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PSYCH: “Feet Don’t Kill Me Now”

While last week’s season premiere of PSYCH was a bit underwhelming and complicated with too many new characters running around, this week’s episode was brilliant in its simplicity. In order to solve the murder of a young woman who drowned when her car sank to the bottom of a lake, the regular investigative teams of Shawn and Gus and Detectives Lassiter and O’Hara got switched up. Lassiter took Gus as a partner, due to his pharmaceutical knowledge and tap dancing ability (more on that later), while O’Hara was stuck with Shawn. What followed was an hour of jealousy, competition and tons of jokes between the two teams, further proving that PSYCH doesn’t need a complicated mystery in order to deliver an excellent episode.

My favorite part about this episode was the idea: the pairing of Lassiter and Gus never even crossed my mind, but it was great concept if only for one episode. Little in-jokes like Lassiter allowing Gus to interject his thoughts on the case or introducing him by his actual name instead of a nickname were a nice play on PSYCH‘s long-running bits. It was also nice to see long-time partners Shawn and Gus engage in some friendly competition, and if the murder got solved than all the better. By focusing on the main characters and limiting the suspects, there was more opportunity to pack the episode with jokes. Last week’s episode got too caught up in suspects and their possible motives and that cut down on the comedy. Frankly, I didn’t care who committed the murder in this episode because I was too busy laughing at Shawn, Gus and the utter delight on Lassiter’s face as he learned to tap dance.

The origin of the Lassie/Gus team-up was a little thin, but given the tone of this show, perfectly acceptable: on the advice of his therapist, Lassiter was told to get out of his comfort zone. Knowing that Gus attended a tap dancing class, he begrudgingly asked to join. Tap dancing had an immediate positive effect on Lassiter – it gave him clarity and allowed him to see the case in a way he couldn’t before. Breaking away to do a little meditative tap dancing became a running gag throughout the episode, ending with a hilarious revelation in the show’s final minute. Detective Lassiter’s epiphany about the identity of the “West-side Rapist” might seem ho-hum on a regular cop show, but when the discovery occurs on-stage, next to children wearing fedoras and tap shoes, it’s a perfect way to tie up the episode.

Of course, we knew the pairing of Lassiter and Gus wouldn’t last long. While Lassie was following protocol, Gus was followed his gut and investigating the murder on his own. Not surprisingly, Shawn was doing the same thing – splitting from O’Hara and following his instincts. The PSYCH detectives discovered that they both thought the main suspect was innocent but used different clues to come to the same conclusion. They also discovered that they’d much rather eat, rest, and make jokes than file paperwork or follow proper police procedure. In the end, it’s just as well. It was fun while it lasted, and we got some funny scenes of Gus and Lassiter tapping side-by-side and Shawn driving O’Hara crazy, but we all know the PSYCH detectives belong together.

Popularity: 1% [?]

PSYCH: “Romeo and Juliet and Juliet”

PSYCH: “Romeo and Juliet and Juliet”

Has PSYCH reached Season 5 already? Wow. Not that I’m complaining, it’s just that time flies when Shawn and Gus are having fun. After having their way with so many classic movie genres (horror, adventure, Western, etc.) over the course of the series, PSYCH finally got to check another notable one off their list in this season premiere: the martial arts film. In addition, we picked back up from where we left off last season: with Shawn’s father Henry taking a job with the Santa Barbara Police Department and Juliet recovering from her harrowing near-death experience at the hands of still-at-large serial killer Mr. Yin. Like many of PSYCH‘s season premieres, this one was about average. I was hoping for a bit more of an interesting mystery, but as usual, the performances by James Roday and Dule Hill made up for the overly familiar story.

The plot (as they alluded to on many occasions) was Romeo and Juliet or West Side Story with an Asian twist. The children of rival Triad gang leaders fell in love and had to hide their relationship, or else a full-scale war between the gangs would break out. Their tryst was discovered by the evil brother of one of the lovers, which led to betrayal, kidnapping, scheming and a couple of fight scenes.

As far as original stories go, this wasn’t one of PSYCH‘s strongest, and things got a bit muddled in the middle of the episode. It was difficult to figure out who was part of which Triad family, especially when everyone was wearing ninja outfits. However, it did lead to Shawn taking a children’s martial arts class and getting his overinflated ego kicked a few times, which was highly entertaining.

- USA
The boys are back

Normally I would have a problem with PSYCH settling for an uninspired villain such as the Triads, simply because they’re the villains in EVERY movie featuring Asian actors. Hell, I’m pretty sure they were the villains in Crouching Tiger, Hidden Dragon. But fortunately, they played up this cliche by introducing a new character, Ken, who was Shawn and Gus’ recently fired secretary, who also happened to be Asian. Poor Ken became their de facto “in” into the world of Asian gangs, even though he barely spoke Chinese and knew nothing about the Triads. I loved that he called them on their stereotypical behavior and I loved Shawn and Gus’ serious backpedalling as a result.

Speaking of stereotyping and racism, by far the best scene of the episode was Gus’ take-down of the lowly worker at the martial arts studio, (which also happened to be the secret hideout of one of the gangs.) Normally Shawn gets the big speech with funny references and over-dramatic hand gestures, but this time out, they gave it to Gus, who did not disappoint. His tirade against the racist, ageist and exclusionary practices of the dojo (which really weren’t any of these things) was a great way to give Dule Hill the spotlight while also moving along the investigation. I really hope Gus asserts himself more this season, not only because he’s a great character, but because his style as a detective is a different type of controlled chaos than Shawn’s. A little bit smoother perhaps.

As for the other developments in the episode, I understand they needed to do something with Shawn’s dad, but putting him back on the force was unnecessary. And on top of that, putting him in charge of police consultants (i.e. Shawn and Gus) doesn’t feel organic. It reminds me a little of the talent show episode of The Brady Bunch where the only participants in the entire school were the Brady kids and their parents. No one else had talent? By the same token, no one else could do Henry’s job? Why do the characters all need to work in the same place? Shawn already has a foil at the police station in Detective Lassiter, so why add another? I liked Henry’s perspective as an outsider. I liked that he was a fresh pair of eyes. Now there’s just more conflict for the sake of adding conflict, and there was plenty of that on the show already.

I did appreciate how they didn’t gloss over Juliet’s traumatic experience in last season’s finale and that she had to take some time off from the SBPD. I also liked how Shawn helped her get back in the saddle by being his charmingly persistent and annoying self. Once again, we’re back to square one with these two, but I’m not going to worry about it this season. They’ve strung us along for five seasons, so if something happens, so be it. As for the episode in general, it was okay, but PSYCH is capable of much more. I’m looking forward to another strong season of notable cameos, funny pop culture references and Shawn and Gus solving crimes by any means necessary.

Popularity: 10% [?]

Covert Affairs: “Pilot” Review

Covert Affairs: “Pilot” Review

Advance Review: In USA Network’s newest original series, Covert Affairs, Piper Perabo plays Annie Walker, a fresh-faced CIA recruit who is suspiciously fast-tracked to full agent after only a few days of training. Annie believes her knowledge, good looks, high test scores and mastery of 6 languages got her the gig. Of course, when it comes to the CIA, nothing is what it seems. During the episode, we find out more about why her bosses are so interested in Annie, and what that means for her future. The series has promise, but it’s still missing a few key elements that make USA’s other original shows so appealing.

Covert Affairs has all the DNA of a USA Network original program. It’s a one-hour action show centered around a particularly stressful line of work, and there’s the requisite supporting cast made up of family and co-workers. And fitting the mold of other USA shows, each episode concerns a specific case or mission, while a season-long arc runs concurrently.

My biggest issue with Covert Affairs, particularly because it’s so linked to the other USA Network original programs, is that it lacks the same light-hearted tone and well-drawn characters as those shows. I’m not saying it needs to generate laughs like a sitcom, but even a show as violent and suspenseful as Burn Notice always manages to give the audience a wink once in a while. There’s a certain devilish charm that characters like Shawn Spencer, Michael Westen and Neal Caffrey possessed on their first episodes, but Annie Walker doesn’t have that yet.

In addition, everyone on Covert Affairs is played way too straight. Even a staple of comic relief, the “tech guy”, Auggie (played by Christopher Gorham from Ugly Betty), isn’t as witty as he needs to be. There’s a ton of other good actors on the series (most notably Peter Gallagher from The O.C. and Anne Dudek from House), but they don’t do much besides standing around looking serious. It’s a shame, because USA Network is synonymous with the “Characters Welcome” mantra and so far, I don’t feel connected to any of them.

On the bright side, this series is from Doug Liman, director of The Bourne Identity, which means there are some cool action scenes and a nice car chase. Hopefully as Annie gains more experience, her missions will become more and more complicated. Although they certainly gave her a baptism by fire on her first one, which, predictably, didn’t go smoothly.

I really wanted to like this show more than I did, possibly because I think the first season Alias is one of the best seasons of television ever and I long for another show about a female agent going on missions and kicking ass. Covert Affairs isn’t as complicated as Alias, nor does it have the sci-fi/fantasy element that show had, but it does have promise and Annie Walker could be a nice addition to USA’s stable. They just need to let her (and the rest of the cast) have more fun and loosen things up a bit.

Popularity: 10% [?]

Neighborhood Watch

Neighborhood Watch

I really enjoyed the ending of “Neighborhood Watch” – both as it related to Michael’s cat and mouse game with the lethally lovely Kendra (Numb3rs‘ Navi Rawat) and the gang’s ultimate handling of the Brett Ratner-esque drug dealer, Cutler (Entourage‘s Rhys Coiro), but man, it was a total pain in the ass getting there. Michael had to fight tooth and nail against his client, David (The Shield‘s Benito Martinez), and his mom AND Fiona – who kept busting his chops for fake-flirting with Kendra over the phone.

Madeline asked Michael for his help and then she, the rest of the gang and the ungrateful client himself his proceed to second guess Michael at every turn regarding how he’s freaking putting his life on hold to help them deal with violent drug dealers. For free, mind you. You can’t chastise a good Samaritan for how they samartian-ize! Madeline even makes the trip to the loft to yell at Michael once again. It seems to be her thing now. She even hears Michael, on the phone, trying to run a con on the dealer, and rolls her eyes and leaves – blowing a puff of smoke on Michael on the way out. Jesus. If I were Michael I’d run off into the sunset with Kendra and leave the rest of this mess behind him. The worst/best part of this whole thing was that it was Madeline, in the end, who gave Michael advice on how to deal with Cutler. It was brilliantly stupid advice, but the plan worked because, well, it’s Burn Notice and the team can pull off top impossible missions.

- USA
Fi, making things go “boom.”

Speaking of Kendra. Reowrrr! Am I right? Listen. I’ve never been a huge fan of Fi. There have been moments when she and her sniper rifle have made for good TV (like when she took out Carla – and the hand-shot at end of this episode), but she’s always seemed like more trouble than she’s worth. Her getting jealous over Michael’s innocent phone-repartee with the assassin-babe Kendra just seemed like it was one more unnecessary needle digging in Michael’s neck. I’m throwing it out there right now. Michael and Kendra, sitting in a tree, B-L-A-C-K-O-P! He needs to trade up.

Aside from the occasional bickering, it seems like they’ve run out of things for Jesse to do until he eventually has his “you’re the one who burned me” showdown with Michael. Right now, he’s just been regulated to the guy who also does stuff on the team. The endgame, with the team working together to portray David, the pacifist, as a “you’ve awoken a dormant killer” Clint Eastwood-style mercenary was pretty awesome though. It reminded me of the con the gang ran back in “Friendly Fire” when Michael pretended to be Satan. The briefcase/blade fight at the end between Michael and Kendra was really good too. I’d like to see Michael get into more good, old-fashioned fights.

Oh, and the frosty-haired Sugar was back this episode for no reason. He wound up being a tiny bit of use in the end, but ultimately he showed up only to reveal that he would be of no use whatsoever. Sam was rad of course, taking a slew of punches on purpose so Sugar could escape the strip joint. It’s funny – Sugar’s always painted as being annoying (Sam can barely stand being in the same room with him) and yet he seems like the least annoying element of Michael’s life when you consider that he has to get hen-pecked by Fiona, Madeline and Jesse on a consistent basis.

Popularity: 2% [?]

Breaking Bad: Season 3

Breaking Bad: Season 3

I’ll say it. Season 2 was better than Season 3. That’s not a condemnation of Season 3, ’cause it’s all good. Pizza and ice cream. Apples and oranges. Teddy Roosevelt and Abraham Lincoln.

Season 2 had a common thread from beginning to end with lots of dry humor. The story was airtight — was their anything that stood out or took you out of the immersion of Season 2? — and it dropped a lot of jaws without the physical impact. No one was murdered (OK, maybe a few people were murdered) and the only major repercussions for the main were metaphorical and indirect. Well that was corrected in Season 3.

Season 3 lost a little air-tightness. The writers didn’t take the time needed for its Lincoln Log-style character development, though I don’t know if they could have even done it within the 13 episodes. Skyler found out in the very first episode of Season 3 that Walt was in meth (“you’re a drug dealer”), and on very little evidence. She then left him, took the kids, asked for a divorce, slept with her boss, ditched her creepy stalking boss, decided to play it single and then wanted in on the meth trade while still fended off Walt from his “I’m a family man” trip — all in roughly 11 episodes. So yes, Skyler’s development was rushed and inorganic. It’s not like there was a reasonable resolution to her finding out Walt’s big secret that wouldn’t have had her cut altogether from the show. Either (a) she leaves Walt forever and takes Walt Jr. with her, (b) she reports Walt to the police, or (c) she gradually accepts that this is Walt’s life and comes back into the fold. The latter two require Anna Gunn to never appear in the series again and for Walt to have nothing to live for.

Jesse, likewise, suffered from not knowing who or what he is/was. He went from rehab to buying his parents house to the hospital to turning back into the bitch and yo dude we knew from Season 1 to ruining Walt’s good life again to the drug addict to the actual bad guy he had been telling himself he was all season long.

I think Season 2 put Season 3 in this position. The writing team does what Creator Vince Gilligan describes as improvisational jazz-style writing, where they have an idea of what they want to do, and an idea of the characters, but let the story unfold in front of them—let the characters decide where their actions will take them. I love that, but sometimes playing jazz with characters can lead to a dead end and it did just that at the end of Season 2. Hopefully the end of Season 3 didn’t put Season 4 in the same position.


What Breaking Bad lost from Season 1 and 2 to Season 3, though, it gained in dexterity, action and some serious “holy f**k” moments. Sure, Skyler’s development was rushed, but would you rather have a paced development or the final minute in “One Minute?” BB, like any good powder keg, exploded this year, and the writers spread those moments out evenly like butter on bread. “One Minute” and “Half Measures” were neither at the beginning nor at the very end. Nobody told us when those moments were coming, they weren’t advertised as the episodes they were.

And we loved it. We didn’t see either of those scenes coming. I mean, didn’t it seem like the cousins were going to be out in ABQ until they resolved their mess with Walt? It hit us so suddenly that we didn’t even have time to think about who was more likely to die in that situation, the cousins or Hank. Yeah, we were given a warning by Gus that the cousins were going after Hank, but after we saw mostly planning from the cousins throughout the episode, did anyone think they were going to do it then?

Damn that action was amazing. Every second of it. I don’t think I need to say any more about the crash in “Half Measures” than what IGN TV Editor Matt Fowler said about it: he was watching it alone at his desk. When “it” happened at the end, he cried out “Holy s**t!” in the office.

Those moments were tempered with some great scenes that defined relationships between characters. Later, we see one of the cousins crawling toward Walt like he wants to kill him. It’s the first time Walt has seen either of the cousins and the first time Walt understands they were there to kill him. Another scene: Walt and Skyler are talking about when Walt can come over to have dinner with the family and they hilariously bargain like everything is on the line. Their relationship is still on rocky ground, but resolutions are sought.

Popularity: 14% [?]

Futurama: “Rebirth” Review

Advance Review: Seven years after being cancelled by Fox, Futurama makes a return to broadcast television this Thursday night. Well, seven years and four straight-to-DVD movies. When you have a show as smart and hilarious as Futurama, it’s difficult to keep it down. I cursed the day the series was cancelled and was thrilled to learn Comedy Central would be bring the show back. But will it be worth it? After watching the first of two new episodes, the answer is “maybe.”

A good series in its original run usually has a decent, propelling momentum going. It may take a little time, but that series will eventually find its groove and its unique voice and really start producing its best episodes. Futurama had found that groove and was seemingly at the top of its game when Fox gave it the boot. It’s those episodes that fans have watched and loved over and over again on Adult Swim and Comedy Central. The four movies were an extension of the series, but aren’t as revered as those original episodes. I found them to be hit and miss, enjoying them as a visit with old friends that never quite lives up to the good times we once had. So Futurama no longer had that momentum. Trying to reclaim it or restart it may be a fruitless effort, but we fans can’t help but hope the return of Futurama might actually mean the return of Futurama.

As the first of the new episodes to air on Comedy Central, “Rebirth” has the difficult responsibility of picking up where the DVD movies left off, while still reestablishing itself as a weekly series. And the episode does follow the ending of Into the Wild Green Yonder. Throughout the episode, but especially at the beginning, there are plenty of self-referential jokes about the series returning. There’s a fantastic exchange early on between the crew of the Planet Express ship that ends with Amy delivering one the funniest, perfectly-timed lines of the entire half-hour. But once we get past these funny bits, the comedy of the episode flounders a bit. Bender is given a great set-up for some excessive partying, but the remaining stories seem oddly familiar, with some jokes lifted from earlier episodes of the series and even one or two I recall from The Simpsons.

While the big laughs may be few, “Rebirth” still delivers an interesting story — the details of which I’ll avoid to keep away from spoilers — using many of the familiar tropes of this amazingly well rounded sci-fi world. Futurama was always great when taking science-fiction conventions (time travel, aliens, robots, etc.) and making them work in smart, satirical and very relatable ways. “Rebirth” continues this with some fun twists of storytelling and makes it all worthwhile.

It’s too early to tell if “Rebirth” is, in fact, the return of the Futurama we know and love, but it’s a worthy first episode after such a long time without episodic stories. Here’s hoping this new season only makes the series better and that in some far off future, people will look back at Futurama’s entire collection of episodes and never realize there was a seven year gap.

Check back Thursday night for our review of the second episode of the season, “In-A-Gadda-Da-Leela.”

Popularity: 33% [?]

Friday Night Lights: Season 4

This episode certainly had its ups and downs. There were some strong, poignant moments, but there were others that felt uncharacteristically false for this show – including the off screen character assassination of two original Friday Night Lights characters.

The material with Vince and Luke was very good. After someone reported a gun in Vince’s locker (and I hope the show doesn’t ignore the question of who that might have been), and even though no gun was found, Eric was concerned, knowing Vince’s history. Vince was made quarterback in this episode, and his mother came to thank Eric, in a nice scene that showed how much she loved her son, when she’s actually coherent and able to express herself.

Vince was very resistant to Eric’s attempts to make sure things were okay, harshly, yet effectively, asking, “If I break my ankle, you still going to come and check on me?”, letting Coach know he doubted he really cared about him. But look, how can you resist Eric Taylor’s awesomeness? You can’t, and eventually Vince came around and showed up at the Taylors late at night, handing the gun over to Eric – who told Tami he was going to make it disappear.

One of the peripheral Lions, Tinker, got a very strong and touching instant boost in this episode. When he suggested the team could all help Luke build the new fence his dad was insistent he help with – even if it meant missing school – it could have led to an over the top moment where the entire team shows up at Luke’s farm. Instead, it was just Tinker, noting everyone else went to a party. Tink then telling Luke’s dad that Luke holds the team together and what he means to them was a wonderful scene. And lo and behold, I knew I was now firmly invested in Luke when this was followed by Luke’s accident, as he got his leg crushed by cattle pushing open a gate – and I found myself saying a certain colorful word out loud, upset over what happened and concerned for what it means for Luke’s future on the team.

Meanwhile, Julie was understandably upset over Matt having left, but unfortunately, this began the trouble spots for the episode. At least Landry had some very funny bits early on, as he saw Julie joining every school group imaginable – including a dig at Twilight and the statement, “You realize the irony behind the name ‘Academic Smackdown’?”

But then there was the portrayal of Matt – or lack thereof. Julie was incredibly hurt that Matt hadn’t called her since he left, which was only compounded when she found out he had been calling his mother and grandmother. To which I say – seriously? Matt Saracen, kind, caring guy that he is, is just going to fail to call Julie like this? I don’t buy it. And with Matt not on the show anymore, we aren’t getting any good explanation for it. Matt leaving as abruptly as he did was bad enough, but this is just bizarre. And apparently, he’s not calling Landry either? And what was up with Landry saying, “He was my best friend too.” Was? Did he stop being his best friend? Well, maybe so, if he has decided to completely sever all ties with Landry and Julie upon leaving Dillon.

It didn’t help matters that Julie’s breakdown during an “Academic Smackdown” event was pretty silly – the way the books she was asked to talk about so easily tied into her perception of Matt was just way too on the nose and obvious for, especially for a show that is great at being subtle.

If that weren’t enough, in the very same episode, Tyra stands up Landry when he goes to a pre-arranged meeting spot. Really? Just when did they make this plan to meet at this random spot on the road? She couldn’t call and tell him she couldn’t make it? Why are these characters we love being jerks off screen? It was just very odd.

Better was Tami’s subplot, which brought back Glenn, her crushing coworker. With Tami receiving so much crap from the Boosters and students, it was nice to see the faculty at least had her back. And Glen’s drunken, attempted kiss was painfully awkward, while his apology – “I mouth raped you!” – was funny and awkwardly sweet.

As for Tim – ay yi yi, he is going to a dark place. He was right about Becky’s father being an abandoning creep, but handled it terribly, telling Becky about her dad’s second family with no tact, and then almost daring the guy to punch him when he taunted that he’d slept with Becky’s mom. And Billy, needing cash, ready to begin “working” with Vince’s criminal pal is not a good sign for the Riggins family… (the stripper fundraiser for Mindy and Billy’s medical funds however was very amusing).

The show is in a tough spot with Riggins – wanting to keep Taylor Kitsch on the show, but also trying to figure out what to do with Tim, now that he’s graduated. Portraying him as aimless certainly works for now, but hopefully something satisfying can occur for the character in the long run – him eying that piece of land at the end certainly is setting something up. But it remains to be seen whether that will be a triumph or disaster for Tim.

Popularity: 20% [?]

Doctor Who: ‘The Lodger’

Faced with a house containing James Corden and some kind of murderous shape-shifting extraterrestrial, we weren’t entirely sure which we’d find most terrifying in this week’s Doctor Who. As it turns out, neither – in ‘The Lodger’, Corden reminded us how he got himself on the celebrity map in the first with a sweetly sincere performance as lovelorn Craig Owens, while the initially more enticing alien premise ended up little more than a curious fizzle.

Based on writer Gareth Roberts’ 2007 comic strip of the same name, this week’s Doctor Who saw the TARDIS go haywire as the Timelord touched down in modern-day Colchester, leaving the Doctor stranded on Earth as Amy ricocheted around time and space thanks to some alien interference. With nowhere to go, the Doctor attempted to pass himself off as human as the lodger in a flat which just so happened to be home of some malevolent extraterrestrial force, luring humans off the street and up the stairs to their doom.

As far as plot goes, that’s about it, ‘The Lodger’ proving to be one of the fluffier episodes of Season 5. It might have been short on drama and Amy Pond but it was still a surprisingly enjoyable little duck-out-of-water adventure that played up the Eleventh Doctor’s peculiarly alien qualities brilliantly. It’s been one of the most interesting aspects of Matt Smith’s character this series, offering a refreshing contrast to David Tennant’s almost too-human Timelord but ‘The Lodger’ let Smith rip with often witty, occasionally silly scenarios that played up this Doctor’s most alien traits to great comic effect.

In sharp contrast to last week’s ‘Vincent and the Doctor’, which largely limited Smith to visual slapstick, ‘The Lodger’ left the laughs to the script. Thrust into a series of very human situations – from flat sharing to football – Smith was an absolute joy to watch, even if he did spend an usual amount of time with his clothes off. With such a light tone to the piece and familiar faces in the form of James Corden and Daisy Haggard – both acquitting themselves admirably – this was just about the closest thing we’re ever likely to get to a Doctor Who sitcom, even with seeping brown ceiling-ooze and an evil force upstairs.

For the most part, ‘The Lodger’ flew along at a briskly enjoyable pace, stuffed full of memorable, if occasionally goofy set-pieces. Where things faltered though was in the more traditional Who elements – some lax direction left the alien threat devoid of almost all tension, despite a desperate abundance of strobes, and Amy’s occasional onboard TARDIS appearances just never quite gelled with the rest of the story, though Karen Gillan proving as watchable as ever.

Worst of all though was an ending that harked back to the early days of the show’s revival when episodes almost always left so little time for the climatic resolution, the whole thing collapsed into an incomprehensible muddle. Which is a shame because the sudden revelation of the upstairs interior had our fanboy synapses screaming with excitement, only to be crushed by yet another near-nonsensical love-conquers-all denouement.

There was much to like about ‘The Lodger’ and its domestic take on the Doctor, with some genuinely funny moments and a central conceit that delivered a welcome bit of feel-good fuzz. In terms of monster-of-the-week thrills though, it simply couldn’t deliver the much needed atmosphere and the whole thing threatened to unravel as it reached its poorly-delivered, undercooked conclusion. Still, with (yet another) cliff hanger epilogue to round the episode off, things are in motion for this series’ epic showdown. Now, let’s see if Moffat can tie all these lose ends up satisfactorily.

Popularity: 10% [?]

24

returns tonight in the eighth season premiere of one of the most influential shows of the ’00s, the often-brilliant “24”. At its best, FOX’s “24” is visceral

Jack may have tried to retire from life in the anti-terrorism game but, as someone says to Bauer in the first episode, “You’re the guy who always does the right thing.” That’s clearly the main charm and draw of the show and always has been. If our safety is on the line, we all want to think we have “the guy who always does the right thing” on our side. “24” opens with a calm, family-oriented Jack but he’s back in full form before the bottom of the first hour.

How does a show that has had as many explosive opening arcs as “24” top itself this late into its run? Wisely, the writers of “24” realize that this is not the goal. If every day was crazier and more over-the-top, Jack Bauer would be fighting terrorists on the moon by now. Instead of merely turning up the volume, the writers of “24” have created very individually contained seasons, much like each James stands as its own adventure. The influence of “24” is in the way the producers have never delivered something that looks “like TV”. With theatrical film quality production values and storytelling, each season of “24” has been practically like a feature film in serial form.

One of the more interesting aspects of “24,” and a way that the creators of the show have been able to keep it fresh, has always been the revolving door of the supporting cast with great performances from actors like Dennis Haysbert, Gregory Itzin, and Carlos Bernard in past seasons. Really, the only ensemble members guaranteed to stay the same are Sutherland and Mary Lynn Rajskub as Chloe. Another familiar face or two may pop up (Elisha Cuthbert guest stars in the premiere), but an influx of new stars always injects life into the start of a new season.

This year’s new faces include Mykelti Williamson (“Forrest Gump”) as the head of CTU New York and Katee Sackhoff (“Battlestar Galactica”) and Freddie Prinze Jr. (“Scooby Doo”) as CTU employees. Benito Martinez (“The Shield”) appears as an informant who sets the plot for the eighth very long day into motion. He arrives with intel about a potential assassination plan for a Middle Eastern leader who is on the verge of signing a peace agreement with the U.S. President (Cherry Jones). The quality in the new ensemble varies with Kapoor easily making the most initial impact while Prinze Jr. is still a bit unconvincing as a member of the CTU team. Sackhoff plays a woman with a mysterious past, but sometimes appears to be a bit of a distraction to the main plot, but one assumes she will play a bigger role as the season advances.

The level of detail in just the first hour of this season of “24” is nearly overwhelming. There are so many new faces this season with their own subplots – including a strident new advisor for the President, family problems for her foreign counterpart, and new work subplots among the characters at CTU – that one practically has to take notes to keep up. Action junkies may be turned off by the first hour, one that is ridiculously dense with new characters and conversation, but, of course, they need not wait long until Jack is dodging gunfire and returning his own. And you won’t have to wait until 5pm (this season starts at 4pm) to see something big go boom.

What’s most remarkable to this critic about the opening quartet of “24” is the screenwriting juggling act that this show maintains at its best. The season premiere introduces multiple characters and arcs and yet never feels overcrowded or rushed. “24” is still one of the most expertly paced programs in the history of television, always keeping the viewer entertained but not overwhelmed.

Overall, this is one of the best opening quartets in the legacy of “24”. As we’ve learned in the past, it can be tough to predict how a season of this show will progress. Some have opened strongly and sagged in the middle. Some have taken time to develop after limping out of the gate. But the opening of the eighth season feature such confident writing, interesting new characters, and perfect pacing that I’m personally amped for hour five of this day more than most seasons past. How many shows are even remotely near their peak in their eighth season much less arguably at it? “24” continues to defy expectations.

Popularity: 3% [?]

HELL’S KITCHEN

While Simon and Tyra get their share of attention, competitive reality shows are usually about the participants. As with everything else in his endlessly fascinating life, however, Hell’s Kitchen is all about Gordon Ramsay. So let’s take a walk on his wild side.

Ramsay was raised in a dysfunctional Scottish family. His father was an abusive drunk and PE teacher obsessed with seeing his children play professional football for his hometown club, the mighty Glasgow Rangers. While Gordon’s brother Ronnie ended up addicted to heroin, he proved a good enough footballer to sign for Rangers at the age of 17. Unfortunately, he suffered knee injuries, and was released by Rangers at the age of 19.

Who likes being told at 19 you’re not good enough? So I suppose when people say, “You’re so focused and driven now,” I could never afford to fail.
— Gordon Ramsay

When the Rangers offered to find him a place with a lower division side, his father said yes. But Ramsay said no. Instead, he took his mother’s advice and went to catering college. His father never forgave him and soon afterwards abandoned his family.

Following a couple of years at Marco Pierre White’s renowned South London restaurant, Harvey’s, Ramsay moved to Le Gavroche to work alongside the acclaimed Albert Roux. He then left London to spend three years continuing to learn in some of the best kitchens in France. In late 1993, at 26, he returned to the British capital to launch his own restaurant, Aubergine, winning two Michelin stars within three years of opening. However, after a serious falling out with his financial backers, he walked out and, three weeks later, opened a new restaurant entirely his own, in upmarket Chelsea. He called this venture Gordon Ramsay.

A year later, he opened a second, Pétrus, in the even more prestigious St. James’s district. Soon after came Amaryllis in Glasgow and a second Gordon Ramsay at Claridge’s Hotel in Mayfair. As he has built an empire with his company, Gordon Ramsay Holdings, and cultivated protégés such as Marcus Wareing and Angela Hartnett, it’s clear Ramsay has had his anal-retentive perfectionist nose into every little nook and cranny of each of his restaurants, including those in Dubai and Tokyo. Later this year, Ramsay plans to open restaurants in New York, Los Angeles, and Florida.

Along with his nine books and regular column for the Times Saturday Magazine, Ramsay has also conquered TV. After two British fly-on-the-wall documentaries that revealed him to be a bad-tempered, foul-mouthed genius in the kitchen, in 2004 he starred in two British television series. The first was Ramsay’s Kitchen Nightmares, in which he attempted to save failing restaurants, each over a two-week period. The second was the original Hell’s Kitchen, a London-based reality show that saw him training celebrities to be chefs.

Fox’s Hell’s Kitchen retains the original’s format, but replaces the slebs with “real people”. Season One saw tattooed punk chef Michael Wray turn down his advertised prize of a “million dollar” restaurant in return for the opportunity to learn from Ramsay in London. Wray is now back is Los Angeles and planning to open a restaurant in Las Vegas, reportedly backed by Gordon Ramsay Holdings. Season Two of Hell’s Kitchen is a last chef standing competition where the prize is a position as executive chef — with a financial interest — at the new Red Rock Resort Spa and Casino in Las Vegas.

This time around, it’s girls against boys, six of each. The Blue Team initially included Tom, ex-stockbroker and graduate of New York’s French Culinary Institute, who sweats profusely into his cooking; Giacomo, whose family runs a pizza restaurant in Dallas and whose poodle-rock hair will surely have to go; and Garrett, who learned everything he knows about cooking in the kitchen of the prison where he served time for passing stolen checks. With five years served, Garrett is probably the most experienced competitor in Hell’s Kitchen. He’s also the only one with a thousand yard stare and a shiv in his back pocket. The Red Team included Rachel, a personal chef from Dallas, who looks tough enough to take out Garrett in her sleep; garde manger (salad chef) Veronica; and sous chef Heather, who actually appears to know how to cook.

Just as it sounds, Hell’s Kitchen is boot camp with saucepans. Each day begins with Sergeant Major Ramsay setting the teams a morning challenge, cutting 10oz. steaks, for example. The victors get prizes, like a helicopter ride and lunch with Gordon for the winners in the Great Steak Challenge of 2006. The losing team gets extra kitchen duties. In the evenings, they compete while serving obnoxious, camera-hungry “paying customers,” cast by Fox and paid to play.

During this season’s two-hour premiere, one customer who was lucky enough to get his food complained to Ramsay that his pumpkin risotto didn’t have enough pumpkin. The well-heeled equivalent of the comedy contestants on Americyawn Idol, this chinless wonder knew exactly what Ramsay’s reaction would be. Of course, the customer could have some more pumpkin. Whole. And shoved right up… well, you get the point. Ramsay also took aim at the contestants. When the kitchen fell behind, he declared the restaurant closed for the night. He also fired Polly, middle-aged mother of six, who had no professional cooking experience.

The second hour offered a couple of unscripted, value-add moments. First, there was the trouble with Larry. Having partied in a hot tub with the girls when all right-thinking chefs were already in bed, he was awake again at 4:20am, wheezing and tingling, and on the phone to 911. When the teams rose to shine, they were surprised to learn that Larry has disappeared. The girls were worried. The boys couldn’t give a damn. Larry called from the hospital, saying the stress of the competition was too much for him. Score one for Gordon Ramsay. On second thought, make that two, because after just one day in Hell’s Kitchen, the contestants were already so tired that Larry could get carted off to hospital without anyone else even waking up. Way to go, Gordo.

Ramsay is Simon Cowell on angel dust, and it’s funny to watch him lose it with lesser mortals. But he can also be kind: lunching with the girls after they won the steak-cutting competition, Ramsay was charm itself, and naturally so. He wants his contestants to thrive in the heat of Hell’s Kitchen, just like he did when he turned his back on a second-rate career in professional football and found his way into Marco Pierre White’s South London kitchen. Unlike Donald Trump, who is about as natural as his hair and as unsuccessful as any man with a billionaire father could be, Ramsay started with nothing and has reached the very top of his profession, fired only by his passion for cooking and his passion for success.

Alternately warm and foul, Ramsay is equally driven in private life: he recently completed his seventh consecutive London Marathon and aims to finish 10 in 10 years. And he is as unforgiving with high profile food critics as he is with the contestants on Hell’s Kitchen: he once kicked the Sunday Times‘ A.A. Gill out of his restaurant (along with his companion Joan Collins) because Gill had written a piece that focused on his football career and early life.

An accident during the season’s premiere exposed Ramsay’s softer side for all to see. When Heather burned herself badly, Ramsay leapt immediately into the breach, calming her down, preventing hyperventilation, keeping her hand in ice until she could be rushed to the emergency room. Before she left, Heather impressed Ramsay by taking the time to tell people she had extra quail in her oven and delegating her station. When she returned, Ramsay complimented her professionalism under… ahem… fire. He was less impressed with Garrett, who tried to play a strategic game when asked to select two candidates for firing. Ramsay rejected one of his selections straightaway, called out a third chef and fired him instead.

If you want to learn about cooking, you might give Hell’s Kitchen a miss. If you want to learn about the business of running a restaurant, you should probably check it out. But if you want to explore the complex character of one of the world’s most successful restaurateurs, then this show is essential viewing.

Popularity: 16% [?]

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