Grid Effect

Very different approach to last night’s episode of Friday Night Lights. It seems like each episode tends too focus on two or three plot lines, last night developed (and in some cases concluded) several characters and felt awfully rushed in some instances.

The episode opens on the practice field, with Taylor screaming at his players about the pending game between Buckley and Arnett-Mead, which will apparently determine whether or not they will make the playoffs if Buckley can pull off the upset. One thing I like about this premise, is how everyone in town has their own opinion about the best strategy for Buckley too implement in order to get the win. Virtually no football fans watch this series, but it is a subtle bit of humor geared for what the network thought their base demographic would be.

Also in the pre-credits scene, Matt’s dad, Henry, breaks the news that he as decided too stay in Dillon for Matt and his grandmother, who’s name is Lorraine. In other words, he isn’t reshipping out to Iraq, which everyone anticipates being a huge adjustment, but for Matt, a welcomed one.
The concept has some major setbacks, however. One being that Henry cannot land a job, “Not exactly a boom market”, is how Henry phrases it. No shit. So Matt uses his pull, of which he has a lot with Buddy Garrity. Upon asking Garrity for a position, he immediately offers Henry a job selling cars.
As expected, he isn’t very successful at it. His position in the army required an authoritative presence, not necessarily a forceful one. Which is needed too sell used cars, one would imagine. So too help alleviate the problem, Buddy suggests he wears an pin of the American flag on the lapel of his suit. Henry is at first hesitant, because, he has been in the army for twenty years out of patriotism and nobility, not too guilt strangers into buying products. But he reluctantly agrees.

Tell your Dad I said thanks for the service too our country. Now have him go hawk cars to senior citizens for local sleezebag Buddy Garrity, okay?

This portion of the episode, develops the relationship between Matt and Julie as we are privy to several scenes between the two, one of which features them sitting on the stoop to Matt’s house, and confides that he is somewhat bothered that his father doesn’t want to be in Dillon, but can understand his dad’s disatisfaction after being in the Army for twenty years and having too leave Iraq.
In the end, Matt confronts his Dad, and acknowledges the fact that his heart isn’t into used cars, but rather serving in the Army, and reassures Henry that if he wants too go back to Iraq, then he is more than welcome. Though it is much less hostile and more accomodating than the last time he suggested this. Isn’t the father supposed toot ake the high road in this situation? And by high road I mean staying in Dillon for the benefit of everyone around him.

In the ongoing Jason Street saga, his family is going through with the lawsuit against the school and Coach Taylor. In one of the more powerful scenes from the series, Taylor confronts Mitch (Jason’s dad) about the decision too sue and isolate themselves from the town, And Mitch completely levels Taylor with the gravity of the situation, leaving Taylor speechless and Mitch indignant. Apparently the Street’s no longer have that “Panther football fever”.

Anyways, the Street’s have managed too convince themselves that if Jason was taught how too properly tackle, then he would still have the use of his legs. Which is somewhat valid, but most people probably look at the situation as a freak occurrence within the game of football. In addition, a lawsuit is the only feasible step in order to maintain all the medical bills. And even then, they are endless.

Lyla plays an integral part in this as well, at least from an emotional standpoint. You know her father is going too support the team long before the player who lost his legs, sacrificing for the team. On some level she is still in denial about his and his families situation, when at first she naively states that the town would be willing too look after him. He knows its utter bullshit, and makes a point to tell her so, she says that whatever he decides, she will back him 100%. Jason then asks, “Why are you so desperate too screw your life up for me?” The answer: because she feels guilty about cheating on you after you broke your neck.

One of the more random stories in this series, Tyra’s mom has a boyfriend who mentally and physically abuses her. When Tyra sees it first hand, she grabs a fire poker and chases the guy around the house with it. Subsequently, her mom falls into a depression over the departure and begins to self-medicate.

In the ongoing life that is Smash, he is still pursuning Waverly. You know, the girl who was introduced to us in the last episode of 2006 then forgotten about during the hiatus and last weeks episode? The one that had the suspicious African safaree story? Yeah, that one. Well, they have virtually nothing in common. She is a mild-mannered, psuedo academic and he is a brash, self-absorbed athlete.
In an ill-thought plan too prove he is more than a football enthusiast, he claims to regularly hangs out with Julie and Matt, that is when his life extends passed football with political and cultural conversations. It is a blatant lie, but she optimistically yet skeptically agrees to accompany the three of them too the rodeo. For whatever reason, Matt and Julie agree to assist him in his ruse.

At the carnival/rodeo/booster thing, everything comes to a heed. Waverly uncovers the scheme by Smash and walks away from him while he is participating in an arm-wrestling contest. Tyra gives her mom an ultimatum between her and the abusive boyfriend that includes a lecture about how awful she is with men. Almost immediately afterwards, Riggins tracks her down and apologizes for everything, including the incident with Lyla. She says she would love too take him back, but it would render her a hypocrite and cannot. Bad timing, man. Coach Taylor and Street share a prolonged, vulnerable stare from fifteen feet away, just as Buckley beats Arnett-Mead too put Dillon in the playoffs. When Lyla approaches the two wheel off. While everyone at the rodeo/carnival/booster celebrates, Taylor stands motionless, with a stoic facial expression.

In the end, Taylor and Street reconcile (for the time being), Street apologizes to Waverly and they agree he cannot help but be the narcissitic dolt that he is. And Tyra’s mom chooses her over abusive boyfriend guy just as Tyra is packing her bags too leave.

All in all, one of the lesser episodes, everything happened to abruptly and was too neatly packaged for my liking. The Tyra-Tyra’s mom-abusive boyfriend story would have been compelling had we been even remotely familiar with more than one of the characters. And I am not sure what the rationale is for the Smash-Waverly story line, though I am sure it will come too fruition. Anyhow next week’s episode looks promising.

What better prepares you for the weekend than TV headlines? The answer: Nothing. Onto the links…

For awards season, Oprah will have actors interviewing actors. Why? I haven’t the foggiest idea.

Nelly Furtado, while easy on the eyes, is just the next in a long line of pop musicians trying too break into acting. Where does she go for this opportunity? Where else but that whore of a TV franchise, CSI?

Apparently the 24 that was going to begin shooting this summer has been pushed back to 2009. How is a movie going too work in this format exactly? Are they going to make eleven, two hour sequels too it? Or are they going to abandon the premise that made the series popular in the first place? My guess is the latter.

The creator and co-star of It’s Always Sunny In Philadelphia is scheduled to guest star on Lost as an “Other”. I do not watch the show, and my only knowledge of the “Others” comes from Dwight Schrute, but I might tune in too see if Rob McElhenney wears combat boots and jean shorts in all his roles.

It looks as if the ratings for Dirt’s second episode dropped significantly. As a result the FX chief and Courtney Cox are both getting desperate too attract an audience.

The Washington Post is looking to cover the 2008 Presidential Race alongside The Daily Show. While I am sure Jon Stewart is flattered and eager for the opportunity, part of him has to be somewhat demoralized by the fact a major news publication wants too cover a Presidential Election with a fake news show. Also, Gay.com named Stephen Colbert as their Person of The Year.

Back with thoughts on Wednesday’s Friday Night Lights and last nights The Office

What’s peculiar about the four major networks (ABC, NBC, FOX and CBS) is how reluctant they are too stray from the genre of programming they are comfortable with, they all remind me of a four year-old kid with a blanket that they are physically and emotionally attached to, unwilling too let anyone else have it or for their parents too wash it. All four of them have reality shows, comedies, dramas etc. But they each have a cornerstone that they depend heavily on for awards and Nielsens. This adds too the problem of network television, the inability too tackle new subjects and break from the norm, if you were going too characterize each network in how it is unique too their three competitors, it would look something like this:

: Starting too find its own path and deviated slightly with series’ like Heroes (wildly popular), Friday Night Lights (critically praised, possibly more so than any other series on the four networks) and Studio 60. They also have veteran series such as the Law and Order franchise and ER, both of which have been around for the past ten years now. But this netowkr prides itself on the sitcom, and it has for the past ten plus years dating back to the third season of Seinfeld. Since then they consistently deliver the best sitcoms any of the four networks have too offer. Which probably explains why they are rated fourth, because no one watches sitcoms anymore. But their Thursday night lineup with The Office, My Name is Earl, Scrubs and 30 Rock offers more in the sitcom department than any of its competitors.

: After 24 and the unfortunate cancellation of the cult hit Arrested Development, FOX’s lauded genre is Reality television, and it begins and ends with American Idol. Since reality shows have such lower production costs, they will produce a few outlandish ones every season (who else could develop a show entitled Man Vs. Beast?), but Idol is such a ratings juggernaut that it keeps them respectable, and gives them a license too go for the absurd, then hope people watch for shock value.

: The number one rated network actually manages too have the top rated sitcom with Two and A Half Men and two of the top rated reality series in Survivor and The Amazing Race, but CBS is unquestionably the network of the crime drama. Between the CSI franchise, NCIS, Cold Case, Criminal Minds and Without A Trace; that is seven hours of primetime programming focusing on crime dramas. I am not sure how these seven series are in anyway distinguishable from each other, but there it is.

: Probably the most diverse, and amazingly my most despised of the four networks. It is difficult to pinpoint ABC’s schtick, but I would say the bulk majority of the \ir programming, whether it be dramas, comedies or reality, they mainly target the female demographic. Between Dancing With The Stars, Desperate Housewives and Grey’s Anatomy, three of the four top rated programs on the network, I do not know a single adult or adolescent male who watches or at least will not admit too watching any of these. Even their supplementary series such as What About Brian, Big Day and Brothers and Sisters are geared towards women. The lone exception is Lost, which seems like a fluke when compared too the rest of its primetime lineup.

Maybe if these networks branched out a little more frequently, there would be more engaging series’ on television. Instead, they stick too their base and every so often try too emulate their competitors. I feel like NBC is the most likely, too produce original and thought provoking humor and drama, but for it too be oin a regular basis is probably wishful thinking on my part.

I tried. I mean, I really, really tried. But I can’t continue the facade. Actually, a facade would suggest that at one point in time, I pretended too enjoy the series, Dirt. My predicament is more accurately described as a charade, in that I am watching a dreadful TV show for the sole purpose of this website. And since no one wants too listen to me bitch and moan, last nights episode will be my final viewing.

Not too say the show lacked all creative execution. I enjoyed the storyline with the photographer (even if it was completely isolated from the rest of the plot), but with every interaction he has with his only confidante (Lucy), being one where she is trying too even him out from his schizophranic induced hallucinations, it grew a little tiresome. Literally every conversation began with him saying something cryptic while she is barking orders at him. Then he would trail off, she would looked bewildered then place her hands on his shoulders and lead with, “Okay, Don…” In other words, the dynamic between the two leads is already redundant in only its second episode.

There has been any real description of Cox’s Lucy Spiller, either. Without any real explanation of who she is, by the end of the first ten minutes of the second episode, her job is on the line, she has expressed moral uncertainty about her profession and we already know she is terribly lonely after her reaction too a lecture from some actor she setup/blackmailed. All of this drama and the only thing we know about her is she’s career oriented and doesn’t have a boyfriend or husband.

But now even that is not true. It took approximately one and a half episodes for her too entirely change her demeanor and ask a casual sex partner (the same one she tasered in the groin last week) out too dinner for a potentially more sustainable relationship. See, she is human!

Not too mention, the acting from all of the hollywood youngsters and protege journalists is horrendous. There are two scenes in particular from last night that I almost hurled my laptop through my television because they were so unnatural. One in which a young up-and-coming journalist is looking to impress Lucy, so she stages a covnersation with a celebrity nanny at a playground too extract sympathy and subsequently names from her.
After she gathers all sorts of privileged information about some people we haven’t even been introduced to, she gives it back to Lucy, who in turn rewards her with something from the Swag box. And what happens next is just nauseating.

The girl turns down the offer, and, well, I’ll put it in her words because mine won’t do it justice: “I know this may sound stupid, but I did it for the story”. How noble. You dug into the personal lives of total strangers for the sake of a celebrity gossip rag. Next thing you know this girl will be murdering people on the street too feed some stray puppies. Too make things worse, Lucy is actually impressed by this refusal of the Swag.

I could drone on for a few more paragraphs, but I think I’ve made my point. So that’s the end of the road for me and Dirt, it is FX’s first real critical, technical and (potentially) commercial bomb. And it was bound too happen eventually, hopefully this is a bump in the road and not going too result in an unfortunate trend for FX programming.

Long day ahead of me. I will eventually get to last night’s episode of Dirt. Until then, here are the links…

Stephen Colbert and Bill O’Reilly have agreed to appear on each others shows on January 18th. Said O’Reilly of the agreement, “I am looking forward too talking to a man who owes his entire career to me.” Honestly, I might have to call off work too prepare for this.

Marcia Cross is pregnant. And instead of doing the next logical step and writing her character on Desperate Housewives into a sudden pregnancy, they are trying too conceal it from the camera. Amazingly enough, the editing, production and design teams are actually that this task is proving to be somewhat daunting.

Wood Harris, the man who portrays Avon Barksdale on The Wire, seldom watches the series. Why does this bother me?

The Real World is taking its dog and pony show to the other side of the world. I really hope they use Australians. The dismal US stereotype of a drunken lout is not going to be helped by sending seven twenty-somethings to Sydney for six months of drinking and depravity. Then again, Australia probably isn’t the best place too venture if one is trying too keep anyone, especially reality contestants sober. Thus explaining why MTV settled with Sydney.

And finally, after all the grandstanding for free publicity with Miss USA, Miss Nevada and Rosie O’Donnell; the ratings for The Apprentice plummeted.

Just one last shameless reminder to get all of you people to think like me, if you have never watched either The Wire or The Sopranos, BET is airing the pilot tonight at 9pm et. in the first ever syndicated episode of the former, and A&E is airing the pilot and sophomore episodes of the latter at the same time.

I know it is quick too judge, typically I am rather judicious when it comes to discerning the character of reality show contestants. Because, after all, it is extremely selective editing and for the most part, Mark Burnett can portray an individual however he damn well pleases. There are exceptions, however, and last night’s Apprentice episode, is certainly one of them. As its sixth season premiere and first set in Los Angeles, inexplicably lowered the bar for mainstream reality television.

I really procrastinated posting about this, mainly because much like Nip Tuck, I never really enjoy watching this show, but for whatever reason, do so habitually. So let me just say that if their isn’t a semblance of respectability displayed in the next couple of episodes, I don’t think I can continue too tune in. The contestants, who are supposedly educated and therefore, enlightened too some extent, are eighteen of the most spoiled, self-entitled reality contestants I have ever seen. And within the reality TV universe, that is saying something.

For the most part, and this is only exemplified this season, The Apprentice has been a campaign for anti-capitalists around the world, as it continuously depicts the uglier side of American business practice. Donald Trump, his viceroy(s) (Now just his daughter apparently) and the contestants unabashedly glorify greed, materialism and narcissism all with a smile that oozes with smug, self-satisfaction. They say things like, “This is really like, third world” when they find out they might have to live in tents for a night or two. They celebrate themselves in front of a camera with, “If I could pull this off, I would be, like, the best Apprentice ever”. How is any of this, in any mode of thinking, even remotely watchable?

Maybe that girl was right. Maybe living in a tent next too a mansion overlooking Los Angeles really is similar too living in an impoverished country? For two days.

I do not want too delve into too many specifics, but the three contestants the episode focused on: Frank, Martin and Heidi; none of them really entertained or impressed. Heidi came across as condescending after the team she was captain of luckily won the challenge by a mere $60, and she was invited too sit in on the boardroom (Yet another desperate twist too revive that ratings glory from season one). Between the two guys on the chopping block, Frank was obnoxiously inarticulate when screaming his case, and Martin was seemingly lazy and overly critical during the challenge, then just overly critical in the boardroom. Ultimately, Martin was fired because Ivanka (Trump’s daughter) didn’t think he would fit in. Translation: The privileged, blond haired white girl didn’t like the effeminate, dour, awkwardly dressed black guy. You know it’s reached a superficial low when Donald Trump operates with more decorum than anyone else in the room.

Give it a couple more weeks, if we don’t see any improvement I can’t keep writing about this.

Welcome back to the work week, while I write the review from last night’s Apprentice: Los Angeles premiere and eagerly anticipate tonights BCS National Title Game, here are several links for you too distract yourself with…

I always thought Comedy Central brought in shows for syndication, now they are sending them out.

There is the old adage, in lieu of creativeness lies sexuality. After signing Stacy Keibler and now Tiffani Thiessen; this is exactly what the producers are applying to What About Brian?.

I am pleased that The Wire will air begin airing in syndication on BET this Wednesday, if for no other reason than it might be able too reach a wider audience. But with the announcement that each episode will take 90 minutes to play in its entirety, that means thirty additional minutes of commercials. So if you’re really adamant in avoiding plunking down the money for HBO or the DVD’s, I strongly suggest you tune in.
Coincidentally, The Sopranos begins airing in syndication on A&E on the same night, and I make the same recommendation for both series’. Only problem being, how much will it detract from both series to meet network and FCC regulations?

Slow in the TV biz still, 90% of the news pertains to either Donald Trump, Rosie O’Donnell or both. And it’s not my intention to waste too much of your time, so we’ll leave the links at what we have now.

In the online world, everyone seems pretty enamored with last nights episode of The Office. I will always enjoy the show because it is such a well constructed comedy, but last night it was really underwhelming for me. Nothing was terrible (though some might cringe at the thought of Michael and Jan dating), just felt… bland in a way.

The totality of “Back From Vacation” was relationship oriented, and like I have stated many times before, I feel like the writers for this series are good enough that they can go this route and still maintain the series’ edge. However, that doesn’t refute the fact that I would prefer if they didn’t. I mean, there are enough Friends-esque romances on television nowadays, and it would be refreshing to see one series avoid taking the conventional route by advancing the plot through having all the main characters dating each other.

See how they’re not lost in each other’s gaze? Isn’t that more satisfying?

I understand much of its core audience tunes in for just this reason. And I will admit that scenes derived from relationship quandaries, such as the scene with Dwight consoling Pam in the hallway, are at times the shows paramount moments. But I am tuning in for Dwight’s abnormalities, more so than Pam’s man troubles.

Obviously, I will always watch The Office regardless of its content, mainly because I simply appreciate good/great storytelling and it is still damn funny. But last night seemed too represent a turning point, where we stop focusing on mundane office shenanigans and more so on the lovelorn characters longing for each others embrace. I am probably wrong, because like I have implied before, the writing staff is second too none.

Notable quotes:

“Who did this too you? … So, your PMS-ing pretty bad, right?” -Dwight, just displaying his ineptitude around women with trying to comfort Pam.

“It’s kind of an impoverished country.” -Pam, after Michael explains how carefree and laid back Jamaicans are.

“Jan decided too go with me but we didn’t see each other, except at night and in the morning, and that’s all I’m going too say … sex … I had sex with her … I had sex with Jan”. -Michael, doing all he could too conceal his secret from the film crew.

“I’M CUTTING OF PHYLLIS’ HEAD WITH A CHAINSAW!” -Andy getting a little overzealous with the audio recorder.

“Michael, I got that picture sent too me nine different times. My ex-wife sent it too me, and we don’t even talk.” -Toby, after Michael accused him of going on his computer too look at a vacation picture of him and Jan.

“You look pretty tan … How was it?” -Kevin, inquiring Jan about her vacation. Like everything with Kevin, it’s all about delivery.

Come too think of it, the episode was fairly entertaining. Maybe between the exemplorary “Benihana Christmas” episode, and the strength of FNL’s return on Wednesday, my expectations were a little inflated.

Outstanding return for Friday Night Lights on Wednesday. And for a new series it is a lauded decision bring in the new year with such a strong episode, just too remind everyone why we liked the series after a three week break for the holidays. onto the recap…

In the pre-credits scene, Jason is struggling with being back home. Presumably being handicapped and restless is starting to effect his mindset as he kind of lashes out at his mom over not being able too reach a Nirvana Album. His response, “This house is poorly constructed”, then proceeds too wheel four miles too the nearest CD store where he runs into Lyla and they banter about American Idol before she uses a not-so-subtle metaphor implying that she will skip school to have sex with him. Jesus, she may be timid around her peers, she may even be a little naive and impressionable, but when it comes too matters of physical affection, clearly Lyla Garrity is anything but bashful.

Anyways, the two of them struggle with their positioning on Jason’s wheelchair, he tries to readjust his body and falls too the floor. This is where I love his reaction, Lyla is somewhat startled and worried about his psyche, Street just lies on his back and says, “Quit gawking at me and come over here”. Even cripples just want too get laid. Unfortunately, upon further experimentation, is going to have some lingering physical complications in terms of, um, developing and maintaining arousal as Herc would later inform him.

Later in the episode, Lyla visits him at home, with some “dirty, dirty, dirty, quad porn”. It ends up being an instructional video of sorts, for paraplegics on how to consummate their rejuvanated relationship. They watch it together, he tries too turn it off but she insists. Street, now embarrassed, somewhat over it and kind of annoyed, lashes out, “You want too get laid so bad, call Riggins.” Nice.

Seeking some emotional advice, Jason goes over to Coach Taylor’s. Since he isn’t there, he ends up having a heart-to-heart with Tami (Coach Taylor’s wife, in case you forgot). He confides too her that he is utterly confused on how too handle the situation and would prefer too just hate Lyla, but it’s difficult, given their history. In a vein attempt too put his mind at ease, Tami assures him that there is no weakness in forgiveness. And this exemplifies why he needed too talk with Taylor, because its not about actual weakness, it’s about perceived weakness, particularly for a kid like Street in this compromising position. He is already feeling vulnerable being in a wheelchair and all, he is probably a little insecure and feels that his options are limited. And when his girlfriend starts sleeping around immediately after he sustains a life altering injury, he cannot help but feel weak, and self-conscious that everyone around him will see him as weak if he gives Lyla another chance; regardless of how earnest her intentions are.
Ultimately, Lyla sneaks into his room similar to the manner in which Riggins sneaked into hers earlier this season, and they seem too reconcile, it’s left somewhat open-ended.

In Riggins’ world, he is being chewed out by Tami because of his grades and she eventually corners him into admitting he didn’t write any of his papers. She ends up handing him over too Landry for English tutoring. She is well-intentioned, but what an imposition for Landry. Riggins is generally disinterested in actually reading the book assigned too him, too which Landry replies, “Oh my God, that’s it, you can’t read, can you? You’re like one of those kids that slipped through the cracks.” Naturally, he is only half-kidding, because doesn’t Riggins seem like the kid who could go through the educational system and still be illiterate? Landry ends up reading Of Mice and Men too him. The entire thing. Luckily, the Steinbeck classic is relatively short.

After finishing the novel, Landry feverishly attempts too demonstrate the parallels between Riggins’ current predicament and the novel. And Riggins simply cannot or will not make the connection. Landry really loses his temper and intellectually challenges him too figure it out, all but calls him a moron and storms off, at this point I thought Riggins might beat him senseless, but he exhibits some restraint after Landry refuses too do the work for him, which I don’t fully grasp because how can someone else do the work for him if it’s an oral report. But, whatever.

We go too Landry’s much anticipated concert where he is performing in front of at least a dozen people if you include the camera crew and whatnot. Riggins walks in on the middle of the set too thank him for the tutelage because he earned a B- on his oral exam. If he had a female teacher, there is a multitude of ways Riggins could probably earn a B- orally. They have a nice dynamic between each other, hopefully this isn’t the last of their camera time, but I could see Riggins turning into a somewhat peripheral character or Landry becoming a focus, really it could go either way and I wouldn’t be disappointed. I will say that the comedic relief these two provided was necessary, because ultimately, while I think the drama in this series is meticulously nuanced yet obviously cogent, it is just high school, not every single aspect of it is so devastating.

Speaking of which, Matt Saceran was the epitome of devastation tonight. His dad returned home from Iraq in a fairly spontaneous manner (showing up in a cab while he is on the phone with Matt) and was somewhat dismissive of any of the concerns voiced by Matt. He doesn’t know how too react too his mother’s illness and is extremely impatient with her.

He does attend practice and Matt is unabashedly giddy too introduce him too everyone, especially coach Taylor. When he sings Matt’s praises, his Dad is in disbelief. Not “I am overwhelmed with joy” disbelief, it is more along the lines of “There is no way this dipshit can do anything right” disbelief. Which is depressing.

In addition to his lack of concern for Matt, he wants too place his mom in a home and send Matt too Oklahoma because of his loyalty too the cause in Iraq. It might seem selfish on the surface, but it is simply misplaced priorities and considering all he has been through, it’s impossible too blame him. At the game, Matt’s dad is allowed on the sideline and the complication Matt has over dealing with the impending change has translated too the football field as he is having a terrible game. He is eventually benched and the team wins on the shoulders of Smash (Enjoyed how they continued the steroids plot without Smash having a single word of dialog).

Rough Week for Our Young Protagonist

When they meet up in the parking lot, Matt’s dad is in “that’s what I expected” mode, completely unsympathetic and indifferent. And this just sets something off in Matt as he refuses too get in the car with him and wishes he would go back too Iraq. They argue in front of hundreds of people before Matt goes home with Julie, Coach Taylor and Tami.

Taylor eventually gives Matt a ride back to his house, but not before Matt, slumped in a chair in the backyard, drained, depressed and helpless proclaims to hate his dad. This whole storyline is just soul crushing and I am amazed the writers had the gall to somewhat negatively portray an Army reserve, still in service. When Matt arrives home, he sees his Dad tucking in his grandmother. Leaving yet another story left too unfold.

Looking forward too next week, in which Street’s pending lawsuit against the school could “divide the town”, and Tyra returns, as we are introduced to her apparently abusive father. Amidst all this turmoil, hopefully their is some more lightheartedness with Landry and Riggins.

Back with thoughts on last night’s The Office return later today.

In Case of Emergency, last night’s other ABC debut, has the same exact texture and style too it as Knights. A collection of guys and one token aesthetically pleasing woman (To this shows credit, their female lead is much more attractive than Knights of Prosperity’s female lead). Let me just say that I tend too think Jimmy Kimmel is quite hillarious, and the fact he did a cameo on this trainwreck leads me too believe his ratings are worse than previously thought and that ABC must really have him by the balls.

The premise is four friends/acquaintances cross paths through extenuating circumstances on one night when they are all questioning their own validity and place in life (though the three male leads all seem pretty familiar with each other, Kelly Hu’s character seems too be the only new addition to “the group”). The humor if not identical, is probably a little less “edgy” than that of Knights, and I use the term loosely.

Never the less, this series also negated the laugh track, which I am traditionally in favor of, but the jokes are so bad that they need too be supported by some sort of background appreciation. One of the running gags throughout the pilot is the girl cannot remember the guy’s name who had an unbeknownst crush on her in high school, but can remember the other two guys, and seemingly every other detail about her youth, quite vividly. If this recycled, rehashed and redistributed humor is indicative of the series, then a laugh track is probably necessary just too remind the audience it’s supposed too be a comedy.

Other notes:

Johnathan Silverman plays a more tense version of the guy from Weekend At Bernies. For the half hour he is essentially doing an incredibly poor caricature of Woody Allen. The most cringe inducing moment comes from him when he gives a painful explanation about the hardest part of being divorced, that is, filling out the emergency contact info when visiting the hospital (get it? “In Case of Emergency”? Yeah, it’s really bad when a shows actual title comes from such a insipid moment).

At least it’s a paycheck

David Arquette, between this and producing Dirt, decided too remind us why he has been out of entertainment for the past couple years. Silverman says he can’t drive because he doesn’t have his license on him.

I almost forgot too mention, Lori Laughlin, the girl from RAD (also John Stamos’ wife on Full House, but I prefer too remember her from the 80’s BMX teen movie) plays a doctor. She is the strong, confident one; But didn’t go too high school with the four former classmates.

Oh well, I tried and was unimpressed. It’s back too pretending that ABC only exists for professional and collegiate athletics.

As many of you know, ABC premiered two new sitcoms last night with Knights of Prosperity followed by In Case of Emergency. I wasn’t terribly impressed with either one, so anything I have too say is fairly limited.

Knights pretty much had the same style of humor as any typical sitcom, just without a laugh track. It doesn’t revolve around a family or four twenty somethings hanging around a regular locale, it was just five Jim Belushi’s, a college kid and an attractive woman who banned together to rob Mick Jagger. Of what? I have no idea. Why did any of them agree too such a hackneyed plan in the first place? Again, no idea. But one can point out insignificant plot holes in this show all day long. So I’ll just move on.

What makes it akin to the typical sitcom is not setting, but all the same techniques: double entendres, misunderstandings, bumbling and incoherent humor. It’s really difficult too take seriously or laugh with and I doubt I will ever watch it again, but it did have some high points:

-The montage that illustrated how they got a hold of Jagger’s apartment key, followed by all of the additional security he had beyond his front door (Several security guards, a metal detector, finger pad and alarm system). It wasn’t funny, but interesting none the less.

-The guy who played Murmur on the most recent season of The Sopranos and the CO from Rescue Me who did Lenny Clarke all the favors is in this series as the lead characters most trusted ally. At this point he is essentially a “That Guy”, and after two impressive and convincing turns in such critically acclaimed series, I am surprised he isn’t getting more notoriety with better work.

-The funniest character on the show, the Arab cab driver, had a thinly veiled jab at the Jimmy Fallon movie Taxi. There is more of a personal than a critical appeal. Whenever I am discussing the worst films I have ever seen, Taxi is on a very, very short list.

All in all, I like the effort from ABC, but the pilot did nothing for me. I am not sure who its target audience is, so it probably won’t be on the air much longer. I just can’t imagine it is this hard too find decent comedy writers somewhere in Hollywood, or the country, for that matter.

More on Emergency and Friday Night Lights later today.

Since debuting its first original series The Shield several years ago, FX has been known for infuriating parental concern groups with its lack of concern for FCC regulations. Typically, though, the decision to push the envelope has always been beneficial for the development a series characters and themes, with their most recent original series, Dirt, this is simply not the case.

I have only seen the pilot, but given its content, I can honestly say it is the most misguided show I have ever watched. Everyone involved in this series treats tabloid news junkets like an evil slightly below genocide and just above a school shooting. When in the pilot episode, a girl dies, another one ends up in the hospital on life support, our anti-heroine has tasered a fuck buddy in the genitals and her sidekick is a schizophranic photographer who got his ass-kicked by a struggling actor (judging by the preview montage for the rest of the season, this will be a reoccurring theme), things need too be a little toned down.

Structurally, this show is a mess. Apparently the photographer (Don Kinney) was supposed too be the central figure, but the network objected, saying they needed a more relatable character to develop an audience. So they threw Courtney Cox into the lead role as Lucy Spiller, the head editor of two magazines. One, a sleazy tabloid rag akin too “Star”, the other, a cushy celebrity worship magazine of the “Entertainment Weekly” ilk. The episode hopped back and forth between Spiller and Kinney, with the latter essentially doing all of the work while hallucinating due too a lack of proper medication (he selectively takes the pills prescribed too him) and worrying about his cancer stricken cat, who eventually dies.

But the crux of the problem is a lack of cohesion. Other than the fact the two characters work together, their stories have nothing too do with each other. Don’s story is like horrendous Paul Thomas Anderson, and Spiller’s reminds me of some extended generic party scene from a CSI episode. Too be honest, it would be preferable if the photographer were the focus. Ian Hart is simply a better actor than Courtney Cox, and it is evident that the writers valued his character arc, more so than Spiller’s.

The writers also have a little something too learn about patience. As previously mentioned, the episode was entirely too eventful. That might sound preposterous, because most would probably be of the mindset that eventfulness is one of the main reasons to watch a television series, maybe the only reason. But when a series is trying too illustrate the immoralities of paparazzi and confront the absurdity of celebrity worship, it makes it impossible too suspend disbelief when bodies are dropping like flies as the result of a few magazine articles.

Anyway, our protagonist (I guess? I hate her guts so she is not really a protagonist) is already suffering a moral crisis over her job. I am certain that by next week, she will have already inoculated herself of all responsibility for her role in everyone dying.

I’ll give it one more viewing next Tuesday, but if there isn’t any improvement, I’ll have to jump ship.

Plenty too come tomorrow, including thoughts on tonight’s Firday Night Lights and the season premieres of Knights of Prosperity and In Case of Emergency. Until then…

All of Hollywood shuts down for the holidays, so there has been nothing of importance recently. With that said, I welcome you to the first installment of The Links in 2007…

ABC is adapting Mr and Mrs Smith into a primetime series. Usually commercially successful films never translate into commercially successful television series (Friday Night Lights, Out Of Sight, etc.), kind of illustrates how desperate the networks are and, more pointedly, how non-innovative ABC is.

The city of New York (i.e., The Mayor’s office) is challenging the creators of Without a Trace and CSI:NY for filming in Los Angeles. Clearly, The Mayor of the largest city in the world has nothing else too concern himself with than the misrepresentation of mediocre dramatic series’ on CBS. Really, I am glad to hear they have the time too burden themselves with something so irrelevant.

I was kind of under the impression these game shows were eternally safe from cancellation, ends up they just got renewed only through 2012.

A former Bachelorette contestant has written a book on self-love… they’re not even trying too be subtle with their narcissism these days.

Back later today with last night’s series premiere of Dirt, and it’s anything but laudatory.

Welcome to 2007! Hope your resolutions are still intact.

I should start by apologizing for the dearth of posts lately. I am sure most of you have been exceptionally busy, as have I, so it is of no matter. But they will definitely pick up once we are done with “hiatus season”, as I prefer too call it. Along with the series’ I already discuss, I also plan too track returning series The Apprentice (sigh), Extras, Entourage (Soon) and The Sopranos (April), and new series’ Dirt, The Knights of Prosperity and In Case of Emergency (I figured I should quit pretending ABC doesn’t exist, though I generally wish it didn’t).

Also, a new posting schedule has been forced upon me by the powers that be. Monday through Friday, a new posting will be available around 10am-ish est. Any other additional posts will go up at random throughout the course of the day.