What To Watch: Fridays

Previously, on TNRLM's What To Watch: Monday, Tuesday, Wednesday, Thursday.

Remember when Friday used to be a television graveyard? Well, times are a changin' (at least for those of us old, nerdy and socially averse to spend a Friday night on a couch. Or who, er, have a TiVo). Long the place used to dump unwanted programs or fill with cheap reality drivel, more nets are actually programming Friday with honest to goodness scripted programming. And most of it is actually watchable!

Show	Net	Day	Time	Priority
Law & Order	NBC	FRI	800	Sleepytime
Dollhouse	FOX	FRI	900	Watch
Monk	USA	FRI	900	DVR
Stargate Universe	SYFY	FRI	900	Watch
Numbers	CBS	FRI	1000	Sleepytime
Psych	USA	FRI	1000	DVR
Sanctuary	SYFY	FRI	1000	DVR
White Collar	USA	FRI	1000	Watch

Law & Order: The original returns for yet another season. This programming staple got re-energized with one of its signature cast revamps, and this collection of actors is the strongest the show has had since the Lenny Briscoe glory days. If you gave up some time around "is this because I'm a lesbian?" do yourself a favor and check out the new "kids." (Of course, there's nothing wrong with lesbians. Or Elisabeth Rohm. Or Elisabeth Rohm as a lesbian. I'll be in my bunk).

Dollhouse: Gather round the campfire, and settle in for a long one, because there's a lot to say here. First, and most surprising, is the fact that Dollhouse is coming back at all. Ratings started off low (when it was paired with the equally ambitious and well done Terminator: The Sarah Connor Chronicles), got lower, and then steadied at a level that said "see ya!" Yet FOX, perhaps seeing the show's concepts and presentation get sharper (which would be ironic, since their meddling is what made the first few shows so shaggy) or maybe fearing the wrath of Whedon fanboys (and girls) again after aborting the masterpiece that was Firefly, surprised everyone, including Joss himself, by renewing DH for a second season. They talked about online and DVR viewing, but I would guess one of the biggest factors in the renewal is that the show is produced by sister company 20th Century Fox, so all the ancillary revenue stays in the family, and Whedon fans are nothing, if not obsessive purchasers (he says, looking at his Dollhouse DVD set). Regardless of the reasons, we have season two coming, though it will be inexplicably paired with a couple of FOX's awful sitcoms as a lead in. Hey, you take what you can get. As for the show itself? I've written extensively about it (check the tags), but here's a good way to summarize my thoughts. The wonderful Galactica Quorum Podcast (which previously, was about just what you think it was) asked for feedback on Dollhouse, and I was only to happy to contribute. Most of this made it onto their Dollhouse ep, which you can listen to here. Below, you can find what I wrote to them:

Hey guys. In response to your twitter, here are a few thoughts on Dollhouse. But first, some background on my experiences with the previous Whedonverse series:

• I’m an unabashed Joss fan. That said, I’m not a mindless automaton who will accept everything he touches as handed down from on high.
• Buffy rightly deserves its place in the pantheon of great TV. The first season is a “finding our way” slog though, with a couple of breakout moments.
• Angel similarly took some time to find its voice in the first season, but resulted in a mature, apocalyptic noir that I may have enjoyed even more than the parent show (save the baby arc. For fuck’s sake, please don’t add babies to a show). I loved S5 and thought it got cancelled too soon.
• Firefly was pretty much fully formed and perfect out of the box, and got hosed by FOX.

I was giddy with excitement for Dollhouse. Great cast on paper, solid stable of writers and intriguing concept. Did it deliver on the premise and potential? Kind of:

The first five eps were hit and miss. Only “The Target” and “Gray Hour” worked as solid episodes, and “Stage Fright” is right up there with the worst television ever produced by Whedon (Angel’s “She” and “Provider” and Buffy’s “Teacher’s Pet,” “The Pack” and “Where the Wild Things Are” are similarly terrible). Too much cheesecake (and I say that as a straight male eminently appreciative of Dushku’s sexiness) and way too many “glitches” for a supposedly competent and high priced organization.

“Man on the Street” was the ep where things turned around, and it seemed they really grasped the potential of the series. The home stretch of season one was vastly improved, and very entertaining.

At first, they didn’t really make a case WHY someone would spend all that money to hire a doll. It was a plot hole that stuck out like a sore thumb. And one that could have been easily explained: what you pay for is not ONLY the “special skills” (whether it’s safecracking, midwifeing, spycraft, asskicking or whoring), but the ability to have all the knowledge and experienced wiped without a trace provides an anonymity you can’t get elsewhere.

The whole Alpha story was well done, and Tudyk gave an exceptional performance.

There were great plots twists, that kept you guessing. Alpha. November. Whiskey. Dominic. Adelle’s weekend rendezvous.

From an acting standpoint, there were some distinct highlights, include Olivia Williams (great hopped up on drugs in “Echoes” and revealing more about the character in “Spy in the House of Love”), Enver Gjokaj (good in everything he did), Harry Lennix (appropriately weary and stoic), Fran Kranz (yes, Topher is annoying, like a smarter, caffeinated Andrew from Buffy, but he was written that way and he delivered), Reed Diamond, Mark Sheppard (not given much to do) and of course, Amy Acker, who brings immeasurable depth to everything she does.

Lord knows I love me some Dushku. She was great as Faith, is hot as the surface of the sun, and is, by all account, a great person to boot (her recent trips to Africa, for example). She's smart, funny, ambitious and self-effacing in interviews and on commentaries. But I’m not sure she has the chops to pull off such a multifaceted and constantly changing role and inhabit it fully and believably (losing all traces of the “tough Southie broad.”) I’ll give her the benefit of the doubt, and hope she improves in S2.

Also, though I enjoyed Helo on BSG, Tahmoh was terrible here. I’m sure some of that was the fact that Paul Ballard was written as one of the stupidest characters on TV (Jason Stackhouse notwithstanding. At least Jason is funny).

There’s a lot of potential here, and the questions the show asks – what exactly are we? What is a “soul?” What makes a personality? What’s the morality of programming and renting people? -- are interesting and worth exploring in a weekly high concept drama. Whedon and company didn’t get a handle on it until late in the game of the first season, same as with Buffy and Angel, so here’s hoping that S2 results in a similar leap in storytelling and executional quality. I’d give the whole season a solid “B -.” (First half, C- and second half, A-)

That about sums it up, no? And you bet your ass I'll be watching.

Monk: I'm as weary of the Tony Shaloub Emmy parade as anyone (though he did initially deserve the recognition), but like Adrian Monk, I can be a little OCD, and unless a show totally craps the bed which Monk was verging on, if I have the time, I'm likely to see it through. This being the final season for Monk, I'll be tuning in. I'll give them this, the writing and guesting during this last go round has markedly improved. Ted Levine is underrated and Traylor Howard is adorable.

Stargate Universe: The whole Stargate franchise is an interesting one. While they tried to tackle some big ideas on occasion (a la Trek) with SG1 and Atlantis, it was primarily a light Friday night action adventure diversion, where the heroes dispatched the bad guys with a smile and quip, usually on a planet that looked amazingly similar to a forest in Vancouver. The good thing is that they usually cast very well, and gave viewers the sci-fi equivalent of an Outback Steakhouse. You know what you're going to get, and it went down well. With Universe, they're attempting to break the mold, go a little darker and a little more realistic, and provide an entry point for new viewers unfamiliar with 15+ seasons of Daniel Jackson, Rodney McKay, Samantha Cater and mythology based aliens masquerading as "gods." Will it work? I don't know, but from everything I've seen, they are putting their best foot forward, and having Robert Carlyle as the lead certainly helps establish their quality bona fides.

Numbers: Something I've added to the bedroom TiVo as another enjoyable, funky concept (use math to solve crimes!) procedural. If you're not watching yet, there's probably no need to.

Psych: About to wrap up for the season, to make way for another USA new series, but always fun. How can you not love a show about a fake crime solving psychic that displays such an unabashed love for everything 80s pop culture? Leads James Roday and Dule Hill have unbelievable chemistry, and the rest of the ensemble is solid (and Maggie Lawson is cute as a button). The mysteries, like with Monk, are no great shakes, but the laughs are found in the execution, which offers far more hits than misses.

Sanctuary: This show started as a web only, totally greenscreen/CGI limited series about a mysterious scientist who seeks to assist and study paranormal creatures. The first season, to be honest, was a bit of a snore, picking up toward the end of its run with a deepening mythology and sharper character work. I'll give it another chance, if for nothing else than the boundless charms of lead Amanda Tapping (late of the Stargate franchise). If you've ever seen her in interviews or listened to one of her DVD commentaries, you'll fall hopelessly in love with her. She's hot, smart, funny, sweet as a fresh from the oven cookie and overwhelmingly appreciative of fans.

White Collar: This is USA's latest character based show, about a master thief recruited by the government to help them solve crimes. Track record plays an important role here, as USA has done a fantastic job developing new shows, from the mildly entertaining (Monk, In Plain Sight) to the terrifically executed and must watch (Burn Notice, Psych and even the sadly little watched American adaptation of Touching Evil, which also featured Jeffrey Donovan). Only Royal Pains, which was a ratings success, has felt flat to me. So I'll check out White Collar, which has a good premise and an intriguing cast (Matt Bomer, Tim Dekay, Tiffani Thiessen, Willie Garson and recently added cast regular Natalie Morales, late of last year's Best. Damned. New. Show. The Middleman).

Emmy Shortlist: Comedy Lead Actors

TNRLM Shortlist: Lead Actor/Comedy

Alec Baldwin, 30 Rock: While 30 Rock may be maddeningly inconsistent, Baldwin is most assuredly not. While this season didn’t bring anything as howlingly funny and “instant classic” as Tracy Jordan’s therapy session, Baldwin still did yeoman’s comedy work every episode, including funny pokes at his Malice character and having his “double” show up in a Mexican telenovela.


Matt Keeslar, The Middleman: Last year’s best new show didn’t attract the attention it deserved and got canceled, but Keeslar’s performance as the milk drinking, aw-shucks hero was note perfect. “I’m as serious as a hefty bag full of rottweilers!” when I say Keeslar deserves a nomination.


Zach Levi, Chuck: Chuck’s second season amped up everything, including the emotional stakes, and Levi deftly anchored the show’s evolution from pleasant diversion to must see TV. Who else could motivate the interwebs to run to their local Subway to “save Chuck?”


Lee Pace, Pushing Daisies: Ned had a lot to deal with this year, and Pace expertly handled the complex twists and turns of his relationship with Chuck (and their extended families), all while navigating the poetic dialogue in an endearingly matter of fact deadpan.


Jim Parsons, The Big Bang Theory: BBT has evolved into TV’s best sitcom, and if there were room, every single player on the show would be nominated. However, Parsons takes a role that could quickly devolve into the “audience whoops when he enters” equivalent of JJ Evans or Cosmo Kramer, and gives him a disarming charm no matter how annoying the character’s behavior is on the surface. Not many people can make knocking on a door (three times in a row, of course) laugh out loud funny, in addition to providing one of the season’s biggest highlights dealing with getting a napkin signed by Leonard Nimoy.

James Roday, Psych: Tony Shaloub got lots of Emmy love (and rightfully so) for his portrayal of Adrian Monk, so how about a little love for the “other” USA Network detective on Friday nights? Since Roday dialed down the “fake psychic” histrionics, his Shawn Spencer has been an 80s pop culture spewing delight, making a know it all oddly likable.

Adam Scott, Party Down: While Party Down is pretty much a true ensemble, Scott’s Henry is the emotional center of the show, and his disillusioned deadpan was an engaging audience counterbalance to some of the broader comic creations around him.




TNRLM Shortlist: Lead Actress/Comedy

Christina Applegate, Samantha Who: The show’s high concept never quite lived up to Applegate’s lead performance, which showcased her innate sweetness and deft comic timing.



Kaley Cuoco, The Big Bang Theory: The writers didn’t really know what to do with Penny in the first season, but the character (and Cuoco) really came into her own this year. Once she started to embrace the geeks next door on their own terms, Penny found a comfortable and welcome place in the storylines, and her situational pairings with Sheldon were comic gold.


Tina Fey, 30 Rock: Liz Lemon’s nerdy desperation never fails to disappoint, and her dysfunctional relationship with Jon Hamm’s Drew gave Liz more to do than just spew hysterical office-based one liners.


Jenna Fischer, The Office: The “Michael Scott Paper Company” plotline was hit and miss, but it certainly gave Fischer’s Pam more to do, and that’s always a good thing. Her “Jerry Maguire” moment with Michael, realization of what she’s done, and growth into a sales position was a nice extended character arc and highlight of The Office’s season.


Anna Friel, Pushing Daisies: Friel gives you faith that sunny optimism and a central lightness can be awesomely appealing without being cloying or saccharine.




Yvonne Strahovski, Chuck: As good as Zach Levi was on Chuck, nobody would invest in the show quite as emotionally if it wasn’t for Strahovski’s shaded performance as his conflicted handler, Sarah Walker. The audience believes that Sarah could fall for the erstwhile Nerd Herder, just as they can believe she can kick some serious ass.

Passing out grades for the summer TV season

The fall television season is upon us, so it's time to take a quick look back at the boys of summer, television-style.

First and foremost, I'm sure you're probably sick of reading about my undying love affair with The Middleman. Unless, of course, you're a fellow fan of the Middledude and Dub-Dub. I watch a LOT of TV, and this was by far the most inventive, original and entertaining show I've seen in ages. Though not a clone of a Whedon program, it still has the same sensibility, in that it wholly creates its own universe, style and patter, and completely immerses you. It wasn't a perfect fit for ABC Family, and didn't pull the ratings it could (and should) have, so who knows if we'll be treated to another season of one of the most brilliant concoctions to grace the boob tube. If you've ever trusted my recommendations, please treat yourself to a viewing of The Middleman. A+

In Plain Sight was okay. In a summer without much going on, it made for a passable procedural with an intriguing concept, a solid lead performance and a star character in the making (Marshall!). I was bored with the family drama, though the whole "box of letters" bit at the end was a bit heartwarming. And for some bizarre reason, I was mesmerized by Mary's dimwitted, skank of a sister. (Evidently, I just have a soft spot for that type). On a related note, said sister will soon be showing up on Bones as a love interest for Angela. B-

Despite the interesting premise and setting, I still have all the eppies of Swingtown TiVod. Unwatched. Incomplete.

Secret Diary of a Call Girl coasted by entirely on the charms of star Billie Piper. If you're a fan of her Rose Tyler, it made for a mildly diverting 20 minutes. It wasn't sexy enough to be erotic, funny enough to make you laugh or dramatic enough to move you. But if you like saucy chicks with an overbite who once rode in the Tardis, it'll do. C

I'm still halfway through the latest season of Weeds. I enjoy this show when I watch it, yet I don't rush home to fire up the TiVo to make sure I catch the latest ep. Maybe my TiVo is telling me something. Incomplete.

At this stage of the game, I really don't expect that much from Monk. I smile at the fully realized central character, and enjoy his "here's what happened" as much as Columbo's "one more question." However, I think the summer season showed an uptick in the quality of the show, despite the mysteries being even easier to figure out. I was dreading the "Monk is hypnotized into thinking he's a child" finale, which actually surprised me by making me laugh out loud. And the 100th episode, where they revisited his 100 cases solved via a tabloid TV show conceit was particularly inspired. B

Psych strayed from the formula a bit this season, offering more insight into Shawn's background and childhood, and actually became a richer show while still offering the requisite silliness and pop culture riffs. Juliet is an underrated hottie and my only complaint was the lack of screen time for Lassiter. B+

I haven't yet watched the season finale of Burn Notice, so I'm not sure exactly how they wrapped up the season long arc with Six, er Carla, and her machinations of Michael. But the second season built on everything that we liked about the show in the first place (action, droll voice-overs, spycraft 101, deadpan humor, plenty of Bruce Campbell's Sam Axe) and delivered an even better showing. A

Law & Order: CI had an uneven summer. Some of the plot twists were patently ridiculous and it was clear that the departing Chris Noth was phoning it in. D'onfrio is always interesting, however, and I welcomed the return of the eminently adorable Megan Wheeler as Logan's partner. Next season, she'll be paired with Jeff Goldblum (of the underwatched and underappreciated Raines) who should bring an extra level of quirk to the show. I like the acerbic Eric Bogosian as the captain, and the season finale, featuring the return of Bobby's brilliant mentor and his longtime nemesis Nicole Wallace, was spectacular. B

Eureka, thus far, has been hit and miss. Many have objected to the blatant product placement from Degree, but working in the marketing field, I certainly understand the advantages of having some extra cabbage to support the show, and it doesn't bother me. I adore Ever Carradine, but don't really see what she adds to the show and I've found the whole "corporate conspiracy" with Eva a bit tedious. They also said goodbye to one of my favorite Eureka characters (and his dry, withering wit) Nathan Stark. Still, Colin Ferguson's anchoring performance keeps me tuned in, but I was hoping for more. C+

I gave up on Saving Grace. I appreciate the skill, fearlessness and ferocity of Holly Hunter's performance, but the whole show just kind of loses me. A bunch of rednecks getting drunk and solving crimes, infused with a bit of the supernatural? Damn, it sounds good, but it just doesn't work for me. D

We're still in the middle of Mad Men's run, but Holy Shit! is this show good. Easily among the top five shows on television, Mad Men continues to be a hallmark of stellar and subtle acting, writing, storytelling, directing and production values. A trenchant commentary on social mores, gender relations and commerce, Mad Men is a classic for the ages and absolutely must watch television every single week. A+

The Closer was all over the map this season, and in a good way. (Yes, as a southerner, I'm still bugged by Brenda Leigh's accent). We've had harrowing, heart-wrenching episodes and frothy, funny episodes (like the one with Provenza being hired as an undercover hit man) and they all pretty much delivered a solid, well-crafted hour of procedural entertainment. The ensemble is among TV's best, and I can never get enough JK Simmons on my tube. A

I've always watched the Stargate shows, though I've never been as passionate about them as I am with other genre fare, like Firefly, Trek, BSG, Farscape and the like. Still, it saddened me a little when Stargate Atlantis got cancelled, even though I understand the economics behind it. For an hour of sci-fi escape, you could do worse (Painkiller Jane, anyone? Or Flash Gordon? Arrrrggh). McKay (especially), Keller, Zelenka, Beckett, Ronin and the newly added Woolsey are all entertaining characters, even if Sheppard's hair bugs me (could Footloose's Ren have been in the military? Don't think so. Get thee to an interstellar Flowbee). But the replicator-redux storylines, along with the totally boring villains (how could you make "space-vampires" less interesting?) made this less than appointment viewing. C+

I'll take potpourri for $2,200, Alex

You can read all about my take on the Emmy nominations here. TWOP has posted a gallery of things they're pissed about here. (having a shot of Mary McDonnell at the top of the feature just about sums it up).

I just discovered Google Notebook. What an awesome tool. Works seamlessly with Firefox, Google Reader and all the other online toys.

Stop making me wait, motherfuckers.

NPH has a chat with the Washington Post, and talks about Dr. Horrible, HIMYM and more.

Am I too old for this? Because it's just awesome.

Everyone enjoying the return of Psych? I know I am, and Friday's John Hughes love fest was no exception. Check out this season preview.

How do various heroes compare on a "wish fulfillment checklist?" You have to look over Io9's chart, complete with adorable icons for characters including Malcolm Reynolds, James T. Kirk, Paul Atredies, Spider-Man, Starbuck, Sarah Connor, The Doctor and others.

Mythbusters' Adam and Jamie debate the best movie FX. Not sure what Jamie's fascination with Baron Munchhausen is, but I gotta go with Adam on this one.

Great opening sentences from sci-fi books.

Tim Burton movies can be hit and miss for me (the less said about Planet of the Apes the better), but if he's doing Alice in Wonderland, he certainly hit the bullseye on the casting. This gal was electric and astonishing on In Treatment.

SI's Stewart Mandel on Coach Richt. I bought Mandel's book on CF, and look forward to reading that on the plane trips down the motherland for upcoming season.

Urban Meyer is a narcissistic douchepickle. But that's not exactly news.

I think from now on, I'll become a loyal customer of Accor Hotels.

Fictional presidents make better decisions, TV notes and the earth is just a wee bit older than some believe

Gearing up for the second season of Mad Men, here's a great look back at Season One. (If you haven't seen it yet, first, shame on you, and second, SPOILERS ahoy).

Despite getting some horrific reviews, I'm still eager to see Hancock. Probably because the stars are all so damned likable, and yeah, I'm a sucker for genre fare like this. If you want to see them all amuse each other, and us, check out the latest in MovieFone's "Unscripted" series.

What's up with FOX and the interesting TV shows? First, they actually made Sarah Connor fly and actually renewed it, then they gave greenlights to Fringe and Dollhouse. Now they put Tim Roth in a TV show about a "human lie detector?" Awesome. (And damn, I could have used his services a couple of years ago).

Let me get this straight. The "tax 'em all" liberal wants to further blur the line between church and state and have the government fund more supernatural-based shenanigans -- even more than the current presidential zealot? Blergh. I have nowhere to vote. (Too bad a fictional character like this isn't running. Although I did like what I saw of Jeff Bridges' food-obsessed POTUS. But he couldn't shoot down alien spaceships, which might come in handy sometime). More on the waste of "our" money here.

Speaking of which, I don't think Shaun's flat-earth beliefs are keeping him off a roster. I think it has more to do with the fact that he runs out of bounds too often, lays down at the first sign of contact and that the Seahawks had to throw close to 600 passes last year.

Or maybe he's just not that bright.

Related: if the Earth is only 6,000 years old, how do you explain this?

Psyched for the new season of Psych? Here's an interview with Dule Hill and James Roday.

"Global warming" causes, well....everything. But this guy might not agree.

Back in Georgia, when I wasn't home, I was on the golf course. When the cat's away, the mice will play, so wouldn't it have been ironic if this had happened? "Excuse me, just playing through" indeed. Hey, at least it would have paid for some of the booze and ciggies.

Has anyone watched Swingtown yet? They're stacking up on the TiVo, but I haven't been motivated to watch thus far, despite the promise of disco and harvest gold and avocado kitchens.

Summer Lovin' Part One

"Summer lovin' had me a blast,
Summer lovin' happened so fast"

Seems like just yesterday the fall TV season ended. Oh wait. That's almost true. I'm still getting over the strange adventures of Jeremy Bentham, and some shows, like BSG and Doctor Who are continuing their first pod of episodes for the year. But it's time for the Summer Season to start, and here is TNRLM's handy guide to the shows you should make out under the dock and get friendly down in the sand with.

Returning Shows

There's USA's stable of quirky detectives: Monk, Psych, Burn Notice and Law and Order: Criminal Intent.
At this stage of the game, Monk is what it is. Most of the plots have a "been there, done that" feel to them, and the real reason to tune in is for the chemistry of the characters, which thankfully, still amuse and entertain me. I will be curious to see how the show handles the sad passing of noted character actor Stanley Kamel, who played Monk's long suffering shrink Dr. Kroger. Plus, Traylor Howard is cute as a button.

Psych seems for some to be a love or hate proposition. Personally, I think it's good frothy fun and the relationship between the two two main characters, Shawn and Gus, keeps me watching. I like the supporting characters, too, and now that they've dialed down the "fake psychic" histrionics, I no longer roll my eyes once an episode. And with the passing of Gilmore Girls last year, few shows have the obscure pop-culture reference/minute ratio that Psych does.

Burn Notice was a pleasant surprise last year. I had enjoyed Jeffrey Donovan's take on a fucked up detective in the US remake of Touching Evil (also on USA, but canceled after a year), and think he brings the right amount of wry bemusement, secret agent cool and general bad-assery to the role. Fi's accent was all over the place for the first few eps (until the former IRAer decide to "go natural" with an American accent), but any show with Bruce Campbell as a shifty "sidekick" is okay in my book. Plus, Six (Tricia Helfer, from BSG) will be joining the show for an extended arc this year as a connection to Michael's Burn Notice.

And finally, L&O: CI gears up for another season. This has always been the stepchild of the L&O machine, as more people would rather watch the ham-fisted, Emmy reel scenery chewing over on SVU, but I like the brilliant-but-damaged scenery chewing of D'Onofrio on this version of the show better. Plus, Mr. Big's red headed partners are hot.

Eureka. Occasionally, the wrap ups can be a bit too tidy, but the show doesn't take itself too seriously that often, and Colin Ferguson as the "normal" sheriff is a terrific comic actor. It's a fun premise and the rest of the show is filled out with a likable ensemble.

Mad Men. Off the top of my head, if I had to name the best shows on television, I would say Dexter, Lost, Battlestar Galactica and Mad Men (with a few others, including House and Big Love, right behind). This show came out of nowhere last year to quickly establish a presence as one of the best written, best acted, best directed hours on TV, on any channel. An unflinching and dramatic look at the life of an advertising agency in the late 60s, Man Men is essentially the story of lead character Don Draper, a mysterious and smooth operator with a portfolio of personal problems and a knack for reinvention. The show was created by Matthew Weiner, a former writer and producer for The Sopranos, and the pedigree is readily apparent. There are twists and turns in the plot to be sure, but the real joy in this show is peeling back the layers of the characters, all of whom are superbly portrayed. Besides, where else can you find chain-smoking on TV?

Due to the big move and the problems getting Showtime, I missed out on Dexter, Weeds and Californication last summer. However, thanks the power fo the almighty TiVo, I'm currently getting up to speed. I think Dex won't be back until the fall, but I believe everyone's favorite pot-peddling MILF will be back this summer. Not much to tease here from me, as I'm only a couple of eps into the previous season. Same with Mulder's new show about an oversexed and narcissistic writer.

One of the better procedurals on TV is Kyra Sedgwick's The Closer (unless you've watched any of the NBA playoffs on TNT, and refuse to watch the show because of the incessant and annoying commercials and screen hogging snipes). Yes, as a native Georgian, her accent is over the top and not entirely accurate nor consistent, but the power of the performance the subtle depths she brings to the character give you more than enough reason to appreciate this strong, female lead character. The rest of the cast is great, too, including the perpetually entertaining J.K. Simmons as her boss (and one time lover).

I can't say too much about the other chick detective show on TNT, Saving Grace. I adore Holly Hunter (who I should note, in comparison to Sedgwick, has a perfect Georgia accent. Since she is from Georgia. However, I don't think she's actually playing one here). If the spirituality was played differently, I might be intrigued. But it's all a bit heavy handed, despite the presence of Deadwood's Leon Rippy as an actual angel. I'll tune in occasionally, if nothing else is on, but it's not one I'll actively make time for. If anyone else is passionate about this show, let me know. I tuned out after 4 or 5 eps last year, so it might have found a suitable tone and become more entertaining.

Stargate Atlantis also resumes this summer, with a couple of interesting cast changes for geeks. Star Trek: Voyager's best actor, Robert Picardo, comes aboard as the new head of the Atlantis expedition, replacing the sexy, humble and awesomely appealing Amanda Tapping (who will be heading up another supernatural show on Skiffy later in the year). Everyone's favorite dirty mechanic from Firefly, Jewel Staite, will become a series regular as Dr. Keller. I look at the Stargate franchise like comfort food. It's entertaining and winningly acted sci-fi, much like many episodes of the Trek franchise, without the achingly good ambition and emotional wallop of BSG or Farscape. There are worse ways to spend an hour.

And if you're eagerly anticipating the next season of MTV's The Hills, I hope you're wearing bangs to cover the lobotomy scars.

A few summer staples, like Big Love and Entourage, were put off schedule by the writers' strike, and will return in the fall.

There you have it. Command your TiVos accordinly. I'll be back later this weekend, with Part Deux, looking at summer's new television offerings.

I'll take potpourri for $1,000, Alex

Captain Mal is up for the lead on a new ABC show that sounds like a good fit. A "comedic procedural about a famous mystery novelist helping the NYPD solve crimes." I'll tune in.

Fantastic new Dark Knight poster. (click on the links in the story to see two "international" posters which are also quite good). Despite a shaky third act, I loved the first "reboot" of the series, Batman Begins. I also remember seeing that flick in the theatre, which is a mixed bag. Yeah, the movie was great, but that was a bizarre night that should have sent me a message as bright as the Batsignal.

Story of the gruesome and funny production company credits at the end of BSG.

I think I know where to send the camera crews for this new reality debacle. Of course, it wouldn't be at a country club, and all the stuff has already been repossessed. Several times.

Six is making her way to another show I enjoy.

Speaking of entertaining USA shows, Maddie Hayes is Sean Spencer's mom.

One ranking of Joss's "10 finest moments." Probably not the 10 I would pick, but a fine list nonetheless. (h/t Whedonesque).

A Damn Good Dawg retires.

How to get from one side of the galaxy to the other very quickly. But complications may ensue.

An interesting opinion about the Falcons pick at #3 today. "Taking the wrong Matt." Yeah, it would make me very happy to see UGA's 7 in a Birds uni, but I want Stafford to stick around for 4 years, and not go pro after his junior year. (Of course, if by miracle of miracles, the Dawgs make it through a torturous schedule and wind up with a MNC, there'd be no reason for him to hang around the campus, and we all know he has the gun for the pro game).

Christina Ricci is a smart lass.

If not for the awful food and bad teeth, I think I'd fit in with the crowd in Britain.

While jogging around the apartment complex, I found an amusing "crime deterrent." On one of the ground level units, the resident had placed one of those "head shot" targets from the shooting range in the window, with bullet holes all in and around the bullseye. Probably much more effective than an alarm company sticker.

Great list of unanswered TV questions.

The 11 Most Awful Songs from Geek Movie Soundtracks. Some of the choices are spot-on, but I actually like a couple of the tunes (like "Kiss From a Rose" - but what the fuck does that mean?). But mostly, I enjoyed it for the writing. Worth checking out.

A guide to sci-fi deus ex machinas.

It's too bad Joss got into bed with FOX for Dollhouse, where it will probably be canceled after 4 episodes (cough*Drive*cough). This is an interesting development, and I would have much preferred to see Dollhouse on Showtime (and not just because Olivia Williams, Eliza Dushku and Amy Acker would be free of the puritanical standards and practices nazis. Mainly, because they can cultivate quality shows without the weekly pressure of the unwashed masses tuning in).

In praise of Bones. I think one of the reasons why I love Bones so much is that of all the procedurals, this one is really more about character than the mystery. And it so happens that I really like each and every character on Bones, unlike other procedurals, where there may be only one or two characters worth watching (Calleigh, Gil, Hodges, Lupo, Cutter, Munch, Prentiss, Penelope, Goren, etc). The back from the strike eps have been top notch, but next week will be a test of my patience. A baby? Shit, did they not read my screed about BSG last week?

Why didn't they have this at a playground near me as a kid?

Speaking of which, here's a guide to the women of intergalactic pimp, James T. Kirk.

I still can't get over Carly getting the boot on American Idol. I understand that David C has talent, and the stuffed Koala has a legion of tweens (plus, voters are probably afraid his dad would beat him studded belt if he loses). But Brooke and Psychlo Terl voted forward? You have got to be fucking kidding me. And this is even more distressing than anti-Irish, anti-talent bias: did mouth-breathing, fairy tale-believing, flat-earth, dimwitted jesus freaks spur a backlash? Over a thirty year old song? Maybe I could grow to love warm beer and fish and chips.

And what was Carly going to perform on Neil Diamond week? "Sweet Caroline," my favorite song of his. Fuck you, America. Fuck you.

However, whenever I think of Neil Diamond, I think of this. Never fails to make me laugh out loud. "...this next song I wrote after I killed a drifter to get an erection."

The Canon: Best Modern Credit Sequences

Television opening credit sequences have come a long way since the days of our youth. "Back in the day" (excuse me while I check on the earlybird dinner special and line up my bingo and shuffleboard games) credits almost always followed the same formula: catchy jingle, expository lyrics and images, list of players.

Sitcoms were particularly adept at this. Think about it. Who couldn't still break off a barroom rendition of The Beverly Hillbillies? Or Green Acres? The Brady Bunch? The Jeffersons? Gilligan's Island? Everything we needed to set up the story was right there in the first minute. While not adhering as strictly to formula, dramas also used the opening moments to give you what you needed. Who didn't know exactly what to expect after getting revved up by the opening of Hawaii Five O? Or Magnum PI? Or Classic Star Trek? Or even a more obscure show, like The Wild, Wild West?

Nowadays, the playing field has changed somewhat. There are more commercials and less time for 1-2 minutes of catchy theme music to play each week. There's the pressure to "hook" potential channel flippers, so the "cold open" has gathered steam as a marketing tool and storytelling device to capture your attention right off the bat. Full credits aren't actually contained within the "theme song" and many shows just show them on a crawl during the first act.

So before we get to the actual list, a few caveats.

1. I'm only including current shows. So we won't be seeing the iconic images of Tony Soprano and the fabulous strains of "Woke up this morning, got yourself a gun." Or the first season of dearly departed Veronica Mars. Or Firefly. Or the late (lamented?) John From Cincinnati. Or the pitch perfect Buffy the Vampire Slayer opening.
2. I'm only considering shows I watch with some regularity (i.e. "good" shows. That use a script). So I don't care if Beethoven and Prince collaborated on the opening credits of America's Next Top Model with Orson Welles and Martin Scorcese, you won't be seeing that here.
3. The list also includes shows with actual "credit sequences." So while I love Lost's moody spinning logo and strange music, and The Closer's blues line interspersed with the opening of act one, those are not necessarily a credit sequence.

Got it?

Okay, here we go.

1. Battlestar Galactica


It's all right there. The set up. The premise. Gorgeous imagery. Emotion, drama, conflict -- all perfectly set to the music. Plus, the unusual tactic of split second images from the episode to follow.

2. Dexter


Beautiful. Disturbing images of seemingly innocuous everyday activities, highlighted by frequent splashes of blood and underscored by a whimsical to the point of creepy theme. What better way to kick off a show about a "good guy" moonlighting as a serial killer?

3. Monk


Randy Newman's sprightly ditty is one for the ages, perfectly capturing the essence of Adrian Monk.

4. Mad Men


The score here is terrific and the imagery even better. Evocative of the classic work by Saul Bass, the falling adman sets up the personal, professional and existential conflict of primary character Don Draper.

5. Rescue Me


Set to a driving uptempo rave by the Von Bondies, Rescue Me's credits also give you everything you need to know aurally and visually right away. The "smoking" player credits are a great touch.

6. Bones


This is from season 2, which improved on season 1 by synchronizing the actor names with their appearance onscreen. The music, by The Crystal Method, rhythmically suggests the creepy nature of the cases while the jittery visuals remind viewers of Se7en and set the tone of the show while never losing the focus on the two primary characters.

7. CSI


It's been around a while, and been "exported" thematically to sister shows New York and Miami, but the original is still the best. Combining the high energy music of The Who and lyrically on point in the search for the criminal, CSI is a great blend of song and image that sets up the "scientific" nature of the crime lab without sacrificing any of the drama.

8. Psych


Another perfect marriage of lyrical storytelling that suggests the premise while conveying the fun and farcical nature of the show, all in 20 seconds.

Quickies

I've been trolling liquor stores lately (just for the free moving boxes, y'all. Really) and haven't had much time to post, but here are a few items just to tide my loyal six readers over:

I still don't have a clue what's going on with John From Cincinnati. But I still keep watching.

Psych had been tighter and funnier this year than last.

Sunday's episode of The 4400, "The Marked," was about an abductee with the "special power" to uncover conspiracies and then turn them into D-level, Ed Wood esque horrible movies. The movies within the show were funny as hell. If you didn't catch this, look for the reruns. It's definitely worth your time. Also, the filmmaker character from the episode, Curtis Peck, has his own myspace page. It features a scene from his Kennedy assassination masterpiece, Dead - Completely Dead.

I gave Saving Grace a try. Too early to call on this one. While I like Leon Rippy's tobacco chewing angel, and Holly Hunter looks great and acts her ass off, there's a fine line between X-Files supernatural intrigue and more literal biblical explanations. I'll watch again, but I'm not sure it will be added to the prestigious Season Pass list.

Speaking of TNT, The Closer has been better than ever. It seems like they've been ping-ponging back and forth between heavy, serious episodes and light hearted farce. Which has been great. Last Monday's episode, with an ornery Brenda Leigh, the team in hazmat suits and the dumbest criminals ever (rivaling Ruthless People's "this could very well be the stupidest man on the face of the earth") was laugh out loud funny.

I guess I won't be appearing in a Disney movie anytime soon. Nor will Mickey be lighting up the post-coital Marlboro after a night with Minnie. Which reminds me of one of my favorite jokes: Mickey Mouse and Minnie Mouse are in Divorce Court. The judge says to Mickey, "Let me get this straight. You say you want to divorce Minnie on the grounds of 'insanity?'" Mickey looks at the judge and says, "No, I didn't say she was insane. I said she was fucking Goofy."

Lindsay Lohan is a wet, hot disturbing mess. You'd almost think she was from Columbus, GA, except that she's earned her childhood money standing up.

ESPN gets a lot of shit around the blogosphere (and with good reason. That "Who's Now" excrement is an affront to broadcasting and all measures of intelligence), but their town hall meeting about Barry Bonds last night was very well done. I could have watched that for another hour. It was balanced, interesting and represented several different viewpoints.

Casting is coming in for the adaptation of the greatest "comic book" (and I use that term lightly. More like "illustrated literature") ever, Watchmen. Can't wait for this one.

Lost news: "Waaaaaaaaaaaaaallllllllllt!"

Great casting for the new Trek movie.

For the past year or so, I've gotten into the habit of watching some middle of the road procedural on the Tivo when I go to bed. I used to watch SportsCenter, but between the "boo-yahs," endless/mindless self-promotion and "Who's Now" I just couldn't stomach it. At first I tried Without a Trace. I liked Anthony LaPaglia and Poppy Montgomery is smoking hot, but the overall tone was just too dour and humorless, and too many of the missing subjects were kids. And I hate kids on my TV. So next I tried CSI: Miami. Now, I'm a fan of CSI: Original Recipe, but never really watched any of the others. Here's what I've discovered about CSI: Miami. I have a crush on Emily Proctor. (Hot blonde with a real southern accent? Wow). And this show is much better when viewed as a comedy. I mean, David Caruso is hysterical! In his honor, enjoy this oldie but goodie: Caruso's CSI: Miami one liners. Once it starts, you just can't stop watching. Just for fun, here's Jim Carrey's homage. And finally, I think Caruso's sunglasses deserve an Emmy for best supporting actor.

Whodat?

Last week's Criminal Minds featured Josh Stewart as the mumbly Nawlins detective. You may recognize him as the mumbly, morose "actor" on Dirt banging editor Lucy and his skanky, drug addled wife. Also, Reid's college buddy was Rhys Coiro, who played hardcore indy director Billy Walsh on Entourage.

Friday's Monk had Dan Butler as the murderous surgeon (he was Bulldog on Frasier) and Charles Durning, most recently Pa Gavin on Rescue Me, as a patient.

Psych's outstanding season finale (man, has this show hit its stride) had Alex Breckinridge as one of the sorority girls. Currently, Alex is playing Willa on Dirt and discussing the butt plugs she puts in her publisher's ass, which fall out during potentially dangerous hostage situations. This ep was also directed by John Landis, of Animal House/Blues Brothers/American Werewolf in London/Thriller fame.

Speaking of Dirt, the child star-hostage taker-assistant killing-nutjob was none other than Vincent Gallo, most famous for getting Chloe Sevigny to use her face as a cock depository for him on film in The Brown Bunny.

Dorothy Lyman played Socrata Thrace, Starbuck's abusive mom, on last night's mind blowing BSG. She looked familiar and I couldn't place her. She's a vet of many soaps, and was on Mama's Family for 114 episodes, 114 of which I'm proud to have never seen.