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‘Drew Barrymore’ Debuts Behind Tamron Hall’s Andrew Gillum Interview

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Drew Barrymore was always going to hard pressed to follow last year’s strong daytime debuts by Kelly Clarkson and Tamron Hall, but the actress still got off a strong enough start.

The CBS-produced “The Drew Barrymore Show” premiered to a 1.0 household rating/3 share in the 44 metered markets, according to Nielsen’s overnight data. For her first episode, Barrymore welcomed her former “Charlie’s Angels” co-stars Lucy Liu and Cameron Diaz and “50 First Dates” co-star Adam Sandler.

Barrymore’s premiere fell below the season two debut of the Disney-ABC produced-“Tamron Hall,” which welcomed disgraced former Florida gubernatorial candidate Andrew Gillum. Hall’s second season got off to a 1.1/4 start.


Also Read: From Kelly Clarkson to Drew Barrymore, Why Daytime Talk Shows Are Making a Comeback


Even so, Barrymore’s start was a ratings boon for CBS stations, where her show led the 9 a.m. ET time slot in New York. “Drew” grew by double digits from both its lead-ins and prior Monday time periods and took its station’s ratings up dramatically in numerous key cities, including increases of 233% in Los Angeles, 300% in Baltimore, and 400% in Jacksonville. One of the show’s best opening day performances was in Portland, Oregon, where it increased that time slot’s performance by 233% and led at 3 p.m. PT.

Last year, both Hall and the NBCUniversal-produced “Kelly Clarkson Show” stormed into syndication with Clarkson notching the best debut for new talk show in 9 years, and finished in the top five for her debut season. The former “American Idol” contestant returns for the official start of her second season next week.

Fall TV 2020: All the Premiere Dates for New and Returning Shows – So Far (Photos)

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Batman vs. Spawn: Who Won Their Crossover Fight?

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When Spawn and Batman were brought together, fans got an answer to the longstanding question of which would triumph in a fight.

In 1994, Gotham’s Batman met with New York’s latest brutal vigilante Spawn in an intercompany crossover between DC and Image Comics that joined Batman writer/artist Frank Miller with Spawn creator Todd McFarlane in one violent and entertaining issue. With both vigilantes investigating the same crime, the Dark Knight travels to New York where he meets and fights the former Al Simmons in a battle of discipline, strength, and skill that begs the essential question, who will win: Batman or Spawn?

In Batman/Spawn #1 – which appeared more in line with Miller’s Dark Knight Returns universe than other depictions of the Dark Knight- Batman’s patrol is ended by the attack of a powerful robot. Taking evidence back to the Batcave, Bruce follows the trail to New York City, where his investigation brings him to the alleys where the homeless ramble, drink, and tell stories about the spiritual protector/friend they call “Al”. Their supernatural guardian  makes himself known when Spawn stops two men from lighting a homeless man on fire, seeing justice in using his powers to ensure they burn instead. Witnessing a murder firsthand, Batman introduces himself to Al with his usual dramatic entrance and an attack that might as well ring the bell on their fight.

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Related: Spawn And Batman Are Friends In Mortal Kombat 11

In the beginning, Batman’s usual attempts to incapacitate a foe do nothing as Al shows superhuman strength, stamina and dexterity. Realizing he doesn’t have to hold back his punches, Bruce unleashes his batarangs while continuing to pummel Spawn with little to no effect. Spawn cheats a little by using his precious magic to make himself strong enough to beat up Batman. Realizing he’s overpowered, the Dark Knight retreats temporarily while both men attempt to heal and lick their wounds, Batman taking the defeat the hardest when he realizes Spawn was holding back.

The two vigilantes confront each other later but instead of acting rationally or answering each other’s questions, Miller writes his Dark Knight like an obsessed bully dying for some payback. Wearing a gauntlet that augments his strength and healing, Batman pummels Spawn back until he decides to fight dirty, each hero wasting more time and energy to the point where they’re on the ground hurling insults in between gasps. This rematch ends in a draw when two cyborgs show up and attack Batman. Spawn is forced to use his magic to not only destroy the murderous machines but also to heal Batman’s body. Batman and Spawn begrudgingly work together against their common enemy, accomplishing their goal of saving New York from a nuclear missile. Batman gives Spawn a laundry list of things he doesn’t like about him and promises that they’ll meet again, and this time the Dark Knight will be victorious. Instead of being a good sport, Miller’s Batman continues to be unable to admit Spawn has won, proving Al is also the better man by ignoring Spawn’s compliments, honesty, and offer to bury the hatchet. Instead, he hurls a batarang at Spawn’s face.

Originally it was believed that Spawn chose to sew up the resulting scar with a pair of shoelaces, although this was retconned later. The shoelaces themselves would become a powerful magical artifact that was coveted by one of Spawn’s allies but besides that, the events of this crossover were never mentioned even by the second Batman/Spawn crossover later that year. Although one can argue that Spawn cheated more than once in his fight against Batman, the Dark Knight’s behavior is so over-the-top and uncharacteristically aggressive that you have to award Spawn the win, if only because he was the only one to emerge with his dignity intact.

Next: Batman vs Predator: Can Marvel Ever Top DC’s Crossover?

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‘The Comey Rule’ Review: Showtime’s Limited Series Is Weak Melodrama and a Jarring Monster Movie

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Like the shark in “Jaws” or the “Alien” Xenomorph, Donald Trump lurks unseen in “The Comey Rule.” But once this creature bares his teeth, it can’t be stopped.

More than the eponymous ex-FBI director himself, “The Comey Rule” is about being duped. Writer and director Billy Ray’s limited series indeed chronicles the most (in)famous moments of James Comey’s tenure at the bureau — from Hillary Clinton’s email debacle to his private dinner with Donald Trump — but it’s more interested in what the man represents than whether he’s heroic. Here’s a public official, vigilant in his protection of the bureau’s institutional integrity and independence, who nevertheless found himself influencing a presidential election and sharing ice cream with the Commander in Chief. Watching Comey on Showtime (played by a perfectly cast Jeff Daniels) is like watching the oblivious lead of a horror movie walk into a haunted house, spot a bloody ghost floating through a door, and then follow the ghost further and further into the basement until there’s no hope for escape.

Comey’s choices — again, as framed by the series — all seem idiotic in hindsight, but they’re all based in a belief in American virtues. As a man who sees his job as “catching bad guys,” he holds himself to a defined moral standard and expects his peers to do the same. Aside from wishing Comey had spent a few more Sunday nights watching “Veep,” what our infuriating protagonist doesn’t know is the same thing very few of us knew prior to the 2016 election: that the old rules don’t apply; that the monster we’re fighting isn’t restricted by the laws of humanity (or human decency); that Donald Trump is coming, and just as a kitchen knife won’t stop a ghost, propriety and “best intentions” can’t be counted on to keep him in check.

Given the apropos juxtaposition of before and after, it’s fitting that “The Comey Rule” is split into two parts: “Night One” spends 90 minutes covering the relevant events leading up to the 2016 election, while “Night Two” spends two full hours covering the next seven months. Such a split also creates the opportunity to theatrically unveil Donald Trump, as the first night just shows his silhouette when early reports of impropriety reach Comey’s ears, before ending on Brendan Gleeson’s Trump parting the curtains of his election night victory party.

Dramatically, this is where things start to pick up. “Night One” is mostly preamble. While the debates and decisions have dire consequences, the reasoning and rationales are too well known at this point to renew much ire, and “The Comey Rule” doesn’t try too hard to get the audience invested in anyone but Comey. So it’s not until Trump arrives and starts throwing the FBI out of whack that scenes carry an extra edge to them. Comey is suddenly on his heels; the confidence he exuded in executing his duties curdles into smug misinterpretation, as it slowly dawns on him how unprepared he really is to do his job under Trump.

Jeff Daniels in “The Comey Rule”

Ben Mark Holzberg / CBS Television Studios / Showtime.

Despite Trump’s absence from half the limited series, “The Comey Rule” is still a mano a mano fight between man and monster. Daniels’ deserves as much praise for his scene-by-scene execution as for accepting the role in the first place. Most viewers are probably familiar with his Emmy-winning turn on Aaron Sorkin’s “The Newsroom,” where his principled anchor Will McAvoy served as an all-too-sage savior of truth and reason on TV, but he also played a stalwart real-life hero in Hulu’s “The Looming Tower.” These parts prepared him well for “The Comey Rule’s” more earnest moments, as well as the casual air Daniels can give characters under the most extraordinary circumstances. (When Comey sits for a job interview with President Obama, played by Kingsley Ben-Adir, his candor reads as simultaneously respectful and pompous, which is no easy feat.).

But those same identifiable parts created preconceptions that led many to worry “The Comey Rule” would be a hagiography; a show that over-idolized a public figure who’s made far too many mistakes to deserve canonization. Instead, Daniels excels at deconstructing Comey’s once impervious facade; he’s repeatedly shocked by Trump’s private remarks (the “honest loyalty” dinner scene is one of Daniels’ best), and small quivers in his expression become angry outbursts at his peers, both small enough to be dwarfed by Trump’s outsized personality yet still emphasized to illustrate how hard Comey has been blindsided. Even when he thinks he’s right, he knows he’s outmatched.

Gleeson’s take on Trump is a little harder to admire, even if it’s properly huge. When first introduced, during a pre-inauguration briefing about the Russia investigation at Trump Tower, there’s an actorly precision and gravitas present that doesn’t gel with the rambling madmen we’ve come to know on TV. Really, this is as much Ray’s choice as director as it is Gleeson’s, seeing that the slo-mo arrival and spaced editing seem aimed to get the audience used to this Trump more than capturing the real guy. Little things prove nagging, too, like when Trump pours Comey a glass of water — as if he would ever think of anyone but himself — or when a lengthy monologue actually circles back to the original point, rather than drifting off into Nowhere’s Ville, per usual.

The Comey Rule Showtime Jeff Daniels Brendan Gleeson

Jeff Daniels and Brendan Gleeson in “The Comey Rule”

Ben Mark Holzberg / CBS Television Studios / Showtime.

Still, subjective or not, Gleeson settles into the role. The one-on-one dinner showcases the mumbly rants and disconnected train of thought that Comey later references to his staffers, and the Emmy-winning actor nails the slurring overemphasis of specific syllables. (“There were no prostitutessss. There were never any prostitutessss.”) Ray also isn’t shy about amping up the sinister nature of Trump through formal touches. Direct-to-camera news addresses are jarring enough given how tightly the director frames Trump, but there’s also heavy shadows for him to emerge from and ominous music blaring when he’s at his most vile.

All of this helps frame “The Comey Rule” as a monster movie more than a melodrama, which mostly works in its favor. (That Comey, upon learning of his termination via the news, gets an honest-to-God “Rudy” reenactment should tell you enough about its dramatic potential — though it could work as another meta reference to Daniels’ casting.) The show doesn’t offer any breaking news about the Russia investigation, but it’s clear in its message that Trump already destroyed one election — via meddling, blackmail, and all-around discord — and he’s absolutely trying to do it again. Given the polarized nature of politics (that the show itself highlights), it’s unlikely any undecided voters will tune in and be swayed, nor will it stand up as a definitive historical reference once the 2020 election is behind us. But maybe, just maybe, “The Comey Rule” can scare a few audience members into taking further action — before the monster strikes again.

Grade: C+

“The Comey Rule” premieres Sunday, September 27 at 9 p.m. ET on Showtime. The second part will air the following night, Monday, September 28 at the same time.

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'The 100': Predictions for Every Character's Ending in the Series Finale

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We’re making our best guesses at who lives, who dies, and who tells the story of the 100 juvenile delinquents once sent to the ground.

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