Category: TV Dramas (Page 161 of 235)

Bullz-Eye’s back with their latest TV Power Rankings!

NBC may not be King of the Nielsen Ratings just yet, but we know good television when we see it, and the Peacock has returned in full force with a dominating presence that includes the top three shows and five of the top six. HBO, on the other hand, is experiencing the opposite, with the departure of “The Sopranos,” “Deadwood” and “Rome.” Add to that the fact that our list features a whopping 10 new entries — five of which are freshmen — and you’ve got one heck of a Power Rankings shakeup. Much of this has to do with so many shows being on hiatus until next year, but whatever the cause, it’s nice to see some much-needed change to a usually familiar lineup. And, hey, don’t miss the list of our favorite shows which are currently on hiatus (and are therefore ineligible for the Top-20), our farewell to “The Sopranos,” and our stable of Honorable Mentions.

Check out the list here, then come back and let us know how we did…or if we missed any of your favorites!

Because “8” just doesn’t have the same ring to it…

Fox has decided to pull “24” from their schedule until the writer’s strike has concluded and the show’s remaining still-unfilmed episodes can be completed.

Okay, maybe that’s a good thing for fans of the show. Fair enough.

What I find most interesting about Fox’s revised January schedule, however, is that they have so much faith in the new Parker Posey sitcom that they’ve buried it on Friday nights and teamed it with re-runs of “‘Til Death.”

Wow. That good, huh?

I didn’t love the pilot, but, still, I was keeping my hopes up because it’s coming from the Paladino camp, a.k.a. the home of “Gilmore Girls.” Now, though, I’m starting to get worried…

SteeeeeeeeeeeeeeeeeeeeRIKE!

Whether you’re a casual TV viewer or a full-fledged couch potato, you probably know about the WGA writer’s strike that’s currently gripping the entertainment industry. Even at the risk of having both my livelihood and my viewing habits upset, as a writer myself (albeit not of scripts, although I do have a few projects I’ve been working on), I’m unequivocally on the side of the Writer’s Guild members in this battle; I’d prefer that it come to a conclusion sooner than later, of course, but when it comes right down to it, I want it to last until the writers get a decent share of the profits from the material they’ve worked so hard on. Besides, like I don’t have enough TV-DVD sets to hold me over ’til it reaches an agreeable conclusion…?

If you don’t really know what’s going on, there are plenty of places to get the scoop from a journalistic perspective, but I think you’ll get much more insight if you take info straight from the horse’s mouth, i.e. from some of the individuals who are actually doing the striking, and the best place to start is at at Mark Evanier’s blog. I don’t think I’ve seen a more succinct explanation anywhere as to why the striking writers are, well, in the right.

Other perspectives:

* Ken Levine
* Brian K. Vaughan
* Joss Whedon

Alas, however, “The Office” has gone dark.

For the latest and greatest (or most depressing) updates on how things are going, check out DeadlineHollywoodDaily.com, where Nikki Finke provides about the best coverage that the ‘net has to offer. For alternate blog coverage, there’s also “Scribe Vibe” (Variety) and The Huffington Post.

Oh, and I wasn’t going to offer up this info first-hand, but since someone at Variety has broken the news, I’ll go ahead and link to it: I might not have much of a TCA Press Tour to attend in January.

Damn. But if that’s the way it’s gotta be, then that’s the way it’s gotta be.

Go, WGA!

Journeyman 1.7: “Double Down”

Last week I bemoaned sweeps; this week I am grateful for them. This was easily the best episode since the pilot. The entire mythology of the series cranked up about 3 notches.

In 1999 Dan saved the life of a man who was set to testify against a gang, and in the process made his 1999 self a target of the same gang. So instead of his typical bouncing around from time to time in an episode, he’s forced to stay in one night to save himself – and his future marriage and child – with Livia aiding him for the evening.

What struck me as most noteworthy about this episode was the notion that Dan and Livia are far more suited to each other at this point than Dan and Katie. They understand one another and their lives have far more in common at this point than his “real” life, which is progressively becoming harder and harder to maintain. Katie would like to get back into the TV News game, but how can she with a child and the knowledge that Dan might disappear in a flash? Dan’s weekly assignments are to right the wrongs the timeline has massed up; what if “Journeyman” as a concept is all about righting the biggest wrongs of all? The loss of Dan and Livia’s relationship and the loss of Jack and Katie’s? For the first time in the series, I really, really liked Livia and she truly seemed to have Dan’s best interest at heart, especially in the scene where she ended up in the present, in his bedroom closet next to the moneybag – all while Katie and Jack argue footsteps away. What if Katie and Jack are actually supposed to be together? As was even demonstrated at the beginning of the episode, Jack possesses the potential to be a much better father than Dan is even capable of being at the moment. Jack’s a good man who simply doesn’t know what’s going on (although he’s getting much closer with each passing episode).

There’s something in “Doctor Who” called the Blinovitch Limitation Effect that posits “a dangerous energy discharge will result if two temporal versions of the same person come into contact”. I thought about this immediately when Dan kicked his own ass in ’99. Had this happened in “Who”, the universe would’ve exploded. Not that “Journeyman” is under any obligation to play by other time travel rules, but it was interesting to note that he was able to beat the crap out of his drunken ’99 self without too much fallout – well, um – other than screwing up his timeline anyway. The rest of the story saw Dan being forced to take the place of his ’99 self in a card game and thus he falls back into a night of gambling and drinking, all set to The Verve’s “Lucky Man”. The entire sequence punctuated by the arrival of ’99 Katie was the episode highlight.

But the FBI are closing in and next week things will get even stickier. Yes, the promise of this series is being delivered. By the way, “Journeyman” supposedly has 13 episodes in the can or at least nearing completion. No more have been ordered at the moment, but we should be good through at least the end of the year, what with the writer’s strike and all. I’m sure at the moment, studios aren’t placing season orders for anything.

Prison Break: “Photo Finish” / “Vamonos”

Heading into this “two-hour event,” I was wondering how the show was going to take off in a new direction once the boys escaped Sona. Would they join (or chase) Whistler and Susan as they looked for whatever it is they want on the bottom of the ocean? Would they try to find the money (from the first season) that’s sitting in a bag at the bottom of the cove as they dodge the Panamanian law? Would Michael discover that Sara was dead and seek vengeance on her murderers?

What we got was four more days in Sona. Oh, and the big twist – Susan’s real name is Gretchen and she knows Whistler. Apparently, he’s her boss. Yawn.

For someone who wants her boss out of Sona safely, I find Susan to be grouchy and unhelpful. First, she kills Michael’s girlfriend, which was a really risky move. She didn’t know that Linc wasn’t going to tell his brother about her death, and if/when Michael found out, he’s just as likely to freak out and stop planning the escape as he was to keep pushing forward to try to save LJ. The best she can do on the photo is give the brothers the same one she gave them before, which is pretty sketchy considering all the resources the Company is supposed to have. I don’t know if these plot holes are intentional or just a natural part of the series, but they sure are distracting.

Apparently, the purpose of Tyge’s arrival at Sona was so that he could be killed, creating suspense around whether or not Whistler would be available for the escape. This is also a very fishy plot point. Is Tyge really just this random guy that got thrown into Sona and just happened to recognize Whistler? Come on.

I’ve got to hand it to Linc. He went almost a whole season without making a boneheaded move then, on the day of the escape, he lets it slip that “something went wrong drugging the guard, but it’s OK now” when he could have said nothing and Susan wouldn’t have known about the daylight escape attempt. Way to go, Linc! I love how he told Michael that “she figured it out.” Yeah, right. She figured it out because you told her, you dolt!

The writers are being a little heavy-handed trying to humanize Bellick. First, Tyge embarrasses him in line and then he’s devastated by the news of Sara’s death. Suddenly, he’s this compassionate, misunderstood guy. Did anyone else suspect that he was in fact Tyge’s murderer? I know Michael found the knife in Mahone’s cell, but that could have been planted. I wonder if that’s going to come up again.

Speaking of Tyge’s death, what does the betrayal of Luchero’s man (discovered via the cigar stub) have to do with Whister? In other words, why did Luchero let Whistler go after killing his man? I don’t know what one has to do with the other, especially when Luchero goes on and on about whatever justice he thinks exists in Sona. I think that the writers sometimes use shocking moments like that as misdirection so that we don’t notice them shoving a bunch of shit under the rug.

How about that brutal fistfight between Michael and Whistler where each guy lands like 10 punches yet neither guy gets a bloody lip or a black eye? I’m sure this had something to do with not wanting to give pretty boy Michael a black eye for the next five episodes, but it’s just too silly to ignore.

As you can probably tell, I wasn’t a big fan of these two episodes. Once Michael sent Whistler back up the ladder, I knew we were in for several more episodes in Sona, and it’s starting to feel a little tedious. This part of “Prison Break” is starting to drag out, and the show feels like one big tease. They tried to kick things up a notch by having Luchero’s power taken away from him, meaning that he now wants to escape, and by revealing that Susan/Gretchen really works for Whistler, but after almost two hours of teasing, it just feels like too little, too late.

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