couple are hippy-dippy, compared to society couple Grace and Robert. We find out that after 40 years of marriage, the two men have been in love for the last twenty. They’re divorcing Grace and Frankie, and getting married.

The four principals are wonderful, all award worthy. But since it’s about the women, let’s be clear: Lily Tomlin is a force of nature beyond and above. She’s a Cheshire cat and “ET” all rolled into one. If you could bottle her, the whole world would smell like jasmine and hyacinth and never stop smiling. Jane Fonda, our great American actress before Meryl Streep, is not only impossibly gorgeous and sexy but also brilliant at conveying brittle vulnerability while still being funny or sarcastic. This work is equal to her best on film.

Those first two episodes are clunky because they have to lay a lot out. It isn’t until episode 3, “The Dinner,” and 4, “The Funeral,” that it all comes together. The premise is still there, but the training wheels are off and we’re riding without assistance. The men’s roles are fine, if a little disconcerting: it takes few minutes to accept Jack McCoy from “Law & Order” acting goofy and making out with tough guy Sheen. But they’re sweet together and after a while you accept them.

So the men are set up in their roles. But the show is about Grace and Frankie, who decide to live together in a mutually owned million dollar beach house in La Jolla (the reasoning for this is a speed bump, get over it). All the homes featured are Architectural Digest, by the way. There’s no end of money, so that clears a lot of obstacles. And Frankie’s adopted son Nwabudike “Bud” (Baron Vaughn) is the only black person they all seem to know, and he’s a preppy lawyer at Sol’s firm.

There are four adult children. Frankie and Sol also have Coyote, who’s a jaunt recovering drug addict (the way they are on TV) played by Ethan Embry. Grace and Robert have two daughters played by Brooklyn Decker (who’s better than you’d think) and June Diane Raphael, who’s so good they’re already writing her like she’s leaving for a spin off. All the kids are kind of in an updated version of “thirtysomething” or “Brothers and Sisters” that feels like it’s been added to the main story for demographic purposes.

“Grace and Frankie” is not a sitcom. It’s a dramedy. Netflix has no commercials, and these episodes are 30 minutes long. With commercials, the show would be an hour. So really, it’s an hour long comedy without a laugh track or put downs, paced like a drama in that the actors are really speaking words that must be listened to. And you must listen because the dialogue– particularly among the four elders– is sharp, and layered with nuance. Plus, the delivery of it is demanded by the actors.

So I get back to the actors. Just as with Streep, if you want to see how it’s done, watch Jane Fonda. You won’t be able to figure it out exactly, because she does not share the recipe. It’s in her eyes. In “The Funeral,” she reunites with Sheen’s sister, played by Christine Lahti. Grace is so happy to see her, until she realizes that she is no longer part of her ex’s family. Watch Fonda accept Lahti’s news that even though Aunt Grace is missed by her in laws, she isn’t welcome at family functions anymore. Fonda is like a firefly. The viewer is gutted for Grace, but Fonda doesn’t let Lahti see it. This scene says more about Grace’s downfall than anything else– she’s not only lost her husband, but a family she didn’t realize she liked being attached to.

The characters are peeled back like onions. Rather than front load information, creators Marta Kauffman and Howard Morris drop factoids in that are like cherry bombs. Grace moves on fast, with a rebound boyfriend (Craig T. Nelson). Frankie has a harder time accepting Sol is gone. Tomlin makes the most of this, relaying Frankie’s struggle tenderly, but with a bite.

Is the show funny? Yes, very. Sometimes I laughed out loud, but there’s no rim shot or laugh track so unless you pause the video you have to keep moving along. It’s written (a lot of it by Alexa Junge, although I wonder if Tomlin’s brilliant partner Jane Wagner didn’t help out) like a Nora Ephron or Nancy Meyers movie: smart, snappy, sarcastic, droll. Is “Grace and Frankie” subversive enough for Netflix? Yes, in that as a comedy it eschews all the lazy, easy gimmicks of network sitcoms. By the end of 13 episodes, you just want more and more of these people.

I can’t wait for a second season.

 

Prince Sings in “Baltimore”: “If there ain’t no justice, there ain’t no peace,” warns of Los Angeles next

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Prince has released his “Baltimore” song and it’s pretty interesting. For one thing, the very catchy refrain is “If there ain’t no justice/there ain’t no peace.” And that’s the piece you’ll be hearing audiences sing as long to. I wouldn’t be surprised if the slogan didn’t make it onto T shirts.

The lyrics reference Freddie Gray and Michael Brown, of course. The music is jaunty, upbeat and recalls Sly and the Family Stone. There’s also a lick driving me crazy. If anyone can figure it out let me know. Sounds like something from Crosby Stills Nash & Young. Prince composed “Baltimore” a la “Ohio” or “Chicago.”

LISTEN to the very end of this track. Prince suggests that Los Angeles will be the next scene of a racial problem. Scary. On the other hand, this is the catchiest Prince song in a long time. I hope it gets played.

Box Office: “Avengers” Second Weekend Lower than Predicted, Reese-Sofia “Pursuit” Tanks

Box office update: “The Avengers: Age of Ultron” was supposed to $90 million this weekend. Then that got lowered to $80 million. First reports of Friday night take were $25 million. But the real number was $21 million. At best — and this is very good, I’m not kidding– the sequel will do $70 million this weekend. The actual number will probably be lower. Look, they did $191 million last weekend. This was the kind of movie where everyone who wanted to see it, saw it. But wow– those predictions were all wrong.

Reese Witherspoon, like a lot of actresses who’ve won the Oscar in this generation– has squandered her career. She won Best Actress for “Walk the Line,” playing June Carter Cash. That was released in 2005! A decade of mediocrity has followed with one or two bright spots like “Wild” or “Mud.”

But really, looking at her imdb you wonder what went wrong. It’s just one after another bad movie. After “Walk the Line,” Reese could have gone for Goldie Hawn cute (more “Sweet Home Alabama,” “Legally Blonde”) or Sally Field serious. She went for neither. Recent releases like “Devil’s Knot” and “This Means War” are just awful.

Now “Hot Pursuit” with Sofia Vergara is a bust, reviled by critics and ignored by audiences. If they sort out $12 mil for the weekend, great. But the DVD is being shrink wrapped now. Airplanes are not far off. The good news is, Reese is 39, looks younger. If she can just find a theme for the material she picks, her forties can be a gold mine. She has the potential. “Wild” is a good example. Paul Feig’s “Wish List” may help if it’s off beat.

Bono Goes Blonde on the Tonight Show: Watch U2 Perform “Angel of Harlem”

Bono et al performed “Angel of Harlem” on the Tonight Show last night. The result of Bono’s bicycle accident is that he is now blonde. He can’t play the guitar, but that’s ok with everyone. The band also played “Beautiful Day” and “Song for Someone.” The big tour kicks off imminently. When you see a video like this, you want to go even if parking is $50.

TV: Say Goodbye to “CSI,” But “CSI: Cyber” with Oscar Winner Patricia Arquette Stays

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CBS is cancelling “CSI” after 16 seasons. There are many reports that they’ll come back with a two hour finale in the fall to wrap things up. But “CSI: Cyber,” which no one seems to like, will be back. After all, its star, Patricia Arquette, just won an Oscar. The show can be fixed. We want to see Patty Arquette on TV, no matter what.

CBS also cancelled “Battle Creek” with Josh Duhamel, which I always thought was about cereal. “The Millers” was already cancelled. “The McCarthy’s,” no one knew what that was. CBS will add shows based on the movies “Rush Hour” and “Limitless.”

CBS also has two interesting comedies: Angel from Hell with Jane Lynch, and Life in Pieces starring two time Oscar winner Dianne Wiest, the underrated ColinHanks, and England’s not yet crossed over star Rupert Graves.

On Fox, in addition to “The Mindy Project,” Kevin Bacon in “The Following” is gone. Kevin Bacon had better get back to movies. He has an Oscar in his future. Time’s a-wastin’.

And Poor Katherine Heigl. “State of Affairs” is gone. I like her a lot, and wish she’d get a decent show. She was not treated well in ShondaLand. Maybe now with the Patrick Dempsey thing happening, people will see that. NBC also chopped “About a Boy,” even though last year everyone was so excited about it.

So weird to watch all this network fussin’, when all the good shows are off-network.

Stay tuned for more…

Anthony Geary Leaving “General Hospital” After 37 Years as ABC Slices Budget

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The first death knell of “General Hospital” has wrung: Anthony Geary, who’s played Luke Spencer for 37 years and has won 8 Emmy Awards, is out. He tells TV Guide he’s quitting, but it’s quite obvious that budget slicing finally hit the show’s highest paid actor. The show is bringing back Genie Francis as Laura, Luke’s long time love, to see him off.

And then? “General Hospital” has been on a wild ride since producer Frank Valentini and headwriter Ron Carlivati came from the cancelled “One Life to Live” and saved it. They’ve employed dozens of returned veterans on recurring contracts and balanced a zillion story lines.

But all good things must come to an end. They’ve got two highly paid popular actors– Maura West, who just won the Emmy for Best Actress in that show– and Michael Easton, who are barely seen. They’ve got two more, same situation, Michelle Stafford and Roger Howarth, who cost a lot. Today they’re “killing off” one other legacy character. And so on.

ABC still wants out of soap operas. Pulling the plug on Geary is the best way to destabilize the audience. Geary lives in Holland, is not retiring, and may turn up elsewhere. And I don’t think ABC cares much one way or another. For 10 cents they could have another cooking show and be done with it. We’ll see what happens.