31 May 2006

Pilot Inspektor: ABC's "The Nine"

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.

30 May 2006

Pilot Inspektor: NBC's "30 Rock"

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.

29 May 2006

Televisionary: The Recap Episode

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

26 May 2006

"My Back Just Walked into Your Knife": The Winner of "Top Chef" Is a Cut Above

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.

From Across the Pond: "The Thick of It"

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.

25 May 2006

Musical Chairs: NBC Reshuffles Nearly Its Entire Schedule

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

Messages in a Bottle: LOST Thoughts #11

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.

24 May 2006

Casting Couch: Pilots to Recast Several Series Regulars

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...

Daily to Get "Desperate" After All

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.

From Across the Pond: "Waking the Dead"

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...

23 May 2006

4 8 15 16 23 42...and 6 Inches?: An Island of "Lost" Toys

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.

Pilot Inspektor: ABC's "Brothers & Sisters"

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.

22 May 2006

Pilot Inspektor: NBC's "Heroes"

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