JTonTV

Poor man’s “House” deserves to be knocked off air

2006-11-30T18:58:00.000-05:00

Peter Ocko has created a monster. As the executive producer of “3 lbs.” — CBS’s latest medical drama — Ocko is supervising the ugly stepchild of FOX’s “House, M.D.”

It was bound to happen. Every successful show is inevitably cloned by other networks, hoping to get a sip from the keg of glory. Like an elementary school mimeograph, the duplicates can never compare to their predecessors.

“3 lbs.” is no exception.

The show stars Stanley Tucci — a true gem of an actor — as the arrogant, genius neurosurgeon Doug Hanson. Tucci’s limitless talent is wasted here; he seems to be sleepwalking through a part that alternates between uneven and bland. Mark Feuerstein costars as Hanson’s protégé, Jonathan Seger, who is — of course — his complete opposite.

The key to understanding the show is that Hanson sees the brain as “wires in a box” while Seger “honors the mysteries of the mind.” It’s “ER” meets “The Odd Couple,” and the result is a mind-numbing disappointment.

With dialogue that’s one part heavy-handed philosophical debate, one part neurological gobbeldy-gook and one part insipid drivel, the show takes a promising premise and steamrolls right over it.

The problem isn’t so much that episodes don’t have engaging plots — on the contrary, the ideas and themes it explores are fascinating. A woman is forced to decide if she wants radiation treatments that will save her life but end the life of her unborn child. A mother, faced with losing her daughter, has to choose between two risky surgeries.

These are compelling stories! Unfortunately, the execution leaves much to be desired.

The characters of Seger and Hanson are simply defined as the opposite of the other; they exist solely to disagree with one another, though never passionately or convincingly.

Their arguments hardly ever lead to anything remotely close to change or growth on either side, and it’s hard to imagine watching even 13 episodes of the same back-and-forth between these two.

The other characters are instantly forgettable drones. Without personalities or any specific character traits, they could be played by any actor — their place in the story would not change were they to be portrayed by a small Asian woman, a heavyset African-American or a blonde-haired Swede.

Contrary to the pleas of the show’s theme song (an inexplicably chosen “Calling All Angels” by Train — the same gem we remember from 2003), things are not “gonna look up” for this drama’s ratings. Its second airing marked a 7.5 percent audience decrease from its premiere, and the third episode pulled in only 3.1 million viewers.

I’m disappointed in Ocko, who’s worked on great shows like “Boston Legal” and “Dead Like Me.” I’m disappointed in Tucci, who made an excellent guest appearance on “Monk” last summer as an actor portraying the goofy detective. I’m disappointed in Feuerstein, who had a powerful recurring role on “The West Wing” as a Republican lawyer with a conscience and a brain. The talents of all three men are wasted on “3 lbs.”

In episode two, Seger makes the mistake of sleeping with a patient’s lawyer (I’m no expert, but he may want to consult some sort of ethics manual on that one).

“Now I regret it,” he admits, toward the end of the episode.

“I regret some things too,” the lawyer replies.

So do I — especially the “3 hrs.” I spent watching “3 lbs.”

The triumphant return of "Reality"

2006-09-21T17:00:00.000-04:00

The kings of reality TV have both returned to CBS. "Survivor" premiered in its trusty Thursday-at-8 p.m. timeslot a week ago while "The Amazing Race" moved to its new home, Sundays at 8 p.m., Sept. 17. Both shows added shocking new twists, but it was four-time Emmy winner "Race" that recaptured my heart after a season's absence.

I thought I'd finally kicked the habit of "Survivor," but that all changed when producers announced that tribes would be divided according to ethnicity. Shocked and appalled at first, I soon grew curious to see what would happen when the four teams finally merged.

After watching the pilot episode, it's clear that each of the four tribes - black, white, Asian and Hispanic - had the same frustrations, trials and personality conflicts that contestants have had since the beginning of the series.

When the tribes merge, things will become more interesting, although I think that, too, will feel more like the previous seasons than people realize. If anything, the issue over race will slightly inflame the fierce loyalties that have always been part of the tribe mergers (for reasons I'll never understand).

The real difference with this cycle is the presence of four teams, rather than three or two. This has the potential to throw a wrench into team strategy when the merge happens, as teams will have to form multi-tribe alliances to get rid of the weaker groups.

Fascinating as "Survivor" may be, it was "The Amazing Race" that had me hooked by the third minute of the show.

While introducing husband-and-wife team David and Mary - and I can't believe I'm admitting this - I was brought nearly to tears. Mary explained (in her Stone, Kentucky, accent) "I didn't think David'd want anything to do with me, because he's so cute. And I'm just normal."

"Finally I had to go out and just about beg her to come talk to me," David continued.

"Yeah, he liked me," Mary said. "And it was really cool." The couple has been married nine years and, let me make this clear: David's a coal miner, not a supermodel.

This is what "The Amazing Race" does best: it presents real-life couples, warts and all, in some of the most stressful and triumphant moments of their relationships.

David and Mary are my favorite team (at least for now) due to a moment toward the end of the first leg of the race. Tom, one half of the obligatory gay couple, was trying to scale the Great Wall of China and beginning to lose his head. His partner, Terry, tried to offer encouragement and support from the ground while Mary looked on anxiously.

"David, I ain't helpin' another team," she finally said, "but Tom, just don't panic and you'll be okay."

Another fascinating team to watch was Bilal and Sa'eed, best friends whose ultimate goal for the race was to "show the world a good example of a Muslim." Their constant prayers lent an air of mystery to the team, until Bilal jumped into a cab after a challenge that had forced him to eat fish eyes.

"I'm from Cleveland, Ohio!" he said, "What do I know about chopsticks?"

Instantly, I realized I'd been categorizing these men as "Muslims" when, really, they are so much more than just that. It was a sobering moment - one that's an example of "Race's" incredible ability to introduce viewers to new cultures, whether it's through the teams or the locations they visit.

The producers have worked hard this season to find interesting combinations for the teams, including a pair of single moms, two male models who are also recovering drug addicts, a couple of beauty queens (Ms. California and Ms. New York) and, finally, a father-daughter team.

That last one is notable because the father, Duke, admitted early in the show that he had been disappointed to find out Lauren was gay.

By the end of the episode, Lauren was crying as she watched her father scale the Great Wall and realized she'd never thought they'd have another chance to spend time together. Duke, too, came to understand how proud he was of his daughter.

It was an hour of feel-good, edge-of-your-seat television that launched the winningest reality show on TV today.

ABC's "The Nine": Daring premise for new drama

2006-09-14T17:00:00.003-04:00

One of the darlings of the new season is ABC's "The Nine," an ensemble drama the network is hoping will be a successful companion to its flagship hit, "Lost," Wednesday nights. The show follows nine victims of a 52-hour hostage crisis and examines the ways in which this event binds them together and changes their lives forever.

As the pilot opens, we follow the characters as they go about their painfully ordinary Friday. With each moment that passes, they draw inexorably closer to the fateful moment when two gunmen attempt to rob the Fidelity Republic Bank.

"This'll all be over in five minutes," says one of the robbers (Owain Yeoman, "Kitchen Confidential") as the scene fades to black.

The next thing we know, police are storming the bank. Helicopters buzz overhead. Shots are fired. There is screaming. One of the hostages becomes a hero, while another is on the verge of death.

A cop (Timothy Daly, "Wings") who'd stopped into the bank to deposit his check moments before the robbery is handcuffed to a pipe. A woman (Kim Raver, "24") is huddled in a corner, her lip bruised and part of her hair chopped off. A doctor (Scott Wolf, "Party of Five") is frantically trying to stop the bleeding of a woman (Lourdes Benedicto, "24") who's been fatally shot, while her sister (Camille Gauty, "Prison Break") cries at his side.

One of the hostages, Egan (John Billingsley, "Star Trek: Enterprise"), risks his life, grabbing the gunman as the police storm into the bank. Less than three days before, the same man, after being turned down for a loan by the bank manager (Chi McBride, "Boston Public"), almost killed himself in the bank's bathroom.

And that's what "The Nine" is all about: the after-effects of a traumatic event and the ways these people find to cope and move forward. Relationships are broken and forged, resolve is tested, nothing remains the same.

In a sense, the show is basically "Lost" in reverse; instead of the main action taking center stage with flashbacks to the characters' lives, the producers chose to focus on the nuance of life itself. Each episode will begin by revealing 10 minutes of the hostage situation, then return to present day, where we'll see the effects of those events play out.

This is a brilliant idea, in theory. My biggest problem is that I really, really want to see what happened in that bank, and I think that's going to be a struggle for most people.

The show was written by brothers Hank and K.J. Steinberg (Hank is the creator of CBS's wildly successful, "Without a Trace") and directed by Alex Graves ("The West Wing"). The creative team has said that, eventually, the hostage situation will fade into the background, until it's not referenced at all, and I hope that happens sooner rather than later.

Don't get me wrong, the premise is incredibly daring, and I'm certainly going to play right into the producers' hands (I'll be tuning in each week to get another piece of the puzzle) but I'm not sure how long I can keep coming back if there's little payoff.

My hope is that the writers will be wise enough to make the characters so compelling that they draw in viewers on their own merits. That approach has certainly paid off for "Lost," and could prove useful in this situation as well.

"The Nine" is certainly one of the most provocative new shows, but I'm not convinced it's going to be a hit, nor that it should be. For that to happen, it has to live up to its potential as a character-driven hour of television.

CBS's "Jericho": Bleak vision of future for non-procedural

2006-09-14T17:00:00.002-04:00

The most ambitious new show from CBS is the mystery/suspense/thriller "Jericho," about a small town weathering the effects of what appears to be a nuclear attack on the United States. But on a network that makes its bread and butter with crime procedurals (there isn't a single night during the week without at least one), can a continuing storyline like this one sustain an audience?

"Jericho" starts out with Jake Green (Skeet Ulrich, "Miracles") arriving in town after a five-year absence. He stays just long enough to ask his father (Gerald McRaney, "Deadwood"), the town's mayor, for some money left by his grandfather, then leaves in a hurry.

Before he gets very far, all hell breaks loose, literally.

Even knowing the premise of the show, the image of a mushroom cloud in the distance struck me as terrifyingly plausible. The show takes place in the present, where reports of terrorism and weapons of mass destruction seem to fill each evening's newscasts. The most frightening aspect of "Jericho" is its connection to reality; there is a very palpable sense that this could happen.

The town of Jericho, Kansas is like any small town on television - everybody knows everyone else, and they all meet at the convenience store to gossip. When Jake returns after his unexplained absence, people ask questions, and he gives them all different answers, leading to several unsettling questions.

Is it a coincidence he returned when he did? Does he know something about what's going on? Where has he really been all this time?

The question of whether or not this was an accident pervades the first episode, titled, "The First 17 Hours." Mayor Green refuses to entertain the possibility that this was an attack, claiming that positive thinking is necessary for survival. In one of three shocking moments, he's presented with overwhelming evidence to the contrary.

"My God," Green says, rubbing his face dramatically when he realizes the magnitude of what's happening. It's a moment that made me realize I was watching a television show, and that's never good. "Jericho's" weakness is that, at times, it has the feel of an after school special.

The pilot presents us with a situation that was never realistically addressed on "Lost": without power, without any real social structure or contact with the outside world, people tend to be less than admirable in their actions. A scuffle at a gas station pits neighbor against neighbor; the general store clerk is startled when a teenage boy seems to be looting her store.

These conflicts are interesting, if tried and true, and I hope the producers continue to probe their depths instead of abandoning everything that "Lord of the Flies" taught us in middle school. The heartwarming speech by the mayor can't stave off the reality of human nature forever.

Bearing that in mind, there are two other genuinely shocking moments in the show, one of which comes right at the close of the episode and which, I assume, will lead directly into episode two: "Fallout."

For as many questions as the pilot raises, it's hard for me to get too invested in this show yet, and that's specifically because of the network airing it. CBS has had little luck with anything other than formulaic programs. Last year's, "Threshold" lasted only nine episodes before it was yanked; how long can "Jericho" last on a network not known for giving original programming a chance?

I'll continue to watch "Jericho" for the next few weeks, keeping a close eye on its ratings and preparing myself for the worst. I hope we'll get the opportunity to find out where the bombs came from or if the townsfolk can pull themselves together, but I know deep down that there's very little chance of that happening.

FOX's "Standoff": Predictable procedural packs punch

2006-09-14T17:00:00.001-04:00

Last week, FOX premiered its newest procedural, "Standoff," starring Ron Livingston ("Office Space") and Rosemarie DeWitt ("Rescue Me") as a pair of hostage negotiators who also happen to be sleeping together. This juicy tidbit is revealed in the opening scene, as Livingston's character Matt Flanary makes a desperate attempt to connect with a man holding his two sons at gunpoint during rush-hour traffic.

Needless to say, it's not his best moment.

Matt's plan works (of course) because, well, he's a loose cannon, so his off-the-wall schemes cannot fail. DeWitt's character, Emily Lehman, literally treats her cases like textbook examples - she wrote a manual for negotiators that she can quote from memory. It's an odd couple pairing that's about as Mulder-and-Scully as they come.

The producers, however, have done two things right: they reveal the relationship right away and they don't focus on it too long before the next crisis arises. They play to their strengths, the heart of the show being the job: to protect innocent hostages and get the hostage-takers alive.

In the pilot, a senator's son straps a bomb to himself and enters a coffee shop, demanding that television crews arrive within 15 minutes. He claims to be a Muslim fundamentalist, but Emily soon realizes he's not following any of the patterns of a terrorist.

With this development comes an unexpected revelation. The hostages are almost certainly going to be okay, but the boy is another question. Continually fighting with the tactical team, led by actor Michael Cudlitz ("Prison Break"), who simply wants to shoot the guy and go home, Emily and Matt work to save the boy's life.

The ending is predictable, the situations contrived and the characters are stock, but the saving grace for this show is its writing and acting, which are well above average.

Matt's opening speech, in which he tries to connect himself to the man holding his sons hostage is both eloquent and heartfelt. In fact, Emily later admits that she's upset Matt can't open up like that with her.

Livingston's dry wit, which has become a cult favorite since "Office Space," is still fully intact, though he was excellent last year in a guest role on "House" and continues to prove that he's not just a comic actor.

The biggest initial draw to this show, for me, was Gina Torres of the short-lived FOX series "Firefly." She's a remarkable actress and seems to elevate her role as the "strong woman captain" above the level of cliché.

There's definitely hope for "Standoff" on FOX. As a procedural, it works. It's got excitement and action in strong doses, and a sense of immediacy that keeps the plot moving.

For me to keep tuning in, though, the producers are going to have to move away from tired setups and begin to think more creatively. They certainly have the team for it: there are writers and producers from "The Dead Zone," "The Wire," "The Shield" and "Buffy the Vampire Slayer." There's also one from "One Tree Hill," but we can leave her off the list.

One thing to watch out for: the show currently airs Tuesdays at 9 p.m. until Oct. 31. When FOX returns from baseball season, "Standoff" will swap places with "House" and begin airing at 8 p.m.

NBC's "Studio 60": All-star ensemble headlines new drama from "West Wing" creator

2006-09-14T17:00:00.000-04:00

Studio 60 on the Sunset Strip" is Aaron Sorkin's alliterative new project, an ensemble dramedy that takes place behind the scenes of a live sketch-comedy show. Premiering Monday, Sept. 18, on NBC, "Studio 60" is probably the most-anticipated new show of the fall season.

First, there's the pedigree: co-created by Sorkin and Thomas Schlamme, who together helmed "The West Wing" and "Sports Night," and produced by members of the creative family behind both shows, a standard of quality has certainly been set, and it's high.

Then there are the actors, an all-star cast, featuring Matthew Perry ("Friends"), Timothy Busfield ("The West Wing"), Steven Weber ("Wings"), D.L. Hughley ("The Hughleys"), Amanda Peet ("The Whole Nine Yards"), Nathan Corddry ("The Daily Show"), Bradley Whitford ("The West Wing") and Sarah Paulson ("Deadwood"). The cast already has a combined total of eight Emmy nominations and two wins (Busfield and Whitford), not to mention Perry's six Screen Actors' Guild nominations.

Let me just say, first off, the show lives up to its hype.

It's all there, right from the start. There's snappy, incisive dialogue, lightning-fast paced scenes, endearing characters, triumph and tragedy.

The show explodes from the first act, when longtime producer Wes Mendell (Judd Hirsch, "Numb3rs") interrupts a live Friday-night broadcast of the sketch show within-a-show (also named "Studio 60") and launches into a tirade about the quality of modern television.

"That remote in your hand is a crackpipe," he says. "There's always been a struggle between art and commerce. And now I'm telling you: art is getting its ass kicked."

Of course he must be fired, and newly appointed president of NBS Jordan McDeere (Peet) must deal with the situation. Her solution: hire back Matt Albie (Perry) and Danny Tripp (Whitfield), the legendary writing team who left the show (not on their own terms) four years ago and has just recently started to hit it big.

The only problem is Jack Rudolph (Weber), chairman of NBS, who was responsible for Matt and Danny's departure from the show in the first place. Then there's the fact that the two writers want nothing to do with "Studio 60" anymore. And one of the stars (Paulson) of "Studio 60" is Matt's girlfriend. Well, ex-girlfriend. Actually, there's not a lot in Jordan's favor.

"I have no reason to trust you and every reason not to," Danny says to Jordan.

"Why?" she asks.

"Because you work in television," he replies.

The pilot script does a great job of setting things in motion, especially considering the enormous amount of setup the show requires. Sorkin's voice is never clearer than when he's making a point, but he manages never to comes off as preachy.

The acting is also strong, and while the characters sometimes fall into stereotypes, it's a necessary evil of pilots that their players be somewhat predictable.

Despite all this, the actors show a remarkable amount of range; they're not just playing the characters for which they've come to be known. While still witty and sarcastic, Perry is far from the sometimes sniveling Chandler Bing of "Friends" - he's stronger, more in-charge. Whitford, too, defies the type-A personality of "The West Wing's" Josh Lyman to present a mellowed, low-key yin to Perry's mile-a-minute yang.

"Only one of us can screw up at a time," Matt tells Danny, "and I think we both know that, most of the time, it's going to be me."

The pilot talks a lot about elevating the standards of television. "Studio 60" succeeds in that goal, and I hope it continues to do so for years to come.

Emmy Reactions

2006-08-27T23:38:00.000-04:00

I hate the academy.

I don't know how else to put it. They are just plain wrong! I have never been so disappointed with the results of an award show in my life. Out of 18 categories, I correctly predicted five winners - that's not even 33 percent accuracy. And my predictions were not always based on whom I wanted to win, so I just have no idea what the voters were thinking. Off the top of my head, here are the top five disappointments:

5. Jamie Pressly - Losing to Megan Mullally is the ultimate insult. I can't understand the obsession these people have with "Will & Grace," a show that was groundbreaking in its first two years, excellent in its third and fourth, and trash for another four years. Why the voters decided to award this woman out of what I can only hope is habit is beyond me.

4. Writing in a Comedy - While "My Name is Earl" may have single-handedly saved the sitcom, it is not a better-written show that "Arrested Development" or even "The Office." I agree that the show deserved to be nominated, but I'd rather have seen it in the "Best Comedy" category, because honestly, the writing isn't all that special.

3. Stephen Colbert's shafting - it seemed like even Jon Stewert realized something was wrong when he beat out Colbert for both best writing and best variety. Then Colbert loses to a taped version of Barry Manilow? Unforgiveable. At least he and Stewert were able to joke about it later when presenting for best reality competition.

2. Kyra Sedgewick's rejection - I can't believe Mariska Hargitay won for "L&O:SVU"! Sedgewick plays a multi-faceted, strong woman on an edgy new show, and she's beaten by an aging, cookie-cutter cop character. I'm sorry, Mariska. I know you're work is exceptional, but it just doesn't get you into that upper tier. Plus, "The Closer" has been a breakout hit for two years running, while "SVU" is simply an aging warhorse in NBC's battle chest.

1. Martin Sheen - He's been nominated for his role as Jed Bartlett in "The West Wing" every year this century (except last, which was perhaps his strongest) and the voters chose not to give him the award once again. After all the work he's done on that show - work that rises above any other nominated actor this year - I'd think the academy would recognize him the way they did Mullally. But no, they disappointed me once again. How could you refuse to award president Bartlett? How could you, Emmy?

Emmy Snubs

2006-07-07T17:00:00.000-04:00

This year, a new method of nominating actors, producers and shows for the Emmy Awards yielded some surprising results. Among them were a lot of snubs. Some notable shows that were missing from the Emmy nominations yesterday:

"Lost"
Last year's winner for Outstanding Drama Series had only ONE nomination this year (Henry Ian Cusick as for his guest-starring role as Desmond). To be honest, I don't know if that's as inappropriate as I'd first felt it was. The show - still a ratings juggernaut, still enjoyable, still shocking - didn't really raise the bar in its second season. Thankfully it didn't go the way of "Desperate Housewives" and cause fans to actively turn away, but it didn't really do anything out of the ordinary, it didn't try to reach any higher. That may be due, in part, to the fact that David Fury didn't write any of the episodes this season.

I hope the producers will set their sights on more challenging storytelling in the upcoming year, and I think they have a good shot at it, too. Adding peripheral characters and fleshing out their backstories will help the show to stay true to its stregnth: telling stories with people at the center, even if that means missing out on a nomination or two.

John Krasinsky & Jenna Fischer
Jim Halpert and Pam Beesley were robbed! While I enjoy Steve Carrell's work and agree that he should have been nominated, the chemistry between Krasinski and Fischer is the reason most fans watch the show. The shocking finale, in which the two finally kissed after Pam shot Jim down, has set up a very delicate situation for the show next year. I honestly don't know how it will work out, but I hope the producers don't mess with the dynamic between Jim and Pam. This ventures into territory that the British series didn't attempt until the series-ending special miniseries, and it usually spells doom for American programs. I'll keep on hoping, but I have a feeling Krasinsky and Fischer will never be more deserving of Emmy's than they are right now.

The Closer
Rather than congratulate a show like, "The Sopranos" that's well past its prime, why not honor this year's best new show, TNT's "The Closer." A procedural that focuses more on character than procedure, this show is a lot of fun (how many times do you get to say that about murder?) and mystery in the grand tradition of "Homicide: Life on the Street" and "Hill Street Blues." Brenda Leigh Johnson is one of the best characters on television today, joining other quirky detectives like Monk and Dr. House in the pursuit of truth.

The first season's arc was masterfully played: little by little, she went from hated "new girl" to championed leader. Contrary to what some have said, the mysteries aren't always predictable, but more importantly, the criminals are never cliche. I don't know if it's honorable to "humanize" murderers, but there were moments that forced me to think how I'd react in some of the situations presented; sometimes I found myself thinking, "Why'd she have to catch them?" Then I'd catch myself and realize this person had just confessed to murder. A show that can do that deserves the nomination for outstanding drama.

Jimmy Smits
While Alan Alda did a good job as presidential hopeful Arnie Vinick, Jimmy Smits' portrayal of Matt Santos - a young, Latino candidate who didn't let either of those adjectives define his campaign - made me wish, week after week, that I'd get the chance to see his presidency.

At the start of the season, I was pretty convinced "The West Wing" was over, and I was ready to make my peace with it. Then, as the campaign went on, I became more and more fascinated by Santos' aspirations as well as his politics. Smits was even able to perform as capably as (if not better than) Alda during the live debate episode - and Alda's had years of theater experience! Sure, Smits has more time than Alda to garner another win, but Alda's also won several times already (for M*A*S*H) and Smits did the better job, pure and simple.

My Name is Earl
I can't believe the groundbreaking new comedy that ushered in a revival of the television sitcom isn't on this list! I had given up hope that any show could be as pleasantly funny as "Earl" long ago. Within two weeks, I realized that Jason Lee was creating one of the most unique characters on television. Not long after that, I knew that the entire show was unique - a hilarious, touching, offbeat, witty look at a man trying to do the right thing, week after week. There is not a single thing that's unique about "Two and a Half Men," and I can't fathom how on Earth it grabbed a spot on the ballot over "Earl."

Kristen Bell
Many critics have lamented the fact that Lauren Graham was, once again, snubbed for her work on "Gilmore Girls," but to me her best work is in the distant past and Kristen Bell is much more deserving for her part as the title character in "Veronica Mars." As the little show that could, "Mars" has had to struggle and scrape for renewal the past two years. The perfect blend of comedy, soap opera, mystery and family drama, it deserves the boost an Emmy would be able to supply. Instead of Allison Janney, whom I adore, why not nominate Bell? Janney's already won the award what, like 700 times? (okay I checked and it's actually just four: two for Lead Actress and two for Supporting Actress) Plus, her best work, as with Graham, is behind her. This season she was strong, but nowhere near as laudable as Bell. As strong female characters go, Veronica Mars is at the top of my list. It's a shame Kristen Bell wasn't at the top of the Emmy Voters'.

Emmy Nominations

2006-07-06T17:00:00.000-04:00

The Emmy nominations were released earlier today. Here are my thoughts about who should win and who will win. You can check out TVGuide.com's list of major nominees here.

Outstanding Drama Series
I'm conflicted about this category. "24" had one of its best years ever, but faltered a bit toward the end. Add to that the fact that it's the television equivalent of a Big Mac and you've got at which people turn their noses up. I just found out it's been nominated every year it's been on - will "24" be the Christine Lahti of drama series? "House" is a great show all-around, and it's the one I think should win. It had a stellar year and I hope they submitted the two-part episode from the spring - it was non-stop action and emotion. I don't know how "Grey's" stacks up, but it was definitely a ratings hit this year. I despise "The Sopranos" even though I've never seen it - it's just always nominated and that makes me bitter. This is "The West Wing's" last chance to win, but do they deserve it? I thought they did some great stuff, and ended with class, but I'm not sure it was really a better show than the others. My guess for who will win is, well, I really don't know. I'll take a wild stab and say "Grey's" will win in an upset. At the very least, I'm excited that all the shows in this category are actually deserving of an Emmy - what a great problem for the judges to have!

Outstanding Lead Actor in a Drama Series
I think Martin Sheen should win for best actor. He did some great stuff in the final season of "The West Wing," and he's been nominated every year (except last year) and has never won - injustice! As for who will win, it could be Sheen in a nod to his body of work, but I think it's more likely that Denis Leary or Keifer Sutherland will walk away with the award.

Outstanding Lead Actress in a Drama Series
I think Kyra Sedgewick should and will win for best actress. Her work on "The Closer" is amazing - you should check it out if you haven't yet. After only three episodes, TNT picked up the show for a third season of 15 episodes. The show definitely works as an ensemble, but Sedgewick is the true heart and soul, and she embodies Deputy Chief Brenda Leigh Johnson week after week.

Outstanding Supporting Actor in a Drama Series
This should go to William Shatner for his career-redifining turn on "Boston Legal." Having recently caught up with the first season, I've come to realize the man is an incredible actor! Denny Crane is one of the most unique characters on television and Shatner brings him to alternately hilarious and touching life. Oliver Platt and Gregory Itzin come in tied for second place. Platt's work on "Huff" is incredible - you love the character even though he's such a hopeless jerk. Itzin did a marvelous job as timid/arrogant/sinister/abusive President Logan on "24" this year. He did a great job bringing out the complexity to the seemingly one-dimensional character.

Outstanding Supporting Actress in a Drama Series
I'm just going to say it: Jean Smart was not that impressive on "24." While I thought she did a solid job and managed to keep the first lady from venturing into soap opera territory, I didn't think she was all that great. Candice Bergen does a good job on "Boston Legal," but she's basically playing "Murphy Brown" again. While she's a character I love, I think Blythe Danner does a better job on "Huff." Sometimes blindly arrogant, sometimes endearingly loving, she deserves to win this award two years in a row. Danner should win, Sandra Oh will win. Don't get me wrong, I've got nothing agsainst Oh, I just think hers is more of a popularity nomination.

Outstanding Comedy Series
Of course you know who I'd choose for best comedy - "Arrested" all the way. They should win, but for some reason I think "The Office" will win.

Outstanding Lead Actor in a Comedy Series
I think Steve Carrell should and will win for best actor in a comedy. "The Office" is all the buzz this year and it just seems like the natural choice. Plus, I like him.

Outstanding Lead Actress in a Comedy Series
I really don't know or care much about the actresses nominated for comedy. I've heard Lisa Kudrow did a great job on "The Comeback," and I think she's the one that should win. I think Debra Messing will win, because no one can resist giving awards to "Will & Grace," even long after it had passed its prime.

Outstanding Supporting Actor in a Comedy Series
Jeremy Piven, Jon Cryer and Sean Hayes are all overrated. Bryan Cranston is a great comic actor, but with "Malcolm in the Middle's" pathetic swan song over the past year, it'll be a miracle if anyone has seen him. Will Arnett should win for his portrayal of G.O.B. Bluth on "Arrested Development," but, using the "Will & Grace" rule once again, I believe Sean Hayes will win.

Outstanding Supporting Actress in a Comedy Series
Let's get it out of the way: Megan Mullally will win, but Jaime Pressly should win. Mullally's work portraying Karen on "Will & Grace" (along with every other cast members') was terrible by the end. They had all become charicatures of themselves. But, for whatever reason, people kept wanting to honor them. Mullally's been nominated every year since 2000, when she won the award. She may have deserved it then, but this year it rightfully belongs to Pressly, who broke out as the queen of white trash on "My Name is Earl" this season. The way she embodies Joy is a delight (you thought I'd say it was a "joy," didn't you?) after years of playing a bit character. She deserves to take home the award. Maybe next year.

Outstanding Reality Program
Thought I'm not a fan of any of the shows nominated, I believe the award should and will go to "Extreme Makeover: Home Edition." Ty Pennington is more of a tool than anything you'll find in his belt and the show panders to those looking for tearjerker moments, but it does so in a sweet, honest way. With this program, sometimes it actually feels like television can do some tangible good in the world.

Outstanding Reality-Competition Program
Best Reality series should and will go to "The Amazing Race," just like it always does.

My Fall TV Schedule

2006-05-19T17:00:00.000-04:00

The thrill of upfront week hasn't worn off yet, so I'll share the shows that'll be on my VCR/DVR as soon as the fall gets into gear. I've done this with the help of TV Guide's incredible Sneak Peek at the network lineups. Check it out, it's a blast for TV nerds like us.

Sunday

I might get back into "The Amazing Race" next season. I haven't watched much of it since the "family edition" (which I hear was nearly insufferable), but that's mostly because the Tuesday 9 p.m. timeslot was so packed. Sunday nights will be pretty free next season, and I look forward to the adventure this reality show (the best one on television, in my opinion) serves up each week.

And while we're talking about reality shows, let me just point out that there are nine of them on the schedule for next year (not counting "Deal or No Deal"). I thought the reality show was going the way of the dinosaur, but it turns out they're still alive and well. Let's just be thankful we only have to put up with the sub-par clones during the summer.

Monday

I'll watch "Heroes" and "Medium" on NBC and "Vanished" on FOX (until "24" comes back, of course). I'll stick with "Heroes" if its as well-done as everyone seems to think. I'm just worried it will turn out like this year's stink bomb, "Surface." I couldn't even get through the pilot episode. I'm excited for "Vanished, which seems like an intriguing story, but I'm going to try to guard my enthusiasm for the show, since FOX has a habit of cancelling shows before the ultimate mystery pays off (see "Reunion," the biggest fan letdown since "John Doe" - not that I was a fan). "Medium" was an instant hit ratings-wise and should continue to be interesting. I just hope they shake things up a little in the third season to keep it from getting stale.

Tuesday

The only night on which there's a conflict. At 9 p.m., I want to watch "Kidnapped," "House" and "Veronica Mars." I've resigned myself to either downloading the episodes of "Veronica" or simply waiting for the third season DVD. Unless "Kidnapped" turns out to be a dud, in which case I'll simply drop it and go turn the dial to the CW for the only show I'd possibly watch there. My theory: "Veronica" is going to come out on DVD eventually - it's too much of a cult hit not to, even if it does get cancelled; with the ongoing storyline, it's much more fun to watch batches of episodes anyway. The same may be true for "Kidnapped," but it'll probably be harder to find. "House" is a must-see. It's the only truly procedural show I watch on a regular basis, and I'm mystified by its hold on me. Plus, the characters are so well-drawn it's hard to resist tuning in.

At 10 p.m., I'll check out CBS's "Smith" because I'm interested in the premise and interested to see if it holds any of the excitement and glamour of "Heist" or the subtle mood of "Thief," two crime capers that gave me nightmares about the "i before e" rule this spring. It'll also be cool to see Ray Liotta in a starring television role. He was incredible as a dying patient on "ER" two years ago (one of the last episodes I watched of the show) and his persona will surely make for an unpredictable hour of television.

Wednesday

I'll give CBS's Jericho a shot at 8 p.m. The premise is incredible: a town, cut off from civilization after an apparent nuclear attack, forced to rebuild society. I am curious to find out why no one thought to drive away, but I'm sure that question will be answered quickly enough. I'm also a fan of Gerald McRaney, who's become a popular character actor/guest star recently.

At 9 p.m. I'll keep an eye on "Lost" (of course) and give "The Nine" a chance. It should be a solid two-hour block of character-driven drama, which is my kind of television. I think "The Nine" is the show I'm most looking forward to seeing next year. From its cast (Chi McBride, Scott Wolf, Kim Raver, Tim Daly and John Billingsley) to its premise (a hostage situation forever changes the lives of the victims caught up in it) to its execution (each episode will begin with a flashback, revealing 10 minutes of the crisis), it has all the makings of a phenomenal hit and a perfect pairing with "Lost."

I'll also give NBC's new comedies, "20 Good Years" and "30 Rock" a chance. The first has me a little worried. I love Jeffrey Tambor and John Lithgow and can't wait to see this odd couple in action, but I think it will be very easy for the show to go the route of the traditional sitcom. I'm hoping against home it's a single camera, no-laugh-track show. "30 Rock" has gotten be most buzz of any of the new comedies in line for the fall. Tina Fey can definitely write (despite what the stat of "SNL" would seem to indicate), as evidenced by the success of "Mean Girls," and Alec Baldwin has been a hoot (sometimes the only one) on "Will & Grace" in recent years. It's definitely single-camera, and has the potential to turn NBC's search for hit comedies around.

Thursday

I'm proud to say I've kicked my "Survivor" habit over the past year. I only saw one episode of the most recent installment and I won't be tuning in at all come September. I will, however, be eagerly anticipating the return of sitcoms "My Name is Earl" and "The Office" at 8 p.m. I had almost given up on the sitcom until these two came along. Completely devoid of laugh tracks and chock full of visual gags, flashbacks and subtle humor, these shows remind me what it was like when "Scrubs" was still good (I know I'm basically alone in that thought). Immediately following is my second most-anticipated show of next year: "Studio 60 on the Sunset Strip" from Aaron Sorkin and Thomas Schlamme. After watching "Sports Night" and the first season or two of "The West Wing" on DVD, I'm ready for a return to the sharply-written, ensemble dramedy that these two have nearly trademarked. And the sheer number of great actors they've got lined up is staggering! It's nine, by my count: Amanda Peet, Matthew Perry, Bradley Whitford, Sarah Paulson, D.L. Hughley (?), Nate Corddry, Timothy Busfield, Steven Weber and Evan Handler. Rounding out the night will be "Six Degrees," at 10 p.m. on ABC. It's a show that has me not-quite sure of what to expect. Since JJ Abrams is behind it, I'm giving it a shot, but I'll admit: I may only watch the first episode or two before making a decision. I'll give the same treatment to "Big Day" at 8 p.m., but I expect even less from that one.

Friday & Saturday

Nothing. I'll use the time to catch up on all the shows I've had to record because of competing timeslots and - sigh - those pesky classes that always get in the way of my fun.

All in all, I'm looking forward to a pretty solid season for the upcoming year. If I've done the math right, I'll be consuming 14 hours of programming a week, which is far beyond the healthy limit. For sure, some shows will be cancelled ("Jericho" is probably going to go pretty fast) and others will not hold my attention (I'm most concerned about "20 Good Years" as well as the new episodic shows - I was let down by "Invasion," "Threshold" and "Surface" last year), so I hope to have that number down to about 10 by the time Christmas rolls around. But if it remains at 14, such the better. There can never be too much TV in my life.

FOX/CW Upfronts

2006-05-18T17:00:00.000-04:00

Most of this information comes from Michael Ausiello's great work at the network upfronts, as reported in his blog. Check it out for more info on the schedules for FOX and CW.

There aren't many changes for the FOX schedule, and to be honest, I'm not really interested in watching much of what will be on the CW, so I decided to combine these into one post.

Monday

FOX is going to launch the sophomore season of "Prison Break" earlier in August, giving it (and the escaped convicts) a chance to hit the ground running before the rest of the competition premieres. It will go up against "7th Heaven" - which aired its "series finale" last week - on the CW. Ausiello reported in an interview with Dawn Ostruff that the decision to renew "Heaven" put an end to any chance of "Everwood" continuing. The numbers for the "Heaven" finale (7 million viewers) were too good for Ostruff to turn down, so the show got a 13-episode committment.

At 9 p.m., FOX starts off the season with "Vanished," another serialized crime thriller that starts with the disappearance of a senator's wife and leads into a "Da Vinci Code"-esque conspiracy. In January, it will be replaced by the third non-stop season of "24." The CW offers its only new drama, "Runaway," in which a family goes on the run after their father is wrongly accused of committing a crime. Donnie Wahlberg, who was amazing in NBC's "Boomtown," stars as the father and Leslie Hope ("24") plays his wife. Some critics have reported that the show seems to focus on the angst of the teenage son (in true WB/UPN form), and it will face difficult competition from two other serialized freshman shows ("Heroes" on NBC and "Vanished"), but there could be enough of an audience for it to take off.

Tuesday

The CW pairs "Gilmore Girls" and "Veronica Mars," which could be perfect companions for one another. Unfortunately, they're both niche shows; with "Gilmore Girls" going through creative turmoil as its behind-the-scenes team changes hands and "Veronica Mars" taking on a new storytelling tactic (three major mysteries over the season instead of just one), they could be off to a rocky start. Both shows deserved a renewal, I just hope network executives don't ask for too many changes or expect explosive ratings right away.

On FOX, the night starts off with "Standoff," a procedural crime drama with a romantic edge. Ron Livingston ("Office Space") and Rosemarie DeWitt ("Love Monkey") star as FBI hostage negotiators who are navigating an office romance as well. It seems like a good fit with "House" at 9 p.m., and hopefully will take a note from that show's ability to be a procedural while still making viewers care about the lives of the characters. The setup lends itself to continuing storylines and week-to-week intrigue, so I think it could do well. "Standoff" will be moved in January, when "American Idol" takes its place.

Wednesday

"Bones" returns at 8 p.m., followed by "Justice," which tries to do for legal procedurals what "CSI" did for criminal procedurals. There's plenty of pinache, but will there be any substance? Produced by Jerry Bruckheimer ("CSI," "Without a Trace") and starring Victor Garber ("Alias"), the show has potential. I just don't know if we need another procedural show next year.

The CW returns fan favorites "America's Next Top Model" and "One Tree Hill" at 8 p.m. and 9 p.m., respectively. I'm not sure why "One Tree Hill" won out over the much better "Everwood," but it's clear "Hill" appeals to CW's target audience and everyone's going to be watching "Lost" anyway. Actually, it provides a good alternative in a time period dominated by two procedurals, NBC's new comedies and ABC's magical island mystery tour, which may lose viewers if fans don't receive the payouts they've been demanding this year.

Thursday

Smallville and Supernatural stay put on the CW. A well-paired duo that should entertain sci-fi fans for the evening. FOX offers up two comedies, "'Til Death" and "Happy Hour" during the 8 p.m. timeslot. Matt Roush compared the first to "Yes Dear" and the second to "The War at Home" (and not favorably, I might add). Neither of these are going to draw me away from established hits "My Name is Earl" and "The Office" on NBC, and there's nothing novel enough about them to even make me want to give it a shot, like "Big Day" on ABC. "The O.C." is going to stand its ground at 9 p.m., where a hopefully-loyal fanbase will continue to support it. I'm afraid its audience might be the same as the audience for "Grey's Anatomy," and I'm not sure which show will come out on top of that one. "The O.C." is certainly going to come back with renewed vigor after the shocking events of this season's finale.

Friday

All "reality" programming here. Fox returns "Nanny 911" and "Trading Spouses" and the CW continues UPN's proud tradition of airing "WWE Smackdown" for two hours. In general, Friday night's been given up as a lost night. Someday, networks will come to see the value of allowing a modest hit to remain in the Friday night timeslot, when any show is going to get lousy ratings because - hello! - people are not at home to watch television on Fridays! Sorry. I'll get off my soapbox now.

Saturday

FOX = "COPS" and "America's Most Wanted"
CW = Nothing.

Sunday

A night of comedy for both networks. FOX's lineup is mostly animated, with the exception of the inexplicably renewed "The War at Home" at 9:30 p.m. The night starts at 7:30 p.m., with "King of the Hill," followed by the 18th season of "The Simpsons" and the Seth MacFarlane hour, including "American Dad" and "Family Guy." At the CW, the night begins at 7 p.m. with "Everybody Hates Chris," "All of Us," "Girlfriends" and "The Game," the only new comedy for the new network. It's a spinoff of "Girlfriends" (both produced by Kelsey Grammer, of "Frasier" fame) that focuses on the wives of pro football players. Roush describes it as a poor-man's "Footballers' Wives" (a BBC series).

CBS Upfronts

2006-05-17T17:00:00.000-04:00

Check out Michael Ausiello (of TV Guide) and his blog for full details on the CBS Fall schedule.

For a night-by-night analysis of my thoughts on the new lineup, and the new shows in particular, read on.

Monday

The only thing new here is the order of the comedies and one show, "The Class," which comes from David Crane ("Frasier") and takes a look at a group of 20-somethings who shared the same third-grade class. Now, almost two decades later, the group reunites to show off, satisfy their curiosities or rekindle old relationships. It sounds a lot like some of the ABC series, but padded between "How I Met Your Mother" at 8 p.m. and "Two and a Half Men" at 9 p.m., this one should show some healthy growth out of the gate. At 9:30 p.m., "The New Adventures of Old Christine" returns, followed by "CSI: Miami" at 10 p.m.

Tuesday

The aging "NCIS" opens up the night, followed by the return of "The Unit" at 9 p.m. and new drama "Smith" at 10 p.m. Ray Liotta ("Goodfellas") stars in this intriguing show that sounds a lot like the low-rated "Thief" from FX. Liotta plays a family man who seems to have a legitimate day job when, in reality, he is the head of a criminal organization that plots and executes intricate heists. The drama comes into play when Liotta must decide what's more important: his crime family or his home life. With the FBI on the team's trail, it seems like it would be better for him to decide sooner, rather than later. I was disappointed at the low ratings for both "Theif" and NBC's "Heist" this fall, so I'm not very hopeful that "Smith" will make an impact. I'll have to wait and see whether this show takes on the gritty realism of "Thief" or the glitzy glamour of "Heist." It's at least got a preliminary spot on my DVR's record list.

Wednesday

The night starts off with CBS's biggest risk this season: "Jericho" is a small town in Kansas that witnesses a mushroom cloud in the distance just before all power and communications within town are shut down. Skeet Ulrich ("Scream") and Gerald McRaney ("Coach") head up this post-apocalyptic drama in which residents of Jericho are faced with the best and worst of what's inside them. This sounds like the kind of "Lord of the Flies" drama I was expecting from "Lost," only set in smalltown America instead of a deserted island. CBS hasn't ever had much luck with shows that are not procedural crime dramas, so I'll record this one with guarded hope. I don't expect to be able to see the entire story play out. The rest of Wednesday remains the same with "Criminal Minds" and "CSI: NY" returning.

Thursday

The biggest (and riskiest) schedule change here is moving "Without a Trace" out of its 10 p.m. slot. The procedural became extremely popular over the last season, even beating "ER" some nights. CBS figures it can use the show's power elsewhere, and has decided to launch "Shark" in its place. The drama stars James Woods (excellent in this season's guest-turn on "ER" as an ALS patient) as a supremely self-confident defense attorney who brings his cutthroat tactics to the prosecuter's office. He works for Jeri Ryan ("Star Trek: Voyager"), who despises the underhanded tactics he used to defend his clients; however, that won't keep him from continuing to skirt around the ethical issues involved in the cases he's assigned. He's teamed with a cadre of young lawyers, which could lead to shades of a "House"-like relationship.

Friday

Nothing's changing here. "Ghost Whisperer" returns at 8 p.m., followed by "Close to home" at 9 p.m. and "Numb3rs" at 10 p.m.

Saturday

Reruns and "48 Hours."

Sunday

Exciting news for fans of "The Amazing Race": the show is moving to Sundays at 8 p.m., which should prove to be a much more family-friendly timeslot. I have to say, this is an inspired move by CBS, which has struggled to find the right place for this show since it started airing during the regular season. The network could be trying to draw some of the audience away from "Extreme Makeover: Home Edition" on ABC, and it might work. Given the choice between these shows, I'd definitely opt for the "Race." While feel-good television will never go unwatched, exciting drama - especially in a reality format - is much more of a payoff.

The night continues with "Cold Case" and "Without a Trace" at 9 p.m. and 10 p.m., respectively. This pairing of two of CBS's quality procedurals should prove to be a potent blend for Sunday nights. "Cold Case" has performed well for the network in this timeslot before, and might even improve if the creative decline of "Desperate Housewives" continues into next season. "Trace" has been strong enough to topple even new episodes of "ER" in the ratings, and could very well swing Sunday nights to CBS's advantage, going up against the untested "Brothers and Sisters" on ABC. It should be interesting to see how the gamble ABC and CBS made plays out; it could be a wash, as "Trace" and "Grey's Anatomy" basically swapped nights with one another.

ABC Upfronts

2006-05-16T17:00:00.000-04:00

Again, IU urge you to check out Michael Ausiello's blog for full information on ABC's schedule. It includes the press release as well as descriptions of each of the new shows.

As it turns out, NBC was probably the most exciting schedule reveal for me, but there are a few shows ABC's bringing in that have perked my interest. My thoughts on the fall schedule, night-by-night:

Monday

Not much new here. It's going to be a reality show combo with "Wife Swap" and "The Bachelor" (isn't this show dead yet?) leading off the night. At 10 p.m., "What About Brian" is the only freshman series to get a pickup from the Alphabet network. The bold programming decisions it made last year ("Invasion," "Commander in Chief") didn't really pay off, but it doesn't seem like this has diminished the network's penchant for developing interesting new concept shows.

Tuesday

Again, reality leads off the night with the next installment of "Dancing with the Stars," the surprise hit from last summer. This is followed by two comedies, "Let's Rob ..." and "Help me Help You." The first seems to have an original concept, with Donal Logue ("Grounded for Life") starring as a blue-collar worker who hatches a plan to rob Mick Jagger, who will make cameo appearances in the series every so often. "Help Me Help You" seems like more of the sitcom drivel we're getting tired of these days, though it comes from executive producers Jennifer Konner and Alexandra Ruchfield, both from "Undeclared" and director Brian Dannelly of "Weeds." Starring Ted Danson as a group therapist who may need help himself, the series follows the exploits of his patients, including Jere Burns ("Good Morning Miami"), with Jane Kaczmarek ("Malcolm in the Middle") will guest-starring as Danson's wife. To be honest, this doesn't look like much more than a "Becker" redux. Rounding out the night will be the third season of "Boston Legal."

Wednesday

Another installment of "Dancing with the Stars" starts off the night, with "Lost" staying put in its 9 p.m. timeslot - for the first seven weeks of the season. In reaction to fan complaints about too many reruns, "Lost" will air seven weeks of consecutive new episodes, then take a hiatus for a run of episodes of another drama, possibly "Day Break," starring Taye Diggs ("Kevin Hill"). This is one of the risk-taking shows I was talking about earlier. In the vein of "Groundhog's Day," Diggs' character will wake up each morning to find himself stuck reliving the same day. Unlike, "Groundhog's Day," the show is a thriller, with Diggs being accused of killing an assistant district attorney and his family in danger. I have high hopes for the program, but they're caustious as well; how long can the show sustain this kind of plot? We'll wait and see. "Lost" returns after the run of "Day Break" for an uninterrupted batch of episodes in January or February.

"The Nine" closes out the night at 10 p.m., and is a show I'd really hoped would be ordered for the Fall. It is the story of nine strangers connected through the events of a 52-hour hostage crisis and the ways in which their lives are forever connected. The show will start off each week revealing 10 minutes of the hostage crisis, then flash-forward to present day. ABC describes the show as "a dramatic character study that will keep audiences hooked with the mystery of what happened during the hostage standoff." I think the key here is the element of character, which has been behind the three biggest hits for ABC, "Lost," "Desperate Housewives" and "Grey's Anatomy." It's smart to capitalize on this element, because it's worked for the network before. "The Nine" stars some of my favorites, like Chi McBride ("Boston Public"), Scott Wolf ("Everwood"), Kim Raver ("24") Tim Daly ("Wings") and John Billingsley ("Star Trek: Enterprise").

Thursday

Thursday starts with two new comedies: "Big Day" and "Notes from the Underbelly." The first is described in the network's press release as "'24' meets 'Father of the Bride'." It's a show in which everything takes place the day of a young couple's wedding. Marla Sokoloff ("Desperate Housewives") and Josh Cooke ("Four Kings") star in this promising half-hour, with Wendie Malick ("Just Shoot Me") rounding out the cast. From the maid of honor accidentally drinking the best man's contacts after sleeping with him, to the father of the bride wanting to stop the wedding, it's very likely nothing will go right. Hopefully the show will be inventive enough to create believable, funny situations without stretching the need for suspension of disbelief. "Notes from the Underbelly" is produced by Barry Sonnenfeld and follows a young couple who've just discovered they're going to have a child. It explores the family politics involved after relatives find out. With no notable stars and a premise that isn't too engaging, this one seems very forgettable. The big news, of course, is "Grey's Anatomy" moving to Thursday night, where it could turn out to be a competitor against "CSI" and will probably banish NBC's "Studio 60" to, at best, "Must-tape TV land."

The newest project from JJ Abrams ("Lost," "Alias") is set for 10 p.m. "Six Degrees" is another character-driven piece along the lines of "The Nine." "They say anyone on the planet can be connected to any other person through a chain of six people," the press release reads. We know the show already has one loyal viewer: Kevin Bacon. The only name I recognize among the cast is Hope Davis ("Proof"), a relatively unknown but terrific actress who will no doubt be given a chance to shine in this complex series following six strangers who affect each others lives without even knowing it - yet. I'm looking forward to this, since Abrams has done such a good job with connecting the backstories of the "Lost" characters. Hopefully this will be more of the same (and I don't usually say that about television series).

Friday

The notoriously low-ratings night is going to be risky for ABC this year, with two new shows followed by "20/20." Hopefully for "Betty the Ugly" and "Men in Trees," network execs will not expect immediate numbers. "Betty" is a comedy starring America Ferrera, the breakout star of 2002's "Real Women Have Curves," as Betty. The show follows her as a supposedly homely (when was the last time you saw someone really ugly on TV) girl who goes to work at a fashion magazine. The show will probably have feel-good moments that mothers and daughters will enjoy and could appeal to the "Gilmore Girls"/"Veronica Mars" audience. "Men in Trees" stars Anne Heche as a relationship expert who moves to Alaska only to find she knows almost nothing about the men there. With a "Northern Exposure" feel, this show promises to be quirky and offbeat, if not an instant success. It could be the new "Ed," but in a more competetive television environment, will it be able to sustain an audience?

Saturday

Football!

Sunday

The only thing changing tonight is the addition of "Brothers and Sisters," replacing "Grey's" at 10 p.m. Calista Flockhart ("Ally McBeal") returns to series television in this family drama executive producers Ken Olin ("Alias") and Marti Noxon ("Buffy the Vampire Slayer"). The show concentrates on a group of adult siblings, each with their own difficulties, that seem to be at a turning point: stay together or break apart. With the lead-in power of "Extreme Makeover: Home Edition" and "Desperate Housewives," I'm betting this show will either succeed or fail very quickly.

Midseason

From two of the producers of "American Beauty" comes "Traveler," another concept show that deals with the relationship between three friends after one of them commits an act of ultimate betrayal, framing the other two for a terrorist bombing. The one-hour drama will then follow the two friends as they try to elude both the police and the general public, who have seen their faces on every news program in the nation, while showing flashbacks to the previous two years that shed light on how the third friend was able to set them up. Again, this is a character-driven show with a high-concept plot that sounds very exciting. Whenever this one hits the schedule, I'll be sure to tune in, with the guarded reservation that I might not find out how it ends.

"In Case of Emergency" is a half-hour sitcom starring Jonathan Silverman ("The Single Guy"), David Arquette ("Scream"), Greg Germann ("Ally McBeal") and Kelly Hu ("CSI: NY") as four friends from high school who are reunited by a series of emergencies to find out that they really can count on each other. Director Jon Favreau ("Elf") might add a bit of excitement to this otherwise plain concept, but the rest of the production team comes from ordinary sitcom drivel. If this one doesn't see the light of day, it won't be the end of the world.

NBC Upfronts

2006-05-15T17:00:00.000-04:00

Check out Michael Ausiello's blog on TVguide.com for full details about NBC's fall schedule.

Here are my thoughts, night by night, on the new shows premiering this fall on NBC:

Monday

I'm definitely tuning in to "Heroes" at 9 p.m., NBC's most original idea for the fall. It's about ordinary people who discover they have extraordinary powers - a la "The X-Men." Greg Grunberg ("Alias") stars as a beat cop who can hear people's thoughts. Other characters include a drug-addicted artist who can paint the future, a Japanese man who can stop time and a cheerleader who finds out she's "totally indestructable." This serialized story is the kind of risk-taking I've been waiting for NBC to start taking, and it should be a good companion to "Medium."

Tuesday

"Friday Night Lights" starts off the night at 8 p.m. The television version of the popular movie is being promoted as a family drama. While I'm not a big fan of sports, the buzz is the show appeals to all kinds of viewers. I liked "Sports Night," so I'll think about giving "Friday Night Lights" a shot. It depends on what else ends up being out there.

"Kidnapped" follows at 9 p.m., and is definitely one I'll be trying out. Executive producer David Greenwalt ("Angel") is at the helm of this serialized crime show, in which a wealthy family's son is kidnapped. The show's notable stars are Delroy Lindo ("The Core"), Timothy Hutton ("Kinsey") and Mykelti Williamson, who was amazing in "Boomtown," a short-lived cop show from the 2002-2003 season. The series follows the kidnappers, family and law enforcement officers charged with finding the boy. With a high-concept serial thriller like this, odds are the show will be sink-or-swim come September. Keep your fingers crossed that we'll get to see the entire mystery play out, unlike this spring's "Heist," which was cancelled after just three episodes.

Wednesday

Two new comedies premiere at 9 and 9:30 p.m.: "Twenty Good Years" and "30 Rock." The first, starring Jeffrey Tambor and John Lithgow as an odd-couple duo who realize they have, well, 20 good years left and decide to make the most of them. I'm not sure if this is a single-camera comedy or what, but Tambor and Lithgow are veterans of the sitcom biz and should prove to be an entertaining match-up. Tina Fey created, wrote and stars in "30 Rock," a comic take on the goings-on behind the scenes at a "Saturday Night Live"-type program. The show also stars Alec Baldwin and "SNL" alums Tracy Morgan and Rachel Dratch. It's executive produced by Lorne Michaels, who was part of this spring's short-lived "Sons & Daughters." Hopefully these comedies will follow in the footsteps of "My Name is Earl" and "The Office" and revitalize the sitcom for NBC and television in general.

Thursday

A show that takes place behind the scenes at an "SNL"-type program - I just told you about that one, right? Wrong. This fall, Aaron Sorkin returns to NBC with "Studio 60," an hourlong drama with basically the same premise as Tina Fey's show. This one, however, is made up of a star-studded ensemble cast, including Matthew Perry ("Friends"), Amanda Peet ("Syriana"), Bradley Whitford ("The West Wing"), Timothy Busfield ("The West Wing"), D.L. Hughley ("The Hughleys"), Nate Corddry ("The Daily Show with Jon Stewert"), Steven Weber ("Wings") and Evan Handler ("Lost"). I have been excited about this show for months, and can't wait to see its premiere this fall. Unfortunately, the buzz after its presentation was not super-hot. I'm still holding out hope that the show will delight and surprise me.

Friday, Saturday, Sunday

Not much to report here. Friday's got nothing new to offer, Saturday's reserved for "Drama Series Encores" and Sunday's reserved for Football.

Midseason

"Andy Barker, P.I." is one I'd hoped would get picked up for the fall, but I'm glad it's got at least a fighting chance somewhere down the road. It stars Andy Richter and is written by Conan O'Brien, Richter's old boss. The series centers around Andy, a CPA, who finds his accounting business failing and, being mistaken for the private investigator who previously worked out of his office, decides to start taking cases. His neighboring merchants (Tony Hale, "Arrested Development", Marshall Manesh, "Will & Grace" and Ion Overman, "The L Word") decide to join him in his "dicey" investigations and his wife (Amy Farrington, "The New Adventures of Old Christine") supports his decision after she sees how much it affects his confidence. The show is executive produced by O'Brien and Jonathan Groff, the former head writer for "Late Night" and a producer for "Ed." With such a creative and hilarious team in front of as well as behind the camera, "Andy Barker, P.I." is sure to be a comedic gem. Hopefully it can overcome the network's seeming lack of confidence (bumping it to midseason instead of putting it on the fall schedule) long enough to attract an audience.

"The Black Donnelys" comes from Paul Haggis and Bobby Moresco, the hit team behind Best Picture winner "Crash." The story focuses on four young Irish-American brothers and their involvement with organized crime in New York City. Apparently, the show is loosely based on Moresco's background. While the premise itself doesn't immediately grab me and there are no actors I recognize, Haggis and Moresco's involvement makes me want to give this one a chance.

Two-part "House" blows away competition

2006-05-07T17:00:00.000-04:00

Last week, "House" aired a two-night event that captivated audiences and pulled the show to the number two spot both nights (second only to "American Idol"). That means the powerhouse (pun intended) outdid heavyweights "Lost" and "CSI: NY".

The first part opened with a cop experiencing a symptom that gives the episode its name: "Euphoria." Almost before we knew it, the cop was experiencing excruciating pain - and there was nothing morphine could do, since it was psychological pain. Even inducing a coma didn't seem to help.

Normally, this would be frightening enough, but this episode was far from normal.

House randomly picked Forman to check out the patient's home (it's a stretch calling it that - the place was a pigsty) and after a short while, it became clear he was experiencing the same symptoms as the dying cop.

Once again, the writers of this show have proven they know how to turn the conventions of their storytelling upside-down. Usually we don't want the patients to die because, well, we're human and we don't want anyone to die. This time, however, the stakes were much higher, since Forman's life was imperiled.

Even thought he'd been acting like a jerk the past few weeks, Cameron didn't give up on him, and neither did viewers. By the end of the second half, when Forman asked her to be his medical proxy, I was nearly in tears.

Nearly. Because I'm a guy.

Of course, Forman survived, but not without yet another shock. When House asked him to wiggle his left toes, he wiggled his right. The same when asked to raise his right arm.

“House” does something that amazes me: it’s a formulaic procedural, but it’s never predictable or boring. Its character development is impeccable and its mysteries are, well, mysterious.

When it departs from the formula, though, is when this show is at its best.

Last season, it was the episode “Three Stories,” in which House lectured a class of med students about three patients with similar symptoms. The stories were riveting and playful, with House taking jabs at the students throughout.

When one raises his hand after House asks a question (that he clearly intended to answer himself), House replies, “I’m not going to like you, am I?”

David Shore won an Emmy for Oustanding Writing for a Drama Series for the episode, so Matthew V. Lewis, Russel Friend, Garrett Lerner and David Shore should be writing their acceptance speeches now for “Euphoria” parts one and two.

Not only did this episode jeopardize the life of one of the main cast, it showed us what we’ve suspected all along: House really cares for the three doctors who work for him.

Throughout the episodes, his guilt at having sent Forman into the apartment was clear, never more so than during a conversation with Wilson in which he asked the oncologist if it was possible one of his subordinates would “catch” cancer from a patient.

Throughout the two-night event, questions of religion, philosophy and responsibility were raised and not always answered satisfactorily.

Did Cuddy do the right thing in preventing House from autopsying the dead cop in order to prevent a public health crisis?

Was it House’s fault Forman got sick?

Should Cameron have continued to fight for Forman’s life, even after he’d stuck her with an infected needle?

What is it that constitutes friendship?

Questions like these are the stuff of good television. They’re what make shows like “House” worth watching – and more than 14 million people agreed with me last week.

“House” started out as a sure-to-fail midseason replacement on Fox. In the final weeks of its second season, it’s become one of the biggest non-reality hits the network has, with not a single faltering step in terms of creativity or ratings.

As far as “House” is concerned, the prognosis is good: the show should be around for years to come.

Note: Now that The Etownian has ended its regular production schedule, updates to the blog will be more sporadic. To get an e-mail each time I post a new update, send me a message at josh.andrzejewski@gmail.com.

Stephen King's "Desperation"

2006-05-04T17:00:00.000-04:00

After most of the season and series finales have aired this month, ABC will premiere its latest collaboration with "master of horror" Stephen King. "Desperation," a three-hour adaptation of King's 1996 novel, will debut May 23 at 8 p.m. While frightening and even gruesome at times, the film also deals with the expansive themes of good versus evil and holding on to faith in the face of doubt.

"Desperation" is set in a small Nevada town with the same name. Usually travelers only stop there to fill up for gas, if at all. However, when Peter and Mary Jackson (Peter Thomas and Annabeth Gish) are pulled over by local cop Collie Entragian (Ron Perlman), things take a turn for the paranormal.

While reading them their rights, the cop mixes in some sort of guttural language and threatens to kill them. When they arrive in Desperation, they find out he's already killed everyone else in town.

"The greatest horror stories always make you confront life and death," Director Mick Garris said of the project, which will mark his sixth time teaming up with King. "'Desperation' is a real 'balls to the wall' horror story … it's this grand battle between good and evil."

King and Garris previously worked with ABC to produce adaptations of "The Stand" and "The Shining."

After locking the Jacksons in Desperation's jail, Entragian returns to the highway and brings back washed-out author Johnny Marinville (Tom Skerrit), who's fighting personal demons left over from a life of alcoholism and divorce. Before throwing Marinville in a cell, the cop displays an odd power for controlling the local wildlife, including wolves, buzzards and scorpions.

Once inside the prison, Marinville meets the Carver family - the first ones brought into Desperation by the crazed cop who now seems to be physically deteriorating with each passing moment. David Carver (Shane Haboucha), age 11, has recently discovered faith through a set of extraordinary experiences that he's kept to himself; he may be the best chance this group of strangers has of making it through the night.

His father, Ralph (Matt Frewer), doesn't quite understand his son's faith, but it soon becomes clear to all the survivors that David's God holds the key to their survival. As a storm gathers outside, Steve Ames (Steven Weber) arrives in town looking for Marinville, his boss, and is quickly pulled into the conflict.

Executive Producer Mark Sennett describes the story as "one of those core, scarier-than-hell Stephen King novels," adding, "It's bizarre, scary, humorous and has some great characters in it … [it has a] wholly different, early Stephen King feel to it."

The production took place entirely on location in Brisbee and Tucson, Arizona during 2004. The film was supposed to have been released a year ago, but studio problems tied up its debut. The movie was originally announced as a feature film almost five years ago, and I've been waiting ever since to see the project realized.

Finally, my wait is over.

King both wrote the teleplay and served as executive producer for the film, which means fans are not likely to be disappointed. The novel weighs in around 550 pages, and I'm worried about what elements had to be left out to meet the running time (in three hours of television, there are probably about two hours and 15 minutes of actual show), but knowing King adapted his own work gives me hope that all the best parts are still in there.

The best parts of the story aren't the ones dealing with creepy special effects or horrifying corpses, but the ones in which the characters come fully alive. In his novel, King did an amazing job of creating an eclectic group of people: young and old, faithful and jaded, confident and terrified.

This year, serialized television shows didn't fare as well as they did in the previous season, so I'm glad this is airing all at once, rather than as a miniseries. Viewers looking for a drama with tension that builds to the breaking point over the course of one evening should turn to ABC May 23 from 8 to 11 p.m. It will be a harrowing but hopeful experience they won't soon forget.

Spoiler previews put damper on looming TV suspense

2006-04-27T17:00:00.000-04:00

Caution: spoilers ahead! This is the message I dread most when doing research for this column. To be honest, I can't imagine why people insist on posting the latest gossip about who dies on "Lost" or what Jack Bauer's going to face next on "24."

On the other hand, I'll admit I find it incredibly difficult to avert my eyes and have, on more than one occasion, fallen victim to the siren song of the spoiler. For example, while reading synopses of future episodes of "The West Wing" before the election happened, one Web site, without warning, summarized a final episode this way: "Santos offers [someone] an important position in his administration."

I won't reveal who the "someone" was to avoid spoiling things for anyone else, but this told me that Santos would clearly win the election weeks before it even happened!

Writers and producers must hate spoilers more than anyone; they work to create stories that engage, surprise and even shock their audiences. Unfortunately for these hard-working people, the network executives are some of the worst spoilers of all.

A new form of spoiler has emerged: the "next week on …" segments at the end of each episode. No longer content with merely teasing what happens next week, networks seem to be trying to destroy any chance we have to be surprised.

A recent example occurred on "Lost," when the prisoner Henry Gale tried to prove he wasn't one of "The Others" by sending some of the survivors to find his crashed hot-air balloon. The show ended without showing us what - if anything - the search party discovered. A moment later, the preview found them staring up at none other than a huge orange balloon! Sure, it turned out not to be Gale's, but the wind was certainly out of my sails as I sat down to watch the episode next week.

The networks have also started to use another incredibly idiotic measure to promote their programs: airing previews for next week during the last commercial break of the show. The guiltiest offender is Fox which has started running ads for next week's "24" during the final commercial break. When an episode ends with Jack caught in a huge explosion, but you've seen him talking to CTU in a commercial five minutes before, the peril he might be in is quite diminished.

This might not be a problem with sitcoms like "The King of Queens" or procedurals like "CSI," which rely more on character than plot to draw in their audiences, but the appeal of shows like "24" and "Lost" is their unpredictability; the best thing these shows can do is surprise me and surprise me well. The networks undercut that ability when they air promos that should be preceded by a spoiler warning.

In most cases I think it's just a lack of creativity on the part of the promotions department. The difference between "teasing" and "spoiling" lies in the creativity with which the ideas are presented.Executives, please find a way to get me interested in watching next week without telling me exactly what's going to happen!

TV Guide critic Matt Roush, who also abhors spoilers, gave this description of a recent episode of "24" that he'd been allowed to preview: "The final moments are shocking. It's not another death, but it's something that changes the course of the show for the rest of the season."

I knew it was going to be good and I knew I'd watch. While I didn't know exactly what would happen, I was sure it would be worth it.

I have personally given up on watching most "next week on …" segments, because I want to preserve the chance that I'll be surprised by a perfect twist: that moment when all the evidence is there for me to see, but it's not put together until the final seconds of the show.

Those are the moments that make me gasp in surprise or yell at the screen, even when I'm watching by myself.

DVDs keep TV alive during summer

2006-04-12T17:00:00.000-04:00

With the dearth of summer programming coming up, I wanted to suggest a few show that have been released on DVD to keep viewers entertained while reality shows and repeats dominate the airwaves. Most of the shows I'm suggesting are ones that will be much more enjoyable watched back-to-back, rather than waiting a week between episodes.

Fans of "Law & Order" (or any of its spin-offs) should check out "Homicide: Life on the Street," all seven seasons of which have been released on DVD. When I discovered this show last winter break, I went through five seasons in about a month - it's incredibly addicting. The Peabody Award winner was never a ratings blockbuster but, week after week, it portrayed the lives of Baltimore homicide detectives with flair and realism.

The first season of the show (only nine episodes) focuses on Tim Bayliss (Kyle Secor), a new member of the homicide department, and his attempts to catch the killer of a young girl named Adena Watson. With each episode, another clue is revealed, leading up to a riveting and unexpected final episode.

Another crime-related program that's been released on DVD is "Murder One," which lasted two seasons on ABC in the mid-90s and spent its entire first season covering a single murder case. The forerunner to "24," "Murder One" follows the case from the day the body is found to the thrilling conclusion 22 episodes later.

From jury selection to cross-examination, Attorney Teddy Hoffman (Daniel Benzali) guides his staff through a national case involving a celebrity defendant while trying to fulfill his responsibilities as a husband and father as well.

For fans of the pulse-pounding action of "24," "Sleeper Cell" may be the best hope for a shot of adrenaline during the lazy summer months. The 10-part Showtime series is not exactly a realistic portrayal of terrorism in America, but its tragic emotional undertones and plot twists will hook anyone looking for a thrilling television experience.

The story follows Darwyn Al-Sayeed (Michael Ealy), a practicing Muslim and undercover FBI agent, as he infiltrates a sleeper cell of Islamic radical extremists. The leader, Farik (Oded Fehr), is planning to detonate a chemical bomb in the middle of Los Angeles (Jack Bauer's hometown, coincidentally). Recently renewed for a second season, "Sleeper Cell" is the perfect substitute for those who are willing to suspend their disbelief in pursuit of a gripping tale.

After "The West Wing" ends its seven-year run this spring, followers of President Bartlet & Co. may want to check out "Sports Night," Aaron Sorkin's first television project. The show focuses on the cast and crew of a late-night sports program, but viewers don't have to be into sports to appreciate the witty dialogue and fast-paced energy that fill the production. Though it is filled with sports trivia, the show is more about relationships between coworkers and friends than anything else.

"Sports Night" ran for two seasons on ABC and all 45 episodes are collected on one six-DVD set. Sorkin's fans will recognize the quick, cutting banter and long, tracking shots that he and collaborator Thomas Schlamme seem to have trademarked. The strangest thing about the first season is its laugh track, which ABC insisted be used. It's totally out of place and completely unnecessary.

HBO has released a number of its original shows on DVD, among them are "Deadwood," "The Wire" and "Carnivàle." I'd recommend renting them, because the DVD sets cost about $100 per season and don't include any bonus features.

"Deadwood" is a gritty western town in which the residents have the dirtiest mouths on TV. "The Wire" is a companion to "Homicide" that shows both sides of the streets of Baltimore: the detective and the drug lords. "Carnivàle" is a surreal trip through depression-era America that focuses on two main characters: a drifter who seems able to heal people and a minister who might bring about the end of the world.

Summertime usually signals the end of any reason to watch television, but in the age of TV shows on DVD, there's never a reason to turn off the tube.

Primetime criminals steal the show

2006-04-06T17:00:00.000-04:00

Last month, two new dramas premiered, both of which focus on criminal masterminds. "Heist" on NBC (Wednesdays, 10 p.m.) and "Thief" on FX (Tuesdays, 10 p.m.) both opened with the main characters engaging in witty banter as they carefully executed their illegal plans with a funky soundtrack playing in the background and that's about where the similarities end.

"Heist" is definitely the lighter of the two, with an eclectic group of odd but talented crooks plotting to rob three jewelry stores on Rodeo Drive and an equally quirky collection of police officers trying to figure out what the thieves are up to.

Dougray Scott ("Dark Water") is the team's disarmingly charming leader, Mickey, a patient man with a wife and daughter who think he's been dead for seven years. Complicating matters further is the man who "killed" Mickey, and now picks up Mickey's wife and daughter after violin recitals.

The lead detective on the case, Amy Sykes (Michele Hicks, "The Shield"), is a no-nonsense woman who's fed up with the ineptitude of her subordinates. After throwing a telephone at one, she makes a general announcement: "As detectives, you suck!"

The show is full of delightfully peculiar pairings, like Lola and Ricky (Marika Dominczyk and David Walton) or Detectives Evans and O'Brien (Reno Wilson and Billy Gardell). Ricky is hopelessly attracted to Lola, a fact that doesn't really deter him from flirting with her (to her chagrin) as they set up fiber optic cables or scope out a bank. Detective O'Brien is "an idiot and a racist," according to Detective Evans, but they're paired by Sykes because the division needs "better chemistry."

"This is just like 'Lethal Weapon'," O'Brien says, "Except, I actually do hate you."

With tongue planted firmly in cheek, "Heist" plays like "Ocean's Eleven" (that's right, the good one) on TV. Viewers who are looking for lighthearted fare with moments of edge-of-your-seat intensity will enjoy this caper.

FX's "Thief" is a different matter altogether. Featuring the triumphant television return of Andre Braugher ("Homicide: Life on the Street") as Nick Atwater, this show delves into the dark recesses of the criminals' minds and lives. Where "Heist" is glitter and jokes, "Thief" is grime and reflection.

Set in post-Hurricane Katrina New Orleans, the show's tone reflects the devastation that's recently occurred in that city. It seems as though everyone in the show is seeking some sort of redemption or forgiveness. These theives don't get rich from their scores - after months of meticulous planning, they each only make $32,000 from the botched heist that takes place in the opening moments of the series. There's nothing spectacular about this crew.

The guys take bets on when one of their wives will give birth as they crack a safe in San Francisco, and there is a funny moment when, during the job, Nick gets a call from his wife. "I can't really talk now," he says. "I'm in a ... meeting."

Moments of humor are interspersed with moments of suspense and dread as the team moves closer and closer to tragedy - both professional and personal. Nick's family life is shattered when his wife leaves the picture and he is left to care for his step-daughter, Tammi (Mae Whitman, who was terrific as Anne in "Arrested Development"), he barely understands.

"You and me, we've got one thing in common," he tells her. "Your mother."

As a result of the team's screwup in San Fran, the Chinese Mafia, aided by a corrupt cop (Michael Rooker), is now ruthlessly tracking Nick and his crew, determined to get revenge.

There is most definitely a darkly complex undertone to the narrative structure of "Thief;" unlike "Heist," this show is less clear about whom we're supposed to like. It explores the dark sides of family connections and criminal relationships. Braugher and Whitman are excellent as sparring partners who really care for one another.

Through a veneer of gloom and despair, "Thief" is a compelling drama that explores the relationships between people forced to rely on one another. This isn't a popcorn thriller - thinking will be required.

I'm grateful that these two shows vary so greatly from one another. Each is entertaining in its own way, and it's not simply a case of one network cloning another's programming. There's room for both "Heist" and "Thief" on my viewing schedule this spring.

"Lost" Finds Its Way Back to Quality

2006-03-30T17:00:00.000-05:00

After waiting several weeks between episodes, "Lost" delivered the best episode of its current season last week with "The Whole Truth," an episode that focused on the backstory of Korean couple Jin and Sun Kwon and ended in a chilling cliffhanger dealing with prisoner Henry Gale.

The love story between these two has been handled incredibly well over the course of the series. In flashbacks during the first season, we learned that Sun (Yoonjin Kim) had been prepared to leave Jin (Daniel Dae Kim) the day of the departure, but an uncharacteristically kind act on his part convinced her to follow him on board Oceanic Flight 815.

What I've always liked about Sun and Jin is the heartbreaking complexity of their love for one another. She was a child of privilege, he a fisherman's son; they never should have been together in the first place. In order to be with her, Jin took a job working for her father, which eventually drove a wedge between the couple.

After the crash, things weren't any easier for the Kwons. No one could understand them, since they (supposedly) spoke only Korean. In order to help her husband, Sun was eventually forced to reveal that she knew English, causing a rift between her and Jin that lasted for most of season one.

Reunited about halfway through the current season, Sun and Jin are happy at last, more or less.

This week, they discovered that Sun is pregnant (at least according to a test someone apparently had on board the plane) despite her infertility in their life before the island.

As it turns out, Jin is the infertile one, not Sun. Though she claims never to have been with another man, the baby Jin was so quick to call a "miracle" might not be so surprising, considering the way Sun and her English instructor were looking at each other during her lessons. Hopefully no one will find a paternity test on the island.

Actress Yoonjin Kim's mysterious facial expressions gave little away at the close of the show; she's always been able to convey the subtle intricacies of emotion that are inherent to her character. She actually auditioned for the part of Kate and, while producers didn't feel she was right for that role, they liked her so much they created the roles of Sun and Jin as a result of her audition.

In other island news, the prisoner Henry Gale (Michael Emerson) has officially become the creepiest person on the island. Who knew the phrase, "You guys got any milk?" could be so disturbing?

I was just about convinced that Gale's story was true, that he really did crash land on the island with his now-deceased wife. He stuck to his story despite everything the survivors did to him - including what must have been horrendous torture at the hands of Sayid - and I was just about to give him the benefit of the doubt when he gave an unnerving speech to Jack and Locke.

Having given a map to the supposed location of his downed hot-air balloon to Ana-Lucia, Sayid and Charlie, Gale theorized what might happen if he actually was one of "the others."

"'Course, if I was one of them … what would I do?" he asked. "There'd be no balloon, so I'd draw a map to a real secluded place … a good place for a trap. And when your friends got there, a bunch of my people would be waiting for them. Then they'd use them to trade for me. I guess it's a good thing I'm not one of them, huh?"

Chills are running down my spine just thinking about it.

In a sophomore season that's been more hit-or-miss than last year, "The Whole Truth" returned to the strong points of storytelling that made "Lost" a hit last year. At the heart of the show's success are two things: character and surprise.

With the exploration of Sun and Jin's relationship and the shockingly eerie final speech by Gale, "Lost" delivered an incredible blend of love story and suspense that hearkens back to the first few episodes, when everything about the island was new and exciting and viewers had no idea what to expect.

24 reasons I love "24"

2006-03-16T17:00:00.000-05:00

Here are 24 reasons I love "24," in no particular order:

1. The show reinvents itself every season. With new agents, terrorists and spies, "24" manages to freshen things up every time Jack Bauer has to save the country (and sometimes world) from imminent disaster.

2. The president almost makes me glad George W. Bush is in office. I'm reasonably sure that, unlike whiny President Logan, Bush would never give the motorcade route of a foreign dignitary to terrorists, even if American lives were on the line.

3. Elisha Cuthbert.

4 - 7. Other than Jack, no one is safe. Within the first 10 minutes of this season, former President Palmer was assassinated, Michelle Dessler was killed by terrorists and her husband, Tony Almeida, was left in critical condition. Two weeks ago, loveable nerd Edgar Stiles bit the dust. And this week, shortly after waking up from surgery, Tony was killed moments after viewers realized what a good guy he was.

8. No more cougars. Although the most recent plotline with the return of Jack's daughter, Kim, threatened to turn the show into a soapopera, it was nowhere near as bad as when she was hunted by a mountain lion in the woods.

9. Split screens.

10. Plot twists. The latest batch of episodes has turned upside-down everything we thought we knew about what was going on in Los Angeles.

11. No one ever has to go to the bathroom.

12. Schematics.

13. Hobbits can really kick some ass. I was skeptical of Sean Astin's guest role this season, but he turned out to be a great addition to the chaotic environment at Counter Terrorist Unit (CTU).

14. Nobody ever yawns.

15. Chloe O'Brien. The wooden acting from Mary Lynn Rajskub is still a bit annoying, but Chloe's impertinence is starting to grow on me.

16. The moments at the beginning of the show when Keifer Sutherland announces "The following takes place between …" and I realize it is that time right now!

17. Jack will shoot anyone. Whether it's a terrorist in the back or a former boss's wife in the leg, he'll do whatever it takes to get information. Terrorists, please just tell him what he wants to know.

18. Redemption. This week Lynn McGill, brilliantly portrayed as a control freak with an inferiority complex by Astin, exposed himself to the deadly Centox gas that was released in CTU headquarters in order to save the others inside the contaminated building, proving once again that you can never guess who's going to be the hero next.

19. Secret Service Agent Aaron Pierce. The stalwart protector and defender of President Palmer is still working in the White House and is always willing to risk his life to protect the first family. When his motorcade came under attack earlier in the season, I thought for sure Pierce would be a casualty. Instead, he managed to save the day and stay alive. Go figure.

20. Love stories. The writers do a marvelous job of setting up relationships that develop a great deal over a short period of time. Say, 24 hours or so.

21. Threats. Take this gem, from Jack, for example: "First thing I'm gonna do is take out your right eye, then I'm gonna move over to your left …" Eesh.

22. Jack's sensitivity. As Tony died in his arms this week, Jack struggled - unsuccessfully - to hold back tears. It reminded me of the closing moments of season three, when the shock of what had happened finally hit him and he broke down in his SUV. Or the end of season one, when his wife died and he … come to think of it, Jack cries a lot.

23. Elisha Cuthbert. She's really hot, okay?

24. Why would I ever waste an hour doing something boring like schoolwork when I could watch Jack Bauer save the world in the same amount of time?

Dual network merger may hurt quality of shows

2006-03-02T17:00:00.000-05:00

The CW: What does it mean? Not many are sure, but chances are it's not going to be good for the programs of The WB and UPN.

Late in January, CBS Corporation and Warner Brothers Entertainment announced their plans to dissolve both The WB and UPN, combining them into a new network called The CW. CBS, owners of UPN, and Warner Bros., owners of The WB, would each hold 50 percent shares in this new venture.

"This new network will serve the public with high-quality programming and maintain our ongoing commitment to our diverse audience," president of CBS Leslie Moonves said. I'm not so sure it will do either of those things.

With the two netlets (as they've been called) joining forces, the chances for ratings successes against ABC, CBS, NBC and FOX are certainly greater; my fear is that the programming will go to the lowest common denominator. The WWE's "Smackdown," which has long been a staple of UPN, will probably come to this new network in one form or another and, with only so many hours in a week, the more well-made (but less-watched) shows might be left by the wayside.

The CW's schedule will be patterned after the current model of The WB's primetime hours: Monday through Friday nights, 8 p.m. to 10 p.m., Sunday nights, 7 p.m. to 10 p.m. Outside of primetime, the network's schedule will run two hours of weekday programming from 3 p.m. to 5 p.m. and a five hour Saturday morning block of children's programming.

Essentially this means that half the shows from each network will get the boot in order to make way for half the shows from the other network. Plus, there are even shows in development for next season that The CW might choose to pick up at the expense of current programs.

For example, there are rumors that UPN was interested in CBS's recently shelved (but critically acclaimed) "Love Monkey," starring Thomas Cavanaugh ("Ed"). For now, the ball is in The CW's court.

Which shows am I most afraid for? "Veronica Mars" is one. The inventive and captivating program has shown a great deal of creativity and freshness in its sophomore year, and though ratings have risen this season, it might still be a casualty of this merger.

The thing is, if Dawn Ostruff, the current president of UPN and the woman who's been named president of this new network, believes she can compete with the other top four networks, she might have less patience for shows with lower numbers. A show can come in fourth out of six and still be considered for renewal. The same can't be said if a network is trying to get into the ring with the big boys and girls.

From what Moonves has said, that's exactly what The CW intends to do.

"The CW launches as a strong competitor to the Big Four, and that's good for our business, for the viewing audience and for free, over-the-air broadcasting," he said. "The CW will be able to draw from the creative talent and production resources from the top two television production studios in the business while also seeking programming from all sources - independent producers or other studios."

A few shows viewers probably won't have to worry about are "Gilmore Girls," "America's Next Top Model," "Everybody Hates Chris" and "Smallville." The new network will probably want to make use of the notoriety of these hits (in terms of The WB and UPN audiences) to make its best effort for a strong launch in the fall.

This move is obviously a good one for the parent companies of UPN and The WB, who will no longer be competing with one another for ratings. Unfortunately, I think it could hurt the programming on broadcast television overall, as a ratings war is sure to break out with the launch of this new network in the fall. When the networks only care about ratings, the quality of their shows suffers - that doesn't make for exciting TV.

Spring DVD Releases

2006-02-23T17:00:00.000-05:00

This spring there are several notable television shows being released on DVD. Some are recent hits from cable while others are nostalgic classics we remember from our childhood (although we might not have been allowed to watch them).
For those who are interested in catching up with the latest craze or reliving some favorite TV memories, these sets are sure to please.

"Sleeper Cell"
Release date: March 14.
This thriller recently aired on Showtime as a 10-part miniseries and was critically acclaimed for its unflinching look at the war on terrorism. Micheal Ealy ("Barbershop") stars as an undercover FBI agent who joins a terrorist cell headed up by Oded Fehr ("The Mummy").
Matt Roush of TV Guide called this show "a rare treat: a thriller with a brain and a heart." The show will keep viewers on the edge of their seats, just like "24" or "Prison Break." This title is available through amazon.com for a pre-order price of $24.99.

"Huff: The Complete First Season"
Release date: March 21.
It's been more than a year since the first-season finale of this hilariously moving dramatic comedy, which is another hit from Showtime. It stars Hank Azaria ("Eulogy") as Huff, a psychiatrist trying to get his life back in order after a patient commits suicide in his office. The show features great performances by the entire cast, including Oliver Platt ("Kinsey"), Blythe Danner ("Meet the Fockers") and Paget Brewster ("Andy Richter Controls the Universe").
There are moments in this show that are breathtakingly touching; there are also moments so funny that they left me gasping for breath. In Huff's world, tragedy and comedy run seamlessly together. This set can be purchased for $22.24 at deepdiscountdvd.com.

"Friends" Collections
Release date: March 28.
Fans of the sitcom that anchored NBC's Thursday-night lineup for a decade are in luck. This spring, Warner Bros. will release three collections of "Friends" on DVD: "The One with all the Birthdays," "The One with all the Babies" and "The One with all the Weddings." Each set contains about a half-dozen episodes of the series tied together by a particular theme.
These collections will make great gifts for anyone going through the life events mentioned in the titles, and dvdempire.com will let customers pre-order them for less than $10.

"Dinosaurs: The Complete First and Second Seasons"
Release date: May 2.
I was never allowed to watch this show as a child; nevertheless, I was able to sneak peeks at a few episodes, and I remember loving it. I can't wait to find out if the series holds up to my memory. It centered on the Sinclair family - dinosaurs brought to life by Jim Henson Productions - and their everyday lives during prehistoric times.
The show was a great satire of corporate America played out in the year 60,000,003 B.C. Fans of "The Simpsons" will find it equally hilarious. Even those who haven't seen the show probably remember Baby Sinclair's catch phrase: "Not the momma!" The show is available for pre-order at dvdplanet.com for $27.97.

"The West Wing: The Complete Sixth Season"
Release date: May 16.
This is the season in which "The West Wing" began to revive itself. Most critics agree that the show lost something during the fourth and fifth seasons, but this one marked the beginning of the end for the Bartlett administration and the beginning of a new creative direction for the show. Focusing less and less on the current presidency, season six allowed viewers to see the next election begin to come together.
The final season, airing now on NBC, has been a renaissance for the show that holds the most records for Emmys won in a single season (its first). It's never been the same as it was in the first few seasons, but this collection contains some gripping episodes that include stellar performances from the cast, including the late John Spencer. Customers can pre-order this season for $38.99 on amazon.com.

"Life Goes On: The Complete First Season"
Release date: May 9.
This slice-of-life drama about a family dealing with all sorts of issues - from opening a restaurant to caring for a child with Down syndrome - was an early-90s precursor to shows like "7th Heaven," only good.
The depiction of Corky (Chris Burke, "Mona Lisa Smile") as a strong young man being mainstreamed into a "normal" high school was touching and never preachy.
For die-hard fans, the only downside to this release will be the replacement of the familiar opening theme ("Ob-La-di, Ob-La-da") with a generic track in order to keep licensing costs down. This is a regrettable reality for many shows today, but fans both old and new will probably appreciate the episodes sans theme song anyway. This collection will sell for $27.99 on amazon.com.

NBC Breathes Life into Sitcoms

2006-02-17T09:39:00.000-05:00

One of the most frequently asked questions these days is: are hit sitcoms gone forever? I want to assure you, they’re not. Today, I’m going to give you two good reasons why the sitcom is not dead: NBC’s “My Name is Earl” and “The Office.”

The former home of “Must-See Thursdays” has realized the error of its ways and finally returned to a two-hour block of comedy on that night. You can probably skip the first hour (“Will & Grace” isn’t just showing its age, it’s screaming it, and “Four Kings” is instantly forgettable), but from 9 p.m. to 10 p.m., you’d better have your eye on the peacock.

“Earl” is this season’s highest-rated new show and the winner of the People’s Choice Award for “Best New Comedy.” With ratings that are consistently high, “Earl” is something I never thought I’d see: a hilarious comedy that people are actually watching.

The basic premise of the show is that Earl, a lifelong petty criminal, wins the lottery and is struck by a car on the same day. After seeing Carson Daly talk about karma, Earl decides the only way for good things to happen to him is to make up for all the bad things he’s done in the past.

It’s a simple premise that is perfectly executed by the actors and producers. Jason Lee (“Mallrats”) stars as Earl, and it’s the role he was born to play. His gruff but lovable personality and his earnestness to change his life are both alternately amusing and heartwarming.

His lovably dim brother, Randy, is played by Ethan Suplee (“The Butterfly Effect”) – another perfect casting job. A recent episode that found Earl realizing he couldn’t finish crossing things off his list without his brother was incredibly moving.
The show also plays off the “white trash” stereotype that Earl and Randy live, but it does it in a way that isn’t offensive, but endearing. This is not “Roseanne.”

Finally, “Earl” does what “Scrubs” used to do: it blends cartoonish humor, hysterical non-sequiters, biting social commentary and good-natured sweetness into a half hour that’s vastly superior to just about everything else out there today.

At 9:30 p.m., “The Office” offers a “fly-on-the-wall” look at life in the Scranton, Pa., branch of the Dunder-Mifflin paper company. Spawned from the critically acclaimed British programme of the same name, this show had a lot to live up to.

It has just recently come into its own by beginning to develop the peripheral characters in the office and softening the blow of the always-abrasive Michael Scott, played by Steve Carrell (“The 40-Year-Old Virgin”). Although he’s a bit more palatable, Michael’s edge is far from gone. In an upcoming episode, one of the employees in the office will be diagnosed with cancer – on Michael’s birthday. After a show in which he was upset that no one paid attention to his injuries (from stepping on a George Forman grill) when another co-worker had a concussion, I can’t wait to see how the self-centered but well-meaning manager deals with this situation.

The other point of interest recently has been the unrequited love between Jim Halpert (John Krasinski, “Jarhead”) and Pam Beesley (Jenna Fischer, “Employee of the Month”). Pam is engaged to an oafish shipping worker who probably doesn’t care for her half as much as Jim does, but the chemistry between her and Jim is palpable.

After confessing his love for Pam to Michael (“I confided in the world’s worst confidante,” he later admitted), Jim tried to do some quick damage control, telling Pam – not quite believably – that he didn’t have those feelings anymore. Though a bit awkward now, they’ve managed to maintain the playful relationship that proves they’re perfect for each other.

For anyone who misses the “will-they-or-won’t-they” fun of Ross and Rachel (when it was still fresh), “The Office” provides a weekly dose of sexual tension.

What do these shows have in common? One’s about a criminal trying to turn his life around, the other’s about the people who work in possibly the dullest industry ever – paper sales. The thing that connects them, though, is that both shows care deeply for their characters. If sitcoms are to survive at all, it will be through character-driven stories that make use of talented actors and writers.

Development Arrested

2006-02-09T20:00:00.000-05:00

Last week I bemoaned the premature cancellation of NBC's "The Book of Daniel," a show that was canned after only four episodes, despite great critical acclaim. This week it's (probably) time to say goodbye to "Arrested Development," a show that has had similar trouble attracting an audience, having been given more chances than I ever would have expected.

I say it's "probably" time to say goodbye because FOX has not officially canceled the show yet. Late in 2005, its season order was cut from 22 to 13 episodes and it was yanked from the schedule during November sweeps - sure signs that the end was near. However, the press materials for tomorrow night's two-hour, four-episode event call it a "season" - rather than "series" - finale.

I'm not sure whether to feel hopeful or cheated. Without a definitive answer to the question of whether or not the show will return, will I really be able to let go?

This offbeat series tells the tale of the Bluth family, well-to-do residents of southern California who suddenly find themselves struggling to make ends meet when the patriarch, George Sr. (Jeffrey Tambor), is imprisoned for fraud and, possibly, "light treason." His son, Michael (Jason Bateman), is forced to take charge of the company, trying to hold it - and his family - together.

The premise is simple, but over the past three years, "Arrested Development" has grown to become one of the smartest shows on television, and maybe that's why people aren't watching. Each episode contains subtleties and jokes that require repeat viewings to completely understand, and people don't seem to have that level of interest anymore.

The last episode to air, "S.O.B.," was filled with in-jokes and jabs at FOX and viewers in general. When the acerbic Lucille Bluth (Jessica Walter) realized she had no one to prepare a dinner for 50 people that was only three hours away, the narrator (Ron Howard) exclaimed, "Now that's a clear situation with the promise of comedy. Tell your friends about this show!"

There has been some speculation that another network might pick up "Arrested Development" if and when FOX finally decides to cancel it, which was also lampooned in the latest installment.

As George Sr. and Michael try to figure out a way to save the Bluth Company, a housing development enterprise, George Sr. suggests the Home Builder's Organization, to which Michael replies, "No, the HBO's not going to want us."

"Well, I think it's Showtime," George Sr. replies. "We're going to have to put on a show."

There have been a few rumors that Showtime has offered the producers a two-year, 26-episode deal, but until FOX makes a decision, nothing official can be decided.

At this point, my hope is that the show will go out in a blaze of glory, wrapping up its storylines and ending on a note of subtle sarcasm. From what I've read, there's a good chance that will happen.

Judge Reinhold will be featured in one of tomorrow night's episodes as an actor the family hires to play - you guessed it - a judge. Also joining the cast will be Jamie Kennedy, Bud Cort, "American Idol's" William Hung and Justine Bateman, Jason's real-life sister. She'll play a woman Michael suspects to be his half-sister and hires as a consultant for the Bluth Company, only to discover her "hands-on" approach to business may be more than he'd bargained for.

Meanwhile, Gob (Will Arnett) goes to Iraq to perform his "Christian" magic act and ends up in prison, so brothers Michael and Buster (Tony Hale) fly there to break him out. While there, they discover something that could solve the family's legal troubles forever.

Back in California, Lucille decides to hold a yacht party for a trip that goes characteristically awry.

The show began with a yacht party and the description FOX has released makes me think that, while I believe "Arrested Development" could continue for years, it would be best for it to end tomorrow night, having come full circle.

I've made my peace with the show's departure - the last thing I want is to be strung along. As I sit down to watch the "season" finale, I hope I'll be able to say goodbye to a very dear group of friends for whom I care deeply.

Another one bites the dust: "Book" already closed

2006-02-02T20:00:00.000-05:00

Falling in love means leaving oneself open to all kinds of pain. Never is this more true than in the world of network television. My friends, I've had my heart broken once again.

The latest object of my affection is NBC's "The Book of Daniel," which I had been eagerly anticipating since hearing about it during pilot season one year ago. The premise - a minister and father talks with Jesus about the difficulties of life - hooked me right away.

When NBC announced the show would premiere during mid-season, I was overjoyed. Having lost "Joan of Arcadia" at the end of last season, I was hopeful this program would fill that gap in my life. There was one problem: where "Joan" was a touching drama that didn't rock the boat too much, "Daniel" was plagued by controversy from the start.

For those open-minded enough to actually watch it, "Daniel" was not nearly as controversial as it had been made out to be, though "7th Heaven" it was not.

Daniel Webster (Aidan Quinn), a husband, father of three and Episcopalian minister, has a lot to deal with: one of his sons is gay, another is a typically horny 17-year-old and his daughter gets caught selling marijuana in the first episode. People were quick to label this family as "dysfunctional" based purely on the short descriptions provided by the show's promotional materials.

This program, however, is one that is complex and multi-layered. For example, the daughter, Grace (Alison Pill), sold pot once to raise money for a computer animation program. Far from the "drug-dealer" that religious groups made her out to be, she wasn't even good enough at it to avoid being caught.

The gay son, Peter (Christian Campbell), is defined more by the recent death of his twin brother than his sexuality, and the 17-year-old, Adam (Ivan Shaw), is deeply in love with the girl with whom he's sleeping. These nuances get lost in the cookie-cutter descriptions that are used to "sell" television shows these days.

The other controversy was the show's depiction of Jesus as a character only Daniel can see and hear. Jesus acts as a confidante and actually does condemn Daniel's actions, especially his addiction to pain-killers, but he does it in the way a friend or brother would - gently and with a joke, rather than fire and brimstone.

For some, I suppose, this was "watered down" Jesus; for me, it was a perfect depiction of the love and grace for which the biblical Jesus is known. A combination of controversy, advertiser distaste and a poor timeslot (Fridays at 9 p.m.) led to this show's cancellation last week. NBC didn't do the show any favors either - it wasn't well-promoted and the episodes were shown out of order, which was confusing for fans and is always a sign that the network has little faith in its program. All in all, there are still four episodes of "Daniel" that have not been broadcast on NBC.
In a surprising decision, NBC announced that it would air the remaining installments on its Web site Fridays at 8 p.m. This is a rare occurrence, and one that will give at least a few fans the chance to find out a little more about the Websters.

"The Book of Daniel" was not about a dysfunctional family, nor did it poke fun at organized religion or faith. Instead, it took a hard look at the struggles people have with their faith, their jobs, their families and themselves.

It was - as I suspected a year ago - intelligent, challenging storytelling that was deftly executed by the actors, directors and producers. As such, it was destined to fail, but I'm glad I was able to experience it while it lasted. With any luck, writers and producers will continue to make shows as important as "The Book of Daniel."

Pilot Season "Takes Off"

2006-01-26T17:00:00.000-05:00

January marks the midpoint of "pilot season" - the time of year when networks take a look at television shows that are in the works and decide what they think the next big hit will be. When a network orders a pilot of a series, it gives the studio enough money to produce one episode. After seeing that, the network executives will decide whether they want to invest in the show and put it on their fall schedule.

Audiences will be lucky if even one of these shows makes it to a network's fall lineup, but it never hurts to hope.

One show that is guaranteed to be on in the fall is "Studio 7 on the Sunset Strip," the latest project from Aaron Sorkin and Thomas Schlamme, the creative minds behind "The West Wing" and "Sports Night."

NBC ordered 13 episodes of the series, which focuses on the cast and crew of a "Saturday Night Live" program, and promised Sorkin a competitive timeslot on the fall schedule. Steven Weber ("Wings") has already been cast in the lead role. Hopefully this show will take us back to the golden age of "The West Wing," when the dialogue was fast and the wit was sharp.

Having recently seen the movie "Crash," I'm anxiously awaiting NBC's decision on writer/director Paul Haggis' "The Black Donnelly's." Haggis' script for "Crash" was probably the most emotional two hours I've ever spent in front of my television; I'm sure he will deliver again with this story of four Irish brothers and their involvement in organized crime in the Hell's Kitchen neighborhood of New York.

NBC is also developing "Heroes," an ensemble drama that follows a group of normal people who suddenly discover they have superpowers. With this show, NBC hopes to build on the audience that made the "X-Men" and "Spiderman" movies a hit the past few summers.
Another innovative new show at the peacock network is "Kidnapped," a serialized drama about the abduction of the son of a well-to-do New York family and the subsequent investigation. Each episode will cover one day in the search to find the child. The show stars a few big names, like Mykelti Williamson ("Boomtown") and Delroy Lindo ("The Core").

Kidnappings are plentiful in the crop of hopeful for next season. FOX is developing two shows in this vein: "Thirteen," from the creators of "24," and "Vanished." "Thirteen" is described as a film-noiresque take on a Los Angeles kidnapping that will unfold over 13 episodes. "Vanished" deals with the search for a senator's wife who goes missing and the lives of the investigators and family members the event impacts.

FOX has also ordered a pilot of "Worst Week of My Life," which follows a young couple through the "hellacious" week leading up to their wedding. I like shows that play with time, and this one sounds like a fun romantic comedy.

CBS, not surprisingly, has only ordered one offbeat show so far. The network that brought us three "CSIs" and who knows how many other procedural crime series is mulling "Jericho," the story of a small town trying to piece things back together after a series of nuclear attacks destroy most of the major cities in the United States.

ABC has experienced a creative renaissance of late and is the most likely network to try out an exciting new concept. Some of the shows it is developing, however, seem to be mixing elements of its current hits.

"The Traveler" is a drama about two people who are framed as terrorists by someone they trusted. In the vein of "Lost," the show will cut back and forth between the present day and flashbacks to the earlier life of the three friends.

According to an ABC press release, "Secrets of a Small Town" involves the murder of a teenage girl and the disappearance of her sister, which in turn lead to "emotional and humorous discoveries that have long been buried." Don't tell Mary Alice of "Desperate Housewives," but I think someone's ripping her off. In fact, it's Chuck Pratt, one of the producers of the current ABC powerhouse.

The show I'm truly rooting for, though, is "Nine Lives," an ensemble drama that focuses on the lives of nine strangers who are brought together after a 52-hour hostage situation. ABC has a knack for developing character-driven shows that are able to sustain a great story arc while still focusing on the minutiae of everyday life.

Keep your fingers crossed if any of these teasers tickled your fancy. It's still a long time before the networks unveil their fall schedules in May and, until then, nothing is certain.

Medium: Beacon of Hope in Sea of CSIs

2005-12-08T17:00:00.000-05:00

As a fan of inventive television shows that aren't afraid to take risks, I've recently found myself looking forward to the chance to watch NBC's "Medium" more and more.

The show stars Patricia Arquette as Allison DuBois, a character based on a real-life psychic who claims to be able to speak with the dead through dreams and visions. On the show, Allison works part-time for the district attorney's office, helping them to solve murders and missing-persons cases with her special abilities. She is also married with three daughters, which is where the heart of this show lies.

Producers made a risky decision in choosing not to eliminate - or even downplay - the family element of this show. Most television heroes, psychically enabled or otherwise, don't have to worry about what to make for dinner. This is not the case on "Medium."

Allison's husband, Joe (Jake Weber), works as an aerospace engineer (as does the real-life Joe) and is usually skeptical and/or tired of his wife's abilities. However, while he can sometimes get irritated by the fact that his wife's gift makes living a "normal" life impossible, he faces every problem with a sense of humor.

For instance, when Allison is outraged that it's 9 p.m. and he hasn't called, he replies, "If something had happened, somebody would've called. If I were dead, who are we kidding - you'd be the first to know."

Allison's daughters, Ariel (Sofia Vassilieva) and Bridget (Maria Lark) are both adorable and believable. These talented actresses have done a great job portraying girls who are struggling with growing up and embracing the gifts they've inherited from their mother.

Several compelling episodes have dealt with the girls' abilities, as when Bridget's imaginary friend turns out to be a ghost, or when Ariel was accused of cheating on math tests when, in fact, she was reading her teacher's mind.

"Medium" is the only show I've seen lately that has been able to make a parent-teacher conference interesting.

Rounding out the cast is Miguel Sandoval as District Attorney Manuel Devalos. The series began with Devalos being skeptical of Allison's abilities, but by this point he knows she's the one he wants to go to with difficult cases. Whether she's helping to locate a missing girl or select a jury, Devalos knows her instincts are to be trusted, even when Allison herself is not sure what they mean.

Her work with the D.A.'s office and how it's handled is another interesting choice the producers have made. Instead of making her a nationally renowned psychic who swoops in to lend advice on a case, they have chosen the realistic option of having her conceal her talent from the general public. Devalos' reliance on her is a constant source of worry, as he would probably be run out of office if anyone knew the truth.

This show's most redeeming quality, though, is its unpredictability. Sometimes Allison's not sure what her visions mean, and her struggle to interpret them is fascinating.

An episode this season dealt with her having a song stuck in her head - Gloria Gayner's "I Will Survive," no less - which played constantly for the first 10 minutes of the show as the audience experienced Allison's distress. It wasn't until the song led her to the Ipod of a girl who'd been missing for several days that the experience made any sense.

An intriguing episode from the first season dealt with Allison's vision of an event that wouldn't take place for seven years. As she pleaded with the victim to heed her warning, I realized how groundbreaking it was for a show to have a storyline that, by definition, wouldn't be resolved by the end of the hour.

Combining humor, science fiction, legal drama and family life, "Medium" has become one of my favorite shows this season. It takes risks and, in a season full of bland family sitcoms and more CSIs than I can shake a stick at, it is a bright light.

"West Wing" Rises to Live Debate Challenge

2005-11-10T17:00:00.000-05:00

The thought that kept running through my head during last Sunday's live episode of "The West Wing" was, "This would never happen."

As a Democrat, I can't conceive of an election in which the two candidates are a moderate Republican who supports a woman's right to choose and a liberal Democrat who happens to be of Hispanic descent. When the candidates decided - during a live debate - to throw out the rules and simply have a real debate on the issues, it was something of a dream come true. It was also something no real-life politician in his or her right mind would ever do.

"The West Wing" has always been about wish fulfillment for me. President Bartlett is my ideal candidate: smart, witty and in control. His staff is made up of intelligent, idealistic, fast-talking individuals who are working to make the country better for all Americans.

Sunday's live episode was, of course, a stunt for sweeps month, but it was not at all gratuitous. When "Will & Grace" and "ER" did the same thing in the past, it was just a stunt with no real reason behind it. Televising a fictional presidential debate live, though, was inspired.

It was also risky - with the "Live NBC News" logo in the corner of the screen, I was worried we'd have some citizens asking themselves, "Has it been four years already?"

By airing the episode live, producers added a level of unpredictability to an already stirring script.

As Matt Santos and Arnold Vinick (or "Arnie," as Santos once referred to him) debated issues ranging from special interest groups to drilling in the Alaskan wilderness, I was afraid, at points, that they would come to blows.

These two characters were virtually the only ones who appeared in the episode. After a short, pre-taped segment, actors Jimmy Smits and Alan Alda were on their own. I don't even know why the producers chose to run the credits, since no one from the original cast appeared in this episode.

Smits and Alda did a magnificent job, delivering their lines with vigor and passion throughout the episode. Charged with shouldering the burden of an entire hour of television (with only two commercial breaks), the actors rose to the challenge and won a new level of my respect.

The absence of all original members of the cast was an indicator of the direction the show has taken this season. Some have criticized the show, saying that, in what is probably its final season, "The West Wing" should be giving its main characters a fond farewell. Instead, we have animosity between the president and Leo, his former chief-of-staff, Toby being fired for leaking information to the press and Charlie's utter disappearance, to name just a few oddities.

I think this proves that this should not be the last season of the show. "The West Wing" is not, as some critics have put it, the story of the Bartlett presidency. It is primarily about politics, and can continue to tell the story of whoever wins the election this season.

Producers insist they haven't yet decided who the next president will be, and while they've done a fair job of keeping the audience guessing, I think they're leaning a little heavy-handedly towards Santos.

The possibilities for season eight are vast. Since the show began in the second year of Bartlett's first term, audiences did not get a chance to see a new administration as it moves into the west wing.

Were Santos' campaign to win, Bradley Whitford, Janel Maloney, John Spencer and Kristin Chenowith could continue as main cast members. I would be delighted to see Janeane Garofolo's and Teri Polo's characters remain as well.

The show could also follow Bartlett in his life after being president, thus ensuring Martin Sheen's involvement (as well as Stockard Channing, if "Out of Practice" gets put out of its misery). I'm sure there would also be ample opportunities for other cast members to make "special" guest appearances.

An eighth season is doubtful right now, considering the ratings performance the show has made in its new Sunday timeslot. It's averaged about five and a half million viewers each week, which is only fractionally better than "American Dreams" did last season before being canceled. Even this week's live stunt only garnered about a million more viewers.

If this is the final season of "The West Wing," I'm glad to be back on board for the ride. After faltering creatively during its fifth season, it's back to being a daring, challenging show about American politics that I look forward to week after week.

What Shows Will Be Our "Classics"?

2005-11-03T17:00:00.000-05:00

I was asked to come up with a list this week of shows that will be classics for our generation, which was a particularly difficult task. I think all four of these will be fondly remembered by a vast majority of current college students decades from now.

I tried to get a good mix of shows: there's a comedy, two dramedies and a cartoon; two of the shows are current hits, while two have already ended their runs (one long, one short); all four of them, however, have a certain je ne sais quoi that will allow them to continue as favorites for years to come.

"The O.C."

The first show that came to mind when I tried to think of future classics is "The O.C." The story of a troubled teen coming to live with an upper-class family in Orange County, Calif., and the hilarity/chaos that ensues has apparently swept the nation.

Although I don't watch it myself, there are 152 members of "The OC!!" group on facebook.com that would, I'm sure, like to tie me down in front of the Season One DVD set. The show was an instant hit when it debuted in the summer of 2003 and even survived the move to Thursdays - the most competitive night of television - last season.

"I enjoy 'The OC' because it gives hope to all of the nerdy and neurotic kids of our generation," junior Matt Collins said, adding, "Go Seth Cohen!"

"Freaks and Geeks"

Another show that's already become a cult classic is the short-lived NBC series "Freaks and Geeks." It followed Lindsay and Sam Weir as they experienced high school in the '80s.

The show ran for only one season and was canceled due to low ratings; however, it was critically acclaimed and earned an Emmy for "outstanding casting" as well as a nomination for "outstanding writing."

"I think 'Freaks and Geeks' portrayed the teenage experience better then any other show on TV," junior Kami Tyler said. "The characters look and act like real teenagers and are universal, not to mention believable, for any generation of middle class teenagers."

This show captured the essence of growing up and will be treasured for years by our generation.

"Family Guy"

"Family Guy" proves week after week that there's no such thing as taboo when it comes to cartoon humor. An episode from the third season in which Peter Griffin tries to convert his son to Judaism in order to make him better at math went unaired for two years.

This show was even canceled for nearly three years before DVD sales (mostly to college students) convinced FOX to bring it back. It has been doing well this season on Sunday nights along with other cartoon hits "The Simpsons" and "American Dad."

"The great thing about 'Family Guy' is how fast-paced it is," senior Brian Hess said. "You never know who or what they're going to lampoon next."

"Friends"

As long as I can remember watching anything other than "Sesame Street," I can remember watching "Friends." While it wasn't always the funniest show on TV, it was definitely a constant in my life and the lives of many other high school and college students.

Ross, Rachel, Chandler, Monica, Joey and Phoebe became friends to just about everyone in our generation as we watched them week after week on Thursday nights. For over 200 episodes, we got to see their relationships - boyfriend/girlfriend, brother/sister, roommate/roommate - change and grow. With witty one-liners and clever outbursts, the characters on "Friends" managed to make us laugh for a decade.

Spooky Shows Creep onto TV Screens

2005-10-27T17:00:00.000-04:00

In honor of Halloween, which is fast approaching, I thought I'd take a look at some of the new crop of "creepy" shows that popped up this season. So far they're faring rather well, which is a relief to those of us who were worried the reality TV boom would never end.

The most successful of these new shows is "Invasion" on ABC. Buoyed by its powerhouse lead-in, "Lost," the new hit has already moved to the number four spot on Wednesday nights. Eddie Cibrian ("Third Watch") and William Fichtner ("The Perfect Storm") star in this compelling sci-fi soap opera.

"Invasion" has been moving eerily forward episode by episode, telling the story of the Underlay and Varon families and how they cope with a devastating Florida hurricane. As they begin to put the pieces of their lives back together, mysterious occurrences begin to take place: lights fall from the sky, horribly disfigured corpses are discovered and one character is pulled into the water by a strange glowing object.

Meanwhile, some people are going through subtle changes that might indicate where the title of the show comes from.

"Invasion" is a show that, like "Lost," unfolds like a novel, each week giving viewers another chapter, another piece of the puzzle; however, this story might be moving a little too slowly for my taste.

"Supernatural," the WB show that follows two brothers in their cross-country quest to find their father while running into all sorts of creatures from urban legends along the way, reached a series' high last week with nearly three million viewers. It has improved on its Tuesday 9 p.m. timeslot by 62 percent in male viewers and 11 percent in total viewers. The WB has a modest hit in the tradition of "Buffy the Vampire Slayer" and "Smallville" on its hands with this show.

It stars former WB heartthrobs Jared Padalecki ("Gilmore Girls") and Jensen Ackles ("Dawson's Creek") as brothers Sam and Dean Winchester. The boys, estranged for years, often share moments of witty sibling sparring, such as when Sam insists Dean update his cassette tape collection. When Dan asks why, Sam responds, "for one, they're cassette tapes and two ... Black Sabbath? Motorhead? Metallica? It's the greatest hits of mullet rock."

Airing this show after "Gilmore Girls" might seem like an odd choice, but it can add up to a great compromise: girls get witty banter with the first show while guys get thrills and some pretty creepy plotlines with the second; it's the perfect TV date night.

Another show introduced this season to capitalize on the suspense genre is "Threshold," which airs Fridays at 9 p.m. on CBS. It stars Carla Gugino ("Karen Sisco") as a specialist in worst-case scenarios who's swept up in a government conspiracy to hide the fact that an alien presence has arrived on Earth.

An extra-terrestrial signal makes people incredibly strong and bends them to its will. Each week the government team has to track down another one of these people to keep them from accomplishing whatever mission the alien signal intends for them to carry out.

Though the writing on "Threshold" is just slightly above average, its storylines and themes are worth pursuing. I'm not sure yet, though, whether I'll watch it as it airs this season or wait for the DVDs and catch it all at once.

"Surface" is the least successful new "one-word-title-what-the-heck-is-going-on" show this season. Airing Mondays at 8 p.m., it tells a sprawling story of characters around the world discovering some pretty nasty new marine life.

While the special effects are quite exciting (watching one of the monsters swallow an entire boat in the closing moments of the show a few weeks back was definitely a "Holy cow!" moment) the stories tend to drag and there's nothing special about the cast, which includes Lake Bell ("Boston Legal") as a marine biologist. Perhaps this show, too, will be better on DVD, if it can survive a full season. NBC has ordered more scripts, but they haven't yet committed to anything definite.

At this point, it probably isn't too late to jump into any of these shows, especially after checking out Web sites with episode guides (the best I've found is epguides.com) that can get viewers up to speed. Whether it's sci-fi adventures or just a guilty pleasure, this season's new shows have something for all tastes.

Top Five TV Women

2005-10-13T17:00:00.000-04:00

Two weeks ago I gave my picks for the most interesting male characters on television today. This week, it's the ladies' turn.

Lorelei Gilmore, "Gilmore Girls"

Lorelei Gilmore's mile-a-minute tongue could lash viewers into next Tuesday. Each week she goes from light and bubbly to deeply scholastic to heartbreakingly dramatic. Whether she's complimenting her boyfriend ("You're like Willy Wonka, but hotter") or criticizing U.S. arrogance ("Ah, but this is America, where we unapologetically bastardize other countries' cultures in a gross quest for moral and military supremacy"), Lorelei's mind - and usually mouth - is always running at top speed.

As a supportive mother who wants a better life for her daughter, Rory, her mind is usually put to work trying to figure out how she can pay for private school or college. A single mother, Lorelei sacrificed a lot for Rory. Week after week, she proves that she didn't have to sacrifice her wit and charm simply because life didn't go as she'd planned.

C.J. Cregg, "The West Wing"

Another incredibly intelligent, quick-witted woman on television today is C.J. Cregg, who had these words for college students: "Twenty-five years ago, half of all 18 to 24 year olds voted. Today it's 25 percent … Think government isn't about you? How many of you have student loans to pay? How many have credit card debt? … How many want jobs? … Decisions are made by those who show up."

Of course, in another press conference, she noted, "The theme of the Egg Hunt is 'learning is delightful and delicious' -- as, by the way, am I." I think the choice to promote her from press secretary to chief of staff was questionable, but with such intelligence, poise and humor, C.J. will surely make a difference during the final year of the Bartlett presidency.

Lucille Bluth, "Arrested Development"

"How much could a banana cost?" Lucille asks. "Ten dollars?"

That line defines the world in which she lives: a completely naive existence born out of a life of unlimited luxury in which she always gets her way. Lucille is rarely fazed by alcohol and always cruel to her children.

"You want your belt to buckle, not your chair," she says to her daughter Lindsay at lunch one day, and her son, Michael, is confused when she hugs him, asking, "Why are you squeezing me with your body?" S

he tries to hit her son, Gob, with a car, enlists another, Buster, in the army after a Michael Moore look-alike confronts her on the street and gets into a food fight with Lindsay at a restaurant called Blimpy's.

In the world of TV mothers, she probably shouldn't be ranked with the likes of June Cleaver, but in the world of comedic matriarchs, she's number one.

Allison DuBois, "Medium"

In most shows about psychics, the hero is unattached and mysterious. This is not so much the case with Allison, a suburban wife and mother, who has to worry about changing diapers as well as ghostly apparitions.

"Hmm," she says to her husband, "I'm seeing a house. I'm seeing a guy in his underwear. I'm seeing lots of dishes in the sink."

"How do you do that?" he sarcastically replies.

The thing that makes Allison unique in the television world is her dedication to her family as well as her visions. In fact, it seems her daughters may share her gift, which has led to some heartbreaking episodes in which she tries to help them cope with something even she does not fully understand.

Abby Lockhart, "ER"

When an intern asks Abby, "So, are you, like, a nurse or something?" she quickly responds, "No. I'm, like, a doctor."

Over the past five seasons, Abby has been the main reason I've been able to stick with this increasingly somber show. Her life is often depressing (dealing with her bipolar mother and brother), daunting (dealing with her ex-husband refusing to pay her medical school bills) or disastrous (dealing with her one-time boyfriend, an uncharacteristically insufferable John Carter), but Abby manages to leap these hurdles with pluck and grace.

I'm afraid that, over the past season, she's gotten the short end of the stick in terms of storyline - I could definitely live without the romantic tension between her and Ray - but I'm holding out hope that, as one of the oldest cast members - now that Carter is gone - she will be given some better material in the years to come.

Top Five TV Men

2005-09-29T17:00:00.000-04:00

With so many "Law & Orders" and "CSIs" on television today, the landscape of the small screen can seem to be populated with interchangeable drones. This week, I chose to examine five of the most intriguing male characters on television. Next week, I'll look at the females.

Greg House, "House"

With his razor-sharp wit and equally cutting bedside manner, Dr. House is probably the biggest jerk on television today. He walks with a cane and chews pain pills like "Flintstones" vitamins. He just about snarls at patients when he enters a room. But unlike most television villains, we don't hate him and we don't even "love to hate him."

House is simply being himself, miraculously healing those around him even as he mocks them. His students question his methods, his boss is getting tired of defending him and his best friend can barely stand him.

For House, none of this matters. He truly doesn't care if anyone likes him and he acts accordingly. That fact alone makes him one of the most unique characters on television today.

This is the man who once responded to a patient, saying, "Fascinating story. Did you think about adapting it for the stage?"

G.O.B. Bluth, "Arrested Development"

To prove he was sad in the third season premiere, Gob begged his brother Michael to, "Taste my sadness! Taste my tears!"

A simple-minded man who thinks he's smarter than he is, Gob's catch phrase is, "I've made a huge mistake." He used to be in the magician's alliance until he accidentally revealed the secret to one of his tricks, "The Aztec Tomb," while trying to help his father escape the Securities and Exchange Commission.

His distant relationship with his father has given him a sometimes inflated, sometimes very low self-esteem, once admitting, "I'm a failure; I can't even fake the death of a narcoleptic stripper!"

John Locke, "Lost"

For most of the first season, Locke's character has been difficult to pin down. Is he working against the survivors trying to get off the island? Is he somehow in touch with the island? Has he seen the "creature"? How did he lose the use of his legs, and how did he get it back?

With so many questions about his past and his motives, Locke is one of the most compelling characters on "Lost," mostly because of his relentless resolve.

"Don't tell me what I can't do!" has been his refrain most of the first season.

Hopefully the second season will reveal some answers to the questions surrounding him, but the mystery has been so fun up to this point that it would be a shame to give too much away too soon.

Al Swearengen, "Deadwood"

The first five letters of Swearengen's name say it all - he's got the foulest mouth in the West and, in the first season alone, he was probably responsible for at least a half dozen deaths.

Despite these facts, it's hard to call him the "bad guy" in town, or at least not the "baddest guy." He's a businessman at heart, and this is part of what motivates him, but he can also be incredibly philosophical.

"Pain or damage don't end the world. Or despair. Or … beatings," Swearengen once said. "The world ends when you're dead. Till then, you've got a lot more punishment in store. So stand it like a man, and give some back."

He is an enigma in the broadest sense of the word.

Earl Hickey, "My Name is Earl"

The newest character on this list, (his show has only aired twice this season), Earl has already worked his way into my heart with his endearing simplicity.

After a life of petty crime, Earl hears Carson Daly talking about kharma and decides to apply the philosophy to his own life, righting the wrongs he once caused. In the first episode, he tries to help an old classmate who turns out to be - in Earl's words - a "homosexual-American."

Once again, this is not a character we expect to be philosophical, but he manages to pull it off anyhow. "Well, I wanted a legitimate baby and a wife who didn't huff paint on Thanksgiving," he said, "but I guess life's full of little disappointments, now ain't it?"

Fall TV Schedule: Hits & Misses

2005-09-22T17:00:00.000-04:00

Sunday

The War at Home
"The War at Home" premiered Sunday, Sept. 11. Starring Michael Rappaport as the patriarch of a dysfunctional family, the show is simply going to be more of the same uninteresting fare we've already seen done better a dozen times on "Everybody Loves Raymond." This one can definitely be skipped.

Desperate Housewives
The Emmy-winning "Desperate Housewives" returns Sept. 25 at 9 p.m. After resolving most of its story lines at the end of last year, the show will need to reinvent itself for its sophomore season. The addition of Alfre Woodard will probably help.

The West Wing
"The West Wing" returns this season on a new night invigorated by the race for a new president. Producers insist that they have not yet decided if democrat Matt Santos (Jimmy Smits) or republican Arnold Vinick (Alan Alda) will win the election; and while most assume this will be the last year of the show, the decision has not yet been officially announced. Critics have come down on both sides of the issue, some insisting that "The West Wing" is the story of the Bartlett presidency and should end when he leaves office, others arguing that the show is about the west wing itself and that the story lines are still viable."The West Wing" returns Sunday, Sept. 25, at 8 p.m.

Monday

Surface
Of all the "Lost" clones premiering this fall, NBC's "Surface" is probably the weakest. As mysterious sea creatures begin to surface (hence the title) around the world, scientists try to discover where they came from and what their intentions are.With the downfall of reality television, the rash of scripted programs is a good sign, but quality is still essential."Surface" airs Mondays at 8 p.m.

Prison Break
"Prison Break" premiered Aug. 29 and has become something of a smash hit for FOX. Airing Mondays at 9 p.m., the show's premise is hard to swallow, but for viewers who are able to suspend their disbelief, it should be a thrill ride. Michael Scofield, an engineer, gets himself arrested and sentenced to the prison where his brother is on death row for a crime he didn't commit. His plan: using blueprints tattooed on his body, he will break his brother out of prison.

Arrested Development
Season three of "Arrested Development," FOX's most critically acclaimed but rarely watched comedy, premiered on Monday, Sept. 19 to disappointing ratings. "Arrested's" subtle humor and sharp, witty writing make it the funniest show on television today. Viewers looking for a comedy about a rich, dysfunctional family need look no further.

Tuesday

My Name is Earl
One of the most promising new comedies of this season is NBC's "My Name is Earl." Jason Lee stars as a former ne'er-do-well trying to turn his life around after learning the finer points of karma. If "Earl" can garner ratings along with critical praise, it could revitalize the sitcom. The show airs Tuesdays at 9 p.m.

House
The sophomore season of FOX's "House" kicked off on Sept. 12 to 15.9 million viewers. The surprise hit medical drama features Hugh Laurie as the garrulous Dr. Greg House, who tracks down the causes of some of the most mysterious diseases at his hospital."House" airs Tuesdays at 9 p.m.

The Biggest Loser
The best thing that can be said for NBC's "The Biggest Loser," returning to NBC Tuesdays at 8 p.m., is that the title reveals the show's main demographic group: losers.

Wednesday

Head Cases
"Head Cases" airs on FOX Wednesdays at 9 p.m. The show revolves around two lawyers who go into practice together after being released from a mental institution.While the setup sounds promising, most critics feel this show doesn't take as many risks as it should, too often falling into predictable story lines.

The Apprentice: Martha Stewart
If The Donald just doesn't provide enough realit-ainment for viewers, they can tune in Wednesdays at 8 p.m. to see Martha Stewart's take on "The Apprentice." NBC producers had been hyping Stewart's catch phrase so much that most viewers probably watched the first installment just to see what she'd say. Now that it's out of the way, how many fans will remain?

Invasion
This season's most promising and controversial new drama is ABC's "Invasion." The show begins with a massive hurricane nearly wiping out a small Florida town, which has producers wondering what, if anything, should be cut from the pilot episode. As residents of the town begin piecing their lives back together, they wonder if some otherworldly force had anything to do with the weather system. The first season's story line will cover an eight-week time period, allowing plenty of time for this drama to focus on character development. "Invasion" airs Wednesdays at 10 p.m.

Lost
"Lost" was arguably the biggest hit of last season. In one season, it increased the ratings for its time slot by 131 percent and became the number one Wednesday night show. This fall, "Lost" moves to 9 p.m. on Wednesdays. ABC has made a wise programming move here, pairing this powerhouse with the new "Invasion."

Thursday

Reunion
The only reason to watch FOX's "Reunion" Thursdays at 9 p.m. is its original concept. The show follows a group of six friends from their high school graduation to their 20th reunion. The writing and acting are nothing new and, in fact, border on pathetic. This show gets a few weeks' grace period to shape up, or I'm shipping out.

The O.C.
"The O.C." managed to prove itself respectably last season against "Survivor" and "Joey" in the 8 p.m. time slot. FOX is lucky to have an established hit anchoring the most important night for advertisers. Programmers are hoping the match between "The O.C." and "Reunion" will net them the coveted young adult demographic this season. If so, FOX could potentially become the new "Must see TV" spot on Thursday nights. This night is the most important for advertisers since viewers are most likely making their weekend plans.

Everybody Hates Chris
The words "critically acclaimed" and "UPN" usually aren't seen next to each other, which is what makes "Everybody Hates Chris" such an oddity. Narrated by Chris Rock, this show is loosely based on Rock's childhood experiences. This show will hopefully hearken back to the days when "Malcolm in the Middle" was fresh.

Friday

Ghost Whisperer
"We thought a girl talking to ghosts would skew younger than a girl talking to God," Les Moonves said of the decision to cancel "Joan of Arcadia" and replace it with "Ghost Whisperer." Skew you, Les!

Threshold
"Threshold" had a promising premier Friday, Sept. 16, at 9 p.m.This CBS drama outlines a government agency's response to alien life forms that may or may not be hostile to earth. Usually, viewers are shown someone's attempt to uncover the truth about aliens, a la "The X-Files;" however, "Threshold" treats audiences to the opposite viewpoint. The agency must keep the information of the alien invasion a secret from the public. This show and its characters look like a lot of fun.

Saturday

Unfortunately, Saturday nights remain a wasteland for network television. If we're lucky, there might be a rerun of last week's "Desparate Housewives" or the network premiere of the movie "Paycheck." Otherwise, don't waste your time with "COPS," make Saturday your movie night.

New DVD Releases May Strike Viewers' Fancies

2005-09-15T17:00:00.000-04:00

Over the next few months, a number of notable series will be released on DVD. Be sure to add them to your shopping cart, Netflix queue or just head over to Blockbuster and rent a copy.

Sept. 27, Paramount Home Video will release “The Amazing Race, Season One.” This is the season that started the smash hit, two time Emmy winning reality series on CBS. For those that didn’t get interested in the show until lately, this is a great way to see how it all began. For fans from the beginning, the DVDs will include 90 minutes of previously unaired footage and four audio commentaries.

“The Amazing Race” is about the journey its contestants take across several continents and how it changes them, not necessarily who wins the race. This set is well worth the Amazon.com price of about $27.

Oct. 11, two series are set to drop: “Arrested Development, Season Two” and “Veronica Mars, Season One.”

If you haven’t seen the first season of “Arrested” yet then I must urge you to put down this paper, go out and purchase the DVDs and watch them before you do anything else, including eating, sleeping or having human contact. I’ll wait.

Okay, great. So you’ve seen the first season. Now get ready for season two, which follows the dysfunctional Bluth family as they confront the Magician’s Alliance, the loss of a hand to a seal and the constant onslaught of “hopons.” The 18-episode set sells for $29 on Amazon.com and is sure to be packed with bonus features. I ordered mine the day it was announced (two months ago).

“Veronica Mars” is another under-watched show, so much so that I myself have never seen an episode. But I’ve heard so many good things that, when the DVDs come out, I’ll be very interested to see how this high school student by day, private investigator by night works. The purchase price of $42 is a bit steep, so I’ll probably end up renting this one.

For fans of Carrie, Samantha, Charlotte and Miranda, “Sex and the City – The Complete Series” will be released Nov. 1. This 20- disc set features all 94 episodes of the HBO series as well as a special bonus disc with new material. At $194 (a discount of over $100), this may be one to ask Santa for.

Two weeks later, Nov. 15, “Friends – The One with All Ten Seasons” streets. This collector’s item is going to set you back 250 clams, so be prepared.

On the same day, the second seasons of “Murder One” and “Scrubs” will be released. “Murder” was an addicting drama that aired in the mid- 90’s on ABC and was the precursor to “24.” The entire first season covered a single murder trial. Season two follows three cases and stars Anthony LaPaglia (“Without a Trace”) as the lead defense attorney. This series is like a novel, with each episode unfolding as a new chapter in suspense and intrigue until the explosive conclusion.

“Scrubs” is a current NBC comedy that has received only moderate support from the network. The second season continued to tell stories about the lives of hospital workers (from interns to residents to janitors) that make the viewer laugh, cry and think.

This is the best sitcom NBC has had on the air for several years, and at $1.28 an episode ($28 total), this series is a bargain.

Hopefully there’s a show here that’s struck your fancy. If not, you can visit www.tvshowsondvd.com for a complete listing of all the shows that will be released from now until December. You can probably find something of interest, whether it’s “The Adventures of Pete & Pete” or the complete “Yogi Bear” series.

Television: "Literature of Our Times"

2005-09-01T17:00:00.000-04:00

Jimmy McNulty; Georgia Lass and Roxy Harvey; Johnny Smith; Ted Hoffman and Neil Avedon; Jaye Tyler; Adrian Monk; Tim Bayliss and Frank Pembleton; Joan Girardi and, of course, the entire Bluth family.

These television characters were my constant companions over the summer.

I tell you this not so that you will mock me for not having a life, but so that you will see just how dedicated I am to this medium we call television. Let me first say that I love television with a fierce, burning passion. The invention of the DVD was probably the best technological advance of my lifetime, as it allowed for the production of season sets of television shows, with which I can fill all that pesky free time in my life.

This summer I watched (in no particular order) entire seasons of: “The Dead Zone,” “Dead Like Me,” “Murder One,” “Homicide: Life on the Street” (do I sense some kind of morbid pattern here?), “The Wire,” “Wonderfalls,” “Joan of Arcadia” and “Arrested Development.”

Any and all of these shows are worthy of attention, as they do what television at its best always does – they make people think, feel and react. These shows have, at one time or another, made me laugh hysterically, mist up slightly (I don’t cry; I’m a guy) and helped me question my own strongly held beliefs and opinions. They confirm, for me, my belief that television is the literature of our times.

What the heck does that mean?

It means I love getting wrapped up in the lives of my favorite characters, whether they be dead girls, defense attorneys or homicide detectives. It means that television has the power to transport viewers across time and space and even into the realm of fantasy. It means that there is a level of quality and a value to be found in the writing, acting and production of television at its best.

Admittedly, television is not always “at its best.” For every carefully written episode of “Homicide” there are a dozen hours of “Cops.” For every clever joke on “Arrested Development” there are 45 different “CSI” series that follow the same formula week after week.

While programs like these can give television a bad name, there are countless others that raise the creative bar. Unfortunately, shows that take risks usually end up being canceled pretty quickly. It seems that every spring, I end up hoping against hope that three or four of my favorite shows are renewed and not canceled.

The point of admitting this loser-ish obsession with television is not to prove to you that I deserve your pity (though that may indeed be the case). I want to tell you all this so that you understand where I am coming from as I write this column from week to week.

Television is capable of great things – this I firmly believe. I hope you will join me in my exploration of this marvelous form of entertainment.

Now, if you’ll excuse me, I need to get acquainted with Al Swearingin and the other residents of “Deadwood.”