TVSquad

The title March to Madness is almost too clever for it's own good. How did it take this many years for someone to come up with that one? I love the pitch for this one, too: "a corrupt college basketball program ... cheats its way to the 'March Madness' NCAA basketball tournament." If it's on FX, of course it has corruption.

March to Madness and FX are a match made in heaven. Nobody does the darker side of humanity better than FX. The Shield, Rescue Me, Sons of Anarchy ... even It's Always Sunny in Philadelphia tackles the lowest forms of people. It's a beautiful combination of amazing writing and gut-wrenching acting that make these dirtbag characters teem with life and humanity.

And what a great subject to tackle. There's so much at stake with the NCAA Tournament for the kids and the schools, the drama practically writes itself. The story, we're told, will be from the point of view of an idealistic coach who's struggling with the compromises he makes with his own integrity to get his team where he needs to be. Too bad Don Cheadle's only executive producing, I'd love to see him tackle that role.

One of Hollywood's most multifaceted actors just got a little more multifaceted without the aid of surgery or some kind of psychological disorder that makes him think he's a 19th century schoolgirl.

Actor Don Cheadle is making his return to TV land (remember him in Picket Fences?) under his production company, Crescendo Productions.

The deal is with Universal for two years. So far, no shows have been officially announced but he is expected to announce his starting lineup during the Television Critics Association's press tour.

I posted last week about the new series Crash, premiering on Starz on Oct. 17. It's been a long time coming. I started hearing buzz about a TV series shortly after the film debuted in May, 2005, and the cast looks good (though I know some of you disagree with me).

The lineup of the ensemble drama includes Dennis Hopper, D.B. Sweeney, Ross McCall, Clare Carey, and Luis Chavez, among others. I also appreciate the fact that Paul Haggis and Don Cheadle, who worked on the film, are producing the TV series. So whatever else happens, I have to think they'll keep the integrity of the film intact.

The Crash press kit is now online, and it's interesting to watch the trailer and hark back to the movie. Some of it looks the same -- like the shot of a cop feeling up a woman -- and the racial tension is definitely in place.

Shortly after the release of 2005's Crash in theaters, I remember reading that a TV series based on the film was in the works. I even pitched the story to a TV trade magazine, but the editor didn't go for it. She must have guessed the show would be years in the works, and she was right.

Three years later, a TV series is finally starting to gain some steam. The Hollywood Reporter just posted a story that five actors have joined the cast of the series produced by Don Cheadle, Paul Haggis (pictured), Mark R. Harris, Robert Moresco, Tom Nunan, and Bob Yari, all of whom were involved with the movie. Produced by Lionsgate, the series is anticipated to premiere on Starz in 2009.

Here's a rundown on the actors who've just signed. It's interesting that most of these folks are not big-name actors, which I find refreshing in an era where many mega-movie stars are crossing over into TV:

Starz, the cable network, is getting into original production and their first project will be based on the 2005 Best Picture Oscar-winning film Crash. Glen Mazzara, whose credits include Life, The Shield, Stand-Off and Nash Bridges, has been named executive producer/showrunner for the drama series. Lionsgate TV will co-produce with Starz, and they've greenlighted 13 episodes.

The controversial film, which dealt with the intersecting lives of a myriad of people living in Los Angeles in just 48 hours, centers on the character of Detective Graham Waters. Waters, a police detective, is struggling with his career, his drug addict mother and a criminal brother. The role was played by Don Cheadle (Picket Fences), who was also one of the film's producers. He is expected to reprise the part in the Starz production and may even direct a few episodes. In addition, director/co-writer/producer Paul Haggis and others from the film are also on board for Starz.

"Welcome Back, Hotter": Al Gore has become a strange Hollywood sweetheart, so he's bound to be met with jealous cries and annoying "yes or no" questions in DC. The "flaming baby" graphic was awesome. I want that on a t-shirt.

"Showdown At Justice: Hereunder referred to as the 'Nonvoluntary Lawyer Disemployment Program' vis a vis certain events on or around 7 December 2006 (C.F. Appendix B, Codicil IX, Paragraph 7)": Tony Snow is being a big baby over a lot of things. Actually, Jon seems genuinely fed up with him.

Today's Oprah – actually, I think it was a repeat - featured the entire cast of Paul Haggis' Crash (which Oprah, as she reminded us ad nauseum, "looooooooovvvvvvvvvvvvvved") talking about racism. I tuned in late (all the better to misinterpret out of context, my pretties), but I caught an ... um ... interesting segment about  linguistics.

When I turned the TV on, Oprah and Don Cheadle were talking over, and almost yelling at, each other. Apparently they were right in the middle of an intense debate over the proper use of the "N Word". Then Terrence Howard (who, the cynics amongst us will point out, is campaigning for Oscar nods on at least 2 performances and, as such, probably wants to be seen as Nice Guy) tells Oprah that he's decided to stop using it; Cheadle vehemently explains why he's opposed to pressuring people into limiting their linguistic choices. As if to bully him into breaking the tie for her side, Oprah turns to Ludacris. "Cris, would you consider not using The Word?" Visibly uncomfortable., Luda smiles. "Uh, I feel the same way Don does about it." Then, all of a sudden, out of nowhere, Sandra Bullock pipes up:

"As long as we're going to stop using words," she says (and I'm totally paraphrasing), "Can we stop with the bitch and the ho, for women?"

The crowd goes wild. Completely silent during the previous portion of the conversation, all of a sudden there are 200 mild-mannered housewives gone wild, hooting and cheering and stomping their feet. And then ...

Ludacris: We can stop when women stop calling themselves bitches.

Sandra Bullock: I don't call any woman a bitch. (pause, then, totally straight-facedly) Unless she is one.

Cut to some kind of language expert, sitting in the crowd. "80 years ago, you could call a woman a broad. We don't do that anymore."

Oh. Really? Whoops.