Pilot Inspektor: ABC's "The Nine"

Written by Jace | Wednesday, May 31, 2006 | 6 comments »

It's a fantastic set up: a group of strangers, thrown together by fate, form unlikely bonds and are forced to come together when they're taken hostage during a bank robbery, a heist which might not be all that it seems. Meanwhile, outside the bank, police forces and hostage negotiators struggle to get the human shields released and take down the bad guys, who are themselves not all they seem.

I wish I could say that I was talking about ABC's new drama The Nine, but I'm not. Rather the above description, eerily similar to that of The Nine's pilot episode, belong's to Spike Lee's taut thriller from a few months back, Inside Man. During the screening of Inside Man that I attended several months ago, I was on the edge of my seat, my heart racing as I waited to discover the truth behind the bank heist plot, the fate of the hostages, and the motive of the mastermind behind the heist.

No such tension here in The Nine (formerly known as Nine Lives), a paint-by-numbers drama about strangers thrown together that feels a little like Lost in a bank. The setup is similar to Inside Man, a group of people arrive at a bank--this time it's about to close--and find themselves unwitting hostages in a heist. We've got our characters straight from Central Casting: tarnished cop Nick(Tim Daly) recovering from a gambling addiction scandal; steely assistant district attorney Kathryn (Kim Raver)--who just happens to be sleeping with her boss; sad sack Egan (John Billingsley), who's turned down for a boat loan and brings a gun into the bank; gruff bank manager Malcolm (Chi McBride) and his teenage daughter Felicia (Dana Davis); holier-than-thou doctor Jeremy (Scott Wolf) and his pregnant girlfriend Lizzie (Jessica Collins) who hasn't yet told Jeremy about their unborn child; and fiery Latina bank teller Franny (Camille Guaty), whose sister Eva (Lourdes Benedicto), a fellow teller at the bank, doesn't make it through the standoff alive. (Don't worry though, Benedicto's character will still appear in flashbacks.)

It's a little confusing who actually comprises the Nine in the series' title... as I could only count eight hostages, who all come together after the hostage crisis to meet. So who is the ninth member? Is it Kathryn's Emily Gilmore-esque mother who is released early on? It is the poor dead Eva? Or is it failed robber Lucas (Kitchen Confidential's Owain Yeoman), whom--SPOILER ALERT!-- Felicia visits in prison at the end of the episode?

After we see the robbers take control of the bank, we quickly flash forward 52 hours later as the hostages are released and--in another echo of Inside Man--questioned by the police about their involvement in the botched robbery. Several questions linger: who chopped off Kathryn's hair and why? Did Egan really play the part of the hero and save the day? Why exactly did he hide that gun in the bank? Was he planning to rob the bank or kill himself as he claims? What happened between Jeremy and Franny in the bank to rip apart his relatonship with the pregnant Lizzie? And did robber Lucas and Felicia know one another before the hostage crisis... or if not, what happened to draw them together?

The problem is that I wasn't connected enough to any of these characters to care about learning the answers to any of these questions. While the audience will get to see what happened during the hostage situation--each episode will begin by showing a ten minute segment from the 52-hour crisis which will reveal glimpses of the true events--I couldn't help but feel that this was lazy storytelling. On Lost, the flashbacks function to reveal each of the characters' backstories while also informing the present day action, adding layer upon layer to already complex and deeply flawed characters.

However, on The Nine, the device is nothing more than a gimmick, a hook, to detract from a standard conceit (strangers thrown into a common incident) and to attempt to give the series more weight. If you're pinning everything on a narrative device--rather than the plot and characters themselves--to tell your story, then there's something wrong. A device like this should add to the story and not comprise the story. A series' characters should be three-dimensional and interesting enough on their own, the plot gripping and engaging, and the connections genuine and not forced. There shouldn't be a need to withhold the hostage scenes and parcel them out, just for the sake of making the series more "interesting."

The comparison between The Nine and Lost is particularly apt as ABC has scheduled the new drama directly after Lost this fall. However, given the awkward setup, dull characters, and overall lack of spark in the series, I'll be switching over after Lost to NBC's new serialized drama Kidnapped, which offers a level of craftsmanship and action wholly missing from The Nine. And as for getting my quota of televised flashbacks, I'm sure get my fill from Jack and Kate next season on Lost.

What's On Tonight

8 pm: Gameshow Marathon (CBS); Dateline (NBC); Blue Collar TV/Blue Collar TV (WB); George Lopez/Freddie (ABC); Bones (FOX); My Baby's Daddy (UPN; 8-10 pm)

9 pm: Criminal Minds (CBS); The Italian Job (NBC; 9-11pm); Lost (ABC); So You Think You Can Dance (FOX)

10 pm: CSI: New York (CBS); Commander in Chief (ABC)

What I'll Be Watching

10 pm: Ramsay's Kitchen Nightmares on BBC America (9 pm EST).

The Ramsay in question here in the world-famous (or infamous) chef and author Gordon Ramsey, who might be better known over here in the States for his head-turning role on FOX's reality series Hell's Kitchen (which returns to the airwaves next month). Here in this British series, Ramsey is less about chucking food at people and more about helping restaurateurs fix the problems with their restaurants and get back on their feet. Though, to be fair, there's still a bit of food thrown about by the easily angered Ramsay. In tonight's episode ("Momma Cherri's), Ramsay is contacted by the owner of a soul food restaurant who needs his help.

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Pilot Inspektor: NBC's "30 Rock"

Written by Jace | Tuesday, May 30, 2006 | 6 comments »

This year's crop of comedy pilots definitely leaves a lot to be desired. There's not an Office or Earl or Arrested Development among the bunch. Poring over the pilots that have come into the Televisionary offices thus far, my hands were sweaty with anticipation when I finally received my copy of NBC's newest comedy offering, 30 Rock. I've been writing about Tina Fey's pilot (back when it was untitled even) for quite a while now and I wanted to see if the show lived up to the hype that I assigned it.

I can report that it honestly does.

I've watched the pilot for 30 Rock twice now and each time I've been sucked in by the absurdist humor and witty writing of this hilarious, single-camera ensemble piece. For those of you not up to speed, 30 Rock is one of two new NBC shows centering around the backstage shenanigans at an SNL-style sketch show (the other is Aaron Sorkin's recently relocated Studio 60 on the Sunset Strip). Oh and that rather odd title? It refers to the location of where the fictional show-within-a-show, The Girly Show, is filmed; NBC's New York City headquarters are based at 30 Rockefeller Center.

Tina Fey, who executive produces and wrote the script for 30 Rock's pilot, stars as Liz Lemon, the fictional Girly Show's much-put upon head writer (a role Fey should be familiar with from SNL). The Girly Show has only been on the air a few weeks before a new network exec, Jack Donaghy (Alec Baldwin, here channeling his inner snake to perfection) decides that he needs to make his mark on the show and wants to retool it. Liz and her co-exec producer Pete (Scott Adsit) are called up into the NBC executive offices to discover that their old exec has died and been replaced immediately with Donaghy, brought in from parent company GE's microwave oven division. He tells Liz and Pete that he's looking to find "the third heat" which will take the Girly Show to the next level. Donaghy believes that this x-factor is tarnished actor Tracy Jordan, the star of such cinematic gems as Honky Grandma Be Trippin'. Liz agrees to meet with Jordan, as long as The Girly Show's star Jenna (Rachel Dratch), Liz's best friend, is kept totally in the dark.

Liz takes her lunch meeting with Tracy Jordan (Tracy Morgan), a feature film actor who appears to be a cross between Dave Chappelle, Martin Lawrence, and Snoop Dogg. (One of my favorite moments: Jordan orders an apple juice and, when told that the restaurant doesn't have any, changes his drink order to a vodka tonic before forcing his entire posse out of the restaurant altogether when the waiter suggests he try the pumpkin ravioli.) Jordan has recently emerged from a scandal (he was caught running down the 405 freeway in tighty-whiteys screaming that he was a Jedi) and if he decides to join the cast of the Girly Show, he wants to make it a raw, HBO-style comedy, a move that Liz is not too keen on. Liz ends up stuck with Jordan as he takes her on a tour of his favorite strip clubs and to his childhood home (he pees on the fence as Liz waits, patiently).

Unbeknownst to Liz, Donaghy has been making changes at the Girly Show, firing Pete, encouraging the cast to make really bad dialogue choices and engage in racial stereotypes. As Liz arrives back at the show with Jordan in tow, she sees a really bad Mrs. Katz, Cat Lady sketch fall flat before her eyes. Without worrying about the consequences, she sends Jordan out on stage to just do his thing and spread his "fame juice" all over the scene. And, guess what? The audience goes crazy for him. Liz agrees to Jordan joining the cast, but she has some demands of her own: she wants Pete to get his job back, Jenna's job to be safe, and she wants a cappuccino machine for the writers' room. Donaghy agrees to her demands but you could cut the tension between them with a knife.

As the series' lead Liz Lemon, Fey is absolutely fabulous; her warmth, humor, and savage spark shine through. She's equally proficient in her role as the show's writer. Not since Mean Girls, has Fey had an opportunity to glow on screen as she does here. The pilot's opening scene, in which Liz purchases the entire contents of a Manhattan hot dog cart, just to spite a man trying to cut the line, perfectly sums up her character. The rest of the cast is equally top-notch. Baldwin is the perfect foil for Fey and his oiliness and smarm seem to come a little too naturally to him (kidding!), but here he is the epitome of self-absorbed network executive interference.

I can't remember the last time I saw Tracy Morgan in such a strong, dynamic performance as he delivers here as the Girly Show's third heat, Tracy Jordan; he's a joy to watch. Dratch is likeable and funny, delivering a rather offbeat performance as the show's eating-disorder prone actress who immediately falls for Donaghy's charms. And what would a production be without a clueless P.A.? Here that role is filled to perfection by Jack McBrayer.

Ultimately, 30 Rock is a zany, likeable comedy with a wit and charm all its own. And while it might not be the next Arrested Development, I can honestly say that the series has already become appointment television for me.

What's On Tonight

8 pm: NCIS (CBS); Last Comic Standing (NBC; 8-10 pm); Gilmore Girls (WB); According to Jim/Rodney (ABC); Shanghai Knights (FOX; 8-10 pm); America's Next Top Model (UPN)

9 pm: The Unit (CBS); Pepper Dennis (WB); According to Jim/Less Than Perfect (ABC); Veronica Mars (UPN)

What I'll Be Watching

8 pm: The Thick of It on BBC America (11 pm EST).

If you missed the third episode of this scathingly funny British political satire, here's your chance tonight to catch up before a new episode airs on Friday.

10 pm: Secret Smile on BBC America (9 pm EST).

Part Two of this British mini-series thriller airs tonight. If you missed Part One, you're sort of out of luck, but if you did manage to catch it, then there's more David Tennant (a.k.a. the current Doctor Who in the UK) behaving badly to look forward to tonight.

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Televisionary: The Recap Episode

Written by Jace | Monday, May 29, 2006 | 0 comments »

Ah, Memorial Day Weekend. That time of year which signals the end of the television season and the beginning of summer and, well, summer television.

As there have been a lot of new visitors popping up here at Televisionary lately, I thought this would be a good time to take a look back at some recent posts that may have caught your eye, sparked your imagination, or--at the very least--given you a reason to take a break (or sneak one) from work.

Without further ado, I give you the first Televisionary clip show.

Pilot Inspektor:
NBC's Kidnapped
NBC's Heroes
ABC's Brothers & Sisters
Showtime's Dexter

Hot Topics:
"May We Have an Awesome Blossom": When Does TV Product Placement Go Too Far?
"Gilmore" Guy: Who Is New Showrunner David Rosenthal?


Fall 2006 Network Upfronts/Schedule Coverage:
Musical Chairs: NBC Reshuffles Nearly Its Entire Schedule
What I'll Be Watching This Fall
Upfronts Scorecard: The CW
Upfronts Scorecard: NBC
Upfronts Scorecard: ABC
Upfronts Scorecard: FOX
Upfronts Scorecard: CBS

Lost and Found:
Messages in a Bottle: Lost Thoughts for "Live Together, Die Alone" (Season Finale)
Messages in a Bottle: Lost Thoughts for "Three Minutes"
Messages in a Bottle: Lost Thoughts for "?"
Messages in a Bottle: Lost Thoughts for "Two for the Road"
4 8 15 16 23 42...and 6 Inches?: An Island of "Lost" Toys
Before They Were "Lost": Sawyer Vamps It Up on "Angel"

From Across the Pond:
Jamie's School Lunch Project
The Thick of It
Waking the Dead

Reality Check:
Top Chef: "My Back Just Walked into Your Knife": The Winner of "Top Chef" Is a Cut Above
The Amazing Race: Brains Triumph Over Brawn on This "Race"
5 Takes: Pacfic Rim: My Take on "5 Takes: Pacific Rim"
Anthony Bourdain: No Reservations: "No Reservations" About Watching Bourdain

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In life, there are quite a few culinary metaphors that could seem to apply to the season finale of Bravo's first installment of Top Chef. That's the way the cookie crumbles, you can't cry over spilt milk, etc. And then there's my personal favorite: if you can't stand the heat, get out of the kitchen.

While Top Chef's Tiffani didn't exactly succumb to the heat or pressure of the competition's kitchen, she was done in by her own abrasive personality and an overly ambitious menu that failed to coalesce into a singular vision. Tiffani and Harold's brief was to come up with a five-course meal for eight diners; each course would have to be paired with a specific wine from guest judge Lorraine Bracco's label. But they wouldn't be cooking alone. Producers brought back Lee Anne, Dave, Miguel, and Steven to assist in the kitchens of Craftsteak and Nob Hill at the MGM Grand Resort in Las Vegas. Despite the fact that all four returning chefs wanted to work for Harold (zing), Tiffani gets saddled with Dave and Steven. (Harold gets Lee Anne and when forced to choose between Miguel and Dave, he wisely has them draw knives for it and ends up with Miguel.)

Harold sits down with his team and tastes each and every wine and, as they do, they collectively come up with a simple yet elegant menu that not only pairs well with each of the wines but also showcases the talents and abilities of his teammates and co-workers. Meanwhile, Tiffani seems to have already concocted a menu in her mind before the challenge even began and doesn't bother to taste the wines, shoving off the responsibility for the pairings on sommelier Steven, who advises her against trying to pair a wine with an artichoke dish, a Herculean task. She doesn't listen. Instead, Tiffani devises a complicated and complex menu of dual preparations for each course... which means that instead of cooking five dishes, Tiffani is preparing ten dishes, an enormous risk, which--if she can pull it off--could really wow the judges.

Tiffani and Harold couldn't be more different. His modesty and unassuming nature clash strongly with her coldness and self-absorption (i.e., constantly interrupting people when they're speaking, trying to steal the limelight away from Dave during the reunion's T-shirt incident, etc.). While Harold hand-writes the menu and wisely stays away from the judges table during the service (he appears at the beginning to meet everyone and at the end for criticism), Tiffani talks nonstop with each course, cuts off the hosts when they attempt to introduce the guest judges, goes on a wild tangent about the duality of the preparations reflecting her own duality (Bracco asks if she needs to "put her Dr. Melfi suit on") and blabs on endlessly, letting the dishes grow cold. While Tiffani's food is good, the judges are clearly not taken with her. And her best course seems to be the dessert, which was created and prepared by Dave. On his own. A fact that Tiffani tries to cover up by taking credit herself. Fortunately, the judges are not so foolish as to believe her.

Harold's menu took less risks but the dishes were amazing and satisfying, not to mention beautifully prepared; the wine pairings were balanced and the judges seemed happy with his answers (especially Drew Nieporent who asked Harold who he cooked for: himself or his guests. Harold answered both, while Tiffani said herself, surprise).

After the two meals are completed, the judges ask Lee Anne, Steven, Miguel, and Dave who they think the top chef should be. And none of them hesitate before saying, "Harold." I'd almost feel bad for Tiffani as both Dave and Steve get totally smashed the night before the competition and show up hungover... and continue to drink. But then again, it's rather hard to feel bad for Tiffani, when faced with the fact that all four chefs chose Harold, she tells him, "My back just ran into your knife." Um, harsh? The fact that she says that--and that she would use the money to travel and "pay off [her] debts"--made me really hope that she doesn't walk away as the winner.

But rightfully so, my boy Harold walks away with the $100,000 cash prize, the Food & Wine magazine spread, and the chance to display his skills at the upcoming Aspen Food & Wine Classic, all of which add up to an enormous opportunity for the publicity (and a quick cash infusion) needed to launch one's own restaurant. A goal which Harold says is in the works; he plans to open his own restaurant in Manhattan this fall.

And judging by the quality of his food, the passion he displays, and his inimitable humility, I'll be one of the first to try to get a reservation.

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From Across the Pond: "The Thick of It"

Written by Jace | Friday, May 26, 2006 | 1 comments »

I think I'm in love.

Okay, I'm not in love. But I am totally infatuated--besotted, if you will--with The Thick of It, the brilliant and wickedly funny British comedy that just started airing recently on BBC America. And after two episodes, I am completely smitten. It's best described as The Office on speed or The West Wing viewed through a psychedelic haze if President Bartlett were a lazy, incompetent puppet on strings who's just as baffled as everyone else as to how he managed to land in this office. It's shot in the same faux documentary style as The Office and the result is a rather painfully hilarious political satire.

The Thick of It takes the audience on a funhouse ride through the corridors of power (wow, that's a mixed metaphor), seen through the eyes of Minister of Social Affairs Hugh Abbot (Chris Langham), a sap who's completely dependent upon his often incompetent staffers. Hugh is brought in to fill the MP slot after the prime minister's draconian and abusive enforcer Malcolm Tucker (Peter Capaldi) forces his predecessor to resign following a scandal. Malcolm is a ruthlessly efficient spin doctor and the amount of influence that he wields (the ability to fire ministers, kill news stories, etc.) seems to make him infinitely more powerful than the Prime Minister himself, a rather sobering fact.

Hugh is a completely inept minister, but then so are the people he employs to keep him on track. His advisor Glenn (James Smith) believes himself to be a man of the people but he is so out of touch with reality that his advice is monumentally abysmal. Glenn is often at odds with Hugh's junior policy maker, Oliver (Chris Addison), a recent Cambridge graduate who looks like he's about ten years old. Oliver recently broke up with newspaper reporter Angela (Lucinda Raikes), a fact that Hugh and Glenn make use of to feed her (usually incorrect) stories. Then there's Terri (the hilarious Jo Scanlan), Hugh's press secretary. Terri's a former PR exec for a national supermarket chain, which should make her level-headed and knowledgeable in how to deal with the press. But everyone thinks Terri's rather useless and she often finds herself the scapegoat for whatever hare-brained scheme of Hugh's that has gone wrong. They are all at odds with whatever tirade Malcolm is on at the moment. And, well, Malcolm is rather scary: he seems to have the ability to materialize out of the shadows.

Created by Armando Iannucci and written by some of Britain's top television writers, The Thick of It is cracklingly smart. Much of the dialogue is semi-improvised as well, creating a hyper-realistic look at what goes on behind closed doors in the political arena. The effect is hilarious and also terrifying, particularly in these rather scary times we live in. If Hugh and his cohorts are any examples, I shudder to think of what goes on in private with real policy makers, given the way that they cobble together ridiculous and asinine policies in an attempt to deflect attention from what's actually going on. The spin is so fast that it seems impossible for Hugh not to get whiplash. And while the entire first and second seasons may only add up to six episodes (yes, you read that correctly, six episodes), they are so rewarding that you might forget that they were mere morsels, political petit fours meant to be savoured with every bite.

Ultimately, The Thick of It is intelligent and scathing comedy at its very best, a satire so sharp you could cut yourself on it. So approach with caution.

"The Thick of It" airs Friday evenings at 9 pm EST/10 pm PST on BBC America.

What's On Tonight

8 pm: Ghost Whisperer (CBS); Dateline (NBC); What I Like About You/Twins (WB); Freaky Friday (ABC; 8-10 pm); Mona Lisa Smile (FOX; 8-10 pm); WWE Friday Night Smackdown (UPN)

9 pm: Close to Home (CBS); Las Vegas (NBC); Reba/Living with Fran (WB)

10 pm: NUMB3RS (CBS); Conviction (NBC); 20/20 (ABC)

What I'll Be Watching

10 pm: The Thick of It on BBC America.

See above. The British political series that the Los Angeles Times dubbed "The West Wing meets The Office." On tonight's episode, Hugh gets jealous of the attention a junior minister is receiving for his input on Hugh's housing bill, but tries to shrug it off when he's invited to dine with the Prime Minister.

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As expected, NBC has reshuffled its fall schedule, only a week after unveiling the new lineup to advertisers in New York.

While rumors were flying last week that NBC would move Aaron Sorkin's new drama Studio 60 on the Sunset Strip away from competition (from relocated Grey's Anatomy), the Peacock moved more than just that, rearranging Kidnapped, Deal or No Deal, Law & Order, and Law & Order: Criminal Intent, in addition to Studio 60. NBC will also be bringing Crossing Jordan back in the fall, rather than mid-season, and will bench the Patricia Arquette supernatural drama Medium until later in the season.

President of NBC Entertainment Kevin Reilly announced the schedule shuffle and issued the following statement:

"We've enjoyed an extremely successful development season and are going to do what it takes to give each new series the strongest launch we can. Now that we've assessed the competitive landscape, we've scheduled our new shows in time periods where we believe they'll succeed and will be supporting them with robust marketing campaigns and the full resources of the network."

In other words, NBC's terrified of Grey's Anatomy.

Among other changes, NBC has relocated Studio 60 away from the busy Thursdays at 9 pm timeslot to a less crowded Mondays at 10 pm, a move which I like very much. Even more so, I really appreciate NBC shifting Tina Fey's new comedy 30 Rock (which I saw the other day and loved) away from Wednesdays at 9 pm opposite Lost to Wednesdays at 8:30 pm, making me an extremely happy boy.

And I'm happy about NBC moving Kidnapped from Tuesdays at 9 pm to Wednesdays at 10 pm. While it was previously against my beloved Veronica Mars, it's now in the same timeslot as ABC's new ensemble drama The Nine, which I didn't really enjoy at all that much. Hmmm. So the edge goes to Kidnapped, though I might just have to give The Nine a second chance.

NBC's REVISED SCHEDULE FOR FALL 2006-07

MONDAY
8-9 pm: Deal or No Deal
9-10 pm: HEROES
10-11 pm: STUDIO 60 ON THE SUNSET STRIP (new day and time)

TUESDAY
8-9 pm: FRIDAY NIGHT LIGHTS
9-10 pm: Law & Order: Criminal Intent (new day and time)
10-11 pm: Law & Order: Special Victims Unit

WEDNESDAY
8-8:30 pm: 20 GOOD YEARS (new time)
8:30-9 pm: 30 ROCK (new time)
9-10 pm: The Biggest Loser (new time)
10-11 pm: KIDNAPPED (new day and time)

THURSDAY
8-8:30 pm: My Name Is Earl
8:30-9 pm: The Office
9-10 pm: Deal or No Deal (new day and time)
10-11 pm: ER/(THE BLACK DONNELLYS in January 2007)

FRIDAY
8-9 pm: Crossing Jordan (new day and time)
9-10 pm: Las Vegas
10-11 pm: Law & Order (new day)

SATURDAY
8-9 pm: Dateline Saturday
9-11 pm: Drama Series Encores

SUNDAY
7-8 pm: FOOTBALL NIGHT IN AMERICA
8-11 pm: SUNDAY NIGHT FOOTBALL

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Messages in a Bottle: LOST Thoughts #11

Written by Jace | Thursday, May 25, 2006 | 4 comments »

OH. MY. GOD.

That's really all I could formulate after seeing last night's second season finale of Lost. Over two of the most stressful, tense hours of television (take that, American Idol!), we saw the return of Desmond (and a few other familiar faces), learned what really caused the crash of Oceanic Flight 815, and left half of our beloved characters in some serious peril.

First things first: the sailboat. The beautiful little sailboat (named Elizabeth, from Newport Beach) that appeared in the castaway's ocean backyard last week did in fact end up belonging to poor Desmond, who's been attempting to sail away to Fiji for the last few weeks, only to end up right back at the island. And apparently he's been drunk the entire time.

Down in the hatch, Locke and Eko fight over the continued pushing of the button. Eko believes that it is the most important work in the world, but Locke thinks that it's all a joke. With the counter at four minutes, Locke won't let Eko push the button and the two struggle. (Oh, Locke, when will you learn?) Eko punches Locke and forces him out of the computer room, managing to push the button in time. Whew. While Locke goes and cries in the jungle, where he's spotted by Charlie who, with a rather sadistic satisfaction, tells him that his fellow button-pusher Desmond has returned and maybe Locke would like to join him for a drink. Locke rushes off to the beach.

Jack and Sayid launch a plan to use Desmond's boat to gain an advantage over the Others who are expecting them. Sayid will sail around to the north side of the island and surprise the Others in their camp and then light a signal fire to alert Jack to make his way to the shore. Jack and his ragtag group follow Michael into the jungle and fortunately Jack was smart enough to give Michael a gun, but he doesn't give actually load it with any bullets. (Too bad that Michael realizes this way too quickly.) In the jungle, they encounter a HUGE green bird--like a falcon or something--that swoops down from the trees. Hurley is convinced that the bird was saying his name, but no one actually confirms this. What they do encounter is two people following them on the opposite side of the stream they're walking along. Kate alerts Sawyer and they start firing at the strangers, killing one of them. (I found this sequence really oddly rushed and poorly done, strangely enough. Were these two people Others? Why were they very obviously following them like this? Why didn't we even see the face of the person they killed? Or the one who ran away?)

The gang is concerned that the stranger who got away will alert the Others to their arrival, but Jack says that they already know that they're coming, as they were warned by Michael. Michael plays dumb for a little while but finally cops to the fact that he's been compromised (to use Sayid's phrasing) and that he had to do it in order to get Walt back. Hurley sadly asks if he killed Ana-Lucia and Libby and Michael says that he had no choice, there wasn't any time. But if there had been time, he still would have done it... As for why he needed the four of them, he tells them that the Others had made a list and their names were on it. I half-expected Hurley to punch Michael's lights out, but instead he just says that he's turning around and heading back to camp, but Jack won't let him. They've come this far and, for all they know, the Others could kill them if all four of them aren't present. Reluctantly, Hurley reconsiders.

The Lost Flashback of the Week belongs, aptly enough, to Desmond, who in his three episode-appearance on the show has managed to shake things up quite a bit. We first see Desmond as he's dishonorably discharged from the British military and released from prison. (His full name, I should note, is Desmond David Hume, an allusion to philosopher David Hume, a contemporary of John Locke who believed that all reality was relative and could in fact be someone's imagination.) He's handed very few items as he's released: a photograph of himself with a beautiful woman (we've seen that before) and a copy of Charles Dickens' novel, "Our Mutual Friend." Desmond says that, having read all of Dickens' work, he saved the novel to be the last thing he reads before he dies.

The Lost Literary Allusion of the Week: "Our Mutual Friend" by Charles Dickens, naturally. "Our Mutual Friend" is widely regarded to be one of the more difficult works that Dickens produced and centers around the effects of money. At the book's opening, a man named John Harmon is en route to "receive his inheritance, which, according to his father's will, he can only claim if he marries Bella Wilfer, a beautiful, mercenary girl whom he has never met. However, before he can arrive, a body is found in the Thames and identified as him. The money passes on, instead, to the Boffins, and the effects spread throughout various corners of London society." (FYI, it's actually a fantastic story about greed, assumed identities, murder, revenge, and coincidental meetings of diverse characters. Hmmm....)

Upon leaving the prison, Desmond is sidelined by the owner of a rather lovely luxury car. It's Caleb Nicholls! Oops, I mean Charles Widmore (aha!), owner of the Widmore company, makers of home pregnancy tests, construction supplies, and underground island bunkers, perhaps? Widmore tells Desmond that his relationship with his daughter Penelope is over. Penelope is getting married and he made sure that she never received a single one of Desmond's prison letters to her (he hands them back in a box to Des) and tries to give Desmond a large amount of cash to stay out of Penelope's life.

The first of many Lost coincidences this week: Desmond runs into a rather floofy-haired Libby at LAX and they meet cute when Desmond only has British pounds in his wallet and can't pay for a coffee. They sit down and Desmond tells Libby about his plan to win a race around the world in order to gain back his honor. While there's a cash prize at the end, the real key is to win the money from the race's sponsor, Charles Widmore, who took away the only thing he ever loved. Now the only thing he needs is a boat. Libby sadly tells the story of her late husband, who died a month earlier, and how he had bought a boat and named it after her (yes, I had wondered if she was the Elizabeth the boat was named after). She gives Desmond the boat and he says that he is going to win this race for love.

Desmond arrives at a sports stadium one evening to do some running and (ding ding) we see Jack get out of a neaby car as well and begin jogging. But another car pulls up and out steps... Penelope Widmore (guest star Sonya Walger). Desmond wants to know how she found him. Penelope says that given the amount of money and resources at her disposal, she could find Desmond anywhere. (Aha!) She's obviously still in love with Desmond and wants to know why he never wrote to her from prison. Desmond won't answer her and instead asks when her wedding is. Penelope says that they haven't set a date. Did he ever read "Our Mutual Friend"? (Interesting.)

Meanwhile, Sayid attempts to set out on the sailboat and asks Jin for help sailing. When it's time to depart, Jin shows up... with Sun, who refuses to be separated from her husband. Besides, Sayid will need a translater and it will take the two of them to sail the boat. Sayid says that Desmond did it fine on his own, and Sun replies, "Look at where he ended up." (Zing!) The threesome set off for the island's north shore, but along the way, they encounter a rather ominous sight: a giant foot of what must have been an enormous Lord of the Rings-style statue, hundreds of feet tall. All that remains is that one foot. Sayid's not sure what worries him more: what happened to the statue... or why that foot only has four toes. Creepy! The boat makes its way around the shoreline to that familiar hole in the rock formation. Sayid gets out and furtively makes his way to the Others' camp, where he discovers.... no one. Not a single soul. Every hut is empty. It's all just window dressing. And when he sees the metal doors of their hatch, he doesn't hesitate before flinging them open... and seeing nothing but a shallow space in the rock. It's all fake. They've been set up. Sayid lights the signal fire.

Locke and Desmond bond over their time in the hatch, pushing the button. Locke tells Desmond about what he saw in the Station of the Pearl but Desmond don't believe him that it's all a joke. Locke tosses the Orientation video from the Pearl at him. He's going to show Desmond what he believes to be true; he's going to let the counter go past zero. The next day, Eko is distracted by a voice on the loudspeakers and wanders away from the computers. Desmond is somehow able to get the blast doors to lower, trapping Eko on the other side, away from the computer. Eko is furious and manages to make his way up through the hatch that Locke had blasted open last season. Eko notices the blasted quarantine door and heads towards the beach, where he finds Charlie. Eko demands to know how they opened the hatch door and Charlie says that they blew it open with dynamite... and he knows where there's more hidden. Charlie leads Eko to the hidden stash of dynamite in the jungle but urges him to be careful or he'll blow up like Dr. Artz.

Back in the hatch, Charlie tries to reason wth Locke and get him to raise the blast doors but Locke isn't listening. Eko prepares to detonate the dynamite and Desmond tells Locke that the dynamite won't work; the blast door will hold. Charlie tells Eko that they're in a confined space, it's dangerous, etc. Eko lights the fuse and Charlie tries to run for cover when a huge fireball rips through the space and out through the open hatch.

Desmond wants to open the blast doors but Locke refuses. Desmond says that his friends could be hurt and Locke callously replies that they are not his friends. Locke tells Desmond that he once believed in all of this, in pushing the button, in thinking that whatever was down in the hatch was his destiny. He talks about Boone and how he was stupid enough to follow and get killed because of him. And that he thought it was a sacrifice to the island. And when he saw the light come on in the hatch, he thought his cries of desperation were answered. But it was probably just Desmond going to the bathroom or something.

Locke intends to wait out the counter and hands Desmond a stack of reading material from the Pearl, including the computer print-out he found. He says that everything going on here is an experiment, that two men in chairs in the Pearl were supposed to record everything that they saw going on here. Desmond says that what if Locke got it backwards, what if this station's work was real, but the Pearl was just an experiment?

Jack and his group aren't heading towards the camp at all. Michael seems to be leading them somewhere else entirely. But before they realize this, they come across an enormous pile of those nifty pneumatic tubes from the Station of the Pearl. They're baffled by what they find: notebooks filled with handwritten observations ("moved the ping pong table... took a shower") and the cursory hand-drawn map that Locke had drawn. Jack sees the signal fire and realizes that they are miles from the beach. Michael says that he had to do it. And then Sawyer is hit with some sort of venomous dart and begins writhing on the ground. Jack screams out to run, but they are all hit by darts (Jack nobly tries to carry Kate to safety) and dragged off into the jungle by the Others (incuding Zeke and Alex). Damn it.

Back in Desmond's flashback, we see his ship crash on the island during a rather brutal storm and he washes ashore (with his copy of "Our Mutual Friend" safely tucked into his clothes). He's dragged through the jungle by a man in a yellow "hot zone" jumpsuit and taken down into the hatch. When Desmond awakens, he's inside the hatch we've come to know and love, but he's not alone. The man who saved him is Kelvin Inman (guest star Clancy Brown)... who just so happens to be that American military officer who forced Sayid to torture his own people. Kelvin asks Desmond that familiar riddle about two snowmen, asking Desmond if he is "him" (his replacement, I imagine). But he's upset to learn that he's not. The computer begins beeping and Kelvin imputs the numbers, saying that he just "saved the world." Desmond watches the Orientation film strip and realizes that parts have been cut out. Kelvin says that his partner Radvinsky did some editing. (Why? And how did those pieces end up hidden inside a Bible in another station?)

Later, the two have gotten to know one another. We learn that Kelvin's partner killed himself with a shotgun when Kelvin was sleeping and that it was his partner that started that nifty invisible map on the blast door that Locke discovers. It's Kelvin who continues to draw the map (using laundry detergent) and he's able to force the blast doors down by messing around with the fuses. We also learn that there's a trap door in the computer room that leads down underneath the station, which Desmond discovers when Kelvin is nowhere to be found. Des drops down into the pit, where he finds Kelvin, who tells him that there's a failsafe. A key can be inserted which will "make it all go away" as a drunk Kelvin tells Desmond. The station is at an enormous supply of electromagnetic energy and every time the energy builds up (every 108 minutes, to be precise), inputting the numbers correctly vents the pent-up energy safely.

Kelvin is going to take one of his frequent trips into the quarantined area but Desmond wants to join him. Kelvin says Desmond can't come, that it's quarantined and there are "hostiles." (Ooh, an allusion to the Others... are they the enemies of the Dharma peeps then? And not Dharma itself?) Kelvin says no, that Desmond left Her Majesty's Army because he couldn't follow orders. So why did Kelvin leave his army? Apparently because "people kept following [his] orders." (An allusion to Sayid?) And then he joined up with the Dharma Initiative and had been pushing that button for years now. Desmond can't come and that's an order. But Desmond notices that Kelvin's yellow jump suit has a large tear in it and he follows him to the surface, where he sees Kelvin takes off the oxygen mask and breathe normally. Desmond follows Kelvin to his destination: a little harbor that happens to contain... Desmond's sailboat?!?

Kelvin, it seems, has been fixing up Desmond's boat and plans to sail off into the sunset in about a week, leaving Desmond to keep pushing the button. Desmond's not having it and the two begin to fight, brutally... and Desmond "accidentally" ends up bashing Kelvin's head in on a rock. As Kelvin bleeds to death (or so it seems, anyway), Desmond rips the Dharma key off his neck and runs back to the station, where the countdown has already reached zero. As the hieroglyphs begin to spin around, the entire station starts shaking and objects begin moving around the room. (Just like in Eko's dream last week.) The computer won't even accept the numbers at this point, just showing "System Failure" across the entire screen. Fortunately, Desmond is able to repeatedly press the execute button and stop the countdown, but it seems that something terrible has already happened...

While Charlie and Eko might lay dead on the other side of the blast door, Desmond goes through the computer print out, looking for something specific. And among all the "accepted" listed next to the numbers, there it is: System Failure. Repeatedly. Just like on the computer. And next to it: there's a series of other numbers 0922044:16, a date and time. Desmond asks Locke how they got on the island, when the plane crash was. Locke says it was September 22, 2004. Desmond shows him the date on the print out. It's his fault that Oceanic Flight 815 crashed; he brought the plane down by failing to input the numbers. Locke doesn't believe him and Desmond says that they have to stop the countdown right now. They have to enter the numbers. But Locke's not having any of that and smashes the computer on the floor. Desmond is horrified.

Back in the flashback, Desmond prepares to kill himself. He has no escape. He can't leave the button and he's killed Kelvin. He takes out his gun and lays it on the table, along with his copy of "Our Mutual Friend," which he opens up. As he does, a piece of paper falls out. It's a letter, from Penelope written before he went into prison, in which she talks to Desmond about her feelings. She does love him and she'll wait for him, for however long it takes. All one needs in order to hope is to know that there is one person out there that cares about you. Desmond is shaking and as he goes to shoot himself, he hears screaming from outside. It's Locke, banging on the hatch, screaming about what's he's done. And Desmond shines a light out of the hatch, illuminating Locke. He's saved.

Back in the present day, the Others force Jack and the gang onto a rather desolate dock, which reads Pala Ferry, just like the one mentioned in the Pearl Orientation film. Zeke and Alex are there, along with Miss Clue (or Klugh as some people spell her name). Zeke begins to talk to them and Kate says (from behind her gag) that they know that his beard is fake. "They know your beard is fake, Tom," says Miss Clue. He happily pulls off the beard. "Oh, and thanks for telling them my name, Dee," says Zeke-Now-Known-as-Tom. The castaways watch, helplessly, as a boat pulls up and off steps... the Other-Formerly-Known-As-Henry-Gale?!? He steps out of the boat in a regal fashion as all of the Others step backwards. Wait, Henry is their leader after all!??!? He chastises Tom for taking off his beard, but Tom says that they already know.

"Henry" says that Michael did well, and a deal is a deal. He's come through on his end and they always hold up their end of a bargain.Where's Walt? He's in the boat. Michael has done good. And besides, Walt ended up being more than they expected. Henry tells Michael to go to a specific compass reading and there, he'll be rescued. But Michael asks what's going to stop him from telling people about this place. Well, says Henry, Michael can't ever tell anyone about the island; for a start, once he leaves, he'll never be able to find his way back... and second, he'd have to tell people what he did to get his son back. Michael asks, "Who are you people?" And Henry smiles and says, "Michael, we're the good guys."

Michael gets in the boat and sees Walt hidden underneath the counter and the two have a joyful reunion. But Michael can barely make eye contact with Jack and the group as he steers the boat towards safety and rescue. But something tells me we haven't quite seen the last of Michael and Walt... not by a longshot.

Back at the hatch, the countdown has ended. The station has gone into system failure. Charlie and Eko are still alive, but barely. Eko is unconscious and Charlie is partially deaf after the explosion. He helps Eko to his feet as, on the other side of the blast door, Desmond triggers the door release. Charlie carries Eko into the living quarters as items begin flying about the room--knifes, darts, garbage cans, the washer and drier. Desmond says that Locke saved him once so that he could save him now and pushes aside a unit concealing the trapdoor. He jumps inside the pit with the Dharma Swan key and makes his way to the failsafe mechanism. Charlie runs for it as Eko and Locke tussle inside the hatch. Desmond turns the key, causing an enormous electromagnetic release that turns the sky violet and creates a deafening buzzing noise, felt from the castaway's beach all the way to the Pala Ferry. People scream out as the ground shakes. It all feels rather apocalyptic. And then, just like that, it stops.

Charlie makes his way back to the beach, still partially deaf from the explosion. Claire is overjoyed to see him and Bernard rushes up to him, asking where Locke and Eko are. Charlie's confused; they haven't come back yet? Later, by the light of the campfire, Charlie and Claire share their very first kiss.

Things are not going so well back at the dock. Hurley is released by Dee. He's to return to camp and tell the castaways why they must never come back to this place. "What about my friends?" Hurley asks. "They're coming home with us," says the Other-Formerly-Known-as-Henry Gale. Hoods are pulled over Jack, Kate, and Sawyer's heads and they are taken to god only knows where. What will happen to them? Are Eko and Locke dead? Will Desmond make it out of there alive? How can we wait four months for resolution?

But before any of that, we're left with one final sequence, in which two Portuguese men play chess at what appears to be an EM monitoring station... somewhere in the Artic. (North Pole? South Pole?) They notice that the computer has picked up a large signal again and, unlike last time (the plane crash?) they didn't miss it this time. They pick up the phone and dial a number. Elsewhere, a ringing phone awakens someone sleeping in a darkened bedroom. We see a familiar photograph on the nightstand and then (surprise!) we see that the call is taken by none other than Penelope Widmore. She did swear that she had the money and resources to find Desmond anywhere in the world... and it answers that question I've been wondering: is there anyone else left in the world? Yes, there is. And it appears that help might finally be on its way.

What's On Tonight

8 pm: NUMB3RS (CBS); My Name is Earl/The Office (NBC); Smallville (WB); Charlie's Angels: Full Throttle (ABC; 8-10 pm); So You Think You Can Dance (FOX; 8-10 pm); Everybody Hates Chris/Love, Inc. (UPN)

9 pm: CSI: Crime Scene Investigation (CBS); My Name is Earl/The Office (NBC); American Inventor (ABC); Eve/Cuts (UPN)

10 pm: Without a Trace (CBS); ER (NBC); Primetime (ABC)

What I'll Be Watching

8-10 pm: My Name is Earl/The Office x2.

Catch a two-hour block of comedy goodness as NBC brings us two back-to-back blocks of My Name is Earl and The Office. On tonight's first episode of Earl ("Didn't Pay Taxes"), Earl attempts to pay for the back taxes he feels he owes, but discovers that Uncle Sam doesn't want his money. Thirty minutes later, on The Office ("Halloween"), the Dunder-Mifflin Halloween party hits a snag when Michael must fire someone. On the second episode of Earl tonight ("Dad's Car"), Earl tries to give his mother a Mother's Day gift, but she asks him to do something nice instead for his father (guest star Beau Bridges). Back at the Office ("Sexual Harassment"), Michael's behavior becomes even more inappropriate when his best friend, Dunder-Mifflin sales rep Todd Packer (guest star David Koechner), drops by the office.

10 pm: 5 Takes: Pacific Rim on the Travel Channel.

New night, new time, new episodes. The 5 Takes gang returns with a new batch of episodes, this time from New Zealand. On tonight's episode ("Wellington"), the travel journalists head out to Wellington, the capital city of Middle Earth, I mean, New Zealand.

10 pm-Midnight: Waking the Dead on BBC America (or 9 pm for you East Coasters).

The fifth season of one of my favorite British crime dramas continues. On tonight's episode ("Black Run"), Boyd is summoned to a prison to see former cop Eddie Vine, who is serving a life sentence for murdering his partner.

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Casting Couch: Pilots to Recast Several Series Regulars

Written by Jace | Wednesday, May 24, 2006 | 0 comments »

For those of you who are looking forward to this fall's Brothers & Sisters, my advice is: don't get too attached to Jonathan LaPaglia... or Betty Buckley for that matter, as both actors are being recast.

It's a process that happens every year. As networks pick up pilots and make the move from ordering shows to actual production on them, there are bound to be some tweaks, including a few nips and tucks in the casting department. As to the whys, that's anybody's guess. But it's a fact of life in the TV biz that not everyone in the pilot will make it to the series intact.

Today's issue of The Hollywood Reporter details some of these changes, including the recasting the two actors above, who played Kevin Walker and matriarch Iva Walker respectively on ABC's new fall drama Brothers & Sisters (reviewed here).

Additionally, THR is reporting that the role of Kimberly in the ABC drama Traveler will be recast as well. In the pilot, Kimberly was played by Gillian Jacobs. Over on CBS, Kathleen Rose Perkins was removed from the mid-season sitcom Rules of Engagement. And news that FOX drama The Wedding Album was looking for a new lead to replace outgoing star Bruno Campos leaked before the announcement of a series order even came in.

NBC's The Single Table will recast the role of Georgia, one of the five series regulars, to replace outbound Pascale Hutton. Likewise with CW's Girlfriends spinoff The Game, which will recast one of the football player's wives, Kelly Parker. That role had been played by Jennifer Baxter in the pilot. And CBS' comedy The Big Bang Theory, has received an order for a new pilot altogether and is now looking for a replacement for the series' female lead, which had been played by Amanda Walsh.

In other casting news, several returning shows are looking to hire additional actors as well. Law & Order will replace Annie Parisse, who recently left the drama, with another actress to fill the role of the assistant district attorney. Additionally, Close to Home, Old Christine, Ghost Whisperer and Prison Break are all expected to add new characters next season as they return for sophomore seasons. THR reports that the producers of Prison Break are seeking an actor to play a new nemesis for Michael Scofield (Wentworth Miller), while Ghost Whisperer's producers are looking for an actress to "fill the void left by the departure of Aisha Tyler, whose character died in the season finale."

More interesting, however, is the news that the producers of Lost are looking for two new actresses to join the cast, following the dramatic deaths of series regulars Ana-Lucia (Michelle Rodriguez) and Libby (Cynthia Watros). Interesting... Could these new female characters be members of the mysterious Others? Or fellow survivors of another island stranding? Only time will tell...

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Daily to Get "Desperate" After All

Written by Jace | Wednesday, May 24, 2006 | 1 comments »

It's moments like these when you just have to gloat and say things like, You read it here first at Televisionary! (No, I mustn't gloat, it's not attractive.)

I had reported several weeks ago about Desperate Housewives showrunner Tom Spezialy walking off the set of the ABC drama and the rumors coming to me about nearly all of the show's writing staff receiving their walking papers. I had also reported on a rumored replacement for Spezialy: former Out of Practice and Frasier producer Bob Daily.

In a rather juicy turn (fitting given the soapy series in question), I can now say that the above rumors have been confirmed as fact.

Variety is today reporting that Daily has signed a deal to join Desperate Housewives full-time as a co-executive producer, replacing Spezialy. Additionally, Joe Keenan, Daily's colleague on Out of Practice (he was the co-creator of the now-cancelled sitcom), and former Will & Grace showrunner Jeff Greenstein are in discussions to join the staff as well. Keenan is in talks to join the series as a co-executive producer and, if his deal comes through, could be bumped to full exec producer later in the season. What Greenstein's role on the series would be is unclear, as the writer is actively developing series of his own for next season.

After what many have described as a truly awful season (complete with critical and ratings backlash), you've got to love it when the behind-the-scenes drama at Desperate Housewives becomes more interesting and entertaining than the show itself.

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From Across the Pond: "Waking the Dead"

Written by Jace | Wednesday, May 24, 2006 | 1 comments »

Let me begin by saying that I'm not usually a fan of forensic procedurals, those CSI-type shows that seem to have multiplied like bunnies and now fill up the majority of CBS's schedule. For the most part, they're standalone, tidily resolved formulaic mysteries that bare little resemblance to the character-centric nature of drama that I love so much. The same can't be said, thankfully, for British import Waking the Dead, which is currently re-airing its fifth season on BBC America.

I could say things like, "If you like Cold Case, you'll LOVE Waking the Dead," but I won't sink to that level, though the BBC's Waking the Dead, which preceded the arrival of the CBS forensic drama by a few years, is a far superior show. Both concern the cold case squad of a police authority and both solve crimes long left unsolved by their colleagues, but look at that title: Waking the Dead. Could any title be more evocative and compelling? In this case, the title draws the audience into a different sort of procedural--where, yes, the usual rules of crime detection and technology still apply--which is also a character-driven drama. The series is tautly written and beautifully acted and each episode leaves you wanting more (a feat after two hours of plot twists and turns.)

In Waking the Dead, our crime sniffers, detectives and lab experts alike, are layered, nuanced characters that are deeply (sometimes seriously so) flawed; not one of them is perfect and they all have their own agendas, when solving crimes. The show's writers are very careful to make sure that each crime impacts them in some meaningful, emotional way, whether reminding them of an unsolved case in their own past or a crime that they themselves experienced personally. Or just being emotionally invested in the case at hand. These are the coppers I want on my side if something ever happened; they're tenacious, willing to break the rules, and they get the job done, often putting themselves in harm's way, sometimes fatally.

So who are Waking the Dead's remarkable cold case detectives then? The Cold Case Unit is headed up by Detective Superintendent Peter Boyd (Trevor Eve), a tough, intelligent bloke who's prone to outbursts of anger, but who is hiding his own loss as well: the disappearance years earlier of his teenage son, a case which was never solved. Boyd's need to get the job done trumps any other considerations and he's not above manipulating his team into getting results. (You wouldn't want him as a boss, believe me.) If Boyd is the disciplinarian father figure, Dr. Grace Foley (Sue Johnston), the team's psychological profiler, is his opposite. Grace is always professional, always calm and innately logical (which often infuriates Boyd). She's also willing, as the series goes on, to stand up to Boyd and put him in his place, something that no one else on the Squad has been able to accomplish. Perhaps that's why she and Boyd seem to have a working relationship that's based on total respect for one another. Detective Spence Jordan (Wil Johnson) is Boyd's right-hand man, a street-smart detective often offering up creative solutions and doggedly following leads. His one weakness: taking risks to the point of being a fatalist; if Spence isn't careful, he might just wind up a cold case himself. The team's forensic scientist, Dr. Frankie Walker (Holly Aird), is a workaholic who has completely given herself over to this job. Her unique skills at noticing every detail, whether big or small, made her an invaluable member to the Cold Case Squad. (Aird left the show after the show's fourth season.) Then there's the beloved Detective Mel Silver (Claire Goose), the newbie on the team when the show starts out. Over the course of four seasons, Mel manages to prove herself to Boyd and the rest of the squad. But sadly, she's pushed off the top a building to her death at the end of Season Four, while solving a crime. I grew to love Mel and her death rocked me--and the Cold Case Squad--to the core.

At the start of Season Five, which is currently airing on BBC America, the Cold Case Squad received two new additions: Detective Stella Goodman (Felicite Du Jeu), a young detective of Anglo/French origins who harbors a secret of her own, and Dr. Felix Gibson (Esther Hall), a new forensic scientist hired to replace Frankie (who left to return to research after Mel's death). Felix is a thirtysomething divorced woman (don't let the male name fool you) who's just as focused on her work as Frankie was but who hasn't yet found her role in the team.

Waking the Dead offers smart, intricate mysteries that don't talk down to the audience or take them for granted. Each two-hour episode (yes, each episode is actually two-hours, including commercials) is a smart, taut thriller that could function as a mini feature film. One of my favorites to date is still the Season Two episode "Thin Air," in which the team investigates the disappearance of a teenage girl from Hampstead Heath and Boyd becomes personally involved in the investigation to the point of making a terrible, terrible mistake.

Ultimately, Waking the Dead is a superlative television mystery, bringing gripping, challenging mysteries to the table each week, along with compelling, multi-dimensional characters that you grow to love... or love to hate. If you've missed the previous four seasons, it's not a problem as Season Five is the perfect jumping on point for new viewers. And with the many permuations of CSI--along with Cold Case, Without a Trace, and Law & Order--all in reruns this summer, do yourself a favor and catch this brilliant, astonishing series. You and your television will thank me.

"Waking the Dead" is re-airing its fifth season Thursdays at 9 pm EST/10 pm PST on BBC America.

What's On Tonight

8 pm: Dr. Phil Primetime Special: Escaping Addiction 2 (CBS); Dateline (NBC); Daredevil (WB; 8-10 pm); Lost: Reckoning (ABC); American Idol (FOX; 8-10 pm); Hair Show (UPN)

9 pm: Criminal Minds (CBS); Dateline (NBC); Lost (ABC; 9-11 pm)

10 pm: CSI: New York (CBS); Law & Order (NBC)

What I'll Be Watching

6 pm: What Not to Wear (On Holiday).

On another episode of the British import, style experts Trinny and Susannah use their infamous cruel to be kind approach to help women look their absolute best on and off the beach.

9-11 pm: Lost.

The two-hour season finale is finally here and I am counting down the hours! On tonight's double-sized episode ("Live Together, Die Alone"), Jack and Sayid plot to confront the Others and launch a daring rescue of Walt, while also keeping an eye on the traitor Michael before he stabs them in the back. Meanwhile, Eko and Locke argue over that darn button, the hatch, and the work being done there. (I smell a brawl coming.) And we might just learn the answers to a few burning questions: What's with the sailboat? Can Walt be saved? Will we ever learn the true meaning behind the Dharma Initiative? Where's Desmond? (I guess we'll at least learn the answer to that one. He shows up tonight.) Fire up the TiVo, take the phone off the hook, and prepare to wait a loooooong time until we get new episodes in October.

11 pm: Top Chef on Bravo.

On Part Two of the Top Chef season finale ("Finale"), chefs Harold and Tiffani face off in the final culinary showdown in Las Vegas. At stake: a $150,000 cash prize, a Food & Wine magazine spread, and the dubious title of Top Chef. While I still can't believe that Dave even made to the final three and Lee Anne didn't (remind me how that happened again), I will be cheering for Harold to win. Or at the very least, unmask host Kathy Lee Joel as an android...

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It seems like the island is getting a little smaller...

Just a day after Touchstone Television, the studio behind ABC's hit drama Lost, announced that they had signed a deal with French videogame maker Ubisoft to release a Lost videogame in December 2007, Variety is today reporting that the studio has partnered with toy manufacturer McFarlane Toys to create an action figure line based on characters on Lost.

First to be released will be six-inch articulated versions of Jack (Matthew Fox), Kate (Evangeline Lilly), Hurley (Jorge Garcia), Locke (Terry O'Quinn), Charlie (Dominic Monaghan), and (huh?) Shannon (Maggie Grace); their release will be tied in to Lost's third season premiere this fall. (Future offerings will include Sawyer, Eko, and Jin.) Each action figure will include a full-scale prop that is connected to their character: Kate's will include the model airplane, while Hurley will have a lottery ticket with those mysterious numbers. (Um, they do know that he doesn't actually have the lottery ticket on the island, right? Just checking.)

Additionally, McFarlane Toys will also sell deluxe boxed sets that recreate key Lost moments and locations, such as the beach or the hatch: Locke is shown discovering the hatch, Jack waking up after the crash of Flight 815, and Hurley creating his golf course. (Heh? That's really the best character moment they could think up for Hurley? Why not stuffing his face with peanut butter then?)

No word on when we can expect a Zeke/Sea Captain action figure... or the deluxe Dharma Initiative headquarters.

UPDATE: Special thanks to Televisionary reader Bart, who sent in the below sneak peek of the Charlie action figure from McFarlane Toys.

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Pilot Inspektor: ABC's "Brothers & Sisters"

Written by Jace | Tuesday, May 23, 2006 | 1 comments »

In his film Trust, writer/director Hal Hartley once said, "A family is like a gun; you point it in the wrong direction and you could kill someone." I think Hartley's statement applies nicely to ABC's new family drama Brothers & Sisters, which follows a wealthy Los Angeles clan as they do what families do best: eat together, bicker, love one another, fight, and then fight some more.

This being a television series, there's naturally more lurking beneath the seemingly idyllic surface of the Walker family than initially meets the eye. Told through the voice of outspoken daughter Kitty (Calista Flockhart), the series explores the many secrets and lies that exist in every family. Think of it as My So-Called Thirtysomething Relativity Once and Again. Or something to that effect.

What got me initially intrigued was the truly amazing cast that the show's producers had managed to assemble here, a trend which seems to be keeping in touch with this season's many productions: sprawling casts, interconnected plots, richer, more challenging stories, and the sort of budgets that one would usually associate with feature films. In this respect, Brothers & Sisters fits the bill. The cast is definitely top-notch, consisting of many familiar faces from TV and film (it's even, for some, a mini Alias reunion, but that's to be expected from former Alias executive producer Ken Olin).

Meet Kitty Walker (Flockhart). Unlike her liberal relatives, she's a conservative who escaped the West Coast for New York City, where she's the host of a conservative radio talk show. Kitty has been offered to turn her show into a nationally televised talk show and she uses a trip out West to meet with some producers as an excuse to celebrate her birthday with her family. She's not sure she's willing to entertain the offer, especially as it would take her away from her boyfriend Jonathan (guest star Dan Futterman, here reunited with his costar from The Birdcage), just as they are starting to get serious.

With the notable exception of firebrand Kitty, the Walkers are liberals, the sort of California family with a gorgeous, well-manicured manse that own their own business. The business in question is a food and vegetable supply company that's run by pater familias Henry (Tom Skerritt; warning lights flashing here) and his shifty brother-in-law Saul Ashman (Ron Rifkin). Mother Iva (Betty Buckley) is the sort of warm-hearted well-to-do woman that prefers to garden than employ someone to do that sort of thing for her. She and Henry are supposed to have a storybook romance and marriage that has weathered more than forty years, but it seems a little too perfect, if you ask me. And this being that sort of television series again, even Iva and Henry's perfect marriage has its share of heartbreak and secrets.

Two of the Walker children have gone into the family business: practical middle son Thomas (Balthazar Getty, here for once playing the responsible, ambitious son, rather than his usual screw-up character) and daughter Sarah (Rachel Griffiths, in fine form), who recently left a Fortune 500 company to sink her teeth into the family biz. Sarah's marriage to Jed (John Pyper-Ferguson) is on the brink of failing as the two drift away from one another, and their relationship is tested by the presence of their three children, including son Teddy (Jimmy 'Jax' Pinchak), who suffers from Asperger's Syndrome. Meanwhile, oldest son Kevin, an openly gay politician, learns that his ex-wife is planning to move with their teenage son, with whom he has a strained, distant relationship, to Texas. And youngest son Justin (Dave Annable) is a former Gulf War vet who is struggling with drug abuse.

As everyone gathers at the Walker home to celebrate Kitty's birthday, each of the Walkers reacts differently to what happens next. While talking with his grandson out back, beloved father Henry suffers a heart attack, collapses in the pool, and dies. (I told you that the red warning lights were flashing as soon as I saw that the dad would be played by Tom Skerritt.) Henry's death presents a whole host of complications: it inspires Kitty to take the television job, despite Jonathan's marriage proposal, and gives Thomas and Sarah more incentive to take control of the family business... especially as Saul is acting so strangely.

Taking a page out of Veronica Mars' handbook, Sarah does some snooping and discovers a number of secret, password-protected accounts on her uncle Saul's computer. Is he embezzling? She and Thomas confront him, but he's not talking. Add to this the fact that Justin notices a mysterious woman (Patricia Wettig) at his father's funeral and things begin to become clearer suddenly. At his mother's urging, Justin goes to Musso & Frank's to apply for a job and sees Saul having lunch with that very same woman. He approaches them and Saul quickly introduces her as Holly Harper, "a friend." Justin asks if she was a friend of his father and, before Holly can answer, Saul cuts her off by saying that she was a friend of both of theirs. Justin is instantly suspicious. Sarah, meanwhile, is finally able to access Saul's files and discovers that the company's pension funds accounts have been completely emptied. Is Saul paying off this woman, who was obviously Henry's mistress? Or did Henry do something terrible before he died?

As Sarah confronts Saul and tries to assert her place in their family business, Justin follows Holly from a distance and watches her house from across the street. He sees a young woman leave the house and drive off (hmmm, could it be another of Henry's children?), before knocking on the door. Holly answers the door and greets him, saying that they've met before but Justin doesn't remember her. She invites him inside and closes the door. And while the audience will have to wait until episode 2 to find out Holly's story, I think we can make a few intelligent guesses...

Production values are high and direction--by exec producer Ken Olin (Alias)--glossy and self-assured. Writing, from playwright Jon Robin Baitz, is strong, if a little obvious at times. (Did we really need Kitty's extended monologue at the beginning about the perils of dating Democrats or Republicans?) As can be expected by the cast, the overall quality of the acting is extremely high, especially for such a soapy show. While early pre-upfronts reports said that Flockhart had not tested well, I found her to be a sympathetic, amiable lead, in a role that was vastly different than her turn as the titular character on Ally McBeal. Rachel Griffiths is as wonderful as ever, making me nearly forget who Brenda Chenowith was (almost) and, as previously mentioned, it is wonderful to see Balthazar Getty playing the good son for once, rather than his typical messed up druggie character (played here instead by Dave Annable, as if apologizing for the mess that was FOX's Reunion). Ron Rifkin once again commands attention, even when he's not playing a megalomaniacal villain with an obsession for Rambaldi, as in Alias. (I hope that subsequent weeks give Betty Buckley--here playing matriarch Iva--more to do; she's far too talented of an actor to just shuffle along and offer advice while she prunes the trees.)

In many respects, Brothers & Sisters is a sort of throwback to the female-oriented family-centric soapy dramas of yesteryear (think Sisters or Providence) but I have no doubt that it will find an audience, especially given its plum post-Desperate Housewives timeslot on Sunday evenings. And while the ladies of Wisteria Lane have become far too zany for my taste, Brothers & Sisters could have borrowed just a smidge of that show's humor, if only to break up some of the stifling heaviness and darkness that seem to permeate the series' pilot. (Could that have something to do with the presence of former Buffy exec producer Marti Noxon?) Tonally, I think the show's producers need to figure out where they stand, as there's a little bit too much pathos to make one want to spend a significant amount of time with the Walkers. Just a little bit of humor or sunshine(this being California, after all) could do miracles in evening out the series' tone.

While the plot of Brothers & Sisters, so far anyway, has remained rather predictable, I'd most likely tune in again to catch the second episode. And, given the sometimes strained relations between brothers and sisters, isn't that a commitment in itself?

What's On Tonight

8 pm: The 41st Annual Academy of Country Music Awards (CBS; 8-11 pm); Most Outrageous Moments/Most Outrageous Moments (NBC); Gilmore Girls (WB); Stephen King's Desperation (ABC; 8-11 pm); American Idol (FOX); America's Next Top Model (UPN)

9 pm: 10.5: Apocalypse (NBC; 9-11 pm); Pepper Dennis (WB); House (FOX); Veronica Mars (UPN)

What I'll Be Watching

8 pm: The Thick of It on BBC America (11 pm EST).

If you missed the second episode of the British comedy series that the Los Angeles Times is describing as "The West Wing meets The Office," here's your chance tonight to catch up before a new episode on Friday. One caveat: the show is so funny that you might just choke on your dinner whilst watching it. Be warned.

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Pilot Inspektor: NBC's "Heroes"

Written by Jace | Monday, May 22, 2006 | 19 comments »

Of the current batch of fall pilots in my possession, the one I was really looking forward to watching was NBC's Heroes, which many have touted as NBC's answer to drama juggernaut Lost. I can safely say that the cast and crew of the J.J. Abrams and Damon Lindelof-created drama doesn't need to lose any sleep at night. Lost this is not.

For those of you in the dark, here's the basic pitch: seemingly overnight, ordinary people suddenly develop extraordinary powers and represent the next step in humanity's evolution, but there's something else afoot here as forces beyond their control seem to be drawing them closer together (a theme that seems to be so extremely common this season that it's the basis for no less than three pilots). The genetic mutation line is straight out of X-Men (one character even references the long-running comic book series, using Uncanny X-Men #143, in which Kitty Pryde travels to a dystopian future, as an argument for time travel); the random people seemingly imbued with strange and unusual powers directly influenced by J. Michael Straczynski's Rising Stars. But again it's ABC's Lost that seems to provide the most influence on Heroes.

Let's see, where shall I begin... Um, strong, sexy woman on the run after committing a murder? Check. Soulful medical professional from wealthy family? Check. Young blonde girl named Claire? Check. Precocious African-American boy with unusual powers? Check. African-American father of said boy who lives in New York City and hasn't seen his son in years? Check. A mysterious organization that is aware of and dealing with people's newfound abilities? Check. (I'm calling it the Karma Initiative for now.) Asian man who doesn't seem to speak very much English? Check. Highly intelligent and swarthy Asian or Middle Eastern man? Check. Greg Grunberg? Check. (Though billed as a series lead, he doesn't appear in the version of the pilot I saw.) A web of fate drawing these strangers together to possibly save the world? Double check.

I kid you not.

In any event, I've heard that the pilot was originally two hours but had been cut down to 55 minutes (the version I saw), so that could explain the absence of both Greg Grunberg and Leonard Roberts, who plays Heroes' version of Lost's "Michael" character. But it doesn't explain why even at a tighter 55 minutes, absolutely nothing seems to happen. Many of the characters speak of a big event looming on the horizon that will change everything (I assumed it was the solar eclipse), but nothing happens. The characters talk, cross paths with one another, and talk some more. And then they keep talking. And talking. In overly expositional, poorly written dialogue that seems written by some network exec who didn't think that the audience would understand that a wealthy widow is shoplifting after the death of her husband so that she can "feel alive" or that her son Peter (Milo Ventimiglia) "needs to put [himself] first and stop living [his] life for other people."

As for the characters, they are, as one would imagine, a rather motley bunch and the pilot depicts each of them as they go about their daily lives, unaware of the storm that is brewing. Peter Petrelli (Ventimiglia) works as a private nurse for terminally ill patients but keeps dreaming that he can fly. In these dreams, he keeps seeing the face of his brother Nathan (Adrian Pasdar), a politician running for Congress, in a darkened alley as Peter falls towards him. Nathan doesn't have any time for Peter's eccentricities with his campaign in full swing, nor their mother's latest arrest for shoplifting socks, but Nathan wants to keep Peter close and offers him a job on the campaign because he's "good with people." (Hmmm.)

In Texas, teenage cheerleader Clair Bennet (Hayden Panettiere) discovers she is invulnerable and spends her time jumping off of water towers and stabbing herself in the chest to test the limit of her powers. (She also drops her ring down a working garbage disposal and puts her hand down there in a rather gruesome sequence.) But Clair soon rises to the mantle of hero when she uses her invulnerability to save the life of a firefighter in a rapidly burning building, before running off into the smoke.

Niki Sanders (Ali Larter) is a single mom in Las Vegas who's doing internet porn to support herself and keep her genius son Micah (Noah Gray-Cabey) in a ritzy private school, but she runs afoul of the local mob and a loan shark comes collecting. (Lucky for her that she has this weird alter ego/mirror self that can do horrible, gruesome, murderous things for her.) Her son Micah runs away to New York City to find his estranged father, D.L. Hawkins (Leonard Roberts, who doesn't appear in the pilot). Niki takes care of a little business of her own before setting off after her son.

Isaac Mendez (Santiago Cabrera) is a rather talented, albeit strung out, artist who can paint pictures of events and people in the future. His girlfriend Simone Deveraux (Tawny Cypress) is worried about him, particularly after he shows her an image of her walking into his apartment carrying a briefcase, which she just did five minutes earlier, a picture he painted the night before. Isaac's also trying to give up on drugs cold turkey (he thinks they're causing these images to appear) but Simone is concerned. Isaac kicks Simone out of his apartment, handcuffs himself to a pipe, and waits out the withdrawal pains. Nearby, a nice assortment of saws and other tools sit menacingly... Simone turns to the only person she knows can help, the man taking care of her terminally ill father: Peter Petrelli (Ventimiglia, again). Funny how these coincidences keep popping up, no? Simone forces Peter to bring as much morphine as he can and leads him to Isaac's apartment, where they encounter... a rather gruesome, yet predictable, scene waiting for them. But Peter also sees something else, a portrait of himself with wings by Isaac. (Hmmm.)

As for the pilot's missing characters, NBC's press release tells me that Greg Grunberg plays a "down-on-his-luck beat cop [who] can hear people's thoughts, including the secrets of a captured terrorist," while Leonard Robert's D.L. Hawkins is "a prison inmate [who] mysteriously finds himself waking up outside of his cell. " Would have been nicer to, you know, actually see that in the pilot.

On the other side of the world, other people are also experiencing awakenings of their own. In Japan, Hiro Akamura (Masi Oka) is a bored Japanese businessman who becomes convinced that he can alter the space-time continuum, slowing down or stopping time and teleporting (and in one nifty sequence, he does actually teleport off of a crowded Tokyo commuter train to Times Square). And in India, college professor Mohinder Suresh (Sendhil Ramamurthy) talks to his pupils about the work that he and his father (a former professor/research scientist turned Manhattan cab driver) have spent their lives developing: a belief that the human genome is changing and that the next step of evolution is happening before their eyes. People with extraordinary abilities are already living among us.

It's a theory that gets Mohinder's father killed and Mohinder leaves India to travel to New York City in order to search through his father's papers, but someone has gotten there first: a mysterious man who has a very pointed interest in both the research work Mohinder's father was doing and Mohinder himself. A man who has a very interesting connection to one of our other characters... (I'm not going to spoil that here.)

As the various characters seem to make their way to New York City, I was expecting some huge momentous moment to occur at the end of the hour, some huge world-altering event that would bring our heroes to the fore, but it never arrives. Many of the characters mention the imminent solar eclipse but it comes and goes with seemingly no consequences whatsoever. Peter gets into Mohinder's cab, they have a (very unrealistic for New York City) intellectual conversation about the nature of the universe and evolution and Peter watches the eclipse from the back of the car. I was hoping that this moment would catalyze everyone's abilities--latent or otherwise--but the eclipse just passes without anything apocalyptic happening. Color me confused.

There is a nice twist at the end of the pilot that I have to admit I didn't really see coming, but otherwise it just sort of peters out into nothingness. Even at a leaner 55 minutes, the pilot drags on endlessly and I was left with feeling alternatingly frustrated and bored. So far, many of the characters seem rather one-dimensional and I'm baffled by some of the casting choices altogether. Additionally, Ventimiglia, usually so affable on Gilmore Girls (he played Rory's bad boyfriend Jess), is rather unlikeable here and he irritates more than intrigues, especially as he seems to be the series' putative lead (unless that's intended to be the absent Grunberg).

David Semel's direction is lush and visually dazzling (especially the opening sequence) but the studio will hopefully pony up some more money for better special effects (see the ending). Writing--by Crossing Jordan creator Tim Kring--came across as lazy and bloated. For a concept with such a rich sci-fi/action/superhero premise, there was an awful lot of talking going on here, and not enough action. What's there instead is an underlying arrogance and unwarranted overconfidence, demonstrated in the Star Wars-style written narration at the opening which goes on to state that this is only "Volume 1" of this ongoing story. Unless the producers can work out the kinks and ratchet up the tension and action here, I wouldn't hold my breath for Volume 2.

Ultimately, these Heroes won't save anyone, least of all NBC's struggling lineup.

What's On Tonight

8 pm: The King of Queens/The New Adventures of Old Christine (CBS); Deal or No Deal (NBC); 7th Heaven (WB); Oprah Winfrey's Legends Ball (ABC); 24 (FOX; 8-10 pm); One on One/All of Us (UPN)

9 pm: Two and a Half Men/The New Adventures of Old Christine (CBS); The Apprentice (NBC); Everwood (WB); Alias (ABC; 9-11 pm); Girlfriends/Half & Half (UPN)

10 pm: CSI: Miami (CBS); Medium (NBC)

What I'll Be Watching

7 pm: Jamie's School Lunch Project on TLC.

On the final installment of Jamie Oliver's brilliant documentary series ("Taking It to the Top"), Jamie takes his campaign straight to the British government, when he lobbies officials to support his "Feed Me Better'' platform and urges them to ban all junk food from schools. Will he succeed in stemming the tide of childhood obesity, diabetes, and other health problems and get the UK government to feed the nation's children better? Find out tonight.

8:30 & 9:30 pm: Old Christine.

Get two episodes of Old Christine tonight for the price of one! (Well, yes, it's still free.) First, on what was originally intended to be the series' second episode ("Some of My Best Friends Are Portuguese"), Christine becomes friends with another working mom at Ritchie's school, but when she learns where the woman actually works, her happiness soon disappears. Then on the season finale ("A Fair to Remember"), Christine bumps into former flame Burton (guest star Matthew Letscher) and discovers that she does have feelings for him after all. Silly Christine... why'd you let the guy go in the first place? He was a catch!

9 pm: Alias (Series Finale).

If you're into this sort of thing, tonight's the two-hour series finale of Alias ("Reprisal"/"All the Time in the World"). In an attempt to find the final clue to Rambaldi's endgame, Sloane takes Marshall and Rachel hostage and, typically, it falls to the daughter and daddy team of Sydney and Jack Bristow to stop Sloane and Irina (Lena Olin) from carrying out their deadly plan. I stopped watching Alias a while ago, but a sick, masochistic part of me is curious as to how it will end. Did I mention that there's an even sicker, overly critical part of me wants it to end with a whimper instead of a bang?

10 pm: Anthony Bourdain: No Reservations on the Travel Channel.

Everyone's favorite sarcastic chef, author, and television personality returns with a new batch of episodes of my Travel Channel must see show. On tonight's installment of No Reservations ("Mexico; US"), Tony travels to the border between Southwest Texas and Mexico, where he'll visit a Texan bar and grill, eat nachos in Piedras Nigras, and take a boat tour of the Rio Grande River. Some rough life this guy has.

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What I'll Be Watching This Fall

Written by Jace | Friday, May 19, 2006 | 6 comments »

With the network upfronts completed and the fall schedules all in order (for now anyway; NBC is rumored to be already looking to move Studio 60 out of its tough timeslot), I decided to sit down and look at what shows I'll be watching this fall.

While I can't guarantee that I'll stick around for more than a few (or even one) episode of many of these series, below are the new and returning shows that have at least piqued my interest. Though as the pilots start making their way to my office, this list could begin to change drastically. (In fact, it already has. Since I started writing this, I watched the pilot for Heroes and, well, let's just say... you should look for my review on Monday.)

monday
9 pm: Heroes (NBC)
Take one part Lost, one part Uncanny X-Men, and two parts Rising Stars and you sort of get the idea behind this serialized drama about ordinary people who suddenly discover they have extraordinary powers. It has an amazing cast, including Milo Ventimiglia, Adrian Pasdar, Greg Grunberg, Ali Larter, and a whole host of others.

9:30 pm: Old Christine (CBS)
I'll TiVo Old Christine to watch at 10 pm. Hands down the best traditional, multi-camera sitcom on the air right now. Julia Louis-Dreyfus is amazing as divorcee and single mom Christine and has finally escaped the legacy of Elaine and Seinfeld. The supporting cast is top-notch and the writing witty and understated. Rarely ever a false note.

tuesday
8 pm: Standoff (FOX; left)
It's got Ron Livingston and Gina Torres (GINA effing TORRES!) as hostage negotiators. The mere fact that Gina is in it means that I've got to check out the first episode at least. (And let's face it, when it moves to Mondays at 8 in January, there's absolutely nothing else on in that timeslot.)

8 pm: Gilmore Girls (CW)
Despite the fact that this past season was completely sub-par and Amy and Daniel have really left Stars Hollow for good, I'll give Gilmore Girls another chance next season. We've had many good years together and--while this isn't the Gilmore Girls of yesteryear--maybe, just maybe, new showrunner David Rosenthal will surprise me with his take on the brilliant Girls. Maybe.

9 pm: Veronica Mars (CW)
As any longtime reader will know, I have an special soft spot in my heart for whip-smart teenage sleuth Veronica Mars (Kristen Bell). Murder, mayhem, mysteries, and a perky blonde gumshoe: this drama has everything that adds up to the perfect modern-day noir drama. The show is so smart and engaging, you'll scream at the television when each episode ends. Thank you, CW, for giving us another season of Veronica, Logan, Mac, and a whole lot of new mysteries.

9 pm: Kidnapped (NBC)
I've already seen the pilot (click here to read my review) and am I definitely intrigued enough to watch the next few episodes (or at least TiVo them while I watch Veronica Mars). With a top-notch feature film-quality cast (including Jeremy Sisto, Dana Delany, Timothy Hutton, Delroy Lindo, and Linus Roache), taut (if somewhat predictable) pilot, and a serialized storyline that actually makes translates well to the small screen, Kidnapped might just make my TiVo Season Pass list if the second episode builds strongly on the set-up of the pilot.

wednesday
8 pm: Jericho (CBS; top)
Like last season's now-doomed Invasion, I'm not sure how CBS's Jericho can keep the story going for very long beyond the first season, but then again Lost has managed to keep the plot twists coming over two seasons now and shows no signs of letting up, so maybe CBS is on to something here, in this drama about a small Kansas town after an apocalyptic event leaves the town shocked, isolated, and wondering if anyone else in America is even alive. The series stars Ashley Scott, Skeet Ulrich, and Gerald McRaney. I'll check out the first few episodes of Jericho to see if it piques my interest; it could be a great appetizer before sinking your teeth into Lost.

9 pm: Lost (ABC)
I'm glad that ABC decided not to move my beloved series, but the wait for new episodes in October is going to be an arduous one. (The network decided to hold off and then air Lost in two larger blocks of episodes, with the show taking a break after seven episodes and then returning mid-season for an uninterrupted run until the season finale.) Sit down with your favorite flavor of Dharma Initiative brand potato chips and get lost in this lush and mysterious character-driven sci-fi/action/drama hybrid.

9:30: 30 Rock (NBC; left)
While NBC's similarly-themed Studio 60 may have captured a lot of the buzz, I'm actually looking forward more to Tina Fey's half-hour comedy, 30 Rock, about the backstage shenanigans at a late-night sketch show. The series also stars Alec Baldwin, Tim Meadows, and Rachel Dratch and in a nifty bit of corporate synergy the show-within-a-show's sketches (of which the audience will only see a few seconds) will be shown in their entirety on NBC's relaunched website group. And while 30 Rock might be on opposite Lost, it just means that my beloved TiVo will get a workout.

thursday
8 pm: My Name is Earl/The Office (NBC)
NBC has moved My Name is Earl and The Office, easily the best hour of comedic television, an hour earlier to an 8 pm timeslot and they might have well just used a carrot on a string to get me to follow. My Name is Earl returns in the fall with a new batch of mishaps as Earl, aided by lovable mug Randy, toxic-yet-hilarious Joy, goofy-but-profound Darnell, and hot-as-hell motel maid Catalina, tries to make up for all of the bad things he did before he discovered karma. Meanwhile over on The Office, what will the fallout be from Jim and Pam's kiss in the season finale? Will uptight Dwight ever get a clue? And will boss Michael Scott ever get the girl?

9 pm: Studio 60 on the Sunset Strip. (NBC)
Aaron Sorkin and Thomas Schlamme return to TV with this dramedy set behind-the-scenes at a late night sketch show that sounds suspiciously like Saturday Night Live. The top-notch cast includes Matthew Perry, Amanda Peet, Bradley Whitford, Steven Weber, D.L. Hughley, Sarah Paulson, Evan Handler, and Timothy Busfield. While the buzz has been mixed (people either seem to love it or hate it), I'll check it out, even if only because it's on right after Earl and The Office. (Though as of yesterday already, NBC was considering shifting Studio 60 to another, less competitive timeslot.)

10 pm: Six Degrees (ABC; upper left)
This hour-long drama from producer J.J. Abrams (Lost, Alias, Felicity, and, uh, Mission Impossible 3)'s Bad Robot production company follows the intersecting lives of six New Yorkers, who go about their days unaware of the impacts their movements are having on others around them. Is coincidence bringing these strangers together, or is it fate? Campbell Scott, Hope Davis, Jay Hernandez, Erika Christensen, Bridget Moynahan, and Dorian Missick star. Let's just hope it's better than Bad Robot's last television foray, What About Brian...

sunday
7 pm: Everybody Hates Chris (CW)
While Chris might claim that everybody hates him, I adore this imaginative and hilarious 1980s-set family comedy. The premise is winning, the writing smart and funny, and the actors--yes, every single member of the cast (a rarity in a sitcom)--are pitch perfect and brilliant. I just wish that the CW would have done Chris a favor and put the show on during normal primetime hours. We don't want him to think that his very own network hates him, now do we?

8 pm: The Amazing Race (CBS)
The single best reality series on television. Host Phil Keoghan returns for another season of bickering, road blocks, and language barriers in a race around the world for a million dollar prize. I'll be tuning into the series in its new family-friendly timeslot, which is a definite improvement over the Tuesdays at 10 pm slot of earlier this season.

10 pm: Brothers & Sisters (ABC; above left)
I was a little concerned about the advance buzz going into the upfronts that series lead Calista Flockhart tested poorly, but I'll be getting the pilot soon enough to find out for myself. I'm intrigued by this multi-generational family drama for its interconnected plotlines, family dynamics, and more importantly its stellar cast, consisting of Flockhart, Balthazar Getty, Rachel Griffiths, Ron Rifkin, Betty Buckley, and Patricia Wettig (among others). The post-Desperate Housewives timeslot (vacated by Grey's Anatomy) should give this new drama a huge level of visibility. Let's just hope that the plotlines aren't as contrived or zany as Desperate's... and that there's no one locked in the family's basement.

What's On Tonight

8 pm: A Dr. Phil Primetime Special: Escaping Danger (CBS); Dateline (NBC); Bend It Like Beckham (WB; 8-10 pm); America's Funniest Home Videos (ABC; 8-10 pm); X2: X-Men United (FOX; 8-10 pm); MLB Baseball (UPN)

9 pm: Close to Home (CBS); Conviction (NBC; 9-11 pm); 20/20 (ABC)

10 pm: NUMB3RS (CBS); 20/20 (ABC)

What I'll Be Watching

9 pm: Doctor Who on Sci-Fi.

On this week's installment of Doctor Who ("Boom Town"), Rose and the Doctor encounters an enemy from the Doctor's past when they attempt to take a vacation. Meanwhile, the Welsh city of Cardiff is home to an alien plot to build a nuclear power plant. Only two episodes of this season remain after this one and I for one am seriously going to miss both Doctor Who and Christopher Eccleston.

10 pm: The Thick of It on BBC America.

The American premiere of the British political series that the Los Angeles Times dubbed "The West Wing meets The Office." In tonight's episode, the newly-minted Minister for Social Affairs feels overworked.

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Brains Triumph Over Brawn on This "Race"

Written by Jace | Thursday, May 18, 2006 | 3 comments »

TTOW!

As if I would let BJ and Tyler's win on The Amazing Race go without comment!

While last night was a rather crowded television night in my house (Race finale, Lost, Top Chef, etc.), my girlfriend and I were very careful to schedule our televisionary jaunts around the two-hour Amazing Race finale. Who would cross the finish line first: the evil but lucky frat boys, the earnest if a little excitable hippies, or the likeable but prone-to-getting-lost Ray and Yolanda? (Congrats, BTW, Yolanda on your engagement, but Ray, couldn't you have picked a better way to propose than live on the Early Show?)

I was overjoyed and exhilarated to see that the hippies triumphed over the misogynistic frat boys... who, truth be told, aren't even frat boys at all; they're college dropouts, a fact that Phil seemed to be rubbing in Eric and Jeremy's faces. So I was thrilled for the well-traveled and hirsute polyglots when the final challenge came down to a joint memory/flags of the world task that combined the Race's love of sending contestants running blindly into a field filled with things with being forced to remember the order of the legs they traveled, which flags corresponded with those countries, and then arranging those flags in the correct order.

I was on the edge of my seat while the hippies figured out that they had to shift all of their flags down in order to accommodate the Russian flag (when was the last time you read that in a TV recap?) and then sprinted to the finish line, where even the loathsome MoJo seemed to be genuinely pleased that BJ and Tyler, who had barely squeaked by elimination not once but twice, were the victors. And even Ray and Yolanda seemed happy at coming in third place, having gained an appreciation and respect for one another through the race.

Meanwhile, Eric and Jeremy had to fight to hold back salty, salty tears of shame at being second place. I'm not sure which hurt more: losing the race, or losing the race to the hippies. But being all uptight about Tyler "lying" about seeing the sign on the rollercoaster at Fujiku Highland? Um, dude, you cancelled everyone's cabs (a move which made Rob look like a sportsman).

All I can say is that if you believe in the principle of Karma (or TTOW), the right team won. And as for the losing team? Well, they can just go back to their day jobs.

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Messages in a Bottle: LOST Thoughts #10

Written by Jace | Thursday, May 18, 2006 | 1 comments »

So that's what Walt's been up to... I was a little bit worried that after all of this, we'd never see the little rugrat again. But, cast your worries away, Walt is definitely alive, still on the island, and still played by the talented Malcolm David Kelley. Whew.

On last night's episode of Lost ("Three Minutes"), Michael finally caught a glimpse of the missing Walt, Claire and Charlie shared a moment, Vincent played doggie mailman, Eko moved into the swanky bachelor pad that is the hatch, and Sayid proved that it wasn't just his swarthy good looks that made him such a good military officer.

Michael is determined to rally a group together to go after Walt and hysterically insists that they need to leave right now. Just them--Michael, Jack, Kate, Sawyer, and Hurley--and no one else and they need to leave immediately. Ana-Lucia and Libby's bodies still lay on the floor; they haven't even been buried yet. Hurley is beside himself and Jack finally insists that they have to bury their friends before they can even think about following Michael into the jungle. Either Michael is more convincing than I thought or Jack and the gang are really thick; it's blatantly obvious that something fishy is going on here. Especially as Jack keeps catching Michael away from the hatch and somehow misses him burning a small piece of paper... Hmmm.

While Hurley and Kate dig graves for Ana and Libby, Michael attempts to clean up the mess he made in the hatch. Well, just the blood on the floor anyway. Eko offers to help and the two begin a discussion about forgiveness and Hell. Eko tells a story from when he was a priest in a small parish in England about a young boy who beat his dog to death in order to protect his little sister. Eko said that God would forgive him for what he did, as long as he knew he had done wrong and asked for forgiveness; but the boy was more concerned about whether, if he went to Hell, the dog would be there waiting for him. Ah, Eko, you've turned into an accomplished storyteller. Now if only you could see the similarities between your story and Michael's.

Some of the castaways other than Jack and Locke finally get some screen time this week. Jin and Sun even make an appearance when they see Michael stolling along the beach; both are overjoyed to see their old friend but Michael is standoffish, suspiciously so, but much of that can be blamed on the fact that he's desperate to get Walt back. And poor Sun and Jin are so out of the loop that they didn't seem to know that Michael had returned, much less that Libby and Ana-Lucia were dead. Michael explains that they were murdered (naturally) and I half wanted Sun to say, there was an Other being kept prisoner in the hatch all this time? Man, there are a lot of secrets to keep track of on this island.

Meanwhile, after his spiritual awakening last episode (about the work being done inside the hatch), Eko decides to stop building the church and instead follows this latest set of visions that clearly push him to take over Locke's gig as hatch supervisor. He has a weird Zen-like calm about him as he sits in front of the computer, watching the numbers tick down, and doesn't seem all that surprised when his cross floats up into the air as he walks by that HUGE magnetic thingie.

Charlie, unfortunately, isn't so calm as he feels betrayed by Eko's decision to cease the church building. (That Charlie, always needing to be someone's disciple.) He tries building the structure by himself but--this being Charlie after all--doesn't have much success. And then Vincent comes strolling by with one of those Virgin Mary statues in his mouth, which he drops right at Charlie's feet. Charlie follows him back to Sawyer's not-so secret stash and discovers several of the statues which Sawyer took from the armory. Will Charlie start using heroin again? Nope, he's Hoody Charlie no more, as he tosses the statues, one by one, into the ocean as Locke looks on, proudly. (Hmmm, was this a test?)

Charlie and Claire seem to be on the road to reconciliation, as Charlie brings her and the baby a medical case containing a supply of that mysterious vaccine that Desmond was so obsessed with, enough for her and baby Aaron to have for quite a while (they're supposed to take it every nine days). Claire almost seems ready to forgive Charlie for, you know, nearly drowning baby Aaron in the ocean and, watching Hurley nearly break down at the funeral service for Ana-Lucia and Libby, even takes Charlie's hand in hers. Aw, isn't love sweet?

Locke (who this week seems to have stolen Eko's vow of silence) sits apart from the group during the funeral, before cutting off his leg brace, stepping on his crutches, and walking away down the beach, in the opposite direction. Hmmm, he's healed already, just like Rose thought. So how can he still have doubts about the island's power?

The Lost Flashback of the Week belongs (rightfully so) to Michael as we learn just what he's been going through the last 14 days, after knocking Locke unconscious in the armory, stealing a gun and some ammunition, and taking off Rambo-style into the jungle (again) in the hopes of rescuing Walt. Computer Walt tells him to head north and he'll know he's there when he sees a large rock with a hole in the center. Michael takes off and it's not long before he comes across an Other whom he catches, er, answering Nature's call (how convenient). Michael tries to get some info out of him but is ambushed by Zeke, in full-on Bushwalker-Other disguise and beard. They take him captive and drag him through the jungle, but soon discover that the castaways are following him... They arrange that nifty torch circle to scare the gang and snatch Kate, forcing Jack to hand over the guns.

We learn that Kate was right there next to Michael with a sack over her head as Michael allows himself to be gagged (if he says a word, he'll never see Walt). He's gagged by none other than Alex, Rousseau's daughter, who--during a minute alone--asks how Claire is doing, if she had the baby, if there's anything wrong with the baby. Michael's confused and rather concerned, to say the least. Jack and the castaways retreat and the Others force Michael to continue walking, day and night. (Hmm, so Alex is still living with the Others, even after she helped Claire escape. She's clearly not one of them--not entirely--so what's her agenda?)

Zeke and the Others continue to drag Michael until he sees a familiar rock formation in the mountains: a large rock with a hole in the center, looking rather creepily like a window. (But to what?) That will have to be a mystery for another day as they lead Michael down into what appears to be a small fishing town, if your average fishing town was located on a scary, monster-infested island in the middle of nowhere. There are a bunch of Others living there, but they seem pretty poorly off, living in canvas tents and teepees, eating dried fish, wearing rags, and looking generally sour and exhausted. Hmm, so Michael wasn't totally lying then about what he saw in their encampment. And sure enough, Michael's other claim was true too: they do have their own hatch as well, which is constantly guarded by two armed men. Like the others, it's another Dharma Initiative station and the logo for this one looks suspiciously like a window, just like that hole in the rocks perched high above them.

One of the Others takes out a syringe and says that he's going to take some blood from Michael (what for?) and jabs him with a needle. (Are they looking for that mysterious infection?) And then a gorgeous black woman comes up to Michael and introduces herself as "Miss Clue" and begins asking him about Walt. Questions like, is he Walt's biological father, did Walt get headaches or infections as a child, did Walt ever appear in places he wasn't supposed to be? Michael doesn't know the answers to any of these questions, as Walt was raised away from him on the other side of the world. Michael demands to see Walt and Miss Clue says that he's here but Michael needs to cooperate first.

Michael is kept prisoner in a hut for a week as Miss Clue continues to interrogate him about Walt, but it's clear that Michael knows none of the answers that she's so desperate for. But she has another use for Michael as there's been a development since they found him. One of their men has been captured by Michael's people and only Michael can free him. If he does exactly what she says, she'll let Michael and Walt go. But Michael has to do one other thing: he must bring four of his people back to this place and it must be these four people and ONLY these four people. She hands him a list (above) that lists Jack, Kate, Hugo (Hurley), and James (Sawyer).

Why these four people? How do they know Hurley's and Saywer's real names? (From the plane's manifest?) Why not Locke or Eko? What is so special about Jack, Kate, Hurley, and Sawyer? They've all experienced visions on the island of some kind, but so have Locke and Eko, and even Charlie. So it's not that... but what makes them special? Are they "the good ones"? Or the ones that they want to interrogate or experiment on?

Michael demands to see Walt and Miss Clue says that he's right outside and Michael can have "three minutes" with him. The two are overjoyed to be reunited but Walt spills too much information: the Others are not who they appear to be, they're pretending, they perform tests on Walt, etc. Miss Clue is furious and threatens to put Walt in "the room" for talking. Michael screams out for Walt as the two are separated and swears that he'll come back for him. And then Michael agrees to Miss Clue's demands. He'll follow her instructions, betray his friends, but he wants Walt.. and the boat.

Back in the present day, Sayid wants to join Michael and the group on the rescue attempt and Sawyer invites him along, to Michael's frustration. It has to be just the five of them; Sayid can't come along. It's too dangerous and they have to do this his way. Sayid says that he understands and wishes Michael good luck. But Sayid is no fool and he knows that everything isn't as it should be. Confessing his fears to Jack, Sayid says that he believes that Michael has been compromised and is going to lead them directly into a trap. Jack is stunned but Sayid says that a desperate father would do anything to get his missing son back. They need to be careful and not tip off Michael; they'll need the element of surprise if they want to make it out alive. They have one night to hatch a plan.

As Jack and Sayid discuss their plans, Sun notices something in the ocean. It's a boat and the castaways excitedly turn to see a very large sailboat bearing down on their little beach hideaway. Who's on the boat? Is it the Others? New characters waiting to be stranded? Or a means of escape? We'll have to wait to find out until next week...

Next week on Lost: The two-hour season finale ("Live Together, Die Alone") is finally here! Written by Damon Lindelof and Carlton Cuse, it looks like a doozy! Jack and Sayid concoct a plan to rescue Walt and confront the Others, while Locke tries to smash the computer to smithereens, someone turns a Dharma swan key, Desmond returns, and we learn what the deal is with that sailboat in the ocean... and what caused Oceanic Flight 815 to crash. All I can say is that it's going to be a long, torturous wait until Lost returns in October...

What's On Tonight

8 pm: CSI: Crime Scene Investigation (CBS); Will & Grace (NBC); NBA Basketball (WB); American Inventor (ABC); That '70s Show (FOX); Everybody Hates Chris/Love, Inc. (UPN)

9 pm: CSI: Crime Scene Investigation (CBS); Will & Grace (NBC); American Inventor (ABC); The OC (FOX); Eve/Cuts (UPN)

10 pm: Without a Trace (CBS); ER (NBC); Primetime (ABC)

What I'll Be Watching

10 pm: 5 Takes: Pacific Rim on the Travel Channel.

New night, new time, new episodes. The 5 Takes gang finally returns with a new batch of episodes, this time from New Zealand. On tonight's episode ("Auckland"), the kids leave Australia for another island nation, New Zealand. But it's not all Lord of the Rings-style sorcery and epic battles, as they experience geo-thermal springs, the fun of hydro-Zorbing (don't ask), and dive into Auckland's rich art and music scenes.

10 pm: Waking the Dead on BBC America (or 9 pm for you East Coasters)

BBC America is reairing the fifth season of Waking the Dead beginning tonight, so if you haven't caught one of the very best British mystery/crime series, here's your chance to watch the season premiere: two hours of brilliantly-written, character-driven forensic mysteries. (I don't like CSI or any of the forensic procedural shows, so the fact that I watch--and am obsessed with--Waking the Dead should speak quite a lot about its quality.) On tonight's episode, the cold case team's discovery of a mummified corpse on an airplane soon draws them into the world of global pharmaceutical fraud.

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Upfronts Scorecard: The CW

Written by Jace | Thursday, May 18, 2006 | 3 comments »

Sniffle. Welcome to the very last day of network upfronts week! It's with a little sadness that that we come to the end of the line as the last of the networks finish making their announcements about their fall schedules today.

No fall schedule has been as scrutinized or been the subject of as much guesswork and conjecture as the CW's. Like a phoenix rising from the ashes of the WB and UPN netlets, the CW has emerged as a blend of the two fallen networks and has had the arduous task of combining two very different lineups into one cohesive package while also adding some new programs into the mix. So, have they succeeded? Find out below...

The CW's OFFICIAL SCHEDULE FOR FALL 2006-2007

MONDAY
8-9 pm: 7th Heaven
9-10 pm: RUNAWAY

TUESDAY
8-9 pm: Gilmore Girls
9-10 pm: Veronica Mars

WEDNESDAY
8-9 pm: America's Next Top Model
9-10 pm: One Tree Hill

THURSDAY
8-9 pm: Smallville
9-10 pm: Supernatural

FRIDAY
8-10 pm: WWE Friday Night Smackdown

SUNDAY
7-7:30 pm: Everybody Hates Chris
7:30-8 pm: All of Us
8-8:30 pm: Girlfriends
8:30-9 pm: THE GAME

9-10 pm: America's Next Top Model (repeats)

For those of you keeping track of such things, here's how the CW schedule stacks up.

Returning Series:
WB: Gilmore Girls, Beauty & the Geek, One Tree Hill, Supernatural, Smallville, 7th Heaven, Reba* (despite being cancelled, it's now been renewed)
UPN: Veronica Mars, Everybody Hates Chris, All of Us, Girlfriends

New Series:
The Game, Runaway, Hidden Palms (fka Palm Springs)

Midseason Launches/Returns:
Hidden Palms, Beauty & the Geek, Reba

Cancelled:
WB: Everwood, Related, Bedford Diaries, Blue Collar TV, Reba, Living with Fran, Modern Men, Pepper Dennis, Survival of the Richest, Twins
UPN: Eve, Cuts, One on One, Half & Half, Love, Inc, Get This Party Started, South Beach

Reactions:
Pretty much expected from the rumors that have been flying over the last few days. (Yay, Veronica!) The CW has more or less taken the strongest elements from the WB and UPN and fused them into the fall schedule on one network. (But One Tree Hill? Seriously? Over Everwood? Bizarre.)

The schedule rather resemebles the current WB schedule, with a few UPN additions. Pairing Gilmore Girls and Veronica Mars on Tuesday nights (their traditional homes) was a no-brainer as the shows seem to complement one another and seem a natural fit. Likewise for 7th Heaven and Runaway, whose family drama genres seem a perfect combination for a family-friendly double feature on Monday evenings.

It makes sense to keep UPN's urban-themed sitcoms together in one block and even pair them with a second window of America's Next Top Model. Not sure Sunday is the best night for that (I think Mondays would have been better, but then you'd lose the real estate traction of 7th heaven), but I think it's a good idea to form a programming block. But Everybody Hates Chris on Sundays at 7 pm?!? That's way too early. Great plan, CW, to eliminate what audience you've built so far. (That's the definition of foolhardy.) I'd rather you flip the ANTM repeats to 7 and shift everything an hour later.

All in all, rather what I anticipated beforehand but I am still on cloud nine that Veronica Mars made the cut that I'll overlook the fact that they only ordered two new series for fall (Runaway and The Game) and that neither of them interests me in the least.

Did I mention how thrilled I am about Veronica Mars?

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Upfronts Scorecard: FOX

Written by Jace | Thursday, May 18, 2006 | 6 comments »

Sniffle. Welcome to the very last day of network upfronts week! It's with a little sadness that that we come to the end of the line as the last of the networks finish making their announcements about their fall schedules today.

While all eyes are on the CW to see what Moonves and Ostroff, the little mad scientists, have cooked up in the their lab for a joint WB-UPN schedule, FOX will also unveil their fall schedule later today... and as usual(at least for recent years) provided two schedules: one for fall, the other for spring. Why, isn't that convenient?

FOX's president of entertainment Peter Liguori made the announcement and had the following to day about FOX"s schedule:

"This is the broadest, most stable and most vibrant schedule we've ever presented - one that is sure to help us further our lead as the No. 1 network in key demos. Once again, we'll kick off with early premieres to eventize our launches and establish our series before baseball. We'll also continue our strategy of extending the end of the current season, making for a truly year-round schedule. We'll have returning shows every night of the week. And in January, 24 and American Idol, along with the BCS games during the first week of the new year, will allow us to launch additional series and reposition ourselves for another dominant second-half surge."
Oh, Liguori, you old rascal. Here the, without further ado, is FOX's schedule:

FOX's OFFICIAL SCHEDULE FOR FALL 2006-2007

FALL 2006:

MONDAY
8-9 pm: Prison Break
9-10 pm: VANISHED

TUESDAY
8-9 pm: STANDOFF
9-10 pm: House

WEDNESDAY
8-9 pm: Bones
9-10 pm: JUSTICE

THURSDAY
8-8:30 pm: 'TIL DEATH
8:30-9 pm: HAPPY HOUR
9-10 pm: The OC

FRIDAY
8-9 pm: Nanny 911
9-10 pm: Trading Spouses: Meet Your New Mommy

SATURDAY
8-8:30 pm: COPS
8:30-9 pm: COPS
9-10 pm: America's Most Wanted
11-12 am: MADtv
12-12:30 am: TALK SHOW WITH SPIKE FERESTEN

SUNDAY
8-8:30 pm: The Simpsons
8:30-9 pm: American Dad
9-9:30 pm: The Family Guy
9:30-10 pm: The War at Home

JANUARY 2007:

MONDAY
8-9 pm: STANDOFF
9-10 pm: 24

TUESDAY
8-9 pm: American Idol
9-10 pm: House

WEDNESDAY
8-9 pm: JUSTICE
9-9:30 pm: American Idol Results Show
9:30-10 pm: The Loop

THURSDAY
8-8:30 pm: 'TIL DEATH
8:30-9 pm: HAPPY HOUR
9-10 pm: The OC

FRIDAY
8-9 pm: Bones
9-10 pm: THE WEDDING ALBUM

SATURDAY
8-8:30 pm: COPS
8:30-9 pm: COPS
9-10 pm: America's Most Wanted
11-12 am: MADtv
12-12:30 am: TALK SHOW WITH SPIKE FERESTEN

SUNDAY
8-8:30 pm: The Simpsons
8:30-9 pm: American Dad
9-9:30 pm: The Family Guy
9:30-10 pm: The War at Home

For those of you keeping track of such things, here's how the FOX schedule stacks up.

Returning Series:
24, American Dad, American Idol, Bones, Family Guy, House, King of the Hill, The Loop, The OC, Prison Break, The Simpsons, Nanny 911, Trading Spouses: Meet Your New Mommy, MADtv, COPS, America's Most Wanted

New Series:
Happy Hour, Justice, Standoff, 'Til Death, Vanished, The Wedding Album, The Winner

New Timeslots for Returning Series:
Bones moves to Fridays at 8 pm in January to accomodate the return of American Idol to the schedule; House will relocate to Tuesdays at 9 pm in January for the return of 24

Midseason Launches/Returns:
24, American Idol, The Wedding Album, The Loop, The Winner

Cancelled/Ended:
Arrested Development, That '70s Show, Kitchen Confidential, Killer Instinct, Reunion, Head Cases, Malcolm in the Middle

Reactions:
Pretty standard stuff here. I can't say that I was surprised by any of this, but I was hoping that FOX's fall schedule would have a little more... oomph. (In fact, nearly all of the skeds so far have seemed fairly lackluster as the nets seem to be taking little chances these days.)

While there had been some talk of relocating American Idol to another night (main show on Wednesdays, results show on Thursdays), I would have been baffled if FOX had actually gone ahead and done so. I'm still surprised that FOX ordered The Wedding Album, but from what I hear series lead Bruno Campos will be let go and the part recast, meaning that the entire pilot will likely have to be reshot from scratch... but hey, it's for mid-season, so they've got plenty of time to reconfigure the show before it sits around on Friday nights without an audience.

New series Standoff and Justice both get a rather mystifying vote of approval from the network as both are chosen to lead off Monday and Wednesday nights respectively. Wow. I was surprised that they'd choose to launch the new shows at 8 pm rather than stacking them behind a proven commodity like Prison Break, as FOX did with Vanished... which will now go head-to-head with NBC's newest drama Heroes. Which serialized drama will take the lead? (While I'd rather watch Heroes, I'd give the lead to Vanished, if they can hold onto Prison Break's lead.) But what's up with the decision to pit new comedies 'Til Death and Happy Hour against NBC's powerhouse combo of Earl and The Office on Thursdays? That's just inane.

And The OC did end up staying right where it's been sagging along. Can't say that I'm surprised about that either. All in all, considering the excitement that there's been the last few weeks, I have to say that I expected more daring and risk-taking from FOX.

Stay tuned later today for the very last Scorecard session as the CW unveils their fall schedule.

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Dancing with the Upfronts 5: Wednesday's Pilot Roundup

Written by Jace | Wednesday, May 17, 2006 | 1 comments »

Welcome back to what will likely be the last installment of Dancing with the Upfronts, as I attempt to decipher the rumors and facts of the network series orders, renewals, and cancellations before the last of the networks' fall schedules are unveiled to advertisters and the public tomorrow.

Before then, sit back and enjoys today's latest series news. Don't forget to check back here often for updates, as we continue to unveil the fall schedules and debunk some renewal myths.
(Updated at 10:30 am PST)

CW

The Hollywood Reporter and Variety are confirming yesterday's rumors that Veronica Mars and One Tree Hill will in fact cross over onto the new CW network, along with new dramas Runaway, Girlfriends spin-off The Game, and the Kevin Williamson-created mid-season replacement Palm Springs. However, WB drama Everwood will not be found on the combined fall sked, nor will pilot Aquaman, originally thought to be a lock for an order.

CW will also be home to UPN sitcoms Everybody Hates Chris, Girlfriends, and Will Smith-produced All of Us, as well as WB dramas Gilmore Girls, Smallville, and Supernatural. 7th Heaven, as previously reported, will return for an 11th season.

Reality series America's Next Top Model and Beauty and the Geek are also expected to show up on the schedule and current rumors indicate that the two series may in fact be paired together on a single night, most likely Wednesdays (ANTM's current home).

The CW's Monday night schedule is expected to be comprised of former UPN comedies Chris, All of Us, Girlfriends, and new series The Game. Gilmore Girls and Veronica Mars may be scheduled together on Tuesday evenings, as widely believed. As for Thursdays? Supernatural and Smallville? Sundays will most likely bring family entertainment in the form of dramas 7th Heaven and Runaway.

Friday evenings remain a mystery, but the CW still needs to schedule One Tree Hill and possibly the Wayne Brady comedy starrer Flirt, which is still expected to be ordered for fall.

UPDATE: Palm Springs, formerly known as Untitled Kevin Williamson, has now been retitled again... this time to the rather icky moniker of Hidden Palms. Ew.

That's all for now, but stay tuned and check back for updates.

* * *
Recap: This week, the networks will unveil their fall schedules before advertisers at the annual upfront presentations. The last of the bunch, FOX and the CW, make their announcements tomorrow (May 18th).

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Upfronts Scorecard: CBS

Written by Jace | Wednesday, May 17, 2006 | 2 comments »

Welcome to Day Three of network upfronts week! The past few weeks of conjecture and rumor will finally be dissipated as the networks officially announce their fall schedules to advertisers in New York over the next few days.

As NBC unveiled their schedule on Monday and ABC announced their fall schedule yesterday, it's first place network CBS's turn to shine today.

CBS's OFFICIAL SCHEDULE FOR FALL 2006-2007

MONDAY
8-8:30 pm: How I Met Your Mother
8:30-9 pm: THE CLASS
9-9:30 pm: Two and a Half Men
9:30-10 pm: Old Christine
10-11 pm: CSI: Miami

TUESDAY
8-9 pm: NCIS
9-10 pm: The Unit
10-11 pm: SMITH

WEDNESDAY
8-9 pm: JERICHO
9-10 pm: Criminal Minds
10-11 pm: CSI: New York

THURSDAY
8-9 pm: Survivor: Cook Islands
9-10 pm: CSI
10-11 pm: SHARK

FRIDAY
8-9 pm: Ghost Whisperer
9-10 pm: Close to Home
10-11 pm: NUMB3RS

SATURDAY
8-10 pm: Crimetime Saturday
10-11 pm: 48 Hours Mystery

SUNDAY
7-8 pm: 60 Minutes
8-9 pm: The Amazing Race
9-10 pm: Cold Case
10-11 pm: Without a Trace

For those of you keeping track of such things, here's how the CBS schedule stacks up.

Returning Series:
The Amazing Race, 60 Minutes, CSI: Crime Scene Investigation, CSI: Miami, CSI: New York, Close to Home, Cold Case, Criminal Minds, How I Met Your Mother, Ghost Whisperer, King of Queens, NCIS, Old Christine, NUMB3RS, Survivor, The Unit, Two and a Half Men, Without a Trace, 48 Hours Mystery, Crimetime Saturday

New Series:
The Class, Creature Comforts, Jericho, Rules of Engagement, Shark, Smith, Untitled Peter Ocko, Waterfront

New Timeslots for Returning Series:
The Amazing Race, Cold Case, and Without a Trace (all moving in a block to Sundays from 8-11 pm); How I Met Your Mother (moves to an earlier timeslot on Mondays at 8 pm)

Midseason Launches/Returns:
The King of Queens, Rules of Engagment, 3 Lbs. (formerly Untitled Peter Ocko), Waterfront

Cancelled:
Love Monkey, Yes, Dear, Threshold, Courting Alex, Out of Practice, Still Standing

Reactions:
Blech. I have to say that it's the most complete unimaginative schedule thus far, but then again, why mess with what many view as perfection? To me, it's a bland mix of procedurals, procedurals, and even more procedurals with a few reality stalwarts (Survivor, The Amazing Race) thrown in there for good measure. CBS has brought back 18 returning series, including 6 freshmen series that have made the cut, resulting in a schedule that appears oddly familiar to the casual viewer. But then again, they're the number one rated network, so why mess with success.

I had assumed that CBS would likely jettison the Sunday night movie franchise, a move that's about two years late, given how the night has struggled against ABC's drama powerhouse Desperate Housewives. I was hoping that CBS would use the real estate to launch at least one new show, but instead opted to fill the night with Amazing Race and procedurals Cold Case and Without a Trace, a less risky move than anticipated. But Amazing Race on Sundays? Could be a good fit but not a combination that immediately springs to this Race-obsessed mind.

As for the new crop of shows, I can't say I am particularly taken with any of them but Jericho, an ensemble-cast drama about a post-apocalyptic town, has the potential to lure me in for a viewing to see if I'd watch on a regular basis. I've never been the biggest CBS fan (not watching procedural shows certainly doesn't help matters) but so far I've yet to see anything on Wednesdays at 8 that would bring my attention elsewhere, so I'll give it a try.

All in all, fairly lackluster and rather predictable. But at least CBS can say that their new shows aren't all procedurals...

Stay tuned all week for additional Scorecard sessions as the networks unveil their fall schedules. Next up: CW and FOX.

What's On Tonight

8 pm: The Amazing Race (CBS; 8-10 pm); Deal or No Deal (NBC); Final Destination 2 (WB; 8-10 pm); Alias (ABC); Bones (FOX); America's Next Top Model (UPN)

9 pm: Dateline (NBC); Lost (ABC); American Idol (FOX); Half & Half/Half & Half (UPN)

10 pm: CSI: New York (CBS); Law & Order (NBC); Invasion (ABC)

What I'll Be Watching

6 pm: What Not to Wear (When You're Plus One).

On tonight's episode of the British import, Trinny and Susannah help two women find dynamic and gorgeous (yet appropriate) outfits to wear to their husbands' events.

8-10 pm: The Amazing Race.

On the two-hour season finale of The Amazing Race ("5 Continents... 10 Countries... And More Than 59 Thousand Miles"), the final three teams (Hippies, Frat Boys, and, er, Ray and Yolanda) face off on the last two legs of the race, which brings them back to snowy North America. Which team will win the million dollar cash prize at the end of the race? And which teams will make enormous mistakes and be forced to cross the finish line to the lackluster applause of ousted teams? Find out here tonight!

9 pm: Lost.

Only two episodes of the season remain! On the penultimate episode of the season ("Three Minutes"), Michael manages to pull the wool over Jack and the other castaways' eyes and launches a daring plan to rescue his missing son Walt, while Eko's decision to stop building his lil' church in the woods (in light of last week's events) frustrates Charlie. Hmmm, do you think will be a problem that everyone knows where Sawyer stashed the heroin now?

10 pm: Top Chef.

On the season finale of Bravo's reality series, the final three chefs compete against one another in a dramatic showdown in Las Vegas for the dubious title of Top Chef. Who will win? (Definitely Harold.) And who will cry like a little girl? Will it be Dave? Or Tiffani? Or Harold? Yeah, it's got to be Dave.

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Dancing with the Upfronts 4: Tuesday's Pilot Roundup

Written by Jace | Tuesday, May 16, 2006 | 3 comments »

Welcome back to another installment of Dancing with the Upfronts, as I attempt to decipher the rumors and facts of the network series orders, renewals, and cancellations during this, the second most exciting week in the television calendar (the first would be the start of the season, natch).

Set your phasers to stunned, gentle readers, as you peruse today's latest series news and check back here often for updates, as we unveil the fall schedules and debunk some renewal myths.
(Updated at 5:00 pm PST)

CW

Ladies and gentlemen, I can hardly control my excitement as I happily announce... (drum roll, please)... that beloved mystery-drama series Veronica Mars WILL be moving to the CW this fall!

According to an extremely high-ranking agency source who happens to reps one of the actors involved with the show, Veronica Mars will be returning to the airwaves this fall (albeit with a new TV address) to provide loyal viewers with another season of Neptune-based mysteries.

(Editor's Note: I am so extremely pleased by this news that I cannot help but jump up and down with glee. Tee hee!)

In other CW news, rumors currently peg Supernatural, Smallville, and the dreaded One Tree Hill as making the cut to land on the fall sked, while Everwood fans are sadly out of luck.

UPDATE: Confirmation of Veronica Mars' renewal has been confirmed by series creator Rob Thomas over at Michael Ausiello's column at TV Guide.com! Today is a day for celebration!

UPDATE: Word on the street is that the CW's drama pilot Palm Springs (formerly known as Untitled Kevin Williamson project) has been picked up for a midseason order... but only for a total of 8 episodes (including the pilot) rather than the standard 13. Curious.

UPDATE: It's official. The CW has given series orders to three pilots: the aforementioned Palm Springs (confirming the above), Runaway, and The Game (the planned Girlfriends spin-off).

ABC

UPDATE: According to a report on The Futon Critic, Commander in Chief's term in office might not yet be finished. While the series was not part of the fall schedule unveiled by ABC earlier today, ABC president Steve McPherson mentioned that he would consider a two-hour movie version of the cancelled series, which is scheduled to begin burning off its remaining three episodes on May 31st.

The two-hour version of Commander in Chief would likely be written and directed by creator and former executive producer Rod Lurie (The Contender), the first of three EPs to oversee the doomed show (the other two were Steven Bochco and Dee Johnson).

Additionally, ABC's news magazine series Primetime, which also failed to appear on the fall 2006 schedule, will also return next season as a series of specials to fill in any gaps in the schedules. However, it's also possible that Primetime might indeed be refashioned once again into a weekly series.

FOX

UPDATE: With FOX's upfront presentation scheduled for Thursday, the network is putting the final touches on the sked before unveiling it. To this end, the network has renamed two drama pilots: Primary and American Crime, which will now be known as Standoff and Justice respectively.

That's all for now, but stay tuned and check back for updates.

* * *
Recap: This week, the networks will unveil their fall schedules before advertisers at the annual upfront presentations. CBS is set for tomorrow (May 17th), with FOX and the CW on Thursday (May 18th) bringing up the rear.

Continue reading full story...

Upfronts Scorecard: ABC

Written by Jace | Tuesday, May 16, 2006 | 1 comments »

The surprise and excitement of network upfronts week continues! The past few weeks of conjecture and rumor will finally be dissipated as the networks officially announce their fall schedules to advertisers in New York over the next few days. NBC announced their fall schedule yesterday, so ABC's up today.

ABC President of Entertainment Steve McPherson will unveil the new lineup later today, but, in the meantime, below is a sneak peek at the fall schedule. McPherson had this to say about ABC's schedule:

"Our success has been driven by great storytelling and memorable characters that audiences have fallen in love with. We set out to develop a diverse group of shows that will continue in that vein and also to grow our audience. We want viewers making appointments with ABC Television every night of the week."
Will that last part be true? Take a look below and listen to your heart about whether you'll be tuning in to ABC every night of the week.

ABC's OFFICIAL SCHEDULE FOR FALL 2006-2007

MONDAY
8:00 pm Wife Swap
9:00 pm The Bachelor/Supernanny
10:00 pm What About Brian

TUESDAY
8:00 pm Dancing with the Stars/SET FOR THE REST OF YOUR LIFE
9:00 pm LET'S ROB…
9:30 pm HELP ME HELP YOU
10:00 pm Boston Legal

WEDNESDAY
8:00 pm Dancing with the Stars/George Lopez & According to Jim
9:00 pm Lost
10:00 pm THE NINE

THURSDAY
8:00 pm BIG DAY
8:30 pm NOTES FROM THE UNDERBELLY
9:00 pm Grey’s Anatomy
10:00 pm SIX DEGREES

FRIDAY
8:00 pm BETTY THE UGLY
9:00 pm MEN IN TREES
10:00 pm 20/20

SATURDAY
8:00 pm ABC Saturday Night College Football

SUNDAY
7:00 pm America’s Funniest Home Videos
8:00 pm Extreme Makeover: Home Edition
9:00 pm Desperate Housewives
10:00 pm BROTHERS & SISTERS

For those of you keeping track of such things, here's how the ABC schedule stacks up.

Returning Series: Wife Swap, The Bachelor, Supernanny, What About Brian, Dancing with the Stars, Boston Legal, George Lopez, According to Jim, Lost, Grey's Anatomy, 20/20, America's Funniest Home Videos, Extreme Makeover: Home Edition, Desperate Housewives, American Inventor

New Series: Let's Rob..., Help Me Help You, Set For the Rest of Your Life, The Nine, Big Day, Notes from the Underbelly, Six Degrees, Betty the Ugly, Men in Trees, Brothers & Sisters, In Case of Emergency, Traveler, Day Break, ABC Saturday Night College Football

New Timeslots for Returning Series: Dancing with the Stars (moving to Tuesdays and Wednesdays at 8), George Lopez/According to Jim (moving in a block to Wednesdays from 8-9 pm, after Dancing with the Stars has ended), Grey's Anatomy (moving to Thursdays at 9 pm)

Midseason Launches/Returns: Traveler, Day Break, In Case of Emergency, George Lopez, According to Jim, Set For the Rest of Your Life, Just for Laughs, Greg Behrendt's Wake Up Call, American Inventor, Supernanny

Cancelled: Invasion, Commander in Chief, Freddie, Hope & Faith, Rodney, Sons & Daughters, The Evidence, In Justice

Reactions:
Overall, I have to say that ABC has shown a lot more grit and taken a lot more risk than NBC... at least in terms of their fall schedules.

Moving Grey's Anatomy off of its plum Sundays at 10 to another timeslot (Thursdays at 9 pm)? Risky, especially since many thought they'd move it to Mondays, but I think this is a better choice rather than have the series go up against 24. Will NBC's Studio 60 sink under the pressue of the hit medical drama?

Bringing back What About Brian over other middling dramas such as Commander in Chief or even Invasion (which seemed to me anyway to have a rather hardcore cult audience)? Odd.

Hasn't ABC ever heard of a little something called counter-programming? Why schedule Big Day and Notes from the Underbelly smack against NBC's My Name is Earl and The Office, easily the two most buzzed-about comedies in recent memory?

That said, I think that The Nine and Six Degrees have both landed rather cushy timeslots, after Lost and the newly relocated Grey's Anatomy respectively. As for Brothers & Sisters, will Desperate Housewives' sagging audiences stick around for a family drama at 10 pm?

Bringing Lost back in October and running larger chucks of original episodes together is a wise idea and at least fans won't have to wait until November...

While the schedule seems potentially more viable than this past season's, I can't say I agree with McPherson's belief that ABC will provide appointment television every night of the week (Mondays, Tuesdays, and Fridays are all a bust for me). Will ABC have found another breakout hit this season? Or another Commander in Chief? Only time will tell...

Stay tuned all week for additional Scorecard sessions as the networks unveil their fall schedules. Next up: CBS.

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Pilot Inspektor: NBC's "Kidnapped"

Written by Jace | Tuesday, May 16, 2006 | 3 comments »

One of these days I really wish that a network would actually develop and program a series that is intended to only last a single season. Sort of like what Prison Break was supposed to be originally. (For a better example, take a look at the BBC's compelling and brilliant political mystery-drama State of Play.) In doing so, a network might actually make the audience think that anything could happen, anyone could be killed or eliminated at any time. The dramatic stakes are raised because, in watching, we know that there is going to be a finality to the end.

On the surface, NBC's new serialized drama Kidnapped might appear to fall into this category, but there's also a rather dynamic character played by Six Feet Under's Jeremy Sisto who might be able to launch the series into a multi-year franchise a la Jack Bauer on FOX's 24. Sisto plays the enigmatic Knapp, a kidnapping and ransom expert whose very purpose for being is to return victims to their loved ones. He doesn't care about money or arresting the perps. His fee is non-negotiable, and only paid when he returns the victim intact. He's a knight in shining... dirty hooded sweatshirts.

It's Knapp's skills as a K&R expert that bring him into the orbit of the Cains, a powerful and well-to-do New York family. Pater familias Conrad Cain (Timothy Hutton) is a businessman who might have made a few enemies during his company's hostile takeover of a few years earlier. His wife, Ellie (Dana Delany), has that paradox of fragility and strength that one finds in wealthy women in her position, and Delany plays her with an icy vulnerability that has become her trademark (see Wild Palms and Pasadena). The Cains are the sort of rich folks who live in a palatial manse overlooking Central Park, have a daughter at Brown, and whose children speak French in hushed tones.

The Cains also employ a bodyguard. Virgil (Mykelti Williamson) is assigned to protect the Cain's 15-year- old son Leopold (Will Denton) and he watches over Leopold like a hawk (but why just Leopold?). This guy is a serious professional, either ex-FBI or military. He's tough. And when Leopold is seized during a daring early morning kidnapping from the daylit, public streets of Manhattan, Virgil whips out an automatic weapon and lays down a strafing attack on the kidnappers, before he's shot by a sniper. Is he dead? Or just wounded? We don't know, because he seems to disappear into thin air... as does Leopold Cain.

The Cains quickly attach the services of Knapp, who has a reputation for working outside the "rules" of law enforcement agencies. He gets results and, even more importantly for the Cains, he's the very soul of discretion. Knapp works with an associate, his right hand man (or woman, rather), the beautiful Turner. (Together they form the sexiest professional kidnapping and ransom experts this side of Proof of Life.) Knapp tells the Cains to follow the kidnappers' advice and not contact the police or the FBI. He and Turner quickly take control of the situation and begin hunting for clues. But the mastermind behind the kidnappers (or so it seems for right now, anyway) is tying up loose ends of his own, eliminating anyone with any knowledge of the kidnap by sending an assassin, The Accountant (James Urbaniak) to silence them. (Hmmm, shades of Hal Hartley's Amateur here.)

But Virgil's disappearance causes a problem for the Cains. Virgil's wife (Audra MacDonald) goes looking for him and seeks out the help of an old friend of Virgil's: Special Agent Latimer King (Delroy Lindo), an FBI agent who is preparing to retire at the end of the week. (Uh-oh, it's Lethal Weapon Syndrome; don't ever tell anyone that you're retiring from law enforcement--it always means that you get sucked into another case or you'll end up dead.) Her arrival puts King on Virgil's trail, a course which leads him directly to Conrad Cain, whose nervousness accidentally tips King off to Leopold's kidnapping. To Knapp's annoyance (he knows King all too well), the FBI become involved in the case and quickly manage to bollocks the whole thing up straightaway, when a SWAT team falls right into the kidnappers' trap.

But the Cains aren't telling Knapp or the FBI everything. Conrad is vague about any enemies he might have and alludes to some threads he had received, but why is Leopold selected when he's the only Cain child with a bodyguard? Ellie has contacts in the Secret Service and her father is some powerful muckety-muck, but Conrad won't allow her to involve him either. Leopold's kidnapping is brutal, swift, and organized, in a ruthlessly efficient way. These men behind the attack are motivated by greed; they want $20 million and if they get what they want, they claim they'll release Leopold. But there's obviously more to this scenario than meets the eye, something personal, a vendetta of some kind that will force everyone's secrets out into the light before this is over. Why Leopold? And where is Virgil? And better yet, where is the Cain's "missing" daughter Aubrey? How do all of these elements come together?

Kidnapped's sprawling cast is top-notch, better than would be expected for a TV drama. Jeremy Sisto is a dynamic lead and his character, Knapp, is mysterious enough to be engaging while still fundamentally human (read: flawed) to provide a compelling three-dimensional character. Other standouts include Dana Delany, Delroy Lindo, and Carmen Ejogo, who plays Knapp's beautiful English associate Turner. And while it's wonderful to see English actor Linus Roache (here playing the oily and dunderheaded FBI Agent Andy Archer), he needs to spend some more time working on his American accent with his dialect coach, stat.

Writing (from Jason Smilovic) and direction are of a high quality, though I found that director Michael Dinner relied too heavily on stylistic visual trickery early on in the pilot, which distracted rather than intrigued. The addition of David Greenwalt (Angel) as Kidnapped's showrunner makes me particularly curious (in a good way) about the direction the story will take over the course of the season.

Ultimately, I found Kidnapped's pilot to be entertaining, albeit a little predictable thus far, and the pilot smacked of set-up for the series. I'd have to see (and would be willing to watch) the series' second episode before being able to make a fully formed judgment about whether I'd watch the show on a regular basis. But I am definitely intrigued and relieved that the pilot showed more promise than just being Ransom: The Series.

What's On Tonight

8 pm: NCIS (CBS); Will & Grace/Will & Grace (NBC); Gilmore Girls (WB); Celebrity Debut(ABC); American Idol (FOX); America's Next Top Model (UPN)

9 pm: The Unit (CBS); Scrubs/Scrubs (NBC); Pepper Dennis (WB); Boston Legal (ABC; 9-11 pm); House (FOX); Veronica Mars (UPN)

10 pm: The Unit (CBS); Law & Order: SVU (NBC)

What I'll Be Watching

9-10 pm: Scrubs.

Two brand-new back-to-back episodes of one of the greatest comedies on television (the next season of which NBC--the bastards!--are holding until midseason). On the first episode tonight of Scrubs ("My Urologist") J.D. challenges an assessment from Dr. Briggs, a patient of his who happens to be a urologist (guest star Elizabeth Banks), while Elliot considers breaking up with Keith, whom she thinks is too weak. On tonight's second episode ("My Transition"), J.D. attempts to plan the perfect date with Dr. Briggs (Banks, again), but Elliot keeps getting in the way. Good times.

9 pm: Veronica Mars.

If you missed the mystery-drama's simply brilliant second season, here's your chance as UPN is reairing Veronica Mars' second season premiere ("Normal is the Watchword"), in which Veronica is forced back into the investigation business when her BFF, Neptune High basketball player Wallace, tests positive for drugs.

If they decide to play nice, UPN might just reair the entire second season, so go and buy the Season One DVD and catch up on Season Two, before the show (hopefully!) jumps over to the CW network this fall.

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Welcome back to the latest installment of Dancing with the Upfronts, a recurring column where I try to make sense of the sometimes bewildering (and often conflicting) information coming out of the networks regarding series renewals, cancellations, and orders.

With NBC's schedule already locked for fall, all eyes are now on the other four networks as they put the finishing touches on their schedules.
(Updated as of 3:00 pm PST)

CBS

Lips have been sealed at the venerable Eye network as very little information has come out about orders or cancellations. However, CBS has just given series orders to two dramas, just a few days before their official schedule is announced. Jericho, from CBS Paramount Network TV and Junction Entertainment, has been given a greenlight for fall. The drama, which stars Ashley Scott (above), Skeet Ulrich, and Gerald McRaney (among others) concerns a small town after an apocalyptic event.

Additionally, CBS granted a series order to drama pilot Untitled Peter Ocko, from CBS Paramount (sensing a theme here?) and Levinson/Fontana. The series is a medical drama focusing on brain surgeons and stars Reiko Aylesworth, Mark Feuerstein, Lorraine Toussaint, Stanley Tucci, and Indira Varma.

UPDATE: In addition to the above, Variety is reporting that CBS has also given series orders to Smith, Waterfront, and The Class, and the Adam Sandler-produced comedy Rules of Engagement has landed a midseason launch. CBS has also renewed returning series Close to Home, Old Christine, and King of Queens, giving the latter a 13-episode order. Tracking boards are reporting that CBS has also given a greenlight to Shark, but that has yet to be confirmed.

UPDATE: I can now confirm that the James Wood-lead Shark, about a celebrity attorney who becomes a prosecutor, has received a series order from CBS. In other CBS news, an imminent renewal is expected for the David Mamet and Shaun Ryan-produced drama The Unit, while Courting Alex, Out of Practice, and Still Standing will not be returning next season.

FOX

FOX has renewed freshman comedies The Loop (for 13 episodes) and The War at Home, along with fading drama The OC.

ABC

ABC has cancelled Invasion, Hope & Faith, and freshman comedy Freddie. The fate of comedy veterans According to Jim and The George Lopez Show are still up in the air.

CW

Still no official word on any series orders from the fledgling network though The Hollywood Reporter has repeated the word that, of the four drama pilots currently under consideration at the CW, only Darren Star's drama Runaway was said to be in "serious contention," along with CBS' aborted pilot Ultra, as previously reported.

But more promising was THR's indication that fan-favorite drama Veronica Mars is "[looking] likely to make the switch to CW."

That's all for now, but stay tuned and check back for updates.

* * *
Recap: This week, the networks will unveil their fall schedules before advertisers at the annual upfront presentations. ABC and MyNetwork are set for tomorrow (May 16th), CBS on Wednesday (May 17th), with FOX and the CW on Thursday (May 18th).

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Upfronts Scorecard: NBC

Written by Jace | Monday, May 15, 2006 | 3 comments »

Woo hoo, the upfronts are finally here! All these past few weeks of conjecture and rumor will finally be dissipated as the networks officially announce their fall schedules to advertisers in New York. (What will we all talk about now? This summer's reality series Treasure Hunters? Maybe...)

In advance of today's NBC upfronts, below is a sneak peek at the fall schedule that they'll be unveiling. But before we get to that, there was more good news in the form of a series order for the Untitled Tina Fey project, whose studio was obviously able to reach a deal with star Alec Baldwin. The series, which also stars Tina Fey, Rachel Dratch, and Tim Meadows, will now be known by the rather curious moniker of 30 Rock. (Yes, I get that it's the network's NYC address--30 Rockefeller--but still, for the name of a series?)

In a release issued by NBC, Kevin Reilly, President of NBC Entertainment, had this to say about the network's new schedule:

"The face of NBC is changing. We took the first step this season with Thursday hits 'My Name Is Earl' and 'The Office.' Next season we'll add momentum and excitement with the addition of 'Sunday Night Football' and establish a foundation of quality across the week by standing behind shows that each say something about who we are."
I see. But without further ado, I give you... NBC's fall schedule.

NBC's OFFICIAL SCHEDULE FOR FALL 2006-2007

MONDAY
8-9 pm: Deal or No Deal
9-10 pm: HEROES
10-11 pm: Medium

TUESDAY
8-9 pm: FRIDAY NIGHT LIGHTS
9-10 pm: KIDNAPPED
10-11 pm: Law & Order: Special Victims Unit

WEDNESDAY
8-9 pm: The Biggest Loser
9-9:30 pm: 20 GOOD YEARS
9:30-10 pm: 30 ROCK (formerly known as Untitled Tina Fey)
10-11 pm: Law & Order

THURSDAY
8-8:30 pm: My Name Is Earl
8:30-9 pm: The Office
9-10 pm: STUDIO 60 ON THE SUNSET STRIP
10-11 pm: ER (to be replaced by THE BLACK DONNELLYS in Jan. 2007)

FRIDAY
8-9 pm: Deal or No Deal
9-10 pm: Las Vegas
10-11 pm: Law & Order: Criminal Intent

SATURDAY
8-9 pm: Dateline Saturday
9-11 pm: Drama Series Encores

SUNDAY
7-8 pm: FOOTBALL NIGHT IN AMERICA
8-11 pm: SUNDAY NIGHT FOOTBALL

SUNDAY (JANUARY 2007)
8-9 pm: AMERICA'S GOT TALENT
9-10 pm: The Apprentice
10-11 pm: RAINES

For those of you keeping track of such things, here's how the NBC schedule stacks up.

Returning Series:
Deal or No Deal, Medium, Law & Order, Law & Order: Special Victims Unit, The Biggest Loser, My Name is Earl, The Office, Las Vegas, Law & Order: Criminal Intent; Dateline

New Series:
Heroes, Friday Night Lights, Kidnapped, 20 Good Years, 30 Rock, Studio 60 on the Sunset Strip, The Black Donnellys (midseason), Football Night in America/Sunday Night Football

New Timeslots for Returning Series:
My Name is Earl and The Office (moving to Thursdays at 8 and 8:30 respectively), Law & Order: Criminal Intent (moving to Fridays at 10 pm)

Midseason Launches/Returns:
The Apprentice, Scrubs, Raines, The Singles Table, Andy Barker, P.I., Crossing Jordan, America's Got Talent

Cancelled:
Surface, Four Kings, Joey, E-Ring, Conviction, Teachers

Reactions:
Overall, more of a remix than a real reinvigoration of NBC's schedule. ER is staying put for the meantime, to be replaced midseason with Paul "Crash" Haggis' drama, The Black Donnellys. (Will ER return later in the season?)

Heroes and Kidnapped get plum 9 pm posts, after Deal or No Deal and new series Friday Night Lights respectively. But I never thought that football-themed Lights would get a 8 pm berth. I always figured it for a 9 pm timeslot.

I'm curious as to who came up with the odd idea of pairing two comedies with numbers in their titles (20 Odd Years and 30 Rock) right after one another. While it's not a dealbreaker, it just seems a rather bizarre fit. And who thought up the title for 30 Rock? While it's certainly better than Untitled Tina Fey, I think it's back to the drawing board on that one...

I'm glad that NBC was smart enough to keep comedy highlights Earl and The Office together and with Studio 60, they could provide a real two-hour comedy block powerhouse. That said, I'll miss my Thursdays at 9 fix...

I'm rather bummed that Scrubs is missing from the schedule (the long-running comedy and Crossing Jordan were both listed as "returning in the future") and that Andy Barker, P.I. won't make in onto the airwaves until mid-season. And, Kevin Reilly, you couldn't have done us a favor and killed off The Apprentice already?

Stay tuned all week for additional Scorecard sessions as the networks unveil their fall schedules. Next up: ABC.

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From Across the Pond: Jamie's School Lunch Project

Written by Jace | Monday, May 15, 2006 | 6 comments »

I've been an ardent fan of Jamie Oliver since his early days as a twenty-something chef and television personality. Back then he was going by the less, er, dignified sobriquet of The Naked Chef (the food was pared down and naked, not him). Since then, he's published five cookbooks (with the sixth, "Jamie's Italian," to be published Stateside this fall) and appeared in two television programs (The Naked Chef and Oliver's Twist), started a charity which educates and employees at-risk youth at his restaurant Fifteen (he filmed the process in an award-winning documentary called Jamie's Kitchen), launched a line of cookware, gotten married, and had two kids. Needless to say, he's a busy guy and extremely driven. This is a man who can do just about anything he sets out to do.

Still, I had some reservations when I heard that Jamie was going to attempt the impossible: to spend a year and a half investigating and improving the poor quality of children's school lunches in the UK and, like in his last documentary series Jamie's Kitchen, would film the results--good or ill--in another series, this time entitled Jamie's School Lunch Project, which is currently airing here in the States on TLC.

But let me be clear about one thing. We're not talking about the culinary transformation of one school's lunches. Jamie sets out to take control of 20,000 school lunches a day, a huge feat by anyone's standards. Along the way, he sets out to prove that he can provide inexpensive and healthy lunches that the kids will eat, while educating both children and parents about the benefits of eating good quality fruit, vegetables, and meat rather than junk food. Can he pull it off, when the kids are choosing to continue to eat pizza and chips (fries) rather than the risottos and curries he's cooking? And when some actually launch a revolt? (He's Jamie Oliver, so my only hope is that his drive and determination will win out over obstinacy and sheer stupidity.)

One of the things I love most about Jamie is that he is so hands-on in any of the projects he launches. This is a man who pours his heart and soul into his food, whether it be a gorgeous pasta or a simple salad. He cares and his enthusiasm is downright infectious. Jamie cares deeply about people and what they're eating and he sets out to discover what the kids are having for lunch. The local government provides the equivalent of 67 cents for each of these kids' meals, which means that the ingredients end up being cheap, low quality, and highly processed. Restaurant food this is not.

At the start of the series, Jamie leaves his wife and kids behind to work in the kitchen of a London borough high school, where he quickly attempts to make over the school lunches... with disastrous results. Jamie begins by spending his days working with the lunch ladies. He follows their instructions (though he definitely bristles at some), prepares the food to their orders (though he notices that they don't actually cook at all anymore; rather they open boxes of processed food and reheat), and clashes with the head lunch lady, a woman named Nora Sands, who can only be described as a salt-of-the-earth, lovable Irish hellion. (Jamie is very clear to say that this isn't a campaign against lunch ladies, but rather the food that they are being forced by the government and by food suppliers to prepare.)

You can tell that Nora and Jamie really do love one another but they cannot, CANNOT, work together in the kitchen. Nora is loud and aggressive but highly organized; Jamie is focused and quiet, prone to improvising dishes with what he has on hand, a method that cannot work in a school kitchen, when you've got to feed hundreds of students at the same time. Jamie starts to provide alternative options to the hamburgers, turkey twizzlers (don't ask), pizza, and chips that the kids are lining up for. Dishes that are healthy and delicious, dishes that have vegetables... dishes that the kids are refusing to eat.

Jamie's idea: do a job switch. He wants to send Nora away for one day and let him seize control of the kitchen. In return, Jamie will send Nora to his restaurant, Fifteen, for the day where she'll pick up some knife skills and work in the kitchen. Nora is immediately against the idea. She begs the school principal to let her stay in her office and take care of paperwork. She's not going to Fifteen. But the principal sides with Jamie and off Nora goes.

And guess what? Nora learns A LOT being there, how to control and modulate her behavior, how to plate dishes with elegance, how to cut and chop and julienne, and picks up restaurant cooking experience... and in the end, this job switch re-ignites the passion for food within her. Not only does Nora become Jamie's chief advocate in his cooking revolution, but she reconnects with the joy of cooking that was taken away from her in her job. So much so that Nora herself now has a website and, more importantly, her own cookbook coming out in the UK called "Nora's Dinners," which is filled with simple and classic recipes, with a modern twist, for families. And since meeting up with Jamie, she hasn't served a single chip.

Acting on the advice of Nora, Jamie realizes that if he's going to win these kids over, he has to start at an early age and sets out to immerse himself at an elementary school in the north of England. There, he spends time with kids like Chocolate Boy, who (you guessed it) loves to eat chocolate and sweets, and the most finicky eater I have ever come across--a lad named Liam, who Jamie can't even get to eat organic roast chicken or asparagus. Or for that matter, a strawberry. These are working-class kids, kids who have never eaten a salad or know what a leek is. Or what an onion looks like. It's scary and depressing at the same time.

Working with these young kids, Jamie breaks down their resistance to trying new foods over their familiar junk food, getting them to experiment and cook their own meals, sample foods they've never dreamt of before. He singles out the ones who really won't try anything and removes them from the class for the period, thus removing any obstacle from the kids who are bowing more to peer pressure than any real fear of, say, trying asparagus. And those kids who weren't willing to try? In the end, they feel left out and come around too. (Jamie also discovers the motivating power of stickers as well.)

If Jamie can reach out and get these kids to change their perceptions and attitudes towards food, can he get teenagers to do the same? That's the real question of the series and a task made all the more difficult by the fact that some teenage girls at the high school actually launch a protest against Jamie, chanting that they want him to go home. It's a sad commentary on the mores of youth that they would be so myopic and self-absorbed that they fail to see what Jamie is sacrificing of himself in order to fight for their very futures. As Jamie tells us, this is a generation whose lifespans will actually be less than their parents, a scary and sobering thought about how backwards we have become.

Ultimately, food should be more than fuel. It should be beautiful and joyous but it should also be sustaining and nurturing in a healthy, positive way. And last year, because of this crusading series, Jamie was able to get the British government to see just that, as they agreed to spend an additional 280 million pounds (roughly equal to $530 million) a year to improve the national school lunch program.

In the meantime, Jamie has crossed the Atlantic to start a similar program here in the States, where the school lunch situation is just as dismal as it is in the UK (compared to the UK, an average of $1.50 is spent on each child's school lunch). Hopefully, he can achieve what Chez Panisse founder and organic movement visionary Alice Waters started in her Edible Schoolyard program in Berkeley, California, and implement it on a national level. Can we be willing to sacrifice our children's future for the sake of saving a few extra dollars? Or stand by idly while an entire generation slides into obesity, diabetes, and behavior problems because they are not eating properly at school? Something has to be done now to change government standards and to educate young people about what they're choosing to eat.

In the end, that's what I call food for thought.

"Jamie's School Lunch Project" is currently airing Monday evenings at 7 pm on cable channel TLC. For more information about Jamie Oliver's Feed Me Better Campaign in the UK, please visit Feed Me Better.

What's On Tonight

8 pm: The King of Queens/How I Met Your Mother (CBS); Deal or No Deal (NBC; 8-10 pm); 7th Heaven (WB); Oprah Winfrey's Legends Ball (ABC; 8-10 pm); Prison Break (FOX); One on One/All of Us (UPN)

9 pm: Two and a Half Men/The New Adventures of Old Christine (CBS); Everwood (WB); Grey's Anatomy (ABC; 9-11 pm); 24 (FOX); Half & Half/Half & Half (UPN)

10 pm: CSI: Miami (CBS); The Apprentice (NBC)

What I'll Be Watching

7-9 pm: Jamie's School Lunch Project.

See above. In tonight's installment of the documentary series ("Lunch Lady Boot Camp"), Jamie Oliver returns to the high school, where things are not going well at all, despite Nora's support. As Jamie prepares to take over the lunches at over 70 London schools, he organizes a Lunch Lady Boot Camp, where the school district's head cooks will be retrained and instructed in cooking the Jamie Oliver way. Lucky ladies.

9:30 pm: Old Christine.

As the season draws to a close, we're down to very few original episodes of most series. The third-to-last original episode of Old Christine ("Exile on Lame Street") airs tonight. In this week's episode, Christine puts up a red flag when ex-husband Richard and New Christine want to take Ritchie to a rock concert. Oh, Christine. Stop being so darn square and lighten up. It's not like they're taking him to a Whitesnake concert or anything... Wait, are they?

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Is it really season finale time already? I feel like we just made it through mid-season. We've already made it through a rather blah Gilmore Girls season ender and a sensationally good Veronica Mars but I have been waiting all week with sweet, sweet anticipation for the season finale of The Office ("Casino Night"), written by Mr. Michael Scott himself, the very talented Steve Carell.

Considering I was initially opposed to the idea of an American version of The Office, I have to say that it has managed to not only become one of my favorite series over the past two seasons, but also managed to clog up my TiVo because I can't bring myself to delete most of these hilarious episodes. (Believe me, that's high praise indeed.)

So did the season finale live up to my (admittedly very high) expectations? Oh, it surpassed them. Here are my top five reasons why The Office season finale made me laugh and cry... and then beat my head against my coffee table for having to wait all summer for a new batch of episodes.

#5: Formerly lovelorn Michael finds himself involved in a love triangle.

I know, shocking. Who would have thought that Michael could pull one woman, much less two? Michael invites former flame (if fooling around one night counts as a flame), Jan (Melora Hardin) to attend the Casino Night that Michael is throwing in the warehouse of Dunder-Mifflin for charity. For Boy Scouts. .. or Comic Relief... or AIDS. Or Afghanis. Jan declines the offer, but just as Michael invites his attractive realtor, Carol (Carell's real-life wife Nancy Walls), to attend, Jan changes her mind and accepts Michael's invitation.

Upon meeting one another, Jan and Carol are both taken aback but try to play it cool, but their bluff becomes apparent as each becomes somewhat jealous of the other. The tension between the two women at the event is so palpably funny and uncomfortable that it actually made Michael seem oddly cool and collected for once. Could Jan really like Michael? (She did kiss him on Valentine's Day, after all.) Could Michael end up with Carol? (She did seem pretty chuffed to see how good he was with her kids that day at the ice rink.)

But, ladies, get some perspective. This is Michael Scott we're talking about, after all.

#4: The Office's supporting cast is equal to none.

Even more impressive is that the season finale gave nearly all of them a moment to shine. Michael berates HR drone Toby for being the way he is, namely a downer who likes to rob Michael of any chance of fun... only to later beat Michael at a single hand of poker, a victory that actually gives sad sack Toby a feeling of happiness. Office romancers Kelly and Ryan continue their patently doomed (and one-sided) relationship, as Ryan is forced to order for Kelly a "seven and seven with eight Maraschino cherries and a sugared rim, blended if possible," and Kelly wants to donate her winning to Kobe Bryant's charity because he's "hot."

The loathsome and creepy Creed steals... everything (enough to win the mini-fridge prize from Vance Refrigeration, the first fridge he's ever owned), a beautiful-looking Phyllis beats World Series poker champion Kevin at poker, Stanley acts, well, like Stanley and puts Michael in his place, Kevin's god-awful garage band, Scrantonicity, gets hired to play at Pam and Roy's wedding, and even disabled office manager Billy Merchant gets a moment to shake his head in dismay when Michael refers to his attractive date as his "nurse."

It's a testament to their prowess that, even when they only have a few lines of dialogue--or none at all--each of these extremely talented actors can make even a great Office scene shine even more brilliantly. The Office just wouldn't be the same without you guys.

#3: Angela slaps Dwight after he kisses her in front of everyone... and then she walks away, smiling.

Need I say more?

#2: The quiet moments have just as much importance to the show as the laughs.

Jan drives two and a half hours on a whim to come to a charity event at a lousy local branch of a paper manufacturer because Michael thought it would be "fun." And then when he doesn't pursue her and instead focuses his attention on Carol, who refers to the Casino Night as their "first date," Jan quietly thanks Michael for inviting her and sadly stalks out to her car in the dark. An overnight bag sits on the seat next to her and she stares at it a second before angrily throwing it in the back seat. And then she makes the long drive back to New York alone again.

It's beautiful, subtle moments like these that remind me of how this show can deftly cross from hilarity to earnest emotion in a heartbeat.

Speaking of which...

#1: The tension between Jim and Pam finally come to a head. (As if you're surprised that that's my number one reason.)

After dancing around the issue for two seasons, Jim finally confesses his love for Pam in the parking lot... and Pam doesn't know what to say. Wait, Pam is surprised by all of this? As she tells him how much she values their friendship (ouch) but says that she's sorry if he misinterpreted things (way to emasculate the guy, Pam). Jim tells her to stop and apologizes for misinterpreting their friendship, as he brushes away a single tear. Jim storms off, leaving a conflicted Pam standing the parking lot, toying with her engagement ring. (And she doesn't even know that he's transferring out of Scranton because of her!)

Later, Pam goes upstairs to the office and calls her mom, filling her in on what just happened. As she says that she doesn't know what to do and that Jim is "great" and is her "best friend," Jim walks in and Pam quickly ends the call. Pam attempts to say something but Jim just walks over and kisses her! And then Pam kisses him back! As they pull away and look at one another, the screen fades to black.



All in all, just the perfect closing to a nearly perfect season.

While we won't learn the resolution of Jim and Pam's passionate kiss or discover whether Pam makes it to the altar or Jim transfers out of Scranton until this fall, at least we have those nifty Office webisodes coming out this summer to tide us over in the meantime.

Will that be enough to satisfy my Office fix? Well, thankfully, I've got those dozen or so episodes saved on my TiVo. So, fire up your telekinetic abilities on the coat rack, bring the paper supplies, and unwrap your Dwight bobblehead, because I smell a marathon coming on...

What's On Tonight

8 pm: Keith Barry: Extraordinary (CBS); Deal or No Deal (NBC); How to Deal (WB; 8-10 pm); America's Funniest Home Videos (ABC); Legally Blonde 2: Red, White & Blonde (FOX; 8-10 pm); WWE Friday Night Smackdown (UPN)

9 pm: Close to Home (CBS); Las Vegas (NBC); 20/20 (ABC)

10 pm: NUMB3RS (CBS); Conviction (NBC) ; 20/20 (ABC)

What I'll Be Watching

9 pm: Doctor Who on Sci-Fi.

In this week's episode of my new sci-fi favorite ("The Doctor Dances"), as the ghostly alien child's plague continues to spread like wildfire through Blitz-era London, the Doctor and Rose are forced to team up with Captain Jack Harkness, an intergalactic con-man.

10 pm: The Thick of It on BBC America.

The American premiere of the British political series that the Los Angeles Times referred to as "The West Wing meets The Office." After the Prime Minister unexpectedly sacks the British Minister for Social Affairs, a new Minister, yes-man Hugh Abbot (Chris Langham), is brought in to replace him. But he soon runs afoul of the PM's Chief Political Advisor, Malcolm Tucker (Peter Capaldi).

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Welcome back to another installment of Dancing with the Upfronts, where I try to make sense of the sometimes bewildering (and often conflicting) information coming out of the networks regarding series renewals, cancellations, and orders, before the upfronts next week. Whew. (Updated as of 11:30 pm PST)

NBC

As previously reported yesterday, NBC officially gave series orders to pilots 20 Good Years and The Singles Table, which join fellow ordered series Raines, Heroes, and Friday Night Lights.

With pick ups already in for those three dramas plus Studio 60 on the Sunset Strip, The Black Donnellys, and Kidnapped, it means that NBC has now ordered all but one of its seven drama pilots for the fall. The only drama not to get the nod from the Peacock is the Cary Elwes-led political dramedy Haskett's Chance about a corrupt politician.

Untitled Tina Fey is still widely expected to get an order for the fall. However, there appears to be a rather significant spanner in the works, according to Variety, which says that "NBC U Television Studio [needs] to hammer out a deal for star Alec Baldwin so that the skein could premiere in the fall."

One rather odd piece of news. Various sources (including yours truly) had heard word that NBC had passed on comedy pilot Andy Barker, P.I. and that the pilot, which stars Andy Richter and Tony Hale (Arrested Development) would be shopped to FOX. However, TV Tracker sent out a Series Pick Up Alert for the pilot this morning and is reporting that NBC has granted the pilot a six-episode series commitment.

TV Tracker provided following synopsis for the series, which sounds absolutely hysterical:

Andy Barker is a CPA who has never failed at anything – that is until his new accounting business doesn’t take off as planned. When he’s mistaken for the private detective who used to occupy his office, Andy embraces this twist of fate and takes the case. Thus begins his journey back and forth from Andy Barker, CPA to Andy Barker, P.I. Whether chiding criminals headquartered in a warehouse for “renting instead of buying,” or briefing an accounting client about municipal bonds while driving backwards down an alley pursued by Sri Lankan gangsters, Andy will always be a problem solver and a numbers cruncher.
While I am a huge fan of Richter and Hale and am looking forward to the series (if it does make it on the sked), color me confused. Can anyone shed some light on this matter?

UPDATE: I've since received confirmation that the above is true and Andy Barker, P.I. has been ordered for six episodes. Wahoo!

CBS

The Eye is still firmly shut as no official orders have yet to drip out. (And many say that no one will have any idea about the fall schedule until Les Moonves makes his announcement on Wednesday.)

Dramas that CBS is said to be particularly strong on include Jericho, Smith, Shark, and 3 Lbs. Said to be losing steam, according to the tracking boards, are Company Town and Capital Law, with terminally ill pilots Waterfront and Edison clinging to life. Long deceased: The Way, Orpheus, and Ultra (though, as reported yesterday, it might be redeveloped for the CW).

Rumors on the tracking board re: comedy pilots have Inseparable as a strong contender, with Big Bang Theory, Untitled Tom Hertz, and Untitled Paul Reiser still floating about in the mix. Slipping away from this world: You've Reached the Elliotts, Welcome to the Jungle, and Play Nice.

However, it seems as though long-running comedy The King of Queens won't return to CBS next season until mid-season, if at all.

The problem? According to Variety, Star Kevin James is committed to star in feature film I Now Pronounce You Chuck and Larry with Adam Sandler and is unable to film enough episodes for the fall.

FOX

While FOX didn't officially pick up any other pilots yesterday, rumors are swirling that FOX will add comedy pilot Happy Hour to its fall schedule. Additionally, The Winner and The Adventures of Big Handsome Guy and His Little Friend are said to be close to joining ordered comedy series 'Til Death on FOX's fall schedule as well. Still alive: Julie Reno, 12th Man, and If You Lived Here You'd Be Home Now.

UPDATE: Late in the day Friday, FOX officially ordered the aforementioned comedy Happy Hour from creators Jeff and Jackie Filgo (That 70s Show) and The Winner from creators Seth MacFarlane and Ricky Blitt (Family Guy). Happy Hour is being described by TV Tracker as "a buddy comedy series about two different, but non- complementary guys in Chicago. One's been damaged by love, and another's been blinded by love."

Meanwhile, The Winner is about "a successful man in his forties who looks back at his life in 1994, when he was a neurotic 32 year old man who still lived with his parents, and befriended the teenage son of a woman he was pining for and discovered that they were both going through adolescence."

On the drama-side, no new orders aside from the already-reported Primary (above), Vanished, and American Crime. Other drama series contenders include Southern Comfort, Damages, or Beyond. 13 Graves is clinging to life, while Faceless and The Wedding Album are dead, dead, dead.

UPDATE: Miracles can happen. Even later in the day Friday, FOX gave a series commitment to previously thought deceased pilot The Wedding Album, which stars Bruno Campos (Nip/Tuck) as a wedding photographer. I am speechless.

CW

UPDATE: The award for the series that would not die goes to... 7th Heaven?!? Whah huh? Despite the rumors of the show being cancelled, then returning, then not returning, a well-placed agency source tells me that 7th Heaven WILL BE returning this fall after all. The move doesn't bode well for some of the WB's on-the-bubble series such as Everwood and One Tree Hill, which will most likely not move over to the CW.

UPDATE: The Futon Critic has now confirmed the above rumor regarding 7th Heaven and is reporting that the CW has officially renewed the long-running family drama for an 11th season (and its first on the CW).

ABC

UPDATE: According to another hot-off-the-press Series Pick Up Alert from TV Tracker, ABC has ordered all of the following drama pilots to series: Brothers & Sisters, Men in Trees, Ugly Betty, and Traveler. Four pilots ordered in one fell swoop? Only in this surreal upfront season...

Another rumor, coming to me from a certain talent and lit agency, says that ABC is renewing low-rated relationship drama What About Brian for next season. That's even more shocking than the above pick-ups.

Coming off the tracking boards, dramas on life-support at the network include: Secrets of a Small Town, Twenty Questions, and October Road. Dead with no chance of a sudden revival a la Lost's Libby: Hollis and Rae, Enemies, 60 Minute Man, Women in Law, and House Divided, though the latter may be retooled as a mini-series.

UPDATE: On the comedy side, ABC has just ordered Let's Rob Mick Jagger and A Day in the Life.

Untitled Christine Zander/Patty Heaton, Separated at Worth, and The Guys are said to still be in the mix. Dead as dodo: Untitled Bonnie Hunt, Girls on the Bus, and Women of a Certain Age.

That's all for now, but stay tuned and check back for updates.

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Recap: Next week, the networks will unveil their fall schedules before advertisers at the annual upfront presentations. NBC is up first on Monday (May 15th), ABC and MyNetwork follow on Tuesday (May 16th), CBS on Wednesday (May 17th), with FOX and the CW on Thursday (May 18th).

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Messages in a Bottle: LOST Thoughts #9

Written by Jace | Thursday, May 11, 2006 | 2 comments »

I don't even know where to begin after seeing this week's episode of Lost ("?"), written by Damon Lindelof and Carlton Cuse. After seeing the season finale of Veronica Mars on Tuesday night and then this, my nerves are completely jangled. With that said, let's dive right in.

Eko has a dream in which Ana-Lucia appears to him and asks him what he's building (yes, we know, it's a church) and then before his eyes begins to bleed from her wounds she received at the hands of Michael last episode. Then a number of images: a cross on the ground, Eko's brother, the hatch. Eko's dead brother Yemi sits at the computer in the hatch, the counter showing only question marks (above), the keyboard the same. Yemi says, "This work is important," and insists that Eko must help John and make Locke take him to the question mark. Oh, and he should take the axe. Eko wakes up with a start. (Was it just me or did it appear that there was some sort of white, transparent smoke drifting about the camp when Eko awakened? Or just the residues of the campfire? Hmmm...)

Back at the hatch, the castaways discover an injured Michael, who tells them that the Other-Formerly-Known-As-Henry-Gale shot him and escaped. Inside, they find the bodies of Ana-Lucia and Libby, who both seem very much dead. Everyone is shocked... except for Michael, who seems pleased with his handiwork. But wait! Libby starts coughing up blood all over the place. She's ALIVE... but barely. Jack moves her over to the bed as he and Kate attempt to staunch the bleeding.

Jack wants to go after "Henry" but if he goes, then who will watch over Libby? Eko offers to go and suggests Locke accompany him, as he has mad tracking skills. Jack reluctantly agrees and Locke and Eko (I love the little mirror-image their names form) set out into the night. But Eko has no intention of tracking Henry. He's after the question mark and Locke isn't giving him any answers... so Eko bashes him in the head and knocks him unconscious. As any sane person would do.

The Lost Flashback of the Week belongs to Eko, naturally. This time, we see Eko as a priest in Australia (aha!) preparing for a trip to Los Angeles (why?) with the aid of some forged documents (namely an Aussie passport). But before Eko (or Father Tundi as he's called) can leave, he's assigned to investigate the veracity of a miracle in the parish: a young girl drowned to death and apparently came back to life. Eko is skeptical, but that's exactly why he's been assigned to this investigation. He talks to the coroner, who plays Eko a disturbing tape of the autopsy... and autopsy that took a turn for the seriously weird when the body came to life.

Eko knows that it's his mission to return to Locke his lost faith (though the last time Locke lost faith, someone else had died too, namely Boone... coincidence?). Locke gives Eko his homemade map to the question mark, which he "transcribed" from ten seconds of memory. It's not very accurate at all, in fact. But it's all they have. And wouldn't you know it? That darn map leads our twosome directly to the drugrunners' plane, which had contained the body of Eko's dead brother Yemi, the Virgin Mary statues containing heroin, the radio that Boone used to made contact with Bernard, and a hell of a lot of Boone Carlisle's DNA from when the plane came crashing down out of the tree canopy. Eko says that they will make camp there.

Back at the hatch, Libby is not doing well. Jack has managed to stop her bleeding, but that's not a good thing. All he can do now is make her comfortable. And she needs heroin to ease her pain. And who has the drug stash? Well, Sawyer, that's who. Jack sends Kate to accompany Sawyer to his secret stash--where the guns are hidden as well--to get the drugs. And surprise, Sawyer's secret stash is right on the beach, right underneath him in fact in his own tent. (As Sydney Bristow once told us, the best place to hide is sometimes right in plain sight.)

Alongside the plane, Eko awakens. He sees Yemi motioning to him from the bushes and telling him to be quiet--he'll wake John up. Yemi says that he has to climb and Eko takes his axe and begins to climb to the top of the canopy and the cliff beyond. Just as he reaches the top, he sees Yemi in Locke's wheelchair and falls... and Locke wakes up. It was HIS dream. He and Eko are connected and it's essential that they do this together. Locke fills Eko in on the dream (leaving out the wheelchair, of course) and Eko knows what he has to do.

Flashback: Eko continues his investigation into the miraculous resurrection of this girl. He visits her home and we learn that Miracle Girl's dad is (drum roll, please) Richard Malkin, the same psychic that Claire went to see and who prophesied great danger should someone else raise her baby. Scary! He admits he's a big fraud and says that his daughter fell into a mountain stream and had hypothermia. She wasn't dead. His wife is a zealot and is using this to get back at him. But the girl watches Eko from behind the curtains. Maybe there is more too this than meets the eye...

Eko climbs to the top of the cliff and looks out and sees... more island nothingness. He turns back to where he climbed up and sees the question mark in the ground below... next to the drugrunners' plane! He climbs down and investigates, discovering that the ground has been salted. The mark is permanent. Eko needs Locke's help moving the plane. He believes what they are looking for is right beneath it. They push the plane aside (rather easily, I might add) and begin to push the dirt away, only to find a metal hatch in the earth. They attempt to open it but it seems locked. Until Eko uses his axe (I knew it couldn't just be used for climbing).

Welcome to Station 5: The Pearl. Locke and Eko climb down the ladder and find some lights, discovering a tiny room filled with TV monitors. Locke turns on the dusty monitors... and sees a lot of static and--wait for it--Jack in their hatch! Searching the room, they discover a video tape marked "Orientation." Together, they sit down and watch the orientation film (which bears a copyright from 1980). Hey, it's our old pal Candle (from "Orientation"), except now he says his name is Mark Whitman. (What gives?) The Station of the Pearl is apparently a monitoring station, overseeing the psychological experiments being conducted in the other stations. (Hmmm... like pushing the button every 108 minutes?) The Dharma participants are supposed to record their findings in a series of composition notebooks and use the pneumatic tubes to send them directly to Dharma HQ (wherever that may be). Locke believes that, like his whole worthless life, all of this was pointless. But Eko counters that Locke's work is very important, more important than anything else. They need to keep pushing the button and, if Locke will not continue his work, Eko will.

Flashback: Miracle Girl shows up at the airport as Eko checks in for Oceanic Flight 185. She has a message for Eko... from Yemi. She claims to have seen Yemi when she was between the two worlds. Yemi says that he has faith in Eko, even if Eko has lost faith in himself. Eko is a good man. And he will see Yemi again soon. Eko flips out at Miracle Girl, asking if her father put her up to this. His voice is loud and angry and a female voice asks if everything is okay. The camera pulls back to reveal Libby in line for the flight check in. Thank you, Damon and Carlton, for setting the record straight once and for all and making it abundantly clear that Libby was on the plane. End of story.

Back at the hatch, Jack injects Libby with some heroin to dull her pain as Kate cries and curls up with Sawyer and Michael creepily hangs out in the armory. Hurley asks if he could talk to Libby and Jack agrees. As Hurley says her name, Libby opens her eyes, straining to speak. All she can manage is to say, "Michael." Jack reassures her that Michael made it out okay, but a look of abject terror crosses Libby's face before she dies. Damn it, couldn't she have been, I don't know, more specific in her last words? As Locke and Eko make their way back to the hatch, the familiar sounds of the computer beeping begin and we see a very scary-looking Michael look at the screen...

Next week on Lost: Michael launches a plan to raid the Others' camp and free Walt, Zeke returns and he's gotten into the theatrical glue again, Walt is alive according to some woman, Sayid thinks Michael may be "compromised," and the castaways witness something... unusual.

Lost Experience clue of the week: another Hanso Foundation commercial, this time leading us to a website. Click on each of the selected monitors in turn until each one lights up... you'll then be taken to the password: Heir Apparent. Go back to the Hanso website and visit the newsletter again and when Persephone prompts you for a password, enter "Heir Apparent." Unfortunately, all she tells you is to call the call center in the TV ad section. Anyone have any better luck?

What's On Tonight

8 pm: Survivor: Panama--Exile Island (CBS); Will & Grace (NBC); Smallville (WB); American Inventor (ABC); That '70s Show (FOX; 8-10 pm); Everybody Hates Chris/Love, Inc. (UPN)

8:40 pm: My Name is Earl (NBC)

9 pm: CSI: Crime Scene Investigation (CBS); Supernatural (WB); American Inventor (ABC); Eve/Cuts (UPN)

9:20 pm: The Office (NBC).

10 pm: Without a Trace (CBS); ER (NBC); Primetime (ABC)

What I'll Be Watching

8 pm: Everybody Hates Chris.

On tonight's episode ("Everybody Hates Father's Day"), Chris' dad Julius decides to spend Father's Day by himself, doing what he wants, when he wants. Meanwhile, Chris attempts to find the perfect gift for his dad. Keep looking, Chris. Chocolate turtles, apparently are Rochelle's thing.

8:40 pm: My Name is Earl.

On the super-sized season finale of My Name is Earl ("Number One"), Earl attempts to make up for item number one on his famous list--stealing $10 from a man's wallet to buy a lottery ticket--but discovers that Karma has a rather ironic sense of humor when he ends up penniless.

9:20 pm: The Office.

Forty minutes later on a super-sized season finale of The Office ("Casino Night"), written by Steve Carell, Michael decides to host a Casino Night to raise money for charity and holds the event in the Dunder-Miflin warehouse. Will Jim declare his love for Pam and stop her summer wedding to the thick-headed Roy? Will Pam go through with it? Will there ever be a merger?

In the meantime, fear not, Office workers. While tonight may mark the end of the adventures of the Dunder-Mifflin crew this season, NBC will be releasing ten stand-alone webisodes this summer revolving around the mysterious disappearance of $3000 from the office. Intriguing... Personally, I blame Dwight.

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Dancing with the Upfronts: Thursday's Pilot Round-up

Written by Jace | Thursday, May 11, 2006 | 3 comments »

You can almost smell the excitement here in Hollywood as the as the network upfronts rapidly approach. In an unusually exciting development season, some networks have announced pre-upfront series orders while others (ahem, CW) are keeping their cards closer to their vests.

Courtesy of The Hollywood Reporter and Variety, below are the current batch of rumors on renewals, cancellations, and orders before the networks' fall schedules are made official next week. Remember, most of the below has yet to be confirmed by the networks, so all info is subject to change.

ABC

ABC has picked up dramas The Nine, Six Degrees (from J.J. Abrams), and Day Break, along with comedies In Case of Emergency, Help Me Help You, and Notes from the Underbelly.

The following dramas will duke it out for a place among the remaining slots: Traveler, Secrets of a Small Town, Ugly Betty, Drift, Men in Trees, and Brothers & Sisters. If Grey's Anatomy does make the move to Mondays at 9 pm, as many insiders are hinting, then ABC may use Six Degrees or Secrets of a Small Town as a companion to the medical series. On the comedy front, the only contenders are the Untitled Burnett/Beckerman and Untitled Hunt/Lake sitcoms. Him and Us, a single-camera sitcom starring Anthony Stewart Heard (Buffy the Vampire Slayer) and Kim Cattrall (Sex and the City), will not be ordered by ABC and will instead be shopped around to other outlets.

According to Jim and George Lopez seem like locks to return next season and Freddie is also a possible return as well. Less likely renewals are freshman dramas What About Brian and Invasion. If Invasion is not renewed, it might be shopped to the CW.

Variety has indicated that ABC may schedule Lost for a November return date rather than at the start of the fall season. Reality series The Bachelor is also expected to return for a mid-season slot.

NBC

NBC has cancelled the dismally-received sitcom Teachers. The network is expected to pick up Raines and the Untitled Tina Fey project. Comedies 20 Good Years, Community Service, and The Singles Table are still in contention for the few remaining slots, but NBC is passing on the Andy Richter-led comedy Andy Barker, P.I., which will be shopped to FOX.

Unlike yesterday's rumor, ER now seems to be staying put in its timeslot, rather than relocating to another night. Studio 60 on the Sunset Strip might form the basis of a Monday night lineup, paired with The Black Donnellys, as Medium levitates over to Friday nights.

Variety indicates that a fake NBC fall schedule that has made the rounds around town--and which shows Untitled Tina Fey airing Thursdays at 9:30, after a relocated 9:00 The Office--makes a hell of a lot of sense.

UPDATE: According to a report on The Futon Critic, sources close to the productions have confirmed that NBC has given series orders to Raines and The Singles Table.

CBS

CBS is expected to renew freshman crime drama Close to Home. Meanwhile, the network is expected to pick up at least four to five new drama pilots, with as many as three airing this fall. Sharks is said to be a particularly strong contender, along with fellow drama Smith.

Other possible pickups might include Untitled Carol Mendelsohn, Jericho, Untitled Peter Ocko, and Company Town. On the comedy side, CBS is said to be leaning towards The Class, with Inseparable, Untitled Tom Hertz, and The Big Bang Theory right behind it.

FOX

FOX is said to be close to following up its series orders for Primary, Vanished, and American Crime with another order. The Hollywood Reporter pegs Southern Comfort as the front-runner, while Variety picks either Damages or Beyond. And comedy pilot The Winner might join 'Til Death on FOX's fall schedule as well.

CW

The fledgling netlet is said to be "not very pleased" with its drama pilot crop, which includes the Darren Star-created Runaway, Kevin Williamson's Palm Springs, and Aquaman. Given that, the chances are now extremely high for Veronica Mars (wahoo!), One Tree Hill, and Everwood to graduate to the CW. CBS pilot Ultra is now said to be in the running for a fall slot on the net, possibly along with ABC's Invasion. On the comedy side, Wayne Brady's pilot Flirt is most likely to get a series order.

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Next week, the networks will unveil their fall schedules before advertisers at the annual upfront presentations. NBC is up first on Monday (May 15th), ABC and MyNetwork follow on Tuesday (May 16th), CBS on Wednesday (May 17th), with FOX and the CW on Thursday (May 18th).

(N.B.: UPDATED UPFRONT INFO FOR FRIDAY CAN BE FOUND HERE.)

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Amy and Daniel have officially left the building.

I have to say that I was completely underwhelmed by last night's season finale of Gilmore Girls ("Partings"). Perhaps part of it was my own fault for having built up the 62-minute episode, which served as the last to be written and directed under the guidance of Girls creator Amy Sherman-Palladino and her husband writer/producer Daniel Palladino, into some monumental occasion. I have been dreading this moment since I heard the news that they wouldn't be returning with the show next season when Gilmore Girls moves over to the new CW network.

On the other hand, Gilmore Girls season finales tend to be emotional, heart-breaking affairs... and this wasn't really either of those things, especially compared to last season's cliffhanger finale (with Rory dropping out of Yale and moving in with Richard and Emily). What it seemed like instead was an excuse for Amy and Daniel to invite all of their friends over to participate in what could have been any other regular episode of the series. Yes, it was great seeing Sam Phillips and Sonic Youth and Yo La Tengo, et al, playing would-be town troubadours after their own town singer (the amazing Grant Lee Phillips) hits it big. But too much time was spent on the singers, um, singing and Taylor's reaction, rather than on our main characters and their situations. And the troubadour storyline never paid off in any way--much less a meaningful one--for it to warrant so much precious screen time.

It also robbed us of any reaction shot from Luke after he turns down Lorelai's demand that they elope and Lorelai storms off into the night. Should we have seen that very important, crucial shot rather than a lingering shot of the incandescent Sam Phillips singing her song, "Taking Pictures"? This season has been building to a confrontation between the two of them, especially as Lorelai has uncharacteristically kept her mouth shut about everything that's been pushing them apart. She finally stands up for herself and says that Luke's newfound daughter April needs to fit into their lives and not the other way around... and if Luke can't commit to her right now, then there's nothing left between them. We see Lorelai's pained, desperate expression but Luke's is left up to the imagination of the viewer. Does he run after Lorelai? Does he storm back into the diner and slam the door? Does he stand there, sadly, realizing that he's lost the best thing in his life?

We'll never know... until at least next season. But by then he'll have learned that Lorelai slept with Rory's dad Christopher, a development that Lorelai didn't seem so sure was a good thing, judging from her vacant expression at the end of the episode (an echo of the one from the finale's opening shot). While I've come around to Christopher once again since he's matured and grown up, Lorelai doesn't seem to be so certain. I've grown apathetic towards Luke after his awful behavior this year and I think that Lorelai and Christopher could finally be happy together; they're finally nearly equals.

Rory tearfully kissed Logan goodbye as he departed for his indentured servitude--I mean, a year in London running one of his father's newspapers. I understand that Logan has to grow up and mature--no more wearing gorilla masks and jumping out of airplanes as Mitchum put it--but my only fear is that Logan will become his father. After all, that shot of Logan standing in the elevator made him look too eerily like Mitchum to ignore the similarities in their situations and countenances. (I also told my girlfriend that, if I were leaving for London for a year, that I'd rather spend the evening with her than 100 of my closest friends at a hastily thrown together yet exceptionally elaborate British-themed party.)

Usually Amy's episodes are funny in the first half and emotional in the second, but I didn't really feel that either was true last night. The scenes with Emily and Richard attempting to fix Christopher up with Caroline (guest star Melora Hardin of The Office) were far too on the nose and weren't as humorous and whip-smart as I would have expected. And the second half of the episode felt oddly static, as though not very much had happened. There was no resolution of the fact that Emily printed a wedding announcement in the paper for Lorelai's supposed June wedding and that their entire family was still under the impression that the wedding was on. And what of Richard and Emily's plans to buy Luke and Lorelai a house as a wedding present? No mention whatsoever, aside from a comment from Lorelai to Emily that Luke was "working" and things were "fine."

What's happened to this show? I feel cheated by the lack of any meaningful resolution or even a dramatic cliffhanger in this season finale. (We've all sensed for several episodes now that Lorelai would sleep with Chris, so that was hardly a shocker of an ending.) I don't have high hopes for next year and, after this rather mediocre season, the finale didn't lead me to believe that things would improve without Amy and Daniel at the rudder.

So for now, we bid adieu to Stars Hollow and the Palladinos. And at the very least, I can sat that I have my Gilmore Girls DVDs to keep me company. I just wish that were enough...

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According to a report at The Futon Critic, NBC is rumored to be close to giving drama pilots Heroes and Friday Night Lights series orders, as reports indicate that both series have begun staffing.

Heroes is a supernatural serialized drama in the vein of Lost about a group of everyday people who suddenly find themselves imbued with extraordinary powers. The project, from NBC Universal Television, was created by Tim Kring (Crossing Jordan), who wrote the two-hour pilot, which was directed by David Semel (House), who also exec produces along with Dennis Hammer. Alias' Jesse Alexander was also recently named a co-executive producer.

The show's sprawling ensemble includes Greg Grunberg (Alias), Milo Ventimiglia (Gilmore Girls), Ali Larter (Final Destination), Hayden Panettiere (The Book of Daniel), Leonard Roberts (Buffy the Vampire Slayer), and Adrian Pasdar (Desperate Housewives), among others.

Jason Katims (Pepper Dennis) has been hired to serve as the showrunner on NBC's other buzzworthy pilot Friday Night Lights, which is also expected to receive an official pickup before the NBC upfronts on Monday. The NBC Universal TV project (from Imagine Television and Film 44), is based on the feature film and book of the same title. Executive producers are Katims, Brian Grazer, David Nevins, John Cameron, Sarah Aubrey, and creator Peter Berg.

The cast of Friday Night Lights will include Kyle Chandler (Grey's Anatomy), Adrianne Palicki (South Beach), Aimee Teegarden (Cold Case), Connie Britton (24), Jesse Plemons (Grey's Anatomy), Minka Kelly (What I Like About You), and Zach Gilford (Law & Order: Special Victims Unit).

In other NBC scheduling news, the Peacock is considering relocating stalwart medical drama ER from its longtime berth to another timeslot, possibly Tuesdays at 9 or 10 pm, according to the Hollywood Reporter.

The reason? Possibly to give its once-prime Thursdays at 10 pm timeslot to the freshman dramedy series Studio 60 on the Sunset Strip, from Aaron Sorkin. NBC declined to comment; a final decision will be announced at the network's upfront presentation on Monday.

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Beaver Gets Busy on "Veronica Mars"

Written by Jace | Wednesday, May 10, 2006 | 5 comments »

Wow.

That's really my first, second, and third reaction upon seeing last night's simply fantastic season finale of Veronica Mars ("Not Pictured"). After a season of dizzying plot twists and surprises, Veronica pulled out all of the stops to deliver a mind-bending finale that shocked and amazed, especially coming as it did on the heels of the amusing yet underwhelming finale of Gilmore Girls. Just... wow.

Where to begin? So it turns out that I will eat my hat after all (good thing I don't wear one): Cassidy "Beaver" Casablancas ended up being not the sensitive, earnest youth we thought he was, but was in fact a cold-blooded killer. In this season alone, Cassidy has been responsible for the deaths of everyone aboard the school bus when it crashed, stunt man Curly Moran, Mayor Woody Goodman, and several police officers who had the bad luck of being aboard Woody's plane when Cass detonated it to smithereens above Neptune. Oh, and did I mention that it was Cassidy who raped Veronica two years ago? That was a nice twist I didn't see coming...

But before all of that and the climactic showdown between Veronica and a taser- and gun-wielding Cassidy atop the roof of the Neptune Grand, the season finale brought us a little slice of heaven in the form of Veronica's wish-fulfillment dream, which answered all sorts of What Ifs. A perky, popular Veronica wakes up the day of her graduation and discovers that her mom hasn't turned into an alcoholic thief and adulterer; instead she and Keith are blissfully happy. At school, Veronica hangs with Duncan and Dick Casablancas before Logan strolls up and kisses Veronica. (So, even in her dreams, she knows she's better off with Logan than Duncan.) There's a mishap with the graduation gowns and she ended up with one belonging to someone named Wallace Fennell (I loved how she pronounced it like the vegetable), whose life in high school turned out rather differently without Veronica's friendship. And then just when I thought that this dream sequence couldn't get any better, Lily Kane (Amanda Seyfried) showed up too, talking about her sexually experimental lifestyle in college, but what's up with that Lily Kane Memorial? And, just like that (and the smell of bacon), Veronica woke up.

Meanwhile, it seems like the cast of Veronica Mars is shrinking rapidly: Duncan's out of the picture in Australia with his infant daughter; Jackie takes off for a less-than-glamorous life in New York with her waitress mom and a two-year-old son from her crazy, drugged out teenage life in Brooklyn (so everything Jackie said was a lie!); poor Weevil doesn't even get to have his grandmother see him graduate and instead gets arrested by Sheriff Lamb at the graduation ceremony (something tells me if he returns at all next season that it's only for a few episodes); and Cassidy, well, Cassidy's gone for good.

I was right about one thing: Cassidy was the mysterious third person on that recording Veronica discovered on evil Woody Goodman's computer and he was molested by the sicko Neptune mayor (which was the cause of the weirdness between Cassidy and poor Mac). What I didn't think was that Cassidy would be willing to kill to conceal his secret. He arranged for the rat aboard the bus, which got the '09er rich kids into the limo, got the dynamite from his friend Hart Hanson (a nice little nod there to the creator of FOX series Bones, obviously a friend of Rob Thomas), and coordinated the entire affair with Curly Moran, the former stunt man turned mechanic who serviced his dad's cars. He then pinned the crash on Moran so the PCH'ers would beat the hell out of him and then finished the job himself, running over Moran with his car, and writing Veronica's name on his palm, and then dumping the body in the ocean. The effect? Pushing the investigation in an entirely different direction that points the finger of blame to Aaron Echolls and later to Woody Goodman. (Oh and the whole real estate empire that Cass started? It earned a cool $8 million by betting against Woody's incorporation scheme.)

After trying to track down each and every member of the little league team that Woody coached (and molested), Veronica discovers the truth about Cassidy when she sees a photo of the team at Woody's fast food joint that indicates that not pictured is one Cassidy Casablancas. She realizes that he's with Mac at the graduation party at the Neptune Grand, but can't get ahold of Mac to warn her so she races over there. Arriving, she scans the party but can't find either of them (they've gone to have their own private party) and the front desk is zero help in telling Veronica what room they're in. She texts a message to Mac that Cassidy is a dangerous killer and to get out of there...

Mac and Cassidy meanwhile retire to a room at the Neptune Grand, where unfortunately (or fortunately for Mac), Cassidy is having some, er, sexual difficulties. Mac gets up to take a shower and Cassidy intercepts Veronica's message and replies to meet him on the roof. But first, he takes all of Mac's clothes and anything she could clothe herself with from the room (he's a nasty piece of work, that boy) and pulls a gun from his bag.

Veronica gets in the elevator and encounters the oily Aaron Echolls, newly released from prison, who proceeds to tell her in no uncertain terms that the best day of his life was when he smashed Lily Kane's head in with an ashtray so she'd "finally shut the hell up." He then creepily threatens Veronica before getting out on his floor, with a bottle of wine and two glasses. Two glasses, huh? Hmmm....

Veronica is ambushed on the roof by Cassidy, who forces her to throw her bag over to him at gunpoint. Veronica says that she's figured it all out, she knows everything. Cassidy, apparently, doesn't like this and repeatedly shocks Veronica with her own taser. Like I said, he's a real piece of work. He wants Veronica to kill herself so there's no messiness ("I don't want your DNA all over my shirt.") but Veronica's not doing anything. She wants to know how she ended up with chlamydia, the very same STD which Woody Goodman has? Well, that's easy: it turns out when Veronica was drugged at that party two years earlier Cassidy did rape her after all. (Okay, didn't see that twist coming.) Cassidy's not going to get away with this; Veronica told her dad everything.

But Cassidy is one step ahead of everything, as usual. He has a remote-activated bomb planted aboard Woody's plane and he knows Keith is on there with Woody, en route to Neptune. Veronica has 60 seconds to say her goodbyes before he detonates the bomb. 59... 58... 57... Veronica's dialing, but there's no answer. And then Cassidy makes the call on his cell and blows the plane up right behind Veronica! Is Keith dead? Veronica sinks to her knees, sobbing, and manages to forward Cassidy's text message to Logan, who bursts in and promptly gets shot at by Cassidy. A struggle ensues and Veronica eventually gets a hold of the gun, which she trains on Cassidy. Logan tries to talk her down, saying she's not a killer, but Veronica says that he killed her dad, he killed the kids on the bus, he raped her. Logan gets the gun from Veronica and holds her (for a second I thought he was going to shoot Cassidy) as Cassidy climbs up onto a ledge. Logan tells him not to jump, but down Cassidy goes...

Meanwhile, a few floors below, Aaron Echolls and Cassidy's stepmom herself, Kendall Casablancas finish their, er, romantic interlude as Aaron talks about how wonderful freedom is. Kendall excuses her herself and gets in the shower. Aaron puts on the television to discover one of his old movies is on and settles in, as a black-clad figure slides up behind him, a silencer-laden gun drawn to his temple. Bam! Pull back to reveal... Clarence Weidman, the head of security for Kane Software, who promptly calls Duncan to tell him that it's all over. Justice has been served, Neptune-style.

Veronica falls asleep at home, laying on Logan, who watches over her. And, again, she dreams... this time a memory of herself as a little girl and Keith putting on a puppet show for her. And then she smells bacon and wakes up to realize that her dad isn't there, isn't ever going to be there again. But of course, Keith isn't dead (he drove home after arranging Woody's arrest rather than fly, to avoid the press) as Veronica is overjoyed to discover. As Veronica rushes over to Keith, Logan sneaks out the front door.

Kendall Casablancas discovers that, because Cassidy's death was a suicide, she won't receive any of the insurance money that Dick Senior took out on him. But it's her name on the title for the Phoenix real estate deal,Cassidy's company that Kendall was fronting. And how have those deals paid off? Well, it seems that, thanks to Cassidy, Kendall is now $8 million richer...

A few days later, Veronica and Keith prepare for their trip to New York when Logan shows up at the office to drive Veronica to the airport so they can "talk." She follows him outside and, after an entire season of will-they or won't-they get back together, they finally kiss! (Wahoo!) She's off to New York with her dad for a week but she can't wait to get back to Logan. Aw, isn't young love grand?

As Logan and Veronica kiss outside of Mars Investigations, Kendall strolls up with a suitcase and a few choice words for our young lovers. But she's there to talk to Keith, who doesn't have time to see her as he and Veronica are off to the airport to catch a flight to New York (hey, Jackie and Wallace are there too!). But when Kendall opens up her briefcase--filled to the brim with cash, I imagine--Keith reconsiders. "I need you to do something for me... I need it right now," Kendall purrs, leading us--I am sure--into the first mystery of next season.

As Kendall launches into the details of next season's very first case, a lonely Veronica waits at the airport as her flight makes their final boarding call... Where is Papa Mars? Don't tell me that Keith stands Veronica up at the gate! Will he make the flight? Or will she travel to the Big City all by her lonesome? After all, she could meet up with Wallace and Jackie... if only she had that extra ticket for Logan...

But my absolute favorite part of the episode had to be the coded exchange between Duncan and Clarence Weidman after Clarence murders Aaron Echolls. We see Duncan, in Australia, answer his ringing cell phone.

Duncan: CW?

Clarence: It's a done deal.

Now, aside from the fact that CW just happens to be Clarence's initials, wouldn't Duncan have just answered the phone by saying "yes" or "hello"? Call me crazy but I think it's a rather tongue-in-cheek inside joke from writers Rob Thomas and Jon Enbom (congrats, BTW, on graduating) about the fact that Veronica Mars is most definitely heading to the CW next season. It is, after all, a "done deal."

And that, ladies and gentlemen, is the best possible season finale news I could have received.

What's On Tonight

8 pm: The Amazing Race (CBS); Deal or No Deal (NBC); The Bedford Diaries (WB); Alias (ABC); Bones (FOX); America's Next Top Model (UPN)

9 pm: Criminal Minds (CBS); Dateline (NBC); The Bedford Diaries (WB); Lost (ABC); American Idol/Unan1mous (FOX); Girlfriends (UPN)

10 pm: CSI: New York (CBS); Law & Order (NBC); Invasion (ABC)

What I'll Be Watching

6 pm: What Not to Wear.

On tonight's episode of the British import, style-conscious women nominate their less fashionable sisters for a lifestyle and wardrobe makeover. Me, I just watch for Trinny and Susannah. Those two just crack me up.

8 pm: The Amazing Race.

On tonight's installment ("I Think This Monkey Likes Me"), the teams travel to Thailand, where they are forced to prepare a feast for a group of sacred monkeys at a shrine in Bangkok. Oh, I cannot wait to see Monica's reaction to this challenge. Priceless.

9 pm: Lost.

The race to the season finale continues. In tonight's 65-minute episode ("?"), Eko and Locke push something that looks like the drugrunners' plane, while Jack and the other castaways deal with the fallout from last week's, er, "incident" in the hatch. Come on, Libby, it was only a flesh wound!

10 pm: Top Chef.

Tempers flare on the reunion episode of Bravo's reality series Top Chef ("Reunion"), where the would-be chefs sling hash and talk dirt about their competitors. Um, shouldn't they have waited until after they filmed and aired the finale before doing a reunion episode? Wouldn't that have made sense? In any event, watch Stephen act condescending and watch Tiffani descend into tears while everyone reminisces about how utterly useless host Katie Lee Joel was.

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Veronica Mars fans waiting to solve the mystery about the fate of their favorite show may have received a clue today when creator Rob Thomas answered some fan questions over at TVGuide.com.

I've been (repeatedly) asking Rob Thomas to make Mac (Tina Majorino) a full-time cast member for a while now and it seems one of the TV showrunner gods was listening to my (constant) prayers. Among other tidbits, Thomas revealed to TV Guide that the show is in negotiations with Majorino to bring her back next season as part of the regular cast, but that the producers haven't decided whether Majorino's character Mac will be Veronica's roomie next season when they attend Neptune's (fictional) Hearst College.

Read below for an excerpt from the Rob Thomas interview on TVGuide.com:

Question: Is Mac going to be a regular for Season 3? Is she going to Hearst? Will she and Veronica be roommates there? - Lisa

Thomas: We hope that Tina Majorino will be back with us next year. We're trying to negotiate a deal to bring her on as a series regular. We absolutely want her. As for the roommate/college situation, we're still figuring that out.

Question: It seems pretty obvious that Veronica will be at Hearst College next year and the serial rapist story line will also show up again. Can you give us some other clues about what to look forward to next season? - Jessica

Thomas: The biggest news is that we will be going to a three mystery-per-season format next year. This way, the mysteries will play uninterrupted by repeats or preemptions. We're hoping this will help us cast guest stars in smaller arcs, allow newbies to jump in easier, and lessen the too-much-going-on complaint we heard in Season 2.
While I am not sure I like the new three mysteries-per-season idea (I love the show's twisty, interconnected mystery plots the way they are), I understand that it might make Veronica Mars way more accessible to new viewers and make the wait between new episodes a little more bearable if each mystery was wrapped up before the next batch of episodes.

From what I can tell, however, it was this notion of creating three separate mysteries for Season Three that may have secured the show a place on the CW's fall schedule. A well-placed CW contact has told me that network prez Dawn Ostroff loved Rob Thomas' outline for the third season of Veronica. Add to that the fact that the show's producers are actively negotiating with Majorino AND that Ostroff is actively selecting shows with ethnically diverse casts that would attract diverse audiences and it seems like Veronica might have a home next season after all...

It doesn't take a sleuth to deduct an outcome like that.

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"The Comeback" Comes to DVD

Written by Jace | Tuesday, May 09, 2006 | 3 comments »

Just a day after the news that the third season of Arrested Development would finally be released on DVD, home video watchdog TVShowsonDVD.com announced that another criminally cancelled comedy series, HBO's The Comeback, would be released on August 1st.

The series, which starred Lisa Kudrow as washed-up actress Valerie Cherish, charted Valerie's attempts at a comeback career after she is cast in an awful sitcom and agrees to have her life filmed simultaneously by a camera crew for a reality show called, you guessed it, The Comeback. The series was created by Kudrow and Michael Patrick King (Sex and the City) and ran for 13 episodes on the pay cabler last year.

The two-disc release of The Comeback will include all 13 episodes of the short-lived series, commentaries on six episodes, a DVD interview with "Valerie Cherish," and original material (which Kudrow told me about last month in Aspen), including footage of Valerie backstage at Dancing with the Stars.

Sadly, I was one of the few people who watched The Comeback and probably one of the even fewer who will rush out to buy the series on DVD. But if you haven't experienced this hilarious--and often painful--series, here's your chance to Netflix it and try it out.

As Aunt Sassy might say, you do need to see this.

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We've all noticed the sudden proliferation of product placement on television as it's become inescapable of late. Whether it's Venus razors on America's Next Top Model or Windex on HBO's Big Love, American television has become cluttered with shots of name-brand products, a trend which has lately carried over into actual program dialogue.

Pundits have blamed the explosion of product placement on the popularity of TiVo and other DVRs that allow users to speed through (or erase entirely) commercial ad breaks, making it necessary to embed ads into the actual program. If less people are seeing the commercials, networks need to reassure their sponsors that their products are still being viewed. But when does product placement cross a line from a subtle nudge to a knock over the head?

Reality shows have always been gluttons for product placement, whether it be competitors' rewards in the form of cars or luxury vacation excursions or, in the case of CBS reality series Survivor, name brand food--like Doritos or Mountain Dew, etc.--that the castaways can eat during or after a reward challenge. (Imagine if the Lost castaways had that option instead of being forced to eat all those Dharma Initiative generic foodstuffs; of course if Dharma--or Apollo chocolate bars--end up being actual companies in the real world, I'll eat my hat.) Typically, such placements have helped defray production costs.

NBC's The Apprentice seems to be one of the worst perpetrators of excessive product placement: nearly every task to date has relied on some national brand sponsorship of an existing or soon-to-be released product, whether it be toothpaste, automobiles, cruise lines, or video games.

And I couldn't help but cringe when The Amazing Race featured that damn Travelocity gnome, not just in their mat-side rewards, but in actual challenges. This season featured the second time that the gnome has popped up along the Race: contestants had to find a number of Travelocity gnomes buried in a field and then carry the gnome to the pit stop. (It was also the lamest challenge of the season thus far.) At other times, the show has featured teams driving around in Mercedes or GMC Yukons, using Duracell batteries in flashlights, logging on to AOL to receive clues, or visiting a BP gas station for no reason whatsoever except to retrieve a clue. (In fact, according to an article on Backstage.com, both The Amazing Race and The Amazing Race: Family Edition appeared on a list of the ten television programs with the most product placement for 2005. The Amazing Race also made the list in 2004.)

For a time, I had thought that television dramas and comedies would be somewhat immune to this trend. In the past, networks usually had programs "greek" the brand names--i.e., change Nokia cell phones to Nokio--or use generic placeholders to refer to products, like SUV instead of a specific car make. However, that's changed considerably as of late. Again, referring to the article on Backstage.com:

"The number of product placements on network primetime television jumped about 30% in 2005 to 106,808, up from 82,014 the previous year, according to Nielsen Media Research's product placement tracking service Place Views.

The total duration of product placements on network primetime rose 22%, from 157 hours in 2004 to about 191 hours last year. Visual onscreen placements increased 33.5%, from 64,920 to 86,668, while brand mentions rose 24%, from 19,876 to 24,723."

I find those figures absolutely frightening.

Yes, it's always been possible for characters to wear specific brands of clothes or drink a specific soda or even blatantly display a product logo in a scene (look at what Seth's poster on The OC did for sales of Death Cab for Cutie's albums), but I figured that the egregious usage of placement wouldn't carry over from reality shows into scripted series.

I was wrong. It's even carried over from shots of individual products to full-on discussions about them in the characters' dialogue.

It's not that there isn't a dramatic use to this sort of product placement; in fact it can at times help ground a show and make it seem more "realistic" by dint of the characters using and discussing the very same items we the viewers use and discuss in real life. Whether it's Margene on Big Love bemoaning the fact that they need to buy Windex (the same episode later also featured a shot of the bottle of the cleaner smack on Margene's table), or The Office's Jim and Pam discussing fellow NBC program The Apprentice, there's a verisimilitude to these scenes that can't be obtained by making up product names or greeking them.

However, setting nearly an entire episode of The Office in a Chili's restaurant and talking about the various dishes they offer ("I wanted one of those skillets of cheese," says Michael; and in a later episode: "May we have an Awesome Blossom, please, extra awesome.") was more than a little excessive to say the least (as was a shot of a Chili's employee explaining their corporate policy not to overserve drinks to customers). Another glaring example was the iPod in the Christmas episode, which was featured as the gift that everyone at Dunder-Mifflin wanted to steal (The Office is available for download through iTunes). At other times, the series has referenced Sbarros, Red Lobster, Bubba Gump Shrimp, Mac computers, Hooters, Mailboxes Etc., Country Crock Spread, and Starbucks. Which, when you add them all up, is a rather halting trend for the show.

According to an article in Ad Age, the Chili's deal was set up before "The Dundies" episode of The Office (the first such showcasing Chili's) was even written, during the TV upfronts that May:

"For The Office, the chain built out a restaurant with signage and found some actors who also were Chili's servers that helped make the integration authentic.

Deals for the integrations were structured as value-added media buys during the TV upfronts last May.

"We went into the upfront strategy to be more relevant in the creative," [Chili's vice president of marketing Ken] Thewes said. "We're in a cluttered market place. We want the brand to be integrated and not be a static representation. When we can have a relevant message in the shows, it gives you better retention and a better brand message."

Chili's prioritized programs on the networks' slates, read and approved shooting scripts and had staff on set during filming of each production. Mr. Thewes admitted that beyond making sure the integration is a natural fit, some of the placement is beyond his control.

So why be concerned with this now when product placement has been exponentially growing the past few years? The answer is simple. A friend of mine pointed me to last week's episode of Alias, which is no stranger to sponsorship and product placement deals. In this episode ("30 Seconds"), Sydney's sister Nadia (Mia Maestro) is revived from a year-long coma after being turned into a zombie by a Rambaldi device (trust me, don't ask). Upon her recovery, she joins Syd's hardcore spy dad Jack (Victor Garber) in his car. As Jack and Nadia race to their location in Jack's new Ford Hybrid, Nadia (who's been in a coma--A COMA--for a year) casually turns to Jack and says, "So you finally got the Ford Hybrid?" as she admires the car's luxe interior. "Electric," Jack responds and continues to explain that the quiet running noise helps on top secret missions. And then as they exit the car, the camera swoops in for a tight zoom on the Ford logo.

Did they really need a former coma patient, recently recovered, to remark on something as inane and pointless as Jack's choice of vehicle? How did this placement advance the story or the characters? Or enhance the verisimilitude of the scene?

Arrested Development poked fun of this very issue in one memorable second season episode. Wannabe actor Tobias (David Cross) meets former acting coach Carl Weathers at a Burger King, where Carl explains that he's trying to get the company to underwrite a new TV project he's working on, in exchange for setting a scene at the restaurant. As he speaks, the camera pans over to several signs for Burger King, which seem to fill the restaurant. Tobias replies that that's fine, "as long as you don't draw attention to it." (Wink, wink) Carl helpfully points out that all drink refills are free at Burger King. "It's a wonderful restaurant," Tobias says cheerfully. Ron Howard, the show's narrator, adds, "It sure is."

Ultimately, I know that product placement in some form is a necessary evil; television, after all, operates on an advertising-based system. I don't mind product placement as much when it is subtly and inoffensively embedded into a scene--as in Big Love or some of The Office's examples--rather than when it becomes just blatant shilling. Use the message as a way of saying something about the scene or characters or about life in general. Otherwise, the placement is just that--a placement--a placeholder of empty space that in the age of 20-minute sitcoms and 40-minute dramas could better be used to service the story. Networks need to be aware that they must serve that master first or the show itself will suffer and then there won't be anyone watching at all.

As for those TiVo units that Madison Avenue was decrying just the other day as the death of advertising and commercial-supported television as we know it? Well, TiVo announced yesterday that they would offer subscribers the ability to download specifically selected long-form ads directly to their DVR units, which should make sponsors gleefully happy. So does that mean we can cut back on the product placement overkill then? Guys? Anyone?

What's On Tonight

8 pm: NCIS (CBS); Most Outrageous Moments/Most Outrageous Moments (NBC); Gilmore Girls (WB); Fatal Contact: Bird Flu in America (ABC; 8-10 pm); American Idol (FOX); America's Next Top Model (UPN)

9 pm: The Unit (CBS); Scrubs/Scrubs (NBC); Pepper Dennis (WB); House (FOX); Veronica Mars (UPN)

10 pm: The Unit (CBS); Law & Order: SVU (NBC); Boston Legal (ABC)

What I'll Be Watching

8 pm: Gilmore Girls.

I'm getting a case of the sniffles just thinking about tonight's episode of Gilmore Girls, which marks the departure of creator/showrunner Amy Sherman-Palladino and her husband, writer/producer Daniel Palladino. In the aptly-named season finale ("Partings"), written by Amy and Daniel, the wee town of Stars Hollow becomes overrun by singers including Sonic Youth, Yo La Tengo, and the official town troubadour, Grant Lee Phillips, while Richard and Emily attempt to find a match for Christopher. Hmmm, do I smell a potentially happy ending for Lorelai and Chris, rather than Lorelai and Luke?

9 pm: Veronica Mars.

Meanwhile, over on what I hope is the season, rather than series, finale of Veronica Mars ("Not Pictured"), erstwhile teen sleuth Veronica finally unmasks the perpetrator of the bus crash, lands herself in more than a little trouble with her murderer/statutory rapist Aaron Echolls, and graduates from Neptune High. Hurst College and the CW, here we come! (Fingers crossed, anyway.)

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Following FOX's announcement that it had ordered pilots Vanished and 'Til Death (which I reported here), the network has again today announced that it has greenlit drama pilots Primary and American Crime, according to Variety.

American Crime, from Jerry Bruckheimer TV and Warner Bros. Television, focuses on a team of high-profile defense attorneys. The cast includes Victor Garber (Alias), Eamonn Walker (Oz), and Kerr Smith (E-Ring). The pilot was written by Jonathan Shapiro, who also executive produces along with Jerry Bruckheimer, Jonathan Littman, and David McNally, the pilot's director.

Primary, from 20th Century Fox TV, is being described as "a 'Mr. & Mrs. Smith'-type hour about hostage negotiators." The drama, which stars Ron Livingston (Sex and the City), Gina Torres (Firefly, Alias, Angel) and Rosemarie DeWitt (Rescue Me), had already received word to begin staffing and building sets last week. Primary's executive producers are Craig Silverstein, who wrote the pilot, and Tim Story, who directed.

According to Variety, network insiders say that Fox will most likely order another two dramas, and may even order one for the fall while holding another for a midseason launch. Among the contenders for those slots are Southern Comfort, a crime drama that stars Madeleine Stowe(Saving Milly), Lee Tergesen (Desperate Housewives, Oz, Wanted), Travis Fimmel (Tarzan), and Eric Roberts (Less Than Perfect); Damages, a Chicago-based legal drama about the challenges lawyers face in their personal and professional lives; and Beyond, a drama set at NASA's jet-propulsion laboratory, that was initially seen as flotsam but whose chances have improved dramatically. (Not far off from my own insider predictions from a few weeks back.)

Not such good news however for the producers of the WB comedy series Reba, who received word that the new CW network would not be ordering another season of the Reba McEntire-led sitcom, despite the fact that studio 20th Century Fox TV already had a deal in place with the WB for another season of the show.

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"Arrested" DVD to Be Released, After All

Written by Jace | Monday, May 08, 2006 | 2 comments »

It turns out that rather than make a huge mistake, Fox will release the Bluth family from their imposed jail sentence after all... at least on DVD.

TV Shows on DVD announced today that Fox Home Entertainment will release the third season of Arrested Development, the sadly cancelled cult comedy, on DVD on August 29th, a full two months after its original planned release date (June 13th).

The release will be a two-disc box set containing all of Season Three's thirteen episodes and as- yet-unnamed extras. TVShowsonDVD.com had the following information about the release:

"In this Emmy-winning comedy's hilarious third season, Michael Bluth finally realizes that it's his Uncle Oscar serving time in prison, not his father. Reluctant to spring Oscar due to the effect it may have on the family business, Michael decides the only fair thing to do is to find his father and place him under house arrest. Yet once found, George Sr. insists he was tricked into working with the Iraqis, leaving Michael no choice but to investigate his father's outrageous claim. But it isn't until Michael and Buster go to Iraq on a rescue mission to save Gob that the depth of the devious plot is revealed--and Michael learns which family member is the real brains behind all the madness."
While the reports of Arrested Development's demise have, unfortunately, been confirmed, fans of the brilliant-yet-cancelled comedy series can at least relive their third season memories on DVD. That or send some bow tie-wearing carnivorous seals to the Fox lot...

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Television That's a Little More "Naked"

Written by Jace | Monday, May 08, 2006 | 2 comments »

Before you continue reading, let me be clarify the above title so that I am not actually in breach of the Blogger.com contract as it were: I'm not actually talking about naked television but rather Naked TV, a co-production between NYC-based theatre group Naked Angels and Fox Broadcasting Company.

For those of you unfamiliar with the concept, Naked TV is an evening of live entertainment in the form of one-act plays, presented by Naked Angels and FOX in an attempt to "identify new writers and stage works which hold some potential for a TV adaptation." In theory, entertainment execs, representatives, etc. are supposed to attend the event and view these mini-pilots; FOX gets to see if the works play well in front of an audience; and new writers get the opportunity to potentially break into the industry.

Except that's not quite how it seemed this year.

This year's Naked TV lineup consisted of the following six one-act plays:

Penicillin by Deirdre O'Connor
Victoria Martin: Math Team Queen by Kathryn Walat
Waning Poetic by Chip Dunnigan By Graham Gordy
Sutton By Elizabeth Meriwether
The Paranoia of a Stay-at-Home Dad in Suburban Middle America by Mat Smart
No Leg Room by Liz Flahive

It was a rather mixed bag for this, the third installment of the program. The first year I went, I was really enamored of two of the plays and could definitely see both of them being developed into full network pilots (which they were, funnily enough). Their voices were strong and off-beat and original and even the plays I didn't like at least showed some potential behind the writing. So it was with some excitement that I arrived at the Edgemar Center for the Arts in Santa Monica on Saturday night, looking forward to an evening of unique voices from off the beaten path.

I was sadly disappointed.

Unlike the last time I attended, there was no geographic diversity to these pieces; all six of the writers were New York-based playwrights and--while there's nothing wrong with that--I didn't feel that they represented the level of talent or skill that's "out there" in New York or Los Angeles. This group should have been the best of the best of this year, offering up stories and concepts that showed promise and potential to either make it into the pilot development process... or at least entertain.

Only two pieces even managed to entertain and they were, by pilot standards, extremely close-ended. The first piece of the evening, Penicillin by Deirdre O'Connor about ex-lovers who meet at a clinic after he infects her with chlamydia and then tries to win her back, did manage to entertain me with some clever writing and a fun (and rather off-beat) situation, but it was the actors--especially standout Phillip Vaden--who made the piece spark. I couldn't, as much as I enjoyed the piece, see where this would go as a pilot for a series. But all in all, I enjoyed this selection more than any of the others that evening.

The other semi-impressive offering was Sutton by Elizabeth Meriwether, about the tense relationship between the U.S. president's daughter--an alcoholic party girl--and the African-American bodyguard assigned to protect her. After seeing Melissa Rauch take on another portrayal of a First Daughter in her brilliant and hilarious one-woman show, The Miss Education of Jenna Bush, I couldn't help but be disappointed by Meriwether's attempt to caricature one of the Bush daughters, which came off as a weaker version of Rauch's soaring production.

However, in both of the above pieces, there was at least some dramatic tension between the characters and the writers understood the basic conceits of story structure and gave the audience some plot turns as well as a resolution at the end. Not so with the other plays, which seemed to meander through their allotted minutes, offering up only random glimpses into other, less interesting worlds.

There was a stagy, almost amateur-ish air to the majority of these plays that was unwholly expected from the pedigree of the two companies who had come together to co-produce this evening: Naked Angels and Fox's Creative Writer Development department, which vice-president Stefani Relles describes in the program as "Fox Broadcasting Company's incubator for emerging television writers."

I agree that there needs to be a forum for up-and-coming television writers, who don't necessarily hail from Los Angeles or the television industry directly, but I feel let down by Naked TV's failure at achieving their overall mission. I would be surprised if any of these writers' works go on to be developed by Fox and for the most part I don't see many of the playwrights (except maybe O'Connor and Meriwether) being hired onto the writing staff of a television show, based on the material they presented here.

NPR had previously referred to Naked TV as "Fox goes avant-garde." But this year, it didn't feel that way at all. What I was hoping for was a creative symbiosis between non-traditional writers and the television pilot medium. I still think that there's a way to fuse the two--possibly with live entertainment as well--but I think that Naked TV needs to review their mission and get to their original vision. Otherwise, this is yet another mediocre showcase in an industry town filled with them.

What's On Tonight

8 pm: The King of Queens/How I Met Your Mother (CBS); Deal or No Deal (NBC); 7th Heaven (WB); David Blaine: Drowned Alive (ABC; 8-10 pm); Prison Break (FOX); One on One/All of Us (UPN)

9 pm: Two and a Half Men/The New Adventures of Old Christine (CBS); The Apprentice (NBC); Everwood (WB); 24 (FOX); Girlfriends (UPN)

10 pm: CSI: Miami (CBS); Medium (NBC); What About Brian (ABC)

What I'll Be Watching

7-9 pm: Jamie's School Lunch Project.

Jamie Oliver's latest British documentary series (after the wonderful Jamie's Kitchen) has finally (finally!) made it across the pond after a lengthy delay. The four-episode series follows British chef, author, restaurateur, and television personality Jamie Oliver (formerly known as The Naked Chef) as he tackles the poor conditions of school food in England, demonstrates its effects on childhood obesity, diabetes, and behavior, and sets out to create inexpensive, healthy, and--above all--tasty food for children.

9:30 pm: Old Christine.

As the season comes to a close, I am surprised by how this Julia Louis-Dreyfus comedy has managed to break the dreaded Seinfeld curse and won me over to boot. On tonight's episode ("No Fault Divorce"), Christine's former marriage counselor shows up at the gym, causing some awkwardness for Christine. But then again, what doesn't cause awkwardness for Christine?

10 pm: Anthony Bourdain: No Reservations. (Damn you, Travel Channel, for getting rid of my beloved East Coast feed!)

In tonight's second airing of this season's "Japan" episode, relive the sight of Tony eating his way (nearly) to ruin in Japan's culinary capital of Osaka, celebrating the Japanese festival of Obun, and enjoying lushly delicious sushi in a tiny jewel-box of a restaurant.

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And then there were three...

I am stunned that Lee Anne was eliminated this week on Top Chef and that Dave--DAVE, people!--made it to the final three and earned a spot for the season finale showdown in Las Vegas. Surely, overall merit and week-to-week consistency and creativity should have played a role in the decision, over the truffled macaroni and cheese that Dave made, which somehow won him a spot. A top chef, Dave is not.

True, Lee Anne's plate was a little crowded with flavors: pistachio-crusted loin of lamb, butternut squash and truffle risotto, treviso, and a cherry-red wine-port sauce, the latter of which earned her accolades from many of the Napa Valley chefs who had been roped in by Tom Colicchio to judge this challenge.

But it certainly didn't help matters that after Lee Anne decided to use lamb for her dish that both Tiffani and Harold followed suit and also chose lamb (I think Dave's choice of beef also helped his odds)... and then Lee Anne was forced to serve her lamb dish third. After eating three extremely rich lamb dishes, even I would have been sick of the animal at that point.

But Dave? "Pepper Monkey" Dave, who in that same episode's Quickfire Challenge, served up the most sad looking, messy platter of uninventive nachos? Whose dishes have always paled in flavor and presentation to Lee Anne's beautiful and delicious fare? The contrasts between their culinary styles, presentations, and demeanor could not be more striking; again, just compare Dave's nachos to the beauty and elegance of Lee Anne's Japanese seafood hot dog with lotus chips... or even Harold's popcorn cakes with ceviche.

In the end, I think the real battle will come down to that between tough-as-nails Tiffani and eager-to-please Harold, who in recent weeks has really stepped up and produced some beautiful and inventive dishes. While I can't argue with Tiffani's skills as a chef, I think her attitude needs some serious adjustment. She likes a "quiet kitchen," snaps at fellow competitors, and claims to be able to admit her mistakes when just minutes earlier she refused to acknowledge that her cauliflower puree brought out too much acidity in the wine.

Harold has, at times, flown too far below the radar and been too outwardly altruistic (as with the Cannes prize that also somehow went to Dave), but with fewer competitors there he has really been able to shine and has done so, like Lee Anne, without stepping on anyone's toes. Yes, this is a reality show and it is a competition, but in the end, it's also about building an audience for your own restaurant. Why establish yourself as a diva and prima donna to the general public?

But I can only hope that, with Lee Anne out of the running, Harold takes home the prize and claims the title of Top Chef with his usual humility and grace. And, Lee Anne, if you're ever in Los Angeles or I make it back to NYC (I'm originally from there), I'll buy you a drink and we can celebrate. In my opinion, you'll always be the Top Chef.

What's On Tonight

8 pm:
Ghost Whisperer (CBS); Deal or No Deal (NBC); Survival of the Richest (WB); America's Funniest Home Videos (ABC); School of Rock (FOX; 8-10 pm); WWE Friday Night Smackdown (UPN)

9 pm: Close to Home (CBS); Las Vegas (NBC); Reba/Reba (WB); America's Funniest Home Videos (ABC)

10 pm: NUMB3RS (CBS); Conviction (NBC) ; 20/20 (ABC)

What I'll Be Watching

7:20 pm: High Spirits with Shirley Ghostman.

The final episode of the hilarious spoof psychic show. Will Shirley's audiences finally realize that the joke is on them and revolt, killing comedian Mark Wootten? Probably not, but I'll be tuning in just to see if it happens.

9 pm: Doctor Who.

On this week's episode of Doctor Who ("The Empty Child"), the spirit of an alien child is haunting London's bomb sites. Looks to be a seriously creepy episode... Shut the curtains, draw the blinds, and make sure you don't watch alone. ('Cause that would just be lonely.)

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NBC has announced that it has picked up drama series Studio 60 on the Sunset Strip and placed in on its fall 2006-2007 schedule. The series, which explores the behind-the-scenes drama at an SNL-type late night sketch show, comes from The West Wing's Aaron Sorkin and Thomas Schlamme.

"Aaron Sorkin and Thomas Schlamme's work is TV at its best and Studio 60 lives up to that standard," said Kevin Reilly, President of NBC Entertainment, who made the announcement. "I'm thrilled they are back on NBC for the Fall."

The show's ensemble cast includes Matthew Perry (Friends), Amanda Peet (Syriana), Bradley Whitford (The West Wing), Sarah Paulson (Deadwood), D.L. Hughley (The Hughleys), Evan Handler (Sex and the City), and Steven Weber (Wings), among others.

NBC's publicity machine had the following to say:

Sorkin returns to television with this crackling take on the drama behind the humor of producing a popular, late-night comedy sketch show, "Studio 60 on the Sunset Strip." He lays bare the backstage politics, romances and delicate balance between creative talent, on-air personalities and network executives in an instant text-messaging world.

Prominent are Jordan McDeere (Peet), a savvy new network entertainment chief who inherits a massive public relations disaster on the series -- even before she starts her first day - and Matt Albie (Perry) and Danny Tripp (Whitford), a brilliant creative team that she wants to resurrect the program.

No word on what this means for Tina Fey's currently untitled yet similarly themed comedy pilot about the backstage shenanigans at a late-night sketch show, which is also is contention for next season at NBC. While NBC has yet to comment about any other orders before their upfronts, the prognosis is not looking too good for the Untitled Tina Fey Project, which stars Tina Fey, Alec Baldwin, Rachel Dratch, Scott Adsit, and Tracy Morgan.

In other program news, long-running family drama 7th Heaven won't be returning next season when the WB morphs into new netlet the CW. Contrary to earlier rumors that the CW was considering resurrecting the show, sources close to the network have now definitively said that the 7th Heaven finale scheduled for later this month will be a series finale. Furthermore, there are no plans for a spin-off series.

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Messages in a Bottle: LOST Thoughts #8

Written by Jace | Thursday, May 04, 2006 | 3 comments »

OH. MY. GOD.

I don't know about you but I didn't see that coming. We'll get to that shocker of an ending in just a bit.

On last night's episode of Lost ("Two for the Road"), missing castaway Michael returned to the fold, but he wasn't quite the man he used to be, Ana-Lucia and Sawyer took a tumble, and Hurley attempted a surprise for Libby, who received one of her own.

I've been waiting for weeks now to find out what sort of condition Michael was in when he stumbled out of the jungle directly into Jack and Kate's waiting arms. That's what I'd call highly suspicious, but in the land of Lost, such coincidences seem to be more fated meetings than chance encounters. Was Michael just heading in the direction of Jack's shouts? Um, no.

Back at the hatch, Ana-Lucia tries interrogating the prisoner while Locke is sleeping. (And by sleeping, I mean snoring so loudly that the entire station was vibrating like that funky electromagnetic rock.) The Other-Formerly-Known-as-Henry-Gale is still on his hunger strike/vow of silence and Ana goads him into attacking her... possibly by bringing some mango. As he squeezes the life out of her, the prisoner says that they're not the bad guys--Ana-Lucia is the killer, she's not "one of the good ones" (ding, ding!). But before he can finish the job, Locke knocks him out with one of his crutches. Damn, just when we were getting some info...

Flashback time, this week, belongs to Ana-Lucia. When last we saw her, she had murdered the man who shot her in cold blood after she failed to identify him as her attacker. His corpse has been discovered and Ana's mother--the police captain--knows that she's the one who killed him. She offers Ana help but gets nothing from her daughter, who promptly turns in her badge. Which brings Ana to an airport, where she's working the metal detectors. After work one evening, she ends up at the airport bar, where lo and behold, she runs into Jack's dad, Dr. Christian Shepherd, on his way to Australia.

The two start drinking and sharing stories and, before you know it, Christian offers Ana the chance to accompany him to Sydney, where he has some business. He needs a bodyguard and who better than someone who "stopped being a cop." They agree to give each other fake names to keep this agreement even more creepy and weird. Ana decides to call Christian "Tom," while Christian gives Ana the name of "Sarah." Which, hello, is pretty creepy in itself as that's the very same name as Jack's ex-wife! Hmmm, we don't think that Sarah was having an affair with Christian, do we? Nothing on Lost is ever just a coincidence, so I think that the choice of sobriquet was exceptionally intentional and loaded with meaning.

In Sydney, the two do nothing but drink for days on end before one night when Christian tells Ana that it's time for business. Ana drives him to the suburbs, where he goes up to a non-descript house and starts banging on the door. A blonde Australian woman answers (I thought it was Claire for a split second) and he demands to see his daughter. (Any chance it's Claire???) The woman throws him to the curb and he skulks back to Ana, who wants to know what's going on. Christian's not having any of it and he just wants a drink. Ana drives for what seems like hours and pulls up in front of a bar. She's decided that she's had enough running and she's going back to LA and wants Christian to come with her (she even tells him her real name) and opens her door, smacking right into... yep... Sawyer. Oh, cruel fate. So that's how Christian runs into Sawyer... and why he ended up in Sydney, which had always puzzled me. (Poor Jack. He'll never know that Ana knew his father and accompanied him to Australia. Or that his dad knew that Jack did the right thing. Or that he has a sister out there.)

Back in the present day, Locke goes to see the prisoner and confronts him about why he attacked Ana and not him. Locke was pinned under the door and "Henry" could have bludgeoned him to death, but he didn't. "Henry" says that he would never hurt Locke, he's "one of the good ones" (there we go again) and, in fact, he was on a mission to find him, when he was captured in Rousseau's trap. The Others sent him to find Locke and bring him back to them. "Henry" is dead no matter what; if the Others don't want to trade him, then Jack and the castaways will kill him. Or the Others will send someone to kill him. Their leader is a "brilliant man, a good man" but He is not a forgiving man. Locke is intrigued by this, so much so, that he covers for Ana when Jack sees the cut on her face and makes up a cover story about her banging her head on the sink. Why are you protecting the psychopathic liar, Locke?

Meanwhile, Ana is out for revenge. She wants a gun to kill the prisoner for, you know, attacking her and goes to Sawyer to try to get one, but he's not interested. That is, until later, when Ana "attacks" Sawyer and then when the two of them end up on the ground, starts kissing him passionately before mounting him and stripping off her clothes. A little while later, the twosome put their clothes on and Ana slyly grabs the gun without Sawyer even realizing it and says that if he tells anyone about this, she'll kill him.

Another would-be couple, Hurley and Libby, have their own romantic interlude... except that it doesn't quite go according to plan. Hurley wants to surprise Libby with something special and asks Sayid if he could fix up that radio they built and maybe play some music--or even static--for Libby and have his very own Say Anything moment. Sayid doesn't get the reference and instead suggests that Hurley take Libby to a private beach, the one he took Shannon to once. Hurley packs a bag of food and gets busted by Libby but Hurley soon leads her into the jungle to their romantic spot... except that they get lost and end up right back on their very own beach ("Look, there's Jin."). Which would have been fine with Libby, except that Hurley didn't actually bring any drinks or even blankets. Libby says that she'll handle the blankets and even score some wine. Hurley sparks to that idea, saying that maybe if he drinks enough, he'll remember where he knows her from, an idea which--judging from Libby's face--she doesn't like at all. And with that, Libby sets off for the hatch and those super-comfy blankets...

Back at the hatch, Michael comes to and fills in Jack, Kate, Locke, and Ana about what he saw of the Others, telling them that they're barely armed (two guns) and are mostly old people and women, who live in tents and teepees outside another hatch (ding, ding!). They're dirty and there's not very many of them. Kate sort of shifts uncomfortably during Michael's description, obviously remembering the theatrical costumes, fake beard, and glue that she saw in the medical station where Claire had been kept, but doesn't say anything. (I instantly knew that Michael was lying at this point. It's all too convenient.) Michael says that he didn't see Walt or the kids, but they must be there, probably in the hatch. They can easily take them, if they had guns. Jack decides it's time to get the guns back from Sawyer and he sets off with Kate and Locke, leaving Ana to look after Michael, a seriously bad idea if I ever heard one.

Ana tosses a knife at "Henry" and tells him to cut his ropes. Is she letting him go? Or is she going to shoot him. "Henry" tells her that he knows all about her, that Goodwin told the Others about her and said that he thought he could "reform" her. But Ana killed him. Ana says that Goodwin was going to kill her, but "Henry" asks if she's sure that that's what he was going to do. Ana draws her gun and points it squarely at "Henry."

Jack and the group confront Sawyer, who's not giving up the guns so easily. Jack pulls a gun on Sawyer as Sawyer reaches around to pull out his own piece... only to find it gone. He knows that Ana took it and Locke realizes that he may have made a mistake in not telling Jack about what happened between Ana and the prisoner. D'oh!

Ana is conflicted. She wants to kill "Henry" but knows that she can't, not after everything that's happened. She's not a killer, not anymore. Michael wakes up and wants to know where everyone is. Ana tells him about the prisoner and Michael offers to kill him, saying that the Others are animals, he's seen them, they took Walt, etc. It's his duty to kill "Henry." It's justice. Ana tells him the combination to the armory/cell as Michael weighs the gun in his hand. "I'm sorry," he says to Ana. AND THEN HE SHOOTS HER IN THE FREAKING CHEST. We hear Libby call out, "Michael?" and then a surprised Michael spins around and shoots her too. Libby sinks to their floor, still clutching those blankets, as Michael has a look of shock on his face. He then walks over to the cell and unlocks it. "Henry" stands up and Michael points the gun and himself and shoots himself in the arm.

Will Libby survive? Does Michael pin the attack on "Henry"? Is "Henry" dead too? Or has Michael released him? How can I wait a week for the answers to these questions?

Yes, I had a feeling that Michael might shoot Ana when she handed him the gun, but still, I didn't think they'd kill her off right after she slept with Sawyer. But then again, sex on the island seems to be fatal--just look at Shannon and Sayid. However, I don't think that Libby is dead, not yet, anyway. (The promo for next week says "she's dead," referring to Ana.) Also, we haven't gotten to the bottom of her past and connection to Hurley yet (while Ana's story was tied up rather neatly), so Libby might stick around on this earthly plane until the season finale at least. She knows too much and saw Michael shoot Ana, so he'll eventually have to finish the job before she can tell anyone else... As for his rationale, I don't think Michael is one of the "Others," but I do think that he's being coerced into working for them in exchange for Walt. Michael will do anything to get his boy back, including--as we saw last night--kill.

Next week: on another new episode of Lost ("?"), while Jack and the castaways try to deal with Ana's death and the bloodbath in the hatch, Eko and Locke set off to find a secret location that Eko believes can unravel the island's mysteries; the Virgin Mary and possibly the drugrunners' plane make another appearance; Michael looks frightening; and Eko takes a long dive off a large cliff.

P.S. The Lost interactive game began last night with a televised commercial for the Hanso Foundation. Was anyone able to get through? I've been calling and calling and haven't been able to get through yet. The number is 1-877-HANSORG.

UPDATE: The LOST-n-Found blog has a transcript of the phone messages(s) here, along with MP3 audio of the UK Hanso messages. And if you haven't gone through all the fun of the newly redesigned Hanso Foundation website, there's a helpful primer at Wikipedia. Scroll down to the relevant section and follow the helpful instructions. Namaste.

What's On Tonight

8 pm: Survivor: Panama--Exile Island (CBS); Will & Grace/Will & Grace (NBC); Smallville (WB); American Inventor (ABC); That '70s Show/That '70s Show (FOX); Everybody Hates Chris/Love, Inc. (UPN)

9 pm: CSI: Crime Scene Investigation (CBS); My Name is Earl/The Office (NBC); Supernatural (WB); American Inventor (ABC); The OC (FOX); Eve/Cuts (UPN)

10 pm: Without a Trace (CBS); ER (NBC); Primetime (ABC)

What I'll Be Watching

8 pm: Everybody Hates Chris.

That Chris can never ever catch a break, can he? On tonight's episode ("Everybody Hates Jail"), when Chris tries selling cookies to raise money for his school, he runs afoul of the police after claiming that he's selling stolen baked goods. Meanwhile, Chris' siblings aren't doing much better at home as Tanya and Drew catch chicken pox. And you can just bet that lil' Tanya is a royal pain in the butt.

9 pm: My Name is Earl.

Hmmm, another Earl episode with nothing but initials for a title ("BB"). While I was baffled by "Stole P's HD Cart" until a few minutes into the episode, I'm pretty sure I can get what "BB" stands for this time. On a new episode of Earl, our hero attempts to reunite a former crush with her father. And if any of the last 20-odd episodes have taught me anything, things exactly won't go according to plan.

9:30 pm: The Office.

On the penultimate Office episode of the season ("Conflict Resolution"), Michael usurps control of Dunder-Mifflin conflict resolution, yanking the responsibility away from his enemy Toby and the Human Resources department. As usual, complete chaos ensues.

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Okay, so no one ended up dead as a result of Lucky's rampage through the outdoor dining area of Neptune High on last night's episode of Veronica Mars ("Happy Go Lucky"). Well, no one besides Lucky himself, who was taken out in a hail of bullets (okay, one bullet), despite the fact that his gun was loaded with blanks. A rather "lucky" fact for Wallace, who tried to save a cowering Jackie from becoming Victim Number One, only to get "shot" twice in the chest.

Poor Lucky. Poor dead Lucky. When he's not allegedly leaving "presents" for evil Mayor Woody Goodman (i.e. homemade bombs) or stalking Woody's daughter Gia, he's wearing a baseball catcher's mask and washing his feet with bleach. Turns out that he did know something about the Mayor--something huge--that made him scared to talk: he was molested by the Mayor several years earlier when he was one of the local baseball team's batboys. And it turns out that he wasn't the only one that the Mayor was, er, tampering with: two of his other victims just happened to die in the bus crash. Such a coincidence, no?

One of those victims had boasted about outing someone really big in Neptune, "the outing of all outings," so he was going to spill the beans about Woody's secret proclivities. Woody finds out and arranges for a bomb to be put on the school bus--along with a rat to ensure that his daughter Gia and her little rich friends aren't on the bus at the time it goes boom--and maybe makes a deal with the Fitzpatricks to detonate the explosive at the right time. That settles most of that, except for the fact that the Mayor has now fled to parts unknown... and we still don't know why Curly Moran, former stunt supervisor for Aaron Echolls on "The Long Haul," had Veronica's name written on his hand when he washed up on the beach, dead. But more on that next week.

Turns out that Jackie isn't killed by Lucky... or pregnant (yet anyway). But she has fled for France a little early, not even pausing to say goodbye to boyfriend Wallace. And just when I was starting to like her too. Her dad Terrence finally gets off the hook for the bus crash (casino owner Lobo comes forward and says that Terrence was with him during the crash), then turns around and forces Jackie out of Neptune, just when she had decided to give up the Sorbonne to stay in town. Sure, it's for her own good as much as his: in return for the alibi, Lobo is coercing Terrence into working for him day and night. So is this the last we'll see of the feisty (yet somewhat humbled) Jackie? Something tells me she'll be back...

But there was one glorious piece of news in last night's episode that made me dance with sheer glee: Mac (Tina Majorino) will be staying in Neptune next year, as Wallace makes a particular point to tell Veronica (and all of us watching). So while Veronica has her heart set on Stanford, something tells me that she'll end up attending school a little closer to home. And maybe, just maybe, Rob Thomas was listening to me and decided to make Mac a full castmember next season by making her Veronica's soon-to-be college roomie. Fingers crossed.

(Also something to ponder: is Cassidy's secret tied into he Mayor's tendencies for teenage boys? From the looks of Mac crying next week, something big happens to everyone's favorite computer hacker... and the fact that Cassidy and Mac have reunited somewhat leads me to believe that it has something to do with the youngest Casablancas man.)

Is it just me or have you too lost all faith in Neptune's jury system after this week's episode? Nefarious action film star and Lily Kane-killer Aaron Echolls was cleared not only of the murder charges, but also of the charges of kidnapping and statutory rape, no less. Poor Logan turned states evidence and testified against in father in return for immunity against the felony charges of destruction of evidence (he erased those oh-so-crucial tapes of Aaron having sex with Lily Kane), only to have his father walk free at the end of the episode. And Aaron is not one to sit back and forgive and forget. No, he's sort of the scorched-earth revenge type and I am sure he plans to get even with Veronica. And if he can form a wedge between Veronica and daddy Keith--having her STD and arrest for breaking into the Mannings' home come out during the trial was pure evil--so much the better.

And look, who's that in next week's promos? Why it's Duncan, Veronica's on-the-lam ex-boyfriend who resurfaces, I'm sure, after hearing about Aaron's exoneration. Will Duncan return to Neptune to extract some justice of his own? How does Meg and, more importantly, Meg's creepy father and her poor abused sister tie into all of this? Will Aaron again lock Veronica in a refrigerator and set fire to a house just to get even with her?

Answers to these questions and more next week in the season finale of Veronica Mars ("Not Pictured"), when Veronica solves the mystery of the bus crash and she and the Neptune High seniors celebrate their graduation. Given what's already happened this season, let's just hope that the survival rate of Veronica's graduating class is higher than, say, Buffy Summers'.

What's On Tonight

8 pm: The Amazing Race (CBS); Deal or No Deal (NBC); One Tree Hill (WB); Alias (ABC); Bones (FOX); America's Next Top Model (UPN)

9 pm: Criminal Minds (CBS); Dateline (NBC); The Bedford Diaries (WB); Lost (ABC); American Idol/Unan1mous (FOX); Everybody Hates Chris/Everybody Hates Chris (UPN)

10 pm: CSI: New York (CBS); Law & Order (NBC); Invasion (ABC)

What I'll Be Watching

6 pm: What Not to Wear.

This week on the original British transformation show, makeover mavens Trinny and Susannah take on two middle-aged men (yes, men) who are going through a mid-life crisis. Will they come out the other end with a new lease on life and looks? Or will Trinny and Susannah send them crying with their patented brand of torture?

8 pm: The Amazing Race.

With the teams dwindling--sorry, Fran and Barry--this week on The Amazing Race ("Man, They Should Have Used Fake Names"), the remaining competitors travel to Australia, where they must swim with crocodiles and dive out of airplanes. So, just another typical day in the life of an Amazing Race player.

9 pm: Lost.

I have been waiting for this episode for two weeks now and it's finally here. On a new episode of Lost ("Two for the Road"), Jack and Kate are reeling from the reappearance of Michael--last seen heading off into the jungle to find his missing son Walt--but manage to get some information about the whereabouts of the Others. Meanwhile, Ana Lucia interrogates the prisoner but the Other-Formerly-Known-As-Henry-Gale has plans of his own.

10 pm: Top Chef.

Yay, an entirely Stephen-free episode! On tonight's installment of Top Chef ("Napa's Finest"), the remaining chefs--Lee Anne, Tiffani, Harold, and Dave--must prepare dishes cook for some big time Napa Valley chefs. Watch with amazement as Dave breaks under the pressure and bursts into tears!

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While all of the networks scurry to put the final touches on their fall lineups before the upfronts later this month, many in Hollywood continue to guess (and second guess) the fall schedule of one network in particular: the CW.

While many have dismissed the idea of combining struggling netlets UPN and the WB into a single network entity, others--myself included--can't help but watch with a sick fascination, trying to make heads or tails of which shows will be saved and which shows will end up on the scrap heap. CW President Dawn Ostroff certainly has her work cut out for her, but she also has the plum position of being able to pick and choose programs from among two (defunct) network schedules... and maybe order one or two pilots to series as well.

The New York Times today offered a behind-the-scenes feature on the goings-on at the CW and spoke with CBS head Les Moonves as well as CW czar Dawn Ostroff about which shows might make it onto their new network's fall lineup.

CW is not making anything official yet, but among the shows that Mr. Moonves and Ms. Ostroff said would almost surely be included on the new schedule are America's Next Top Model and Everybody Hates Chris from UPN and Gilmore Girls and Smallville from WB.

Other probable contenders include Veronica Mars, and several of the shows from the Monday night UPN comedy lineup of One on One, All of Us, Girlfriends, and Half and Half as well as Supernatural and Beauty and the Geek from WB.
How can Veronica Mars still only be categorized as a "probable contender" to be listed in the same sentence as One on One and All of Us? How can Ostroff and Moonves fail to see the brilliance of the writing, the understated grace of the cast, and just the sheer genius of creator Rob Thomas? Then again, here's a perfect example of CW's thought processes:

So what about the name? At the meeting in March, the marketing department offered a list of about 15 potential names.

The selections were aimed at being as hip as possible: the Evo network; the Now network. There was a proposal to call it NXTV (as in "Next TV") or XYTV (for the audience generations being spoken to), or something even more avant-garde: the Angle network.

You. Have. Got. To. Be. Joking.

I've waited months to learn what the execs were thinking when they came up with the truly lousy CW, a truly inspired combination of CBS and WB. But I shudder to think of the cast-off names that were tossed out with yesterday's Barney Greengrass salads. The Evo network? The Now network? NXTV? The Angle? Here I thought that the CW was a lame moniker but I guess, compared to the alternatives, it's really not all that bad. It could be worse...

Mr. Moonves emphasized that as a new network, CW wants to add at least a few new shows, if only to signal that it has something of its own to offer.

"At CBS scheduling meetings, I always say: Don't fall in love with the new girl, don't get carried away," Mr. Moonves said. "With the CW, I might say: It's O.K. to fall in love with the new girl, instead of the old wife."

Um, sure. I think that makes my case better than anything I could have said. Maybe the New Girl Network would have been a more suitable name then.

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Bravo to Whip Up Second Batch of "Top Chef"

Written by Jace | Tuesday, May 02, 2006 | 1 comments »

Cable network Bravo has ordered a second course of its hit reality series Top Chef, according to a report in Variety.

The series, which pits aspiring chefs against one another for a cash prize and the title of top chef, will return next season with a ten-episode run of more culinary catastrophes. Additionally, Bravo has scheduled a reunion special for the show's current season, which is scheduled to air on May 10th, and has expanded the season finale to two one-hour individual episodes, which will air May 17th and 24th.

The finale is expected to pit the final three chefs in a culinary showdown in Las Vegas. While I am routing for Lee Anne to take home the title, my predictions for other members of the final three competitors are Harold and Tiffani. (Tough luck, Dave.)

In other series renewal news, ABC has announced that they have given a full third season order to sophomore legal drama Boston Legal. The series, which stars James Spader, William Shatner, and Candice Bergen, is scheduled to air its two-hour season finale May 16th.

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Not every star of ABC's hit castaway drama Lost was always as famous as they are today. In fact, the actors pretty much ran the gamut from the widely-recognized TV stars to international film stars to actors of the never-seen-'em-before variety.

We all know that Matthew Fox (Jack) played Charlie on FOX's series Party of Five and that wee Dominic Monaghan (Charlie) was a hobbit in the Lord of the Rings feature film franchise (before that he played Geoffrey on Brit mystery series Hetty Wainthropp Investigates), but what about the lesser-known actors?

Well, Evangeline Lilly (Kate) appeared on a Canadian dating commerical (no joke), while Jorge Garcia (Hurley) was discovered after an appearance as a drug dealer on Curb Your Enthusiasm. As for a few of the others: Terry O'Quinn (Locke) had appeared in numerous TV roles, usually as a military officer, on such shows as Alias, The West Wing, JAG, and Harsh Realm; theatre actor Harold Perrineau (Michael) was best known for his work on HBO's Oz and in films like Romeo + Juliet and The Matrix series; and Daniel Dae Kim (Jin) memorably appeared on 24 and Angel--

Wait, what's that, you say? Angel? The now defunct WB Buffy-spin off starring David Boreanaz as the titular hero, an L.A.-based vampire with a soul saving the hopeless and continually preventing the end of the world? Didn't someone else in the Lost cast appear in that very same show?

You would be right. Lost's very own amoral con artist Sawyer (a.k.a. actor Josh Holloway) appeared on the drama, in its very first episode, "City of..." playing a character known only as Good Looking Guy who, like Sawyer, wasn't all that he initially appeared to be. In the series' opening scene, Angel stakes out a local watering hole by pretending to be drunk. He spies a young woman talking to a group of suspicious young men--including Good Looking Guy (Josh Holloway)--and follows them outside. Good Looking Guy couldn't be a vampire, could he? Not when he's so, you know, good looking, right?

The young woman is taken aback when the men transform into vampires, who are about to attack the girl when Angel appears, staking two of the vamps off the bat (heh, bat). But our Sawyer isn't having any of that and attacks Angel as well, who throws him onto a car windshield. The damsel-in-distress tries to thank Angel but he yells at her to get away and then stakes Sawyer, turning him to dust. And Angel, being the typically brooding guy that he is, swirls away and stalks down a darkened alley into the night.

Poor Sawyer. He never does get the girl, does he?

What's On Tonight

8 pm: NCIS (CBS); Most Outrageous Moments/Scrubs (NBC); Gilmore Girls (WB); According to Jim/Hope & Faith (ABC); American Idol (FOX); America's Next Top Model (UPN)

9 pm: The Unit (CBS); Scrubs/Teachers (NBC); Pepper Dennis (WB); Hope & Faith/Less Than Perfect (ABC); House (FOX); Veronica Mars (UPN)

10 pm: Dynasty Reunion: Catfights and Caviar (CBS); Law & Order: SVU (NBC); Boston Legal (ABC)

What I'll Be Watching

8 pm: Gilmore Girls.

The second-to-last episode before Amy Sherman-Palladino and Daniel Palladino leave Stars Hollow for good. In tonight's episode ("Driving Miss Gilmore"), the Gilmore girls play nursemaids with Lorelai acting as her mom's driver after Emily undergoes minor eye surgery, while Rory looks after boyfriend Logan's recovery after his sky-diving accident. Meanwhile, Luke helps his kooky sister Liz after she announces she's preggers. Ha! Told you so; I knew the pregnancy alluded to in the promos for this week's episode had nothing to do with Rory or Lorelai. Take that, WB promo department!

9 pm: Veronica Mars.

Will the entire Neptune gang make it out of this season alive? Who can say, but it looks like the death of a character could go down in this week's episode of Veronica Mars ("Happy Go Lucky"). At Aaron's murder trial, Veronica, Keith, and Logan take the witness stand; Neptune High janitor Lucky gets trigger happy; and ever-vigilant sleuth Veronica discovers a suspicious e-mail on the mayor's computer. Is Woody Goodman the mastermind behind the bus crash? And will we ever learn why that dead guy had Veronica's name written on his hand?

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Showrunner "Desperate" to Leave?

Written by Jace | Monday, May 01, 2006 | 2 comments »

Scandal erupted on the set of Desperate Housewives on Friday when the show's executive producer and showrunner Tom Spezialy walked off the set. According to the Hollywood Reporter, sources indicated that a replacement might be found for Spezialy next season.

The cause of the walkoff was undisclosed, but The Hollywood Reporter described it as "an unspecified falling out." However, behind-the-scenes movements over the weekend must have calmed down Spezialy, as he is expected to return to work today in order to wrap production this week on the dramedy's season finale.

UPDATE: I pulled out my nifty Hollywood rolodex again (well, opened my contacts in Outlook anyway) and came across some rather juicy gossip emanating from the set of Desperate Housewives. According to my well-placed agency sources, there's been much in-fighting among the DH writing staff for quite a while now and that Spezialy's departure may be the first of many from Wisteria Lane.

One rumor has creator Mark Cherry firing most of the staff--including Kevin Murphy--with the exception of four or five allies such as John Pardee and Joey Murphy, the show's co-executive producers. One possible replacement for Spezialy that's being thrown around: Frasier's Bob Daily (he's currently on CBS comedy Out of Practice).

Only time will tell if the above rumor becomes full-blown fact, but stay tuned.

As a former viewer of Desperate Housewives, I find it rather vindicating that the behind-the-scenes scandals have become far more interesting than any of Susan's pratfalls. Perhaps a spinoff called Desperate Showrunners?

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