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Quais Séries Você Anda Vendo?


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The Sopranos - 6x07 - Luxury Lounge - *** (MVP: John Ventimiglia)

 

[The Sopranos meets Entourage. haha]

 

The Sopranos - 6x08 - Johnny Cakes - *** (MVP: James Gandolfini; Robert Iler)

The Sopranos - 6x09 - The Ride - ** [quase ***] (MVP: Michael Imperioli)

The Sopranos - 6x10 - Moe n' Joe - ** (MVP: James Gandolfini)

 

Studio 60 on the Sunset Strip - 1x15 - The Friday Night Slaughter - *** [quase ****] (MVP: Matthew Perry)

 

Battlestar Galactica - 3x14 - The Woman King - ** (MVP: Tahmoh Penikett)

 

[Mesmo

a trama principal não sendo lá essas coisas, o episódio tem diversos

pontos pra mostrar porque a série é uma das melhores da atualidade.

Destaque pra cena do bar, onde vemos Adaminha e sua esposa se beijando,

a câmera faz um leve movimento para vermos a reação de Starbuck, e

depois retorna pra posição original. Great stuff.]

 

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Estou tirando o atraso da ótima Friday Night Lights. Além das séries da temporada atual.

 

Quando acabar FNL, as próximas serão:

 

House - 3ª temporada.

How I Met Your Mother - 1ª e 2ª temporada.

Nip/Tuck - Todas as temporadas.

 

...

 

E num futuro bem distante (não por vontade própria) a 2ª temporada de The West Wing.

 

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24 - 6x08 - Day 6: 1:00 P.M.- 2:00 P.M. - *** (MVP: Peter MacNicol)

 

24 - 6x09 - Day 6: 2:00 P.M.- 3:00 P.M. - *** [quase ****] (MVP: James Cromwell)

 

How I Met Your Mother - 2x15 - Lucky Penny - **** (MVP: Neil Patrick Harris)

 

Six Feet Under - 1x01 - Pilot - *** [****] (MVP: Peter Krause; Michael C. Hall; Lauren Ambrose; Frances Conroy)

 

Six Feet Under - 1x02 - The Will - *** (MVP: Michael C. Hall)

Six Feet Under - 1x03 - The Foot - *** (MVP: Frances Conroy)

 

The Sopranos - 6x11 - Cold Stones - ** (MVP: Edie Falco)

 

The Sopranos - 6x12 - Kaisha - *** (Michael Imperioli; Julianna Margulies)

 

 

Alcancei a exibição americana de Sopranos. Ufa.

 

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 EU ADORO VER  THE 4400 TO NA TEMPORADA 1

 LANCES DA VIDA ( PELO SBT)

OZ (UMA PENA O SIRIO TER MORRIDO)

 

 

E A MELHOR SERIE D TODAS PRA MIM É ALIAS (ALUGUEI O DVD DA QUARTA TEMPORADA,  O VOUG É TÃO LINDO!!!!!!!!!!!!!! )

 

E É CLARO LOST K APESAR DO CARA MAIS GATO DA SERIE TER MORRIDO(BONE /  IAN SOMERHALDER), A SERIE AINDA É OTIMA  TO COM O SOWER E Ñ ABRO( 2 TEMPORADA NA GLOBO)

 

UMA SERIE ANTIGA :

 

DOUTORA QUEEN (DESCULPA SE TIVER ESCRITO ERRADO).
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Cara, o DVD que eu peguei com os três primeiros episódios era full, o que certamente prejudicou a experiência. Mas é muito bom mesmo, tem um humor  negro delicioso. E o elenco é afiadíssimo (note que eu não consegui me decidir entre os quatro principais na hora de indicar um MVP do piloto).

 

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24 Horas (toda a quarta temporada) - 8/10 - Bem legal, mas já to começando a achar tudo meio repetitivo, previsível até. Vamo ve o que muda na quinta.

E também achei meio sem graça aquela história envolvendo os japoneses/chineses, não sei. Mas de resto manteve o nível, elenco impecável como sempre.

 

Ps ; Adorei a participação da Mia Kirshner, adoro quando a Mandy aparece! 05 . Pelo menos compensaram a falta de uma gostosa (Kim) com essa, porque a Aundrey é... 0706

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Veronica Mars - 3x13 - Postgame Mortem - ** [quase ***] (MVP: Juliette Goglia)

 

House - 3x14 - Insensitive - *** (MVP: Hugh Laurie)

 

Lost - 3x08 - Flashes Before Your Eyes - *** (MVP: Henry Iam Cusick)

 

Rome - 2x05 - Heroes of the Republic - ** (MVP: Polly Walker)

 

The Office - 3x17 - Business School - *** (MVP: Steve Carell; Jenna Fischer)

 

Grey's Anatomy - 3x16 - Drowning on Dry Land - *** (MVP: Katherine Heigl)

 

[O

episódio é um grande set-up engana-trouxa. Todo mundo sabe que aquele

acontecimento não vão se concretizar, mas acaba funcionando graças ao

elenco. Cliffhanger bacana, though.]

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Six Feet Under - 1x04 - Familia - *** (MVP: Michael C. Hall)

 

Six Feet Under - 1x05 - An Open Book - *** (MVP: Lauren Ambrose; Frances Conroy)

Six Feet Under - 1x06 - The Room - *** (MVP: Peter Krause)

Six Feet Under - 1x07 - Brotherhood - *** (MVP: Frances Conroy)

Six Feet Under - 1x08 - Crossroads - ** (MVP: Michael C. Hall)

 

My Name Is Earl - 2x17 - The Birthday Party - *** (MVP: Jason Lee)

 

Smallville - 6x15 - Freak - ** (MVP: Allison Mack)

 

[O

sexto ano de Smallville está entre o mediano e o patético. Mas Mack é

uma das cinco melhores atrizes coadjuvantes da temporada. Ponto.]

 

30 Rock - 1x14 - The "C" Word - *** [quase **] (MVP: Tina Fey; Alec Baldwin)

 

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Acho que todo mundo por aí anda vendo Lost, então não tem muito o que comentar..

 

 

Ultimamente tenho visto:

 

Studio 60 - Uma das melhores séries que já vi!! ótimo texto.. ótimos atores.. tecnicamente, não deixa nada a desejar.. Não sei se passa da primeira temporada, mas vai ser uma pena vê-la cancelada. Está entre as três melhores séries em exibição, com certeza.

 

Battlestar Galactica - Ótima história, bons atores.. estranhamente, não vejo muitas notícias sobre a série. Achei que perdeu um pouco do rumo, deixando muito de lado a busca pela terra e prolongando demais a rivalidade entre humanos e cylons, que parecem ter mais em comum do que qualquer outra coisa.. mas vem se recuperando  nos últimos episódios.

 

Heroes - Tem seus pontos altos e baixos.. mais baixos que altos, talvez, mas ainda continuo curioso sobre a série. Vou continuar assistindo.

 

The Office -  Assisti ao piloto ontem, e não achei grandes coisas.. mas falam tão bem dela que vou continuar vendo, eespero que seja mesmo boa..

 

Ouvi falar muito bem de Ugly Betty, Grey's Anatomy, Friday Night Lights, House.. vou começar a ver essas tb..

 

 

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Bom com o minha net eh discada 14(ninguem merce..) eu to acompanhando somente as series exibidas na tv a cabo....

 

ER - 13x11 City Of Mercy10

( A 13 temo deu um folego novo a veterana série, q esta melhor do que nunca, soh num tô gostando do Jonh Stamos se achando o " salvador da patria, no caso da serie......)

 

House - To assistindo a repri da seg temp, q eu tinha perdido muitos ep, rs, em todo caso, mal posso esperar pela próxima temp

 

Desperate Housewives -  A terceira temp começou muito bem, espero q acerte em tudo q a seg errou e feio..........................11

 

Gray's Anatomy - P ser franco soh continuo assistindo por pressao da minha irma, q num deixa mudar de canal no horario da serie...... e pela Cristina ( sandra oh), mas a terc temp tah bem legal, ate a sem graça da meredith parece q vai se soltar + nessa temp

 

Psych - Bom, comecei a ver essa semana, e to gostando muito

 

24 - Ainda num tive oportunidade de ver os ep da sexta temp, o jeito vai ser esperar a boa vontade da Fox, q soh começa a exibir em Abril

 

Lost - Enfrento o msm problema q 24, a demora p o lançamento da nova temp, mas confeso q minha empolgação jah diminuiu bastante........

 

Nip/Tuck - Revendo a primeira temp no sbt ( Estetica, ahahah) e aguardando a 4 q milagrosamente a fox resolveu lançar + rap
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Six Feet Under - 1x09 - Life's Too Short - *** (MVP: Frances Conroy; Peter Krause)

 

Six Feet Under - 1x10 - The New Person - *** [quase **] (MVP: Rachel Griffiths)

 

Six Feet Under - 1x11 - The Trip - *** (MVP: Freddy Rodriguez)

 

Six Feet Under - 1x12 - A Private Life - ** (MVP: Frances Conroy)

 

[Hall cagou feio quando escolheu esse episódio como FYC dele. Tomara que esse ano ele seja mais esperto.]

 

Six Feet Under - 1x13 - Knock, Knock - *** [quase **] (MVP: Peter Krause)

 

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Dizem que temos que ver justamente o que os criticos dizem ser ruins...eu vejo aqui pessoas dizendo que assistem e adoram séries, que são canceladas por falta de audiência, mas  séries que estão fazendo sucesso como Supernatural não são nem citadas aqui....não entendo em que mundo vivem... clodoaldoaleixo2007-02-21 00:02:35

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Dizem que temos que ver justamente o que os criticos dizem ser ruins...eu vejo aqui pessoas dizendo que assistem e adoram séries' date=' que são canceladas por falta de audiência, mas  séries que estão fazendo sucesso como Supernatural não são nem citadas aqui....não entendo em que mundo vivem... [/quote']

???

 

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Acho que todo mundo por aí anda vendo Lost' date=' então não tem muito o que comentar..

 

 

Ultimamente tenho visto:

 

Studio 60 - Uma das melhores séries que já vi!! ótimo texto.. ótimos atores.. tecnicamente, não deixa nada a desejar.. Não sei se passa da primeira temporada, mas vai ser uma pena vê-la cancelada. Está entre as três melhores séries em exibição, com certeza.

 

Battlestar Galactica - Ótima história, bons atores.. estranhamente, não vejo muitas notícias sobre a série. Achei que perdeu um pouco do rumo, deixando muito de lado a busca pela terra e prolongando demais a rivalidade entre humanos e cylons, que parecem ter mais em comum do que qualquer outra coisa.. mas vem se recuperando  nos últimos episódios.

 

Heroes - Tem seus pontos altos e baixos.. mais baixos que altos, talvez, mas ainda continuo curioso sobre a série. Vou continuar assistindo.

 

The Office -  Assisti ao piloto ontem, e não achei grandes coisas.. mas falam tão bem dela que vou continuar vendo, eespero que seja mesmo boa..

 

Ouvi falar muito bem de Ugly Betty, Grey's Anatomy, Friday Night Lights, House.. vou começar a ver essas tb..

 

[/quote']

 

Falei a mesma coisa quando assisti ao piloto de The Office. Mas não se engane, é muito boa mesmo. Vejo a primeira temporada como um período de adaptação, você ainda está conhecendo os personagens, se adaptando ao estilo da série e etc... Mas a segunda temporada é ótima e a terceira está matando a pau. Com certeza garante muitas risadas.

 

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Why TV Is Better Than the Movies

Film has always been the Four Seasons to television's Motel 6. Not

anymore. Here's how the small screen ended up so much bigger—and

bolder—than the big one.

By Devin Gordon
Newsweek

Feb.

26, 2007 issue - Denis Leary remembers the exact moment when all his

notions about what television could be got blown to smithereens. It

came during the first season of "The Sopranos." "It was the episode

where Tony Soprano is driving Meadow to visit colleges and he runs into

the snitch along the way," says Leary, the star and co-creator of FX's

firefighter dramedy "Rescue Me." Tony (James Gandolfini) happens upon

the turncoat, who'd been placed in witness protection, at a gas station

on some leafy country road. The next day, after dropping off his

daughter for a campus interview, Tony tracks down the snitch and

brutally strangles him to death with a coil of wire. "I remember

watching that and thinking, 'Oh, my God ... '," Leary says.

"I don't think I blinked that entire episode. The show ended at 10

o'clock, and at 10:05 the phone in my apartment started ringing off the

hook. That's when I thought, 'If they can do this, you can do anything in this format'."

For other people, maybe it was another moment.

Maybe it was the two-hour pilot episode of "Lost," which opened with

the nightmarish aftermath of a plane crash on a deserted, and deeply

peculiar, tropical island. It cost ABC a small fortune—reportedly $12

million—but it proved that network TV could match the scope and

storytelling electricity of a feature film. For me, my "moment" is

every single episode of "The Wire," the astounding HBO series that's

been labeled a crime drama but is actually a sprawling, visual novel

about the decline and fall of an American city. "Our model when we

started doing 'The Wire' wasn't other television shows," says David

Simon, the Baltimore Sun crime reporter turned TV scribe who co-created

the series. "The standard we were looking at was Balzac's Paris, or

Dickens's London, or Tolstoy's Moscow. In TV, you can actually say that

out loud, and then go do it."

It's

dangerous to make broad generalizations about TV versus film without

sounding as though you're comparing apples and tubas, but let's do it

anyway: television is running circles around the movies. The Internet

age has put both industries into a state of high anxiety, with everyone

scrambling to figure out how money will be made in a digital future

where people watch movies on their phones and surf the Web on their

TVs. But while the major film studios have responded by taking shelter

beneath big-tent franchises, the TV industry has gone the opposite

route, welcoming anyone with an original idea. The roster of channels

has ballooned into the hundreds, creating a niche universe where shows

don't need to be dumbed down in order to survive (because the dummies

have their own channels). DVDs, meanwhile, have upended how we watch

television, transforming shows from disposable weekly units into 8-,

12-, sometimes 22-hour movies. "We get a lot of people who tell us they

don't even watch the show when it airs," says Joel Surnow, co-creator

of "24." "They wait for the DVD and watch it all at once."

Sure, TV still makes plenty of crap. And, yes, film is peerless when it

comes to grand spectacles like "Lord of the Rings." But how many recent

Hollywood comedies have been as lacerating as NBC's "The Office" or

Comedy Central's taboo-blasting "Sarah Silverman Program"? (OK,

"Borat"—a movie based on a character created for ... television.) The

film industry is in love with serial-killer stories, but it took

Showtime's "Dexter" to breathe new life into the genre. And roll your

eyes if you want, but nothing out of Hollywood generates anything close

to the hysteria of a single episode of "American Idol."

 

This is supposed to be Hollywood's biggest

moment of the year. It's Oscar time, in case you forgot. But anyone who

actually wants to go see a movie this week will have a choice between

Paramount's Eddie-Murphy-in-a-fat-suit comedy "Norbit" and Sony's

comic-book adaptation "Ghost Rider," starring Nicolas Cage, which

wasn't screened for critics—industry code for a movie so lousy that the

best review it can hope for is no review at all. Soon it'll be

summertime, and the annual march of the sequels will resume.

"Spider-Man 3." "Shrek 3." The third "Pirates of the Caribbean." The

fourth "Die Hard." The fifth "Harry Potter."

If

that list excites you, there's probably a simple explanation: you're

12. But for everyone else, it's hard to shake the feeling that

Hollywood has lost interest in us. "Whenever I see a movie that

impresses me, I always wonder how it occurred. Like, how did they

thread that one through the needle?" says Simon. "And

inevitably, you find out it was made quietly, and for very little

money." Consider this year's Oscar nominees for best picture. Only two

are the products of major studios, Martin Scorsese's "The Departed" and

Clint Eastwood's "Letters From Iwo Jima," and both men are legends

who've earned the right to tell their studio bosses to butt out. The

other three came out of "specialty" satellites to the big studios, such

as Fox Searchlight and Paramount Vantage. In essence, the job of

quality moviemaking has been outsourced.

For

decades, if film was the Four Seasons, TV was a Motel 6. You worked in

television for the money, or to reboot your career, or just to hang on.

Now actors like Alec Baldwin, Steve Carell and Salma Hayek go from hit

movies to network-TV gigs, and no one thinks they're nuts. Paul Haggis

and Bobby Moresco ("Crash") went straight from the best-picture Oscar

to creating "The Black Donnellys" for NBC. Steven Spielberg is doing a

reality show for Fox. David Mamet—David Mamet!—created a drama

for CBS. "The people working in television right now are the

Shakespeares of the medium," says Ira Glass, host of the public-radio

program "This American Life," which has been turned into a jewel of a

TV series on Showtime and will start airing on March 22. "That's

probably a pretentious thing to say, but I also think it's true. It's

true in the same way that Leonard Bernstein was figuring out what you

could do with a Broadway show when he wrote 'West Side Story,' or in

music when Sinatra recorded his Capitol albums."

This obviously isn't the first "golden age of television." In the

1950s, Milton Berle and "I Love Lucy" reinvented comedy. In the 1970s,

Norman Lear did it again with socially conscious shows like "All in the

Family." The difference now is TV is challenging movies on their own

turf—narratively and visually—and winning. The best shows tell their

stories slowly, carefully and with exquisite detail, putting viewers

inside the experience of another person with unparalleled intimacy.

This is the grand achievement of "The Sopranos," and it's why the

show's final season, which begins on April 8, is a safe bet to be the

cultural happening of the year. In television "the writer is king,"

says Carlton Cuse, an executive producer on "Lost." "We're at the top

of the food chain." In the film world, the director is in charge, or

the star. "It's almost impossible to write a movie with a big star and

not have that person put his or her thumbprint on top of it," Cuse says.

To some, the notion of TV as a writer's Eden is more of a recruiting poster than a reality. "Nobody ever really feels all that in

charge," says Jon Turtletaub, who directed Disney's hit movie "National

Treasure" and created "Jericho" for CBS. "If you want control, write a

book." Others believe that Hollywood's failing isn't creative, but

technological. "The movie business is still caught up in how it's

always been done," says Todd Wagner, co-president of 2929 Entertainment

("Good Night, and Good Luck"), which has been leaning on studios to

release films on several platforms—in theaters, online and on DVD—at

once. "Film is still built around a business model where they're trying

to get as many people as possible to see something on the very first

weekend, at very select locations, for months before it's available any

other way. Television isn't doing that. The realization they've come to

is, why wouldn't you put it out there?"

One

reason is piracy. The studios don't make many films, so they need to

wring out every last penny. But there's another reason they're so

reluctant to sell "Shrek 3" DVDs at Wal-Mart on opening day: image.

Hollywood is determined to protect the "specialness" of movies, and if

you can get them any time, anywhere, how special can they be? "There's

always going to be that excitement where you think, 'Oh, I made a

movie! And it's gonna be at a theater! And people will be eating

popcorn!' " says Tina Fey, who wrote the 2004 hit "Mean Girls" and

created the NBC sitcom "30 Rock." "It's just different." Hollywood

wants to be consumer friendly, but not too friendly, because that arm's

length exclusivity is the essence of glamour. And without glamour, what

is Hollywood? Yup—television. Last year, when Larry McMurtry and Diana

Ossana shared a screenwriting Oscar for "Brokeback Mountain," McMurtry

thanked his typewriter. During an interview, he grumbled while Ossana

sang the praises of modern TV. "It's not a question of quality,"

McMurtry responded. "It just means the prestige is still with film, and

I suspect it always will be. Put it this way: I'd rather have an Oscar

than an Emmy." The man's got a point.

Then again, it's possible to win an Oscar only if your film actually

gets made, and good luck with that. The economics of the movie business

have created a climate of "paranoia" in Hollywood, says megamovie

producer Brian Grazer, an Oscar winner for "A Beautiful Mind" whose

company, Imagine Entertainment, also co-owns "24." The average film

budget, according to the latest Nielsen figures, is about $60 million,

with an additional $36 million in marketing costs. That means the

typical Hollywood film is a $100 million bet—with the money paid

upfront, before anyone sees a penny in return. That kind of environment

has a stultifying effect on artists. "They begin to worry that their

movie will never get made, that they'll never hear 'yes' again," Grazer

says, "so they end up being much more accommodating to an executive's

opinions." Increasingly, Hollywood is making only two types of films:

lavish blockbusters ("Superman Returns" cost $204 million) or thrifty,

$15 million genre bets like horror flicks and lowbrow comedies. The

midrange $60 million drama has all but vanished—at least from theaters.

With all those channels and all those hours to

fill, television has charged into the void. In five years, according to

Adams Media Research, the number of digital-cable subscribers in the

United States tripled, from 10 million in 2000 to 30 million in 2005.

In such a crowded market, you either evolve or die. "Desperation breeds

inspiration," says NBC president Kevin Reilly. And thanks to iTunes and

TiVo, networks can afford to be patient with a quality show, knowing an

audience has multiple ways to find it. NBC hopes that will happen with

its Texas high-school football drama "Friday Night Lights," a superb

show that's only incidentally about football. The series actually

surpasses the 2004 film because the long form of TV has given its

writers leeway to explore an entire small-town orbit. Freed from the

need to sell tickets, the TV show doesn't have to swell to a

crowd-pleasing gridiron drive.

It's not just the stories on TV that are improving; they look

better, too. "Some of the action that 'Lost' and '24' are doing

compares to almost any feature out there," says ABC president Steve

McPherson. "We're making the investment in these shows. They're not

cheap. But the production gap is closing." TV is spending more money on

us—and we're spending more money on TV. Gradually, homes are filling

with high-definition sets that rival the cinema experience, only

without the nasty carpets sticky with spilled Coke. "I still

occasionally hear someone say that they don't watch television," Leary

says, "and I always tell them, 'Look, I don't care what book you're

reading—put it down and watch these five shows, because you really,

truly don't know what you're missing'." He's right, except for one

thing: only five?

http://www.msnbc.msn.com/id/17200496/site/newsweek/

 

Cavalca2007-02-21 23:04:41

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Curb Your Enthusiasm - 1x00 - Larry David: Curb Your Enthusiasm - *** (MVP: Larry David)

 

Battlestar Galactica - 3x15 - A Day in the Life - ** (MVP: Edward James Olmos)

 

[Filler descarado. Mas pelo menos teve bastante Adama.]

 

Studio 60 on the Sunset Strip - 1x16 - 4AM Miracle - *** (MVP: Matthew Perry; Bradley Whitford)

 

24 - 6x10 - Day 6: 3:00 P.M.-4:00 P.M.- *** (MVP: Kiefer Sutherland; James Cromwell)

How I Met Your Mother - 2x16 - Stuff - **** (MVP: Neil Patrick Harris)

Prison Break - 2x17 - Bad Blood - *** (MVP: Robert Knepper)

Cavalca2007-02-21 23:14:01

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