THE MENU (September 2022)

 

THE MENU

(September 2022)

“Twelve customers, total.”

“A night? How do they turn a profit?”

“Twelve-fifty a head. That’s how.”

“You’re f*cking kidding, right? What are we eating, a Rolex?”

Searchlight Pictures invites us to experience The Menu (or so the opening title cards tell us).

Mark Mylod, largely known for directing some major HBO titles (like Entourage, Game of Thrones, and Succession), takes a script written by Seth Reiss and Will Tracy*, and presents us with this darkly humorous, class conscious piece that sees Ralph Fiennes as noted celebrity chef Julian Slowik.

“Here, we are family.

“Each day starts at 6, with 5 hours of prep work.

“We harvest. We ferment. We slaughter. We marinate. We liquefy. We spherify. We gel.”

Slowik, who we are told has “… always been keenly aware of food as a history of class” has risen in the ranks of celebrated chefs and now runs an exclusive restaurant on Hawthorne Island (apparently named after the restaurant, the island is “twelve acres of forest and pasture” surrounded by “the bounty of the sea”, as explained during the guided tour).

A restaurant that charges largely self-involved, entitled richies $1,250 a head for the privilege.

A restaurant described by Slowik as his “entire life”.

A restaurant run obsessively by Slowik in a practically cult-like manner, on an island without a boat or phone service.

So many red flags…

“Trust me, he’s telling a story. That’s what makes his food so exciting. He’s not just a chef. He’s a storyteller. And he doesn’t give a f*ck about the rules.”

To say any more would risk ruining the “wonderful surprises” indicated on the one sheet featuring Fiennes, so perhaps we should leave it at that, for those of you curious enough to seek this title out.

Not exactly a comedy, but not really a full-on horror movie either**, The Menu is smart, biting commentary with a killer cast (yes, that is indeed Anya Taylor-Joy on the second one sheet) that just begs to be savored and relished, as Slowik would have it…

So go on and do just that, yeah?

“You will eat less than you desire and more than you deserve.”

* The script appeared on the 2019 Black List, alongside the screenplays for:

The Unbearable Weight of Massive Talent (Kevin Etten and Tom Gormican);

Don’t Worry Darling (Carey Van Dyke and Shane Van Dyke; the screenplay as filmed is credited to Katie Silberman, with the Van Dykes and Silberman getting “Story By” credits);

and the upcoming Knock at the Cabin.

What appeared on the 2019 List was the initial draft, still titled The Cabin at the End of the World, adapted by Steve Desmond and Michael Sherman from the Paul Tremblay novel.

What we’re going to get with Knock at the Cabin is the script, as rewritten and directed by M. Night Shyamalan (on the one sheets, the credits read: Screenplay by M. Night Shyamalan and Steve Desmond & Michael Sherman).

** Even the awards-giving bodies seem torn; most of the film’s nominations fall under the Comedy category, but Colin Stetson was nominated for his score at 2022’s Hollywood Music in Media awards under the Horror/Thriller Film category…

To be fair though, the HMMA apparently has no Comedy categories…

And, for the record, Michael Abels took home that particular award for his Nope score…

(The Menu OS’ courtesy of impawards.com.)

ENTOURAGE
Season 5 Episode 3
“The All Out Fall Out”
Written by Rob Weiss
Directed by Mark Mylod


Ahhh, there’s Mrs. Ari! And Shauna!
Woot!!!

The Vince-facing-bankruptcy subplot evolves into a Vince-making-a-paid appearance-at-a-sweet 16 subplot, with Fran Drescher as the sweet 16’s mother (Kevin Pollak plays the da), and pretty much the only bright spot here is Debi Mazar. (Drama getting drunk in his post-Jacqueline break-up depression and hurling all over the cake is definitely not a bright spot.)
Then there’s the Ari and Mrs. Ari anniversary subplot, where Adam Davies gets caught in the crossfire, and while the b!tchslap was priceless, the biggest bright spot here has to be Perrey Reeves.


Oh, and Carla Gugino’s also in the house, to relay the message that Nine Brave Souls has caught the attention of Ed Norton, who wants to rechristen it Smokejumpers and turn it into a studio picture…
Hrrrm… can we see where this is going?


(Images courtesy of hbo.com.)

ENTOURAGE
Season 5 Episode 2
“Unlike A Virgin”
Written by Doug Ellin
Directed by Mark Mylod


Now this is more like it.
After a passable opener, we get an episode that establishes this season’s narrative thrust: Vince’s comeback.
There’s a great scene in here towards the half-hour’s end, where Vince visits Ari’s office, and realizes that even Ari doesn’t think he’s a good actor (yet), but acknowledges that he can be a big movie star, if he only plays the Hollywood game.
And Vince is ready to play, if only to get another chance to rise above the Medellin fiasco.
And this sudden flip in his mindset puts his decision to so publicly leave a paparazzi-laden event with Justine Chapin on his arm in a very interesting light.


Yes, Leighton Meester—having been saddled with the suffix “of Gossip Girl fame” in the time since she was last on Entourage—is back, in an episode filled to the brim with guest shots, so much so that Meester and legend Tony Bennett actually get lost in the mix.
The other names that make this installment a solid winner include Mark Wahlberg (been awhile since the Pilot), who plays a cool scene on the golf course with Ari, the always sizzling Carla Gugino, and Lukas Haas and Giovanni Ribisi as screenwriter brothers L.B. and Nick, who E is thinking of representing, after having read their script, Nine Brave Souls.


While the rekindled fire under Vinnie’s a$$ is fantastic (he’s actually reading scripts now!), Drama continues to grate, his subplots always resorting to the overplayed “Drama sabotages himself” riff.
Now, his laptop relationship with Jacqueline (cute in the season opener) implodes after he lies to her about his whereabouts, then goes off the deep end when he imagines all sorts of scenarios when she doesn’t answer her phone.
I’m really hoping the show finds something more fresh to do with Drama, because I’d much rather see him just hanging about (as Turtle seems to be doing lately), than running through variations of the same subplot over and over again…
Oh, and where is Mrs. Ari?


(Images courtesy of hbo.com.)

ENTOURAGE
Season 5 Episode 1
“Fantasy Island”
Written by Doug Ellin
Directed by Mark Mylod
(WARNING: SPOILERS)


Well, that was okay. Not particularly the opening bang I was hoping for, but not terrible either.
I suppose what annoyed the frak out of me was the apparent irresponsibility of Vince, and in particular, Turtle, as they whiled away their time in Mexico, as Vince licked his wounds from the Medellin disaster, its Cannes screening likened to the Hindenberg by episode guests Roeper and Phillips, even as E and Ari busted their a$$es back in L.A.
Though I guess I should give our boy some slack, given the bomb his vanity project turned out to be…
And though it was nice to see Drama continuing his Jacqueline thing over the laptop, his whole “my right side is my bad side” thing grated.


Meanwhile, yay, Rex Lee is in the main opening credits now! Of course, the same thing happened to Debi Mazar and she subsequently seemed to just fall off the show that season.
Let’s hope Lloyd’s fate is a whole lot sunnier!


Not much else seemed to go on in this one: some sly Hollywood tactics involving a genre project called Danger Beach (“It’s a working title!”) which gets Vince back to L.A. under false pretenses; a slight awkwardness to Vince and E’s friendship in the wake of Medellin.
Far more interesting is the portrait of Vince as La-La Land pariah, untouchable following his fall from grace.
Where to from here, boys?


(Images courtesy of hbo.com.)

AFTERTHOUGHTS (100)
EMMY 2008

So this year’s nominations are out, and here are the nods I took note of:

80th Annual Academy Awards
Outstanding Art Direction For A Variety, Music or Nonfiction Programming (Roy Christopher, Production Designer; Joe Celli, Art Director)
Outstanding Directing For A Variety, Music or Nonfiction Programming (Louis J. Horvitz)
Outstanding Lighting Direction (electronic, Multi-camera) For Vmc Programming (Robert A. Dickinson, Lighting Designer; Robert Barnhart, Andy O’Reilly, Lighting Directors)
Outstanding Music Direction (Bill Conti, Music Director)
Outstanding Individual Performance In A Variety or Music Program (Jon Stewart, Host)
Outstanding Picture Editing Of Clip Packages For Talk, Performance, Award Or Reality Competition Programs [Oscar Show Tribute Sequence] (Chuck Workman)
Outstanding Sound Mixing For A Variety Or Music Series Or Special
Outstanding Special Class – Awards Programs (Gilbert Cates, Producer)
Outstanding Technical Direction, Camerawork, Video For A Miniseries, Movie Or A Special

Battlestar Galactica
Outstanding Cinematography For A One Hour Series [Razor] (Stephen McNutt, Director of Photography)
Outstanding Single-camera Picture Editing For A Drama Series [“He That Believeth In Me”] (Julius Ramsay)
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [Razor] (Rick Bal, Production Mixer; Michael Olman, Kenneth Kobett, Supervising Re-Recording Mixers)
Outstanding Special Class – Short-format Live-action Entertainment Programs [Razor Featurette #4] (Ronald D. Moore, David Eick, Executive Producers; Harvey Frand, Supervising Producer)
Outstanding Special Visual Effects For A Series [“He That Believeth In Me”]
Outstanding Writing For A Drama Series [“Six Of One”] (Michael Angeli)


Chuck
Outstanding Main Title Design (Karin Fong, Jonathan Gershon, Dana Yee, Title Designers)
Outstanding Stunt Coordination [“Chuck Versus The Undercover Lover”] (Merritt Yohnka, Stunt Coordinator)


Dexter
Outstanding Art Direction For A Single-camera Series [“That Night, A Forest Grew”] (Tony Cowley, Production Designer; Linda Spheeris, Set Decorator)
Outstanding Cinematography For A One Hour Series [“The British Invasion”] (Romeo Tirone, Director of Photography)
Outstanding Drama Series
Outstanding Lead Actor In A Drama Series (Michael C. Hall)
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [“It’s Alive!”] (Patrick Hanson, Production Mixer; Elmo Ponsdomenech, Joe Earle, Re-Recording Mixers)


Entourage
Outstanding Comedy Series
Outstanding Directing For A Comedy Series [“No Cannes Do”] (Dan Attias)
Outstanding Sound Mixing For A Comedy Or Drama Series (half-hour) And Animation [“Adios Amigo”] (Steve Morantz, Production Mixer; Dennis Kirk, Bill Jackson, Re-Recording Mixers)
Outstanding Supporting Actor In A Comedy Series (Jeremy Piven)
Outstanding Supporting Actor In A Comedy Series (Kevin Dillon)


Heroes
Outstanding Art Direction For A Single-camera Series [“Out of Time”] (Ruth Ammon, Production Designer; Matthew Jacobs, Art Director; Ron Franco, Set Decorator)
Outstanding Single-camera Picture Editing For A Drama Series [“Powerless”] (Scott Boyd)
Outstanding Special Visual Effects For A Series [“Four Months Ago”]


Justice League: The New Frontier
Outstanding Animated Program (for Programming One Hour or More)


Lost
Outstanding Cinematography For A One Hour Series [“The Constant”] (John Bartley, Director of Photography)
Outstanding Drama Series
Outstanding Music Composition For A Series (original Dramatic Score) [“The Constant”] (Michael Giacchino)
Outstanding Single-camera Picture Editing For A Drama Series [“There’s No Place Like Home” (Parts 2 & 3)] (Henk Van Eeghen, Robert Florio, Mark J. Goldman, Stephen Semel)
Outstanding Sound Editing For A Series [“The Shape Of Things To Come”]
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [“Meet Kevin Johnson”] (Robert Anderson, Production Mixer; Frank Morrone, Scott Weber, Re-Recording Mixers)
Outstanding Special Class – Short-format Live-action Entertainment Programs [Lost: Missing Pieces] (Damon Lindelof, Carlton Cuse, Barry Jossen, Executive Producers)
Outstanding Supporting Actor In A Drama Series (Michael Emerson)


Pushing Daisies
Outstanding Art Direction For A Single-camera Series [“Pie-Lette”] (Michael Wylie, Production Designer; Halina Siwolop, Set Decorator)
Outstanding Casting For A Comedy Series (Camille Patton, Meg Liberman, Jennifer Lare)
Outstanding Costumes For A Series [“Pie-Lette”] (Mary Vogt, Costume Designer; Stephanie Fox-Kramer, Costume Supervisor)
Outstanding Directing For A Comedy Series [“Pie-Lette”] (Barry Sonnenfeld)
Outstanding Hairstyling For A Single-camera Series [“Smell Of Success”] (Daniel Curet, Department Head Hairstylist; Yuko Tokunaga-Koach, Key Hairstylist)
Outstanding Lead Actor In A Comedy Series (Lee Pace)
Outstanding Makeup For A Single-camera Series (non-prosthetic) [“Dummy”] (Todd A. McIntosh, Department Head Makeup Artist; David De Leon, Key Makeup Artist; Bradley M. Look, Additional Makeup Artist)
Outstanding Prosthetic Makeup For A Series, Miniseries, Movie Or A Special [“Smell Of Success”] (Todd A. McIntosh, Department Head Makeup Artist; David De Leon, Key Makeup Artist; Sara De Pue, Additional Makeup Artist)
Outstanding Music Composition For A Series (original Dramatic Score) [“Pigeon”] (Jim Dooley)
Outstanding Picture Editing For A Comedy Series (single or Multi-camera) [“Pie-Lette”] (Stuart Bass)
Outstanding Supporting Actress In A Comedy Series (Kristin Chenoweth)
Outstanding Writing For A Comedy Series [“Pie-Lette”] (Bryan Fuller)

In addition, Lost Find 815 and The Heroes Digital Experience also found themselves among the finalists in the Interactive Media Programming (Fiction) Juried Area, where “one, more than one or no award can be given.” (Other Fiction finalists included HBO Voyeur, Kyle XY: The Collective Experience, and The L Word Interactive.)

Now, while I’m happy for the whopping dozen nominations Pushing Daisies racked up (for a truncated season that lasted all of nine episodes, mind), I am still distressed at the distinct lack of love Emmy has perennially shown for Battlestar Galactica.
Not only were all the performers roundly ignored, but the tremendous work Bear McCreary has been doing in scoring the show also went unacknowledged.
Sigh.

At any rate, congratulations to all the nominees, a complete list of which you may find here.
The 2008 Primetime Emmys will be handed out on September 21 at the NOKIA Theatre in Los Angeles, while the Primetime Creative Arts Awards will be presented on September 13, also at the NOKIA.

Parting shot: Episodic reactions/recaps of Battlestar Galactica, Chuck, Dexter, Entourage, Heroes, Lost, and Pushing Daisies—as well as a review of the Battlestar Galactica straight-to-DVD film Razor—can be found in the Archive.

(Images courtesy of SCIFI Channel and wired.com [Battlestar Galactica]; aintitcool.com [Chuck Season One and Pushing Daisies Season One DVD cover art and Justice League: The New Frontier image]; rickbrotherton.com [Dexter]; hbo.com [Entourage]; NBC and yahoo.com [Heroes]; ABC and eonline.com [Lost].)

IN MEMORIAM

Sydney Pollack
July 1, 1934 – May 26, 2008

(Image courtesy of WireImage and variety.com; photo by David Lodge)

AFTERTHOUGHTS (40)
CHECK OUT THOSE GLOBES! 2008

So in light of the WGA strike and the terribly awkward and minimalist affair that was this year’s Golden Globes, I’d just like to say “Congratulations” to the following, for taking home the gold.

To the Coen brothers and Javier Bardem, for winning Best Screenplay and Best Supporting Actor in a Motion Picture, for the awesome No Country For Old Men. (See, Senor Bardem, that dodgy haircut was worth it.)

To Jeremy Piven, for winning Best Supporting Actor in a Series, Miniseries, or TV Movie, for his great work on Entourage.

And though I have yet to see either film, to Julie Christie for winning Best Actress in a Motion Picture Drama, for her work on Sarah Polley’s Away From Her; and to Johnny Depp, for winning Best Actor in a Motion Picture Comedy or Musical, for his work on Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street, which also nabbed Best Motion Picture Musical or Comedy.

To one and all the rest of the Globe winners this year, congratulations! You can check out the complete list of nominees and winners here.

Parting shot: A review of No Country For Old Men can be found in the Archive, where episodic recaps and reactions of Entourage are also situated.

(No Country For Old Men and Sweeney Todd: The Demon Barber of Fleet Street OS’s courtesy of impawards.com; Entourage image courtesy of hbo.com; and Away From Her image courtesy of sundance.org.)

AFTERTHOUGHTS (36)

36.1 PIMP MY BOOK (5)
Chapter 10 is up at the Pelicula website, where you can find out exactly what goes on at all those Manila Basketball League games. Mosey on over to the website to see what the frak I’m blathering on about.
And thanx to everyone who’s checked Pelicula out.

36.2 BETTER WATCH THAT SAG 2008
Unlike the Golden Globes, which is on shaky ground with the on-going WGA strike, next year’s 14th Annual SAG Awards (scheduled for January 27), looks to be a go, though whether or not nominees will cross the picket lines to attend the show remains to be seen.
At any rate, the SAG award nominees that got my attention are:

Motion Pictures

Away From Her:
Outstanding Performance by a Female Actor in a Leading Role (Julie Christie as Fiona)

Eastern Promises:
Outstanding Performance by a Male Actor in a Leading Role (Viggo Mortensen as Nikolai)

Juno:
Outstanding Performance by a Female Actor in a Leading Role (Ellen Page as Juno MacGuff)

Lars and the Real Girl:
Outstanding Performance by a Male Actor in a Leading Role (Ryan Gosling as Lars Lindstrom)

Television

Dexter:
Outstanding Performance by a Male Actor in a Drama Series (Michael C. Hall as Dexter Morgan)

Entourage:
Outstanding Performance by a Male Actor in a Comedy Series (Jeremy Piven as Ari Gold)
Outstanding Performance by an Ensemble in a Comedy Series
Rhys Coiro / Billy Walsh
Kevin Connolly / Eric Murphy
Kevin Dillon / Johnny Drama
Jerry Ferrara / Turtle
Adrian Grenier / Vincent Chase
Rex Lee / Lloyd
Jeremy Piven / Ari Gold
Perrey Reeves / Mrs. Ari

SAG has also established a new stunt award category for both film and TV, with the respective categories looking like this:

Outstanding Performance by a Stunt Ensemble in a Motion Picture
300
The Bourne Ultimatum
I Am Legend
The Kingdom
Pirates of the Caribbean: At World’s End

Outstanding Performance by a Stunt Ensemble in a Television Series
24
Heroes
Lost
Rome
The Unit

Congratulations, one and all, and hurrah for the stunt people!

You can check out the entire list of nominees for the 14th Annual SAGs here, a list which features a frighteningly thorough fact sheet, and the SAG Award histories of the nominees. So if you always wanted to know whether or not George Clooney won an Actor for his work on ER (he won four Actors as part of the show’s ensemble, but failed to win Actor in a Drama Series the two times he was nominated; sorry, George), this cheat sheet is the place to go.

36.3 TO RATE THE UNDERRATED
And congratulations to C.S. Lee (of Dexter and Chuck) and Pushing Daisies’ Orbit, for making zap2it.com’s The Underrated of 2007 list.
Recognizing the sometimes overlooked supporting players of our favourite shows, the list did well to note Orbit’s very tangible contribution to Pushing Daisies, as Ned’s faithful golden retriever, Digby.

Yeah, Orbit! Break down those gender barriers! You go, girl!

The complete Underrated of 2007 list can be found here.

(Image from Pelicula website, website designed by Carl Vergara, Habagat icon designed by Ian Sta. Maria; other images courtesy of variety.com and SAG [SAG crest]; and zap2it.com, showtime, and abc [C.S. Lee and Orbit with Kristin Chenoweth].)

AFTERTHOUGHTS (34)

34.1 a.k.a. PIMP MY BOOK (4)

Experience the Habagat Mall Tour, now, at the Pelicula website!
Chapter 9 is up at the website, so get on over there if you want to see what the hell I’m blathering on about.
And thanx to everyone who’s checked the book out.

34.2 2008 WRITERS GUILD AWARDS (I’m excited about)

Meanwhile, as the strike keeps on keepin’ on, the WGA have released the TV and radio nominee list for the 2008 awards.
And just as the Golden Globe recognized them, so did the WGA:

Dexter:
Dramatic Series Written by Scott Buck, Daniel Cerone, Drew Z. Greenberg, Lauren Gussis, Kevin Maynard, Clyde Phillips, Melissa Rosenberg, and Tim Schlattman
Episodic Drama “The Dark Defender”; written by Tim Schlattmann

Entourage:
Comedy Series Written by Marc Abrams, Lisa Alden, Michael Benson, Brian Burns, Doug Ellin, Alex Gansa, Tim Griffin, Dusty Kay, Stephen Levinson, Ally Musika, Wes Nickerson, and Rob Weiss

Pushing Daisies:
New Series Written by Chad Gomez Creasey, Dara Resnik Creasey, Bryan Fuller, Abby Gewanter, Jim Danger Gray, Lisa Joy, Kath Lingenfelter, Rina Mimoun, Jack Monaco, Scott Nimerfro, and Peter Ocko
Episodic Comedy “Pie-Lette”; written by Bryan Fuller

And for good measure…

Lost:
Episodic Drama “Flashes Before Your Eyes”; written by Damon Lindelof & Drew Goddard

Congratulations, one and all. Winners will be announced on February 9, 2008, at the 60th WGA Awards. (The complete list of radio and TV nominees can be found here.)

Parting shot: Another round of congratulations must also go out to everyone behind Dexter and Pushing Daisies, for securing spots on the American Film Institute's Official Selections for TV Programs of the Year. Brilliant. (See the entire list here.)

(Image from Pelicula website, website designed by Carl Vergara, Habagat icon designed by Ian Sta. Maria; series images courtesy of about.com [Dexter]; hbo.com [Entourage]; avclub.com [Pushing Daisies]; and fanpop.com [Lost].)

AFTERTHOUGHTS (33)
2008 GOLDEN GLOBE NOMINEES (I’m excited about)

So another awards season has begun, and amidst a sea of critics’ nods, the Hollywood Foreign Press releases the first big salvo before the Oscars and the BAFTAs.
Below are the Golden Globe nominations that got me stoked.

Eastern Promises:
Best Motion Picture Drama
Best Actor in a Motion Picture Drama (Viggo Mortensen)
Best Score (Howard Shore)

(Sorry, but it’s the only nominated film I’ve actually seen, so it’s the only one I can legitimately get excited about, though below are some nominations for films I’ve mentioned ‘round these parts before.)

Juno:
Best Motion Picture Musical or Comedy
Best Actress in a Motion Picture Musical or Comedy (Ellen Page)
Best Screenplay (Diablo Cody)

Lars and the Real Girl:
Best Actor in a Motion Picture Musical or Comedy (Ryan Gosling)

Sweeney Todd: The Demon Barber of Fleet Street:
Best Motion Picture Musical or Comedy
Best Director (Tim Burton)
Best Actor in a Motion Picture Musical or Comedy (Johnny Depp)
Best Actress in a Motion Picture Musical or Comedy (Helena Bonham Carter)

And since I’m also a Sarah Polley and Coen Brothers fan…

Away From Her:
Best Actress in a Motion Picture Drama (Julie Christie)

No Country for Old Men:
Best Motion Picture Drama
Best Director (Joel and Ethan Coen)
Best Supporting Actor in a Motion Picture (Javier Bardem)
Best Screenplay (Joel and Ethan Coen)

On the TV end of things…

Dexter:
Best Actor in a Drama Series (Michael C. Hall)

Entourage:
Best Musical or Comedy TV Series
Best Supporting Actor in a Series, Miniseries or TV Movie (Kevin Dillon and Jeremy Piven)

Pushing Daisies:
Best Musical or Comedy TV Series
Best Actor in a Musical or Comedy TV Series (Lee Pace)
Best Actress in a Musical or Comedy TV Series (Anna Friel)

Congratulations, one and all, and to Pushing Daisies, an additional pat on the back, for scooping up three nominations on the strength of only 9 episodes to date.

You can find the complete list of 2008 Golden Globe nominees here.

Parting shot: Regulars here to the Iguana know I follow Dexter, Entourage, and Pushing Daisies, so you’ll find episodic recaps and reactions in the Archive, where a review of David Cronenberg’s Eastern Promises also resides in happy comfort. (Feed it some peanuts. It likes those.)

(Images courtesy of screenhead.com [Eastern Promises]; latimes.com [Dexter]; hbo.com [Entourage]; and thepiemaker.com [Pushing Daisies].)

ENTOURAGE
Season 4 Episode 12
“The Cannes Kids”
Written by Doug Ellin
Directed by Mark Mylod

Whereas Season 2 brought the boys to Sundance, this season’s finale sees them in the heady celluloid market place that is Cannes.
Everyone (particularly E) is staying positive about selling Medellin for some big bucks, while the person most anxious about getting a deal, “sober for one year now despite having all these topless enablers around me” Nicky Rubenstein, is stuck back in the States under house arrest.
When they get to the hotel though, who do they see but Prince Yair, who came this close to producing Medellin back in Season 3’s “The Prince’s Bride.” Yair is no longer married, and wants to get into the film releasing business big time, and he’s willing to make a deal for Medellin, sight-unseen.
Ari doesn’t really like the idea, as this’ll be Yair’s first crack at distributing a film, but Nicky calls Ari and tells him to take the meeting.

At Yair’s yacht, Johnny does the Macarena, and Yair lays out the deal. $35 million, before anyone else sees a single frame of film. $35 million, is of course, the total budget of Medellin, and that would recoup everyone’s money.
E is willing to entertain the notion of taking the deal, but everyone else is leery of Yair, so Ari (aka “Master of the Universe”) stirs up a little wheel-and-deal action.
He drops a word or two in Dana Gordon’s lap. Then, who do the boys run into but Harvey Weingard, who got screwed by them a second time, over Medellin, in this season’s “Malibooty/Sorry, Harvey.”
Harvey’s still pissed off, but when Ari sees Dana watching from a distance, he throws his arms around Harvey, making Dana think Harvey’s the power player angling for Medellin. So Dana bites and sets up a morning meeting, hours before the Medellin premiere.


At the meeting, Dana plunks down $15 million, but that’s way below what Ari’s aiming for. He says $50 million, Dana balks in very colourful language, and is walking away from the table when Vince says, “The offer’s $35 million.” Dana says she isn’t authorized to make that big an offer.
Some wrangling takes place, and Turtle gets a call from Johnny. When Johnny asks how things are going, Turtle says, “Great. It looks like they’re gonna get $50 mil for Medellin.”
As it turns out, Johnny’s back on Yair’s yacht (more on that later), and automatically passes this little nugget onto Yair.
Back at the meeting, Dana can go no higher than $28 mil, so Vince and E agree to put off getting their money back till the film makes a profit, and though Dana still has to make up some of the difference on her end, the deal is struck. As everyone is going off for a drink, Ari gets a call from Nicky. Yair just called him and Nicky sold Medellin for a whopping $75 million. (Nicky’s also about to fall off the wagon in a very big way.)
Now Ari just has to break the news to Dana…

This season winds down at the Medellin premiere, where the audience pretty much gives their thumbs down—and some boos—to the film (just as E feared they would). Dana thanks Ari for not having bought the film, Billy gets vocal, and Yair backs out of the deal, since no papers were signed.
Harvey sidles up to the boys, and agrees to buy the film, since he actually agrees with E that there’s something in Medellin.
Of course, he agrees to buy Medellin for $1. (As Ari points out after they take the deal, Harvey did wonders for Shakespeare In Love when he took his scissors to it…)


Meanwhile, it’s actually the episode’s Johnny Drama subplot that leads up to the episode’s final scene.
It turns out that Drama’s a big thing in France because of Viking Quest, and he meets Jacqueline (Julia Levy-Boeken) on Yair’s yacht. Jacqueline (along with the rest of her family) is a huge Viking Quest fan, and she’s so ready to get into bed with Drama.
When they get back to the hotel though, the room Drama’s given (after a mix up with his reservation) is far too small for his taste and doesn’t align with the ideal image in his head of his bedroom encounter with Jacqueline. So he goes off to complain, leaving her in the room to wait for his return.
And in true Johnny Drama fashion, gets kicked out of the hotel.
He subsequently tries to hook up with Jacqueline again, but can’t seem to find her. He eventually returns to Yair’s yacht, but she’s not there either. Drama ends up spending the night at the yacht, which is why he’s there when Turtle makes that ill-advised comment about Medellin’s going price.
It’s at the red carpet of the Medellin premiere that Jacqueline shouts at Drama from the crowd, and he takes her up in his arms and whisks her off to the beach. Drama misses the premiere, but ends up having long, hot sex with Jacqueline on the beach, which is where the paparazzi and passersby are rushing off when Vince and the boys exit the premiere with the $1 Medellin booty.
They flock to the beach as well, where they cheer Johnny on, and we close on another season of Entourage.

Parting shot: Season 5 is tentatively scheduled to air in mid-2008, provided the WGA strike ends soon. Let's keep our fingers crossed...

(Images courtesy of hbo.com.)

ENTOURAGE
Season 4 Episode 11
“No Cannes Do”
Written by Doug Ellin and Rob Weiss
Directed by Dan Attias

Vince and the boys are set to leave for the Medellin premiere at Cannes, when a red level terror alert delays their flight by three hours. With time to kill, Billy asks for a meeting with Anna, whom he wants in Silo. E reluctantly sets it up and the meet goes down.
At the meeting, Anna is clearly seeking help from E as to whether she should take the project, but E doesn’t give her any indication either way.
Meanwhile, LAX gets shut down completely and the boys have no way to get to Cannes. So Ari gets Lloyd to scramble, and they find that the last private flight getting out has been chartered by Sydney Pollack.
Ari gets in touch with Pollack (who turns out to have been Ari’s client once, before Pollack fired him) and manages to wrangle 5 seats to Cannes.

Following the meeting with Anna, Billy is now even more convinced he wants her in Silo, and is willing to re-write a part to fit her in. And because Billy wants her in, Vince wants her in too. But E doesn’t really believe in the script, so he’s caught in the middle: he’s supposed to convince one client to say “Yes” to a project he’s not 100% behind because his other client (and best friend) wants him to.
E then gets a call from Anna, and since they aren’t leaving for Cannes just yet, goes on over to see her.
After having read the script, Anna doesn’t get it, and wants E’s honest opinion as to whether she should do Silo or not. At first, E convinces her that she should do it. But during their toast to celebrate Anna’s new film project, honesty comes into play, and E admits to his crush on Anna, and Anna admits she thought he was cute too.
With all that honesty out there, E ‘fesses up and admits he doesn’t like Silo.
Cut away in what turns out to be a sadly truncated subplot. (E tells the boys later on that Anna fired him.)

Getting to the Van Nuys airport, it turns out that Ari miscounted the number of heads. It looks like Turtle is about to forego Cannes, when Vince says it’s everybody or nobody, and they’ll just have to find another way to get to Cannes.
Fortuitously, Kanye West shows up, and Turtle knows him. Seems Kanye is headed out on his own 727, and when Vince and the boys ask him if they can make a stop at Cannes, Kanye says “Yes.”


During all the “will they get to Cannes or won’t they” drama, Ari is caught between Mrs. Ari (who’s annoyed at Ari because he just can’t come out and say that he doesn’t really want her to come along on this boys’ field trip) and Lloyd (who’s annoyed at Ari because he promised that if Mrs. Ari wouldn’t go to Cannes, that he’d take Lloyd; when the Pollack head count goes into effect though, Lloyd is the first to get deep sixed).
So Mrs. Ari goes on some vendetta shopping and Lloyd takes Tom on a cruise, and both wife and assistant still love Ari before he wings his way off to Cannes.

So this one’s a great episode, despite having Anna Faris say “Bye-bye” in a very “blink of an eye” way. She was a lot of fun and I’m sort’a bummed to see her go after just 3 episodes. But hey, at least she was here.

(Images courtesy of hbo.com.)

ENTOURAGE
Season 4 Episode 10
“Snow Job”
Written by: Doug Ellin and Ally Musika
Directed by: Ken Whittingham

We return to developments on the Lost in the Clouds adaptation Billy is supposed to be working on.
Dana Gordon freaks when Walsh sends in a script called Silo, which is a futuristic space epic that has absolutely zero to do with Lost in the Clouds. Since E is MIA (more on that later), Ari has Vince read the script himself to see what the problem is. (Besides, Vince is producing.)
Thus begins a crisis as Walsh refuses to write the script the studio paid for (the money already having been spent so he can’t even return it). Ari zooms into Kill Mode and offers up Richard Kelly (who kicked my a$$ into orbit with Donnie Darko) as the new writer/director to replace Walsh. But after reading the script, Vince finds he loves it and wants to do this movie instead of Lost in the Clouds.
Vince even winds up talking to Walsh on the phone, Billy having locked himself into the bathroom with a bottle of whiskey and a gun, since he believed he’d frakked Vince up good with Silo. Of course, Vince loved the script, and the gun wasn’t loaded anyway.
Vince then tells Ari to read the script, and to make it happen.
Ari keeps on going on Kill Mode, bysteps Dana Gordon, and goes directly to her boss, Richard Wimmer (John Heard). What follows is a great scene where Ari Gold, SuperAgent, works his magic, and convinces Wimmer that Silo is the summer tentpole the studio needs to get it out of the red. When Dana is asked for her opinion on the script, she describes it as “Blade Runner meets Field of Dreams,” and Wimmer is sold.
At the end of it all though, Dana’s still pissed and wishes Ari would just die. (I love Dana.)


And while all this drama is going on, E is on his first day on the job as Anna Faris’ manager, at a photo shoot way up in the hills where cellular reception is nonexistent.
At the shoot, E meets Anna’s boyfriend, Dave (CSI: NY’s A.J. Buckley), who’s been hanging around Anna of late, since the CW passed on his pilot.
Dave is opinionated, ultra-critical, and jealous that E may have a thing for Anna (which of course, he does). Dave winds up making a complete a$$ of himself, and Anna dumps him.
E arrives as the boys, Ari, and Billy are toasting to Silo. Demanding to know what went down, E is tossed the script, and when he flips it open, asks, “Where’s the snow?”


As with the previous episode, this one’s a great half-hour, as we slide back into Hollywood mode and see Vince’s new project coming together. We also see E getting in deeper with Anna Faris, and not being available for Vince and Ari when the whole Silo thing exploded. It should be interesting to see if (or when) Vince will call E out about his responsibilities.

(Images courtesy of hbo.com.)