Summer TV Report Card

Thanks to cable, summer is no longer the desolate television wasteland, comprised of repeats, intelligence and dignity sapping reality shows and dumped pilots. (Network television, however, still continues this time honored taking out of the trash).

So how did summer viewing stack up, quality-wise? Let's take a look. Here are my grades for various summer season shows (some of which are still in progress):

Burn Notice: A-
Very solid season, filled with everything we like (how-to voiceovers, CGI-free action, colorful cover identities, lots of Sam Axe) and only a little of what we don't (meandering master plot and too many scenarios where the bad guys tidily take each other out). The only serious misstep was with the character (and casting) of Detective Paxson.

Royal Pains: C-
This freshman show seems to have caught on in the ratings and performed well even after losing the superior Burn Notice as a lead in. I stuck with it through to the finale, but I'm not sure that I'll keep it on the season pass list when it returns next summer. Other than Campbell Scott's mysterious Boris, all the characters are black holes of charisma or downright annoying (I'm looking at you, Evan). The nifty "solutions" to medical problems lack the brilliance of House and aren't as fun as similar improvisations on Burn Notice. And I don't give a damn about any of the relationships here.

In Plain Sight: B-
Credit where credit is due for successfully centering a show on a prickly, borderline unlikable character. Mary McCormack's Marshal Mary Shannon is competent and caustic, and her interplay with the show's best character, Fred Weller's bone-dry Marshal Marshall Mann, is the reason to keep coming back. The show also made some effort to adjust the supporting cast, making Stan more passionate and less buffoonish, and pushing Mary's aggravating family to the background. The creator and showrunner has left the series, so we'll see how things shake out next year.

Law & Order: Criminal Intent: B+
This warhorse keeps chugging along, offering "ripped from the headlines" crimes to be solved by two of TV's quirkiest and most watchable performers, Vincent D'Onfrio and Jeff Goldblum. The supporting cast is also sublime. I really like the work done by Eric Bogosian, Kathryn Erbe and Julianne Nicholson.

Saving Grace: D
On the surface, I should love this show. It features characters from "flyover country" that are taken seriously, blends procedural crime-solving with a dollop of the supernatural and has talented actors giving real and naturalistic performances across the board. There's no question that Holly Hunter's bravura scenery chewing is a thing to behold. Yet every single episode I watch feels like there are three or four scenes cut out that would help it hang together more coherently. And the overall arc shambles aimlessly along, confusing "divine mystery" with "exasperatingly nonsensical." A nice effort, but definitely far less than the sum of its parts.

The Closer: B
I've long stopped pulling my hair out over Kyra's dinner theatre Georgia accent (now that Saving Grace is shutting down, perhaps Holly Hunter can give her some dialect coaching?) and just enjoyed this show for what it is. It features a great supporting cast (any reason for more JK Simmons on my TV is a reason to cheer) and a bluesy score (the opening scenes / credits roll out sequences are among the best on TV). Though the "revelation in Brenda's personal life triggers an 'a-ha moment' about the case" device can be a little trite, the show just works.

Leverage: B
More fun than it ought to be, this lightweight summer diversion is eminently watchable, thanks mainly to the performances. Timothy Hutton grounds the team with his actorly chops, and the rest of the Leverage group orbits around him giving us everything from geektastic riffing (Aldis Hodge's Hardison) to inexplicably adorable face-scrunching (Beth Riesgraf's Parker). The con mechanics don't always hold up under close scrutiny, but this show is as refreshing as a lemonade on a summer day.

Weeds: D
I gave up on this show for a while, but came back this season to see what's going on and can't believe I made it through the entire thing (one more episode, the season finale, airs Monday). Mary Louise Parker is sexy as hell and gives her all to a role that just doesn't do anything for me. Nancy Botwin isn't particularly likable, competent, moral, funny or engaging. (In Plain Sight's central character is similar prickly, but is at least good at what she does). The side plots, whether they feature the kids, Doug and Dean or Celia, feel beamed in from another show and I can't believe anyone gives a shit about Esteban or his career. Really, the only redeeming features this season have been Justin Kirk's nimble gift for comedy and pathos, and Alanis Morrisette's surprisingly winning guest shot. A mess.

Nurse Jackie: B+
A meandering examination of an addicted ER Nurse and her personal and professional travails, this show won me over on the strength of the acting, particularly a ferocious and vanity-free performance from the incomparable Edie Falco and Merritt Wever's lovable, loopy Zoey. With the exception of Anna Deavere Smith's slapsticky administrator (I fault the character and writing more than the actress, who ably tries to work with the tone deaf material she's given) the whole ensemble turns in great work.

Entourage: D+
Another show, like Weeds, than appears on my TiVo more out of habit than any sort of passion. It was never blessed with sharp writing or performances (save early, pre-sushi Piven) in the first place, and it's only gotten shaggier in its later years. This year, the show's least compelling character, Eric, winds up with most of "dramatic" heavy lifting, and he's simply not up to the challenge (and what's with the annoying stick figure neighbor? Ye gods). It takes a special kind of ineptness to waste Gary Cole.

Hung: B
This one seems to be really hit or miss for a lot of folks. Not quite funny enough to be laugh out loud hysterical, yet not as sharply dramatic as something like Nurse Jackie can be, Hung is content to drift along on the charms of its cast and wacky premise. Your mileage may vary, depending on how much you enjoy Thomas Jane and Jane Adams. Personally, I think Jane is an underrated actor who filters some of his character's jockish obliviousness with a hangdog earnestness, and I've long had a crush on the delightful quirky and compelling Adams.

True Blood: A-
While this isn't a deep, thought-provoking meditation on the human condition (such as other HBO efforts like The Sopranos or Deadwood), there's hardly anything on TV now that offers this much outlandish, over the top fun. Though I could do without some of the characters (like Eggs), Michelle Forbes has been a gleefully demented big bad and the relationship between the shy, sweet Hoyt and the vampire virgin Jessica is funny, compelling and fascinating to watch. Almost all the eccentrics in Bon Tomps have something to do this season (welcome back, sassy Lafayette!), and the show has found a nice tone that effectively straddles gut-busting camp and operatic melodrama.

Virtuality: A-
Though this was a failed pilot aired as a burn-off TV movie, it's really a shame Virtuality didn't get more of a shot. It was well cast, well written and had an abundance of ideas to explore.

Being Human: B
What a delightful little surprise this BBCA import has been. It's the story of three flatmates (as they say across the pond) - a vampire, a werewolf and a ghost. Though I frequently watch with the closed-captioning on in order to catch some of the mumbled English slang, and some of the foundational "rules" about how these supernatural creatures operate aren't exactly clear, I admire the winning performances of the three lead actors and appreciate the fact that the plot isn't afraid to go to some very dark places.

Rescue Me: B+
This has been a very successful comeback for a show that seemed to be running out of gas during its last go round. Most all of the central characters have gotten a plotline to wrap their arms around, and you can never go wrong when you give the crew of the 62 Truck more scenes to hang around and shoot the shit about women, pop culture, politics or life in general. Sometimes, the focus on Tommy's magical love life can be wearying, but it helps when you have an actress as good as Callie Thorne to play balls-out crazy, or one as talented and sexy as Maura Tierney to play a mysterious new interloper. Few shows can vacillate between pathos and comedy as well as Rescue Me, and one of the things I've admired this season has been a concerted effort to feature longer, unbroken set pieces that mine the depths of both.

Eureka: B-
Though I'm a little pissed that Friday's episode was a glorified clip show masquerading as a new episode, Eureka does what it always does: provide an amiable, well-acted and engaging summer diversion that coasts effectively on its high concept trappings and likable cast. Jamie Ray Newman has added some life, too, as a flame-haired, lispy romantic foil for the comically gifted Colin Ferguson.

Warehouse 13: A-
This freshman series, a delightful melange of The X-Files and TNT's Librarian series, with a dash of Bones thrown in, charmed from the start, though it isn't without a few growing pains. It is winningly cast, with leads Eddie McClintock and Joanne Kelly as "Secret Service" agents tasked with procuring magical and sci-fi "artifacts" for the mysterious Warehouse, which is overseen by reliable veteran actor Saul Rubinek. Recently, Allison Scagliotti joined the cast as a young hacker genius to add some depth (and winsome attitude) to the team. McClintock and Kelly have chemistry to burn, and the whole concept is fun and breezy, and a great way to spend an hour. The artifacts themselves have been inconsistent in nature, ranging from historically clever to poorly conceived, and some of the episode wrap ups have been a wee bit trite. It's all but impossible for new shows to find their tone and footing right out of the box, but with the addition of more backstory and a recurring nemesis (Roger Rees), Warehouse 13 is quickly getting into an addictive groove.

Psych and Monk: (Incomplete)
We're too early into their summer runs to offer a complete evaluation for these returing USA favorites, but I will say that Monk seems to have stepped up a bit in its swan song from a lackluster prior season. The ratings show that Psych suffers some viewer drop off from its lead in, and I can't understand why, as this show continues to make me giggle with its endless pop culture riffs and the easy chemistry between leads James Roday and Dule Hill.

All in all, if, like me, you find reality drivel one of the horsemen of the apocalypse and needed some scripted viewing this summer it really was a pretty good time to be plopped on the couch in front of the tube.

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.

But it's REAL, y'all! And when is 70 minutes not enough?

I was reviewing some of the comments about Monday's night's exceptionally powerful and well done episode of The Closer, "Ruby," on TWOP. There were the usual insightful observations and analysis from the TWOPers, about Gabriel's motivation, Taylor's problem solving, Brenda's dedication to the case, Provenza's "cover up" and the outstanding performance from the actor playing the degenerate perp.

But I also noticed a few comments related to the promos for a new TNT series, called Saving Grace, starring Holly Hunter. This came up because of the unusual timing of "Ruby." For TV aficionados, it was quite apparent that this episode was going to run 10 minutes over the hour. TNT announced it in their ads for the episode. It was noted on all the major TV websites, and I even saw it in the mainstream "printed" press. In addition, my Tivo, smart best friend that it is, had already added the extra 10 minutes to the recording time. So all was well, right? Blergh. I timeshifted, as I always do, and watched this compelling 70 minutes of television. At the "end," Brenda Leigh got her confession and we weren't quite sure what would would become of Gabriel after his questionable tactics in extracting the location of the little girl. I put quotes around "end" because there were a lot of fans who weren't quite sure exactly "when" and "how" this episode ended. At what I thought was the end, TNT did their usual cross promotion. Typically, it's been for the Treat Williams vehicle Heartland, but this time, the voice over asked us to "stay tuned for a special preview of Saving Grace." More on that, and Holly Hunter, in a moment.

Okay, when the network tells us to stick around for a preview, that means the current show is over, right? I mean, almost every show tells us to "stick around for more of (insert show here)." And then you wait around (or fast forward) and all that remains of the current show is the credits. Or maybe, just a tiny "tag" scene. But TNT made NO MENTION of "more Closer" coming after the Saving Grace preview. And we were already at the 1 hour and 10 minute mark. So any reasonable viewer would assume that The Closer was over. Done. Complete. Uh, not so. Apparently, outside of the 70 minute mark that we'd all been warned about and taken into account, and AFTER the Saving Grace preview, there was more Closer, and it was damned important. Brenda suspended Gabriel for his actions with the suspect, and put a note about the use of "excessive force" in his file. Gabriel told Brenda that he wasn't sure he wouldn't act the same way again, under similar circumstances. He laid his badge and gun on the desk. The perp killed himself in the jail. And wrote a suicide note on his right hand. And the hand is important, because we had clearly seen in previous scenes that the perp was right handed. I offer all this information about the end of The Closer not from memory, or having seen it, but from recounts provided by helpful TWOPers, because these critical closing scenes came AFTER the Saving Grace preview, and AFTER the much publicized "extra" 10 minutes. All I can say is What. The. Fuck? I've tried to find this final scene via TNT or the youtubes, but to no avail. Fuck you, TNT.

Okay, that brings me rather long windedly to Holly Hunter. On the boards, several of the posters expressed the following sentiment: "I don't care how many times they try to shove that Holly Hunter promo down my throat. I'm not watching because I can't stand her ridiculous accent."

Keep in mind that this was expressed in a forum for The Closer. And posted by fans of The Closer. Which stars Kyra Sedgwick, who was born in New York. And went to USC (in California, not the home of the fighting poultry). And now lives in Manhattan. Who stars as Georgian Brenda Leigh Johnson, a tough southern belle, with a thick southern accent who is a fish out of water in SoCal. Look, I love Kyra's performance and consider it nuanced, powerful and definitely Emmy worthy. I would also suggest that she's doing some of the finest work on TV, on par with female performances from Edie Falco and Mary McDonnell. But y'all? Her accent is FAKE. And as much as I love the show, it took me a good 3 or 4 episodes to get past the fact that her accent is too over the top and not as natural as it could be. I mean, it's not Dick Van Dyke in Mary Poppins bad. Or Bianca Lawson in Buffy bad. Or Kevin Costner in Robin Hood (or Thirteen Days, or anything, for that matter) bad. But it's obviously not real, and any true southerner, and especially Georgian, can spot that a mile away. So someone who is a fan of The Closer objects to Holly Hunter's accent? You have got to be kidding me. That's about as REAL as it comes. Holly is from Conyers, Georgia. And despite her immense acting talent, I'm sure holding back her thick accent has cost her some mainstream roles where her character did not have a background from the south. The irony of that just makes my eyes roll back in my head and my stomach turn in knots. So you like The Closer, but don't want to watch Saving Grace, because Holly's accent bugs you? Hopefully, a door-to-door "Clue Salesman" will soon visit your home, so you can get one. Argh.

As for Saving Grace itself, I'm torn. On one hand, I do really like Hunter. And I like the somewhat "supernatural" nature of the show, featuring Deadwood alum Leon Rippy as an "angel" giving Holly's self destructive detective another chance at life. However, my feelings on all this theological poppycock are well known, and I really don't want to waste an hour of my life (and believe me, I waste those with reckless abandon) getting some treacly lecture. If it's Touched by an Angel in Oklahoma, or Michael Landon with a badge, then count me out. But given the talent involved, I'll give it an ep or two to win me over.

But seriously? You like The Closer, but Holly's accent bugs you? I'm think I'm going to go have a seizure.