NinadeL

The Crazy Ones is the latest series thus far from TV matador of the past David E. Kelley. In the half-hour comedy episodes written for Robin Williams, everything works like a charm - the cadence of the fantastic dialogue knows no bounds, the wit is fresh, and the themes of the individual ideas of the Lewis, Roberts + Roberts ad agency are catchy. So where is the problem? Both Kelley and Williams are making something as if they were living not after 2010 but before 1990. While that adds a fresh charm to the series, and fans of both will find it fascinating - Sarah Michelle Gellar even inspired this creative pairing to take a completely different acting stance - I can't help but feel that the series also ultimately came to a premature end, namely that it takes place yesterday and tackles yesterday's problems through the lens of yesterday. It's new nostalgia and it's not for everyone.

An absolutely epic adventure from Filmation, the studio that brought us the best in TV animation entertainment at the time. While Adam/He-Man's adventures had reached their climax, it was time to pass the sword of power to his newfound sister Adora. Through the classic path of awakening (as tends to happen in fantasy), Adora had developed sympathy for the oppressed side of good, even though she had been raised in a lie by the doubly evil Transformer Hordak and the sorceress Shadow Weaver, and was able to become She-Ra, Princess of Power. Yes, the animation is a bit thin by today's standards, but the story is good enough to hold your attention even today. The musical motifs have grace, and the regularly recurring melody during the transformations is perfection itself. They both begin with the winged phrase "By the power of Grayskull...!" and He-Man continues "I have the power!" and She-Ra counters "I am She-Ra!" and it rumbles perfectly. I’d like to look around for the entire series because it's too good to pass up. The world of Eternia and Masters of the Universe is an absolute foreshadowing of Hercules and Xena.

The combination of Ira Levin's brain and Sharon Stone's beauty is irresistible to me. Levine isn't just "Rosemary's Baby" and "The Stepford Wives" to me, but also "The Boys from Brazil" and "A Kiss Before Dying." While I understand that if most people remember Sliver as a hit starting on HBO in the dubbed version, half the charm is gone, but come on! We’ve got stalking, hidden cameras and telescopes everywhere you look, open conversations about sex, restaurant conversations like something out of Hungry for You, and sex scenes that even young Joe wouldn’t be ashamed of, and it all works perfectly. We also have Howard Shore's music and my favorite early 1990s feel, and now everything is complete.

The 1980s were full of all the Beastmaster, Conan, Deathstalker, and Dragonslayer films, as well as The Sword and Sorcerer, The Neverending Story, the beautiful Legend or Labyrinth, and Krull and Willow. Female versions included Barbarian Queen, Ladyhawke, and Red Sonja. And if the animated He-Man had ruled television since 1983, it was clear that a feature-length version of his adventures wouldn't be long in coming. Personally, I would have appreciated one more film with She-Ra by his side, but you can't have everything right away. Masters of the Universe features an excellent cast of Frank Langella, Meg Foster, and Courteney Cox. It's all so straightforward and fast-paced that there's no time to get bored, and if the viewer agrees to take part in the subtext between Skeletor and He-Man, it's doubly fun.

Pedro Almodóvar doesn't become a director I love this time around either, but thanks to the Prague City theaters' production, I'm somewhat more comfortable with the Oscar-winning phenomenon All About My Mother. It really helped me to see both Penélope Cruz and Evellyn Pacoláková in the same role, because only in this way could Hermana Rosa become a real character in my eyes and not just a variation of a familiar face. And I could go on. All About Eve is better in the theatrical version, but the transvestite Agrado is obviously better in the film, because what Vladimir Marek does on the stage is a disaster. All in all, I'll try a few more things from the Almodóvar/Cruz collection, but I think we're done. His world exists on the completely opposite side of cinema from the one in which I exist. On paper, the story must have looked great - all the coincidences, transvestites, intersections with art, and cheeky one-liners - but in its final form, it's just about improbable situations, cinematic coincidences, and glycerine tears.

Unforgettable is a classic case-of-the-week-style series, enhanced by the intriguing ability of the main character and the charisma of Dylan Walsh. The series has been canceled several times but has made it all the way to Season 4, which at least highlights the fact that it may not be that much of a series. So if you have even latent sympathy, there is no reason not to indulge in Unforgettable.

Cashmere Mafia wasn't a victim of the writers' strike, it was just a failed attempt to replace the Sex and the City phenomenon. But if the most interesting names were Lucy Liu or Marinda Otto, there was really very little the show had to offer. In those seven episodes, only a series of very negative plots were sketched out on the seemingly familiar "four friends - each different, all professionally successful, but needing to cry about their private lives" plot. Lucy Liu received a marriage proposal but was more successful than her fiancé, so the wedding fell through. She tried dating someone her parents picked out, but in the end, she preferred having a dog. Miranda Otto decided to repay her husband's cheating by doing the same, but she couldn't do it in the end. For a while after that, it seemed like it would still be good to fight for the marriage, but unfortunately, the level of lies was generally unbearable. Frances O'Connor did a great job, but at her company, someone always got promoted via the bedroom, or it was simply a guy who got it. And Bonnie Somerville? She tried being a lesbian for a month, but after her lover turned out to be pregnant and went back to her ex, there was nothing left for dear Bonnie. And the point of all this? There is none. So is there a reason for me to go back to something like this? Perhaps only if you are a fan of one of the actresses and want to see them in more expensive costumes than the norm.

Jarda Dušek and his one-man show on the theme of thinking about ourselves. It's got wit, it's got ideas, it's got humor and it's got pace. Unfortunately, the recording itself is very bland and certainly does not help the whole. Still, it's not hard m to remember some of the points he makes and stick to them in real life, even though up to now you have been educating yourself with the help of winged sentences in the style of: "Shoot!"

I love it. A trip to 1976 tells the story of a trio of married couples and the great little sexual revolution of the post-hippie era. It's a shame that the series was not picked up by HBO or Showtime instead of CBS because even with such an attractive theme we have to say goodbye to explicit erotica. However, a smart production knows how to replace it. It’s got very well-written characters, very believable retro, humor, and a reflection on the benefits of an open marriage. And lessons from the poetics of swingers. One is amazed at how the new generations are becoming more and more prudish all the time, even when they have been convinced in so many waves of history that sexual taboos have never done any good. We also get a truly lovely Molly Parker, a perfect Grant Shaw with an even more perfect mustache, Lana Parrilla on the rise, a sympathetic shirtless Josh Hopkins, and a lovable Erin Daniels in a supporting role. It also has a great soundtrack cleverly chosen from period hits so that the whole thing doesn't sound like a parody. And as a bonus, a Tupperware party!

In the days of ancient gods, heroic chiefs and kings, Timothy Omundson played the holy man Eli. A few centuries later, in the 13th century to be precise, he returned to the hearts of millions of Xenites and Herculeans as Galavant's effeminate King Richard. There was a time when no one at the con would even buy an autographed picture of him. Because Won't That Be Devine? 2.3