LOST Review: This is IT

OK people, get the tissues ready.

I can’t believe we are finally at the end of Lost. Before I ponder the meaning of my own existence without this show, let us get to Tuesday’s episode, the last real episode before the finale. Tear.

“What They Died For” kind of addressed what Jin, Sun, and Sayid died for. Kind of. WHAT ABOUT LAPIDUS??? I’m hoping Frank ends up saving the day somehow in the end, but I’m not holding my breath. Anyway, after Hurley, Jack, Kate, and Sawyer recover from the emotional hell of the submarine incident, Jack reminds them that Sayid said Desmond was important, so they better go effing find him. Kate and Jack had a mini moment before setting out on this trek, when he was stitching up her bullet wound (throw back to pilot), and Kate acknowledged the fact that poor Ji Yeon is an orphan now (10 bucks she tries to raise her now that the Aaron plan is off), and she and Jack agree that Flocke has to be killed.

During the hike to find Des, Sawyer is reeling in a shame spiral about killing his peeps in the sub. Jack, kind Jack, tells Sawyer that he didn’t kill them, Locke did. Sweet moment. Then Hurley sees ghost 12-year-old Jacob. Ah! He hangs back from the group, and little Jacob demands the ashes Hurley has, takes them, then scampers off into the woods. Hurley runs after him and finds, who other, than big Jacob. Jacob says that he better go get his friends, because he just threw his ashes in the fire, and once it goes out, he is gone for good.

Questions: what? Why? who made those rules about ashes and ghostly apparitions? I call BS on the writers, once again. Also, why did little Jacob have to be the one to grab Hurley? Why? WHYYYYYYY.

OK back on track: Hurley gathers the others and takes them to Jacob’s campsite. Surprise, they can all hear, see, and interact with Jacob. Again, what? Why are these people bending the rule of physics and existence? No sense, but whatever. After Kate is Kate and is self righteous (but in this case, with good cause), she demands to know why Sun, Jin, and Sayid had to die. Jacob then attempts to explain, because by the time the fire goes out, one of them will have to take over for him. Jacob doesn’t really tell us anything we don’t know here. He was the one who wrote their names on the wall. He picked them to replace him as protector of the island. He picked them because they led sad, pathetic lives and had nothing going for them in the real world (more or less). Kate was crossed off because she became a mother, but no matter, she can still have the job if she wants. He says he made a mistake with the whole creation of the monster, and has been having to pay for it ever since. He said that he is giving them all something he never had, a choice. But someone better effing pick this job or else this is not going to end well.

Wouldn’t you know it, Jack steps up to the plate. This is the good doctor’s moment. He feels the stars have aligned and this is his purpose: To protect the Lucky Charms light. Jacob then takes Jack to a stream and asks for a cup, does some incantation, fills the cup, gives it to Jack, he drinks, then Jacob tells him that they are now the same and Jack is going to have to do the one thing he couldn’t do himself: kill the monster.

More Questions: why would Jacob have waited this long to have a little chit chat with the candidates? Don’t you think he should have told them about this earlier? Prepared them more? Maybe spared some of their lives? Oy, son of a bitch.

Meanwhile, we catch up with the rag-tag team of Miles, Ben, and Richard. They are going to Ben’s old Dharma house to get the C4 to blow up the plane so the Losties can’t use it to leave the island and neither can Flocke. They have a moment by the fence where Alex was killed when Miles starts feeling wonky ghost vibes, and Richard tells Ben that he buried Alex here after she was murdered. Ben says thanks, and kind of hobbles/wobbles to his house. Inside his closet and near the weird thing in his wall where Ben was told he could summon the monster (which was really summoning him–I’m guessing that whole Jacob’s cabin situation where Locke “heard” “Jacob” says help me), and he unlocks his huge vault of C4. Hurray. Just then, there is movement in the kitchen.

It’s friggin Zoe. I’m so tired of this chick. Once she is found out, Widmore strolls in. Widmore sends Zoe off to do something I don’t care about, and he and Ben have a little verbal spat. Widmore tells Ben that he has already had that plane rigged with explosives since he got here and as usual, Ben is three steps behind him. Touche. After basically saying Ben can’t do anything, Widmore says he came back to the island once Jacob visited him and showed him the error of his ways (being?). Zoe, being an ahole, radios in and says Flocke is here. Widmore tells her to run back, and for the rest of them to hide. Miles isn’t having any of that, and opts to run and hide in the jungle. Before taking off, Ben demands Widmore and Zoe’s walkie talkies, and when Widmore asks why he should, Ben responds that he asked. I found this exchange kind of bizarre and oddly significant. I am betting that Miles having that walkie is going to play into something important. I also found it hilarious that Ben told Widmore he should hand them over because he asked, when he didn’t ask at all, but rather demanded.

Anyway, Ben and Richard decide to wait outside for the inevitable with Flocke. He comes around the bend in smoke form, and throws Richard across the island. He must be fine, right? He can’t die? He then walks up to Ben, and pretty much tells him that he needs him to kill some people and if he helps, the island is all his. Ben then reveals that Widmore is hiding in his closet. He takes Flocke in, Flocke slits Zoe’s throat (yay?) and tells Widmore that if he tells him what he wants to know, he won’t kill Penny once he gets off the island. Sure. Charles says he came back to the island with Des because of his unique resistance to electromagnetism and that he is a measure of last resort. Widmore says he won’t say anything more with Ben in the room, so Ben leaves and Widmore whispers. Then Ben comes in all crazy and shoots Widmore, telling Flocke he doesn’t get to save his daughter. Too bad Flocke says Widmore already told him everything he needed to know.

I’m pissed Widmore is dead. I wanted to know so much more of his backstory with Eloise and the others, and even who the hell Penny’s mom is. Another strike against you, writers! Ben and Flocke then make their way to Desmond to kill him? Electrocute him? I don’t know. Once they see that Des has escaped with the help of people with access to a rope, Flocke says having Des alive is actually helping him out. Flocke reveals to Ben that Widmore told him Desmond was a fail safe, or a last resort for Jacob if Flocke managed to kill all the candidates, to keep him from leaving the island. Flocke now says that with Desmond, he can accomplish the one thing he never could: destroy the island.

Woosh. OK more questions: What is Ben’s motivation to help Flocke knowing he is going to destroy the island, if that is the one thing Flocke promised him in return for his services? Makes me think Ben is pulling a long con on Smokey. I want him to be good! Also, how is Des a fail safe? How does this differ from the fail safe from the hatch (which I STILL don’t understand what happened)? Who got Des out? I’m guessing Miles. Why not.

Oh gosh there is still Universe X stuff to deal with. In record time:

Jack’s neck is mysteriously bleeding again. Claire is fitting into the family dynamic with David nicely. David has a concert tonight. Desmond calls, faking to be Oceanic Airlines and says that they have located the coffin. Desmond is in the school’s parking lot, beats up Ben, and says he was trying to help Locke let go of something, not hurt him. Ben believes him. Locke is surprised, and goes to see Jack, thinking this is coincidence or destiny or something, but it is time to get out of the chair. Desmond turns himself in to Sawyer. Miles mentions a concert at his dad’s museum tonight. Desmond is locked up with Sayid and Kate. They are transferred to county. In the truck, Desmond says if he can set them loose, will they promise to do something. They agree. The transfer truck stops, Ana Lucia is there to let them out and collect her cash. Hurley drives up, gives the cash to Ana Lucia. He recognizes her, she does not him. She leaves, Des says she isn’t ready. Sayid goes with Hurley, Kate goes with Des. Desmond pulls out a dress and tells her they are going to a concert.

SO this is all going to go down in the alternate universe at a museum concert. How… poetic? Nerdy?

Oh my gosh I didn’t even mention the best part of the Universe X timeline! Ben, battered and in a sling, drops some stuff outside and his all-star student Alex comes to help him. She offers him a ride since her mom is driving and he looks like Napoleon. She also invites him for dinner, asks her mom: duh, Rousseau! Who is looking great without that layer of island crazy and dirt. They have dinner, Alex does homework, and Danielle and Ben have a chat in the kitchen. Danielle says it is nice to cook for someone other than Alex since her father died when she was young, and mentions that must be why Alex is so attached to Dr. Linus. Ben is so touched, he starts to tear up while clearing dishes, and he and Danielle have a little moment about onions. Are they going to get together? Be the little family unit that could have been on the island sans kidnapping and murder? I’m into it.

I don’t even know how to prepare for tonight’s finale. I know my millions of questions (that I think are legit, Lindelof and Cuse) won’t be answered, I just hope that the end is true to that nature of the show that existed in season one. I want it to be about characters, and their interconnections, and dealing with their flawed, fab selves. I don’t want it to be Jacob crap mythology about protection and choice. I was way more into this when it was all destiny and how choices catch up to destiny. Making sense? Not to me either. I’m emotionally distraught, don’t judge too harshly.

For another opinion about this episode, read Are You Satisfied? by Nicole Cukingnan.

Season 6, Episode 16: What They Died For (originally aired May 18, 2010)

For more on Lost, click here.

Tuesdays, 9/8c on ABC

Photographs courtesy of ABC and Mario Perez.

Grey’s Anatomy Review: All Hell Breaks Loose

Happy. Fear. Anger. Sad. Tense. Stress. Worry. Shock. Upset. Disbelief. The previous feelings are just some from the rollercoaster of emotions I felt while watching the captivating Grey’s Anatomy finale. It was extremely well-done and the two hours flew by (of course I was somewhat numb and emotionally exhausted by the end).

Pt. 1

We see Richard at a local restaurant with his six-month sobriety coin, Callie and Cristina both hysterically crying eating bowls of cereal at the apartment and learn that Meredith is pregnant! Meredith tries to tell Derek but discovers he is in a bad mood, so she decides to wait until that night.

Teddy is furious with Owen and tells him she “doesn’t want to hear him or forgive him.” Also, we meet Dr. Bailey and Charlie’s likeable patient, Mary (Mandy Moore).

Gary Clark, the man who blames Derek and other Seattle Grace doctors for his wife’s death, is in the hospital and searching for Derek. He questions Reed in a supply room and when she doesn’t tell him where Derek is, Gary Clark brutally shoots her in the head. Alex walks in and is also shot in the chest by Mr. Clark. Alex, who is obviously in severe pain, drags himself into an elevator.

Cristina declines to scrub in on Teddy and Owen’s patient. Owen runs after her and Cristina quizzes him, “do you love her or do you love me?” When he doesn’t answer, Cristina says, “I’m done. We’re done.” I held my breath during the entire scene as Cristina gets on the elevator with Gary Clark, who asks where to find Derek. Cristina gives him detailed directions to Derek’s office and Gary lets her live.

A distracted April trips over Reed’s body and freaks out. In shock and covered in blood, she runs to Derek’s office and tells him “Reed’s dead. Someone shot her.” Derek calls the police and puts the hospital under lockdown.

Many of the docs are questioning lockdown and believe it is a drill. Callie ends up in the pediatrics wing with Arizona while Bailey is on another floor with her patient, Mary.

Derek goes to the OR where Teddy and Owen are operating with Jackson. Derek calls Jackson aside and tells him “there is a shooter in the hospital. Tell them when the patient is stable.”

Meredith and Cristina meet up. Meredith shares that she didn’t tell Derek yet about the baby and then decides to tell him immediately. Cristina admits to breaking up with Owen and tags along with Meredith to see Derek’s reaction to the good news.

Lexie and Mark are talking by a nurses’ station when Gary Clark shows up and begins shooting, killing at least one nurse. Mark protects Lexie and takes her to the elevator to get her out of the hospital but when the doors open they find Alex lying in a huge pool of blood. They carry Alex to a room, examine him and realize the bullet is still inside. Mark must operate to retrieve the bullet while a distraught Lexie assists.

Police and SWAT arrive outside the hospital. Richard also makes it to the hospital, concerned for his people inside, and demands to know what is going on.

Derek sees Meredith and Cristina walking through the hospital and moves them into a supply closet filling them in about the shooter and tells them not to move. While in the closet, Cristina sees Gary Clark wandering with his gun and it dawns on her that he is after Derek, which she explains to Meredith. Cristina blocks the door but Meredith throws her out of the way to search for Derek.

A distracted Bailey is talking with Mary when Charlie rushes in the room exclaiming that, “the shooter is on the floor.” Bailey looks out and sees Gary Clark murder a security guard. She tells Mary to pretend to be dead, covers her with a sheet, tells Charlie to hide while she scurries under the bed. Gary finds Charlie in the bathroom, asks if he is a surgeon and when Charlie responds, “yes,” Gary shoots him. As I watched in a panic, Gary pulls Bailey out from under the bed and asks her the same question. But a quick thinking, even in these circumstances, Miranda responds, “I’m a nurse” and Gary lets her live. A distraught Bailey tries to pull herself together and enlists Mary to help save Charlie’s life.

Arizona and Callie are not getting along at all—Callie informs Arizona, “I tried being friends. I’m going the more traditional route of hating your guts.”

Owen is furious when he learns about the shooter and lockdown from Jackson. He insists on bringing his patient to ICU and Teddy insists on going with him.

Mark announces that Alex needs a blood transfusion. Lexie volunteers to go get the blood.

Unfortunately, Gary Clark manages to find Derek, stating he is there to avenge his wife’s death and points his gun at Derek just as Meredith and Cristina arrive to witness this. Derek attempts to talk Mr. Clark down by telling him he understands his loss because “two guys killed my dad for his watch in front of me.” Derek further explains that he “became a doctor to save lives not to play god.” Gary Clark begins to lower his gun but suddenly April runs toward Derek and Clark shoots Derek in the chest while Cristina holds Meredith back.

Pt. 2

April is able to talk Gary into letting her go. The SWAT team enters the hospital, which prevents Gary from shooting Derek again. Meredith shakes off Cristina and rushes to her husband’s side screaming, “I can’t live without you. I pick you. I choose you. You don’t get to die on me.”

As Lexie is returning with the blood for Alex, she runs into Gary Clark. Mr. Clark explains he came to the hospital to shoot Derek, Richard and Lexie because she unplugged his wife’s machine. We hear a gunshot and Lexie falls to the ground. At first, we think she is shot but it turns out Lexie wasn’t hit, instead SWAT shot Gary Clark. Lexie runs away with the blood and returns to Alex, who is now unconscious. Lexie pleads with Alex not to die and shocks Mark (and me) by proclaiming that she loves him.

Gary heads off in a different direction and ends up in the pediatrics wing outside the room where Arizona and Callie are helping a little girl whose appendix has ruptured. A fearful yet assertive Callie hands him some bandages and tells him to leave pediatrics. Remarkably, he does.

The police have identified that the shooter is Gary Clark and question Richard about him.

Meredith, Cristina and April are able to get Derek to an OR and plan to find Teddy to perform the surgery. However, Cristina can’t find Teddy, and after talking to Jackson, comes to the realization that she must perform the surgery herself.  She insists that Meredith wait outside of the OR.

Alex’s condition is deteriorating. He believes he sees Izzie (really Lexie) and begs her “please don’t ever leave me.” SWAT enters the room and tells them the floor is clear so Alex can be evacuated.

Meanwhile, Richard sneaks in the hospital. Also, instead of taking their patient to ICU, Teddy and Owen bring the patient outside to be evacuated. Owen realizes that Cristina is still in the hospital and Teddy tells him it is okay to choose. Owen makes his choice to go back inside for Cristina.

Charlie takes a turn for the worse so Bailey and Mary drag him on a sheet to the elevator to get him to an OR. However, the elevators have been turned off and Bailey loses it for a minute. She then sits down with Charlie, who asks, “I’m dying right?” In a tear-jerking scene, Bailey responds, “Yes, Charles, you are dying. Don’t be afraid. Mary and I are going to be with you the whole time. You are not alone.” As a final request, Charlie asks Bailey to tell Reed that he always loved her, which she agrees to. Charlie dies in Bailey’s arms.

Owen finds Meredith and goes into the OR to check on Cristina. And as Owen walks in the OR, we see Gary Clark with the gun pointed at Cristina telling her to stop operating on Derek. This was such a shocking scene! I totally didn’t expect to see Gary Clark in the OR. Cristina continues to operate and Owen threatens Mr. Clark saying, “She is the woman that I love. You shoot her and I will kill you.”

Meredith walks in the OR and proclaims, “You want justice. I’m your eye for an eye.” Gary Clark points his gun at Meredith but Cristina divulges that Meredith is pregnant, making Gary hesitate. Owen seizes the moment to try to apprehend Gary but instead ends up getting shot. Jackson then tricks Gary Clark by making it seem like Derek has flatlined and Clark leaves the OR. Cristina yells at Meredith, “I’m trying to save your guy, now try to save mine.” Cristina is able to save Derek. Meanwhile, Meredith, with April assisting, in the other OR is examining Owen and sees the bullet exited. However, in a heartbreaking moment, Meredith realizes she is miscarrying but continues to help Owen.

Richard finds Gary Clark, who explains that, “I was going to kill you and then shoot myself. But I only have one bullet left.” A very strong Richard tells him, “I’ve gone to hell and back. I’ve also known joy and passion. I had a great love. Death for me is not justice but the end of a beautiful journey. I’m not afraid to die. A life in prison or an afterlife with your wife? Me or you?” We hear a gunshot as SWAT is entering the floor. When we see Richard a few minutes later, we realize that Gary Clark has taken his own life.

Later on, Lexie enters a hospital room to see Alex. I assume he is stable but we don’t know.

Outside the hospital and after the ordeal, Callie and Arizona reconcile. Arizona even announces, “I can’t live without you and our ten kids.”

The finale ends with Derek asking to see Meredith and Meredith throwing out the positive pregnancy test.

Wow, what a finale. One of, if not the best I have seen this year, maybe ever. The episode has amazing writing & directing plus superb performances by the entire cast but especially by Chandra Wilson, Ellen Pompeo, Sandra Oh, James Pickens Jr. and Sarah Drew. Some of these performances have to be Emmy worthy.

A couple of reflections on this intense finale…Richard Webber, in my mind, is still the Chief and deserves his role back—it has always been his hospital. Alex made it pretty clear he still loves Izzie which doesn’t bode well for the Alex/Lexie relationship…could Lexie and Mark still have a shot? Way to go, Jackson Avery, another reason to love you!

The biggest thing that irked me from the finale—Meredith’s miscarriage. Come on, give us Mer/Der fans something! Yes, I love that they are happy and together but they didn’t have a real wedding and are married on a Post-It. My biggest fear is that Meredith will be all “dark and twisty” again next season. Sorry for the mini rant.

Where was Ben? How will Jason George’s role on Shonda Rhimes’ new show, Off the Map, affect ‘Ben’ on Grey’s?

Too many what ifs remain but that’s what finales are all about. So Grey’s fans, I think we’ll have to wait until next season to see how “game changing” this episode was and how many of our favorite doctors are still around or how they have been affected by this episode. Until season 7…

Season 6, Episodes 23 & 24: Sensitive & Death and All His Friends (originally aired May 20, 2010)

For more Grey’s Anatomy, click here.

Thursdays 9/8c on ABC

Photographs courtesy of ABC and Danny Feld.

Bones Review: Why Daisy Wick and Parker Booth Need to be Dropped Screaming into a Vat of Acid

Two things needed to happen in the Bones season five finale, both acts of violence justice: Daisy Wick needed to be hogtied and assaulted with an iron, and Booth’s son Parker needed to be socked in the jaw, chloroformed and put in extended timeout in a dank fallout shelter. If those two things had happened, Booth and Brennan wouldn’t have been torn apart and viewers (or at least this viewer) wouldn’t have shattered every glass object they could get their hands on. All throughout the episode I kept vehemently volunteering to take care of Daisy and Parker, but inexplicably I was not called upon to leap into my television set and become an agent of righteousness. Sometimes you just can’t win.

We open with a somewhat obnoxious boy jumping on his bed in his room. This is causing the plaster from his room to flake off and fall down on top of him. He excitedly exclaims that it is snowing while his mother comes in and has the fortitude of mind to pull him out of the room before the ceiling collapses. Personally, I would have left the kid there. What better way to learn the lesson about not jumping on the bed than by getting hit by a cascade of ceiling…and a rotting corpse?

Yep, it’s a corpse, so Booth and Brennan are on the scene. Brennan examines the remains and tells Booth that the victim was a male in his early 40s, a hoarder who lived in an apartment upstairs. But that’s it. Booth notices right away that his partner’s focus is not in the room. Brennan is all aglow about the recent discovery of some ancient skeletons in Indonesia. What she doesn’t say, and this ties partly into Brennan’s weariness that we discovered in last week’s excellent episode, is that she’s sick of working murders and wants to go head up this Indonesia group and get back to her anthropologist roots.

Booth, for his part, is presented with an unexpected opportunity of his own: a soldier comes up to him and presents him with a letter from the Secretary of Defense asking him to go to Afghanistan and train snipers. In the diner, he tells Brennan that he is not going to accept the offer, that he has put in his time and he already has a job right here in DC: catching murderers. He looks to her for some sense of assurance. But she doesn’t give him one.

The case really doesn’t matter, which is usually the case, but even more so here. I don’t even remember the details; I wasn’t paying attention in the first place. The main dynamic that presents itself is the question of whether or not Booth and Brennan are seriously considering taking these opportunities on opposite ends of the world because they’re running toward something or away from each other.

In Booth’s case, I think it really might be the latter. He knows that Brennan is going to go do this Indonesian thing and can’t face the idea of working cases without her after five years. Of course, he’s a patriot at heart and I’m sure still feels a sense of duty, but I think if Brennan weren’t leaving he wouldn’t have considered going back into the Army for a second. And is Brennan just exhausted from the never-ending stream of murder victims, or is she still frazzled by the events of the 100^th episode, unable to process how afraid she is of her deep feelings for Booth and looking for a way out?

Of course, none of this stuff would be affecting Booth and Brennan this much if Daisy Wick and Parker had been abducted and dragged naked through a field of burning glass by a tanker truck. Daisy keeps rubbing it in that—even though she’s one of the most obnoxious tv characters in history—she has been selected to take part in this Indonesia thing thanks largely to a letter of recommendation from Brennan (Brennan didn’t know what the letter was for when she was writing it). So of course, how could Brennan let a nitwit and utter disgrace to women everywhere take part in this huge thing and not be involved herself?

And Parker, snot-nosed little dipshit that he is, apparently doesn’t think that working for the FBI and catching murderers is a noble enough calling because Booth isn’t actually saving lives so much as he is punishing those that took life away from others. He thinks going back into the Army would be better. So of course, how can Booth, being the responsible father he is, disappoint his son?

Other stuff happens, including the reappearance of Angela’s dad, played by legendary ZZ Top guitarist Billy Gibbons, and the disintegration of Sweets’ plans to start living life to the fullest with Daisy and stop being a prepubescent gigolo. Didn’t care about any of that stuff though. The highpoints are two scenes with Booth and Brennan, one on a park bench where Brennan—thanks to learning about how to interpret human behavior via watching Booth—sees right through Booth’s efforts to pretend that he’s fine with her leaving, and the other at the airport, right before the two say goodbye to each other for at least a year and possibly forever, if Booth doesn’t come back from Afghanistan alive.

It’s great to see Cam acknowledge that while she was the boss in name, she was really always working for Brennan, and Brennan telling Hodgins that she loves him after he gives her a pamphlet listing all the poisonous plants and bugs she should watch out for in Indonesia. But damn it, if she can tell Hodgins that she loves him, why can’t she say it to Booth? Balls.

Though I thought it was weird that Catherine Bryer—Booth’s new girlfriend from the aquarium episode—bore neither appearance nor mention (I thought Rena Sofer was contracted for a multi-episode arc), overall I thought this was a solid finale. It set up major avenues of change for all of the principals and gave me hope and anticipation for the next season—things I wasn’t feeling after the atrociously-misguided fantasy finale that marked the end of season four.

Season 5, Episode 22: The Beginning in the End (originally aired May 20, 2010)

For more on Bones, click here.

Thursdays at 8/7c on Fox

Photographs courtesy of Fox and IMDbPro

The Office Review: The Whistleblower

Watching this episode, I completely forgot that it was the season finale. Compared with season finales past, it didn’t seem to me to be as much of a harbinger of major change in the lives of any of the characters or a major shift in the structure of the office itself (although it was hinted that Holly, Amy Ryan’s Human Resources character from Seasons 4 and 5, might return in the next season).

For the most part it kind of felt like any other episode; which of course is not necessarily a bad thing since this show, when compared with most primetime comedies, is definitely on the higher average quality side.

The episode’s plot engine starts chugging along when it turns out that someone in the office has let leak to the press the fact that Sabre printers are prone to causing fires. This is a fortunate pretext for Kathy Bates to yet again make an appearance as the Sabre CEO, and she shows up in search of the culprit.

Over the course of the episode it turns out that more than one person in the office has taken actions that may have resulted in the spread of the repugnant information, so dueling webs of both protective allegiance and betraying sabotage develop and entangle. It’s a solid episode, as well-written and well-directed as any this season, and definitely worth watching especially if you’ve seen every other episode this season hence. Otherwise not life-changing, for the viewer, or any of the characters on the show really. Although Amy Ryan rules, and I hope Bates makes good on her word.

Season 6, Episode 25: The Whistleblower (originally aired May 20, 2010)

For more on The Office, click here.

Thursdays, 9/8C on NBC

Photograph courtesy of NBC Universal and Trae Patton.

Dancing With the Stars Review: Adios Ochocinco

It’s getting down to the wire now, with only four contestants remaining in contention for the Mirror Ball trophy.  This week each couple will give a ballroom performance and a Latin performance, which must also feature a celebrity solo.

BALLROOM ROUND

Erin & Maks

Erin is extremely focused in preparation for her Viennese Waltz.  Maks has never made it to the finals and thinks Erin has a good shot.  She’s an elegant dancer and definitely deserves to be in the finals.  Their Waltz was graceful.  And boring.  Len thinks she should be in the finals.  Bruno said that her continuity of movement is great, despite a tiny stumble.  Carrie Ann said she looked nervous but is doing a wonderful job.  Carrie Ann: 9 Len: 9 Bruno: 9 In an awkward moment, Bruno mistakenly held up a 10, but 9 is the true score.

Nicole & Derek

Nicole is killin’ it right now.  She earned a perfect score last week, cementing her place in the semi-finals.  She’ll have her work cut out for her this week, because Derek is limited by a nagging neck injury.  He pushes through rehearsal at half-speed, but by the time they perform their Tango for the judges he is his usual fabulous self.  Their Tango was passionate and sexy; technically flawless.  They are always a joy to watch.  Bruno said she was a divine enchantress, using each move to draw us deeper into a love spell.  This guy really has a flair for the dramatic LOL.  Carrie Ann was brought to tears *gag*. Len said it was more delicious than his grandmother’s apple pie, which is the best compliment that he could give.  Carrie Ann: 10 Len: 10 Bruno: 10 Nicole is the frontrunner, if you hadn’t noticed.

Chad & Cheryl

He had a rough week last week and is concerned that he let his partner down.  Cheryl told him that he has a clean slate, and he’s determined to make his Samba and Waltz as positive as possible.  I like Chad’s personality a lot and I think he has worked extremely hard to get to this point.  That being said, he’s out of his league now.  I realize that he started at a lower point than everyone else, but still.  It is what it is, and he’s the least proficient of the remaining four contestants.  Despite the aforementioned challenges, his work ethic is strong, and I thought his Waltz was much more polished than his dances from last week.  Carrie Ann said he nailed it.  She loves the “new” Chad with new posture and refinement.  Len said he’s the only one with no dance experience and to come out with a Waltz like that was fantastic.  Bruno said they have been harsh because they knew there was something more to see, and tonight Chad showed it to them.  Carrie Ann: 9 Len: 9 Bruno: 9

Evan & Anna

Evan has had some difficulty “letting go” during his performances and Anna wants him to show more of his personality.  He gave it his all in the Foxtrot, and I could tell that he took Anna’s advice to heart.  He was effervescent and charming, and I thought he brought a lot of personality to the dance.  He’s amazingly light on his feet for someone so tall.  Len said we saw a completely new happy-go-lucky persona and he thought it was a great performance.  Bruno said he didn’t know Evan had such vivacity and vitality.  Carrie Ann completely felt the connection and was very entertained.  Carrie Ann: 10 Len: 9 Bruno: 10

LATIN ROUND

For the second half of the show, the producers have decided to delve into the contestants’ personal lives by allowing them to give background info on their upbringing.  We’ll learn about the defining moments of their lives and some of the challenges they have overcome.

Erin & Maks

Erin was very self-conscious about her height and appearance as a child.  She was much taller than the other children and always felt awkward.  Despite this insecurity it seems like she had a happy childhood, following her father’s footsteps into broadcasting.  Of course all is not perfect in Erin’s world.  I’m sure you’ve heard about her stalker, who was recently sentenced to jail time for posting nude footage of her on the web.  She vowed not to let that define her life, and came on Dancing With the Stars to prove to people that she was not going to be a victim.

Their Paso Doble was hot.  Then again, Prince helps almost any situation.  They stalked around the floor to “You’ve Got the Look,” and the band sounded good performing it.  Come on, you know the band is hit-or-miss.  Anyway, Bruno said he could not believe the standard of dancing that he was seeing.  Carrie Ann said the choreography was beautiful.  Len spoils the party by saying that it wasn’t traditional enough.  He didn’t like the solo portion.  Carrie Ann: 10 Len: 9 Bruno: 10 Erin and Maks have exchanged about 5 or 6 pecks on the cheek at this point.  I’m convinced that they are doing the Horizontal Tango.

Nicole & Derek

To illustrate how tight the competition is, Tom reminds us that each of the four remaining contestants has been a top vote-getter over the last few weeks.  Next we learn about Nicole’s humble upbringing in Hawaii.  She lived in a house with 13 other people, but by all accounts she had a very happy childhood.  She moved to Kentucky at the age of 6 and began exploring the arts.  She has always been a perfectionist, and her teachers say that she was an ideal pupil.  Her pal Diddy speaks highly of her determination and wishes her luck.  Their Cha Cha was hot.  It’s Prince, again!  This time “Kiss” provides the backdrop for a purple-clad Derek and Nicole.  I really enjoyed it.  Carrie Ann said it comes so naturally for her and it was excellent.  Len liked the solo section although it didn’t have much Cha Cha Cha.  At this point they’re looking for who needs to be in the finals, and she needs to be there.  Bruno gushed that she was the (get ready) “sexy-licious purple Queen of the Cha Cha Cha.”  I think that says it all, don’t you?  Carrie Ann: 10 Len: 9 Bruno: 10

Chad & Cheryl

Chad was born and raised in Florida.  His environment was less than ideal, but he used his athletic talent to escape his dangerous neighborhood.  Eventually football led him to the NFL, where he has excelled as a wide receiver for the Cincinnati Bengals.   His coach and friends say that he has been humbled by his experience on the show and that they have confidence in his abilities.  His Samba was very good and I have to give him credit for really rising to the challenge despite being a clear underdog.  There was one hilarious part though during Chad’s shirtless solo.  He was wiggling and shimmying with his shirt off, you’ve gotta see it.  Bruno said it was a fun dance and he did a great job.  Carrie Ann lauded his charisma and agreed with Bruno.  Carrie Ann: 8 Len: 8 Bruno: 9

Evan & Anna

Evan grew up in Illinois and began skating at the age of 8.  His mother admits that he was a very unusual child.  He’s always been detail-oriented and driven.  I think he’s a little boring but it might be because he is shy.  One place he’s not boring is on the dance floor.  Their Paso Doble was forceful and dramatic.  I think he’ll get at least one 10.  Bruno said it was strong yet artistic and the best Paso this season.  Carrie Ann went nuts; she loved it.  Len said the Paso is the man’s dance and he should dominate, but it’s hard for a celebrity guy to dominate one of the professionals.  Evan did that and Len thought it was fantastic.  Carrie Ann: 10 Len: 10 Bruno: 10

Nicole & Derek and Evan & Anna are tied for the top spot with 59.  Chad and Cheryl have a score of 52 heading into elimination night.

RESULTS SHOW

Who will be the first finalist?  Will there be any surprises?  The first couple definitely dancing in the finals is Evan & Anna.  The judges reflect on the previous night’s performances and acknowledge that all of the celebrities have done a great job.  Len says Erin will have to get over her nerves.  Nicole’s Tango left him wanting more.  Chad was a revelation and in any other season he would be a shoe-in for the final.  Len thinks Evan’s Foxtrot was wonderful.  Blah blah blah.

Let’s get down to the nitty gritty.  But first we are treated to a lovely performance by Sarah McLachlan.  She’s enchanting; I can’t lie.  I usually hate results shows because they are so drawn out, but this was a pleasure.  Side note: I plan to fast forward through Miley Cyrus’ “controversial” performance, so don’t look for a recap here.

Next we continue with the college dance competition segment they’ve started.  To sum it up: Rutgers was amateur hour and Utah Valley University looked liked budding professionals.  Clear edge to the second team.

Somewhere along the way Nicole advances to the final, leaving Erin and Chad remaining.  I’m not really surprised by anything that has happened so far.  The results bear out as they should, and Chad’s admirable efforts have fallen short.  He has nothing to hang his head about; making it to the semi-finals was no small feat.  But he’s danced his last dance.  Mirroring the entire season, Erin, Nicole and Evan will duke it out for ballroom champ.

Season 10, Week 9: Round 8 Performances and Results Show (originally aired May 17 and 18, 2010)

For more on Dancing with the Stars, click here.

Mondays and Tuesdays at 8/7c on ABC.

Photographs courtesy of ABC, Adam Larkey

American Idol Review: Fat Lady, Just Sing Already!

4. Casey – “Daughters” – Kara and Randy made a very sharp song choice for Casey. I could care less about Kara’s reasoning that it showed his more vulnerable side. (It did, but that critique, like the cougar joke, should be shoved in a box and flung into a black hole. Enough.) It was very pleasant, but nothing really special, and Simon was right to chide Kara and Randy for not choosing something vocally exciting.

3. Crystal – “Maybe I’m Amazed” – First things first. Why did Ellen get her own choice? I don’t understand the producers logic. If you listen to her critiques, which she’s pretty much given up on actually giving at this stage, she is so evidently the one that doesn’t belong. (Music-wise! Of course.) Should she have teamed up with Randy or Kara at least and given the other judges a choice of their own. Yet, I quickly shut my mouth after hearing the girl give her heart and soul to the song. It was vocally uplifting Crystal which is what I like best.

2. Lee – “Simple Man” Many will pick this Lynyrd Skynrrd fav as the top of the night. And I‘d say they‘d have a fantastic argument. It allowed him to connect to his inner rocker, yet he managed to make the song sound very current. It also gave him the opportunity to move around the stage and really show off his swagger. He did yell a bit too much for me as the song progressed, but hey, the don’t call it Rock & Roll for nothing. So I guess it sounds like it should be my number one, but…

1. Lee – “Hallelujah” – …was something special. It wasn’t his normal thing, and repeats don’t usually fare well, especially when another contestant already did it this season. And that’s not even getting into the fabulous version done by Jason Castro. Maybe it was Simon’s way of showing us how far Tim was out of his league because this is how it should be done. It wasn’t that I loved this arrangement so much that I loved his gusto. I loved that he tried something different and new with abandon. It’s the one thing I’ve missed, in abundance, all season. The stripped down version is way better music to my ear, but he gave me a great performance which, at this dull point, is all I want.

WRAP UP
The night was so understated that it didn’t fee like the penultimate, “make it or break it” week. An upset of any kind would have really surprised me. And no matter how you slice it, Crystal and Lee are the two who deserve to make it to the end. The judges put Crystal on a pedestal early on, and the judges and producers (Did you see the dramatic lighting and the grand choral entrance on his last song?) really backed Lee this week so the book should have been opened and closed on this case eons ago.

Results night, though, provided the highly-missed emotional side we expect from the top three, one of which is so close to attaining their dream and the big prize. Lee’s package with all the tears and rabid fans choked me up the most with Crystal in a close second. But for everyone, it was just nice to see human, humble and emotive people.

IDOLS RETURN
Two rising tween, pop stars took to the Idol stage this week, though one less riot-inducing than the other. I can’t lie. Though I only knew only one song (and only the repetitive “Oh, Baby“ chorus, at that), I welcomed the fizzy jolt of energy that the high pitched, fast feet boy-men gave me. Though, Justin Bieber is very obviously more talented and seasoned than Perez Hilton’s protégé Travis Garland.

CURTAIN CALL
I need not spend too much time on this week’s curtain call since there were no upsets, surprises or shocks. The outcome so many of us have been claiming has finally come to fruition. So let’s just be happy that in a fairly lackluster season, everything has worked out exactly as we wanted it in the end.

Need more Idol?  See Erin Bigelow’s take on this episode, Two Out of Three Ain’t Bad here.

Season 9, Episodes 40 & 41: Top 3 Performance and Results (originally aired May 18&19, 2010)

For more on American Idol, click here.

Photographs courtesy of Fox Broadcasting Company and IMDbPro.

American Idol Review: Two Out Of Three Ain’t Bad

The end is nigh, readers, as this week’s American Idol showcases the finale before the finale, with the three remaining contestants vocally duking it out for the coveted two spots left in the competition. Personally, I feel the end of an era, not just the season, is truly upon us as the widely accepted opinion seems to be that Idol as a whole is on a downward spiral, sure to become official once Simon makes his exit. With the exception of two or three thrilling moments for yours truly – Siobhan’s “Paint It Black” and Crystal’s “People Get Ready,” in particular – among this season of dutiful, karaoke-worthy offerings, I find myself more than eager to crown a winner and move on with my life. Perhaps I’ll follow Simon to X Factor out of morbid curiosity, but unless Idol introduces a revolutionary new judge, I simply can’t stomach the fact that Randy Jackson will be the seasoned voice of criticism remaining on the panel come next year – no offense, dawg. Plus, Seacrest seems to be growing more intolerable as his omnipotence increases. As a Los Angeles resident by way of the Midwest, I have to say he’s even harder to avoid here in Hollyweird than in the real world. The man is seriously everywhere. All the time.

Speaking of my Midwestern roots, the producers (and that darn Seacrest) have decided to use the contestants’ homecoming festivities as the de facto theme this week in lieu of a celebrity mentor and corresponding music. Tuesday night’s performance episode kicks off with Seacrest verbally listing each Idol’s hometown instead of their name as he stands eerily close to each one. “Elliston, Ohio,” he declares in Crystal’s ear. “Mount Prospect, Illinois,” he proclaims before jokingly reminding Lee to smile. Lee does so, but only in attempt to not punch Seacrest in the face, I assume. “And Cool, Texas,” he affirms, before taking a step above Casey in order to appear equally tall. Casey does not acquiesce to Seacrest’s height insecurities and takes a step up, also. Heh. “This is the fight for the finale,” Seacrest crows. “And this is American Idol,” the contestants obediently recite in unison. Oh, boy.

We meet the judges again, as usual, with Kara mouthing “Thank you!” after her introduction (“For what?!” I actually reply. Out loud. Alone in my apartment. Thank God this is almost over.) and Lord Cowell giving a solemn salute after his. Next, we’re informed that the Top Three will be singing two songs each; one they chose for themselves and one selected for them by the judges. Interesting. Apparently, this is going to make for a tight schedule as Casey is shuffled on stage almost immediately with his song of choice, Eric Hutchinson’s “Ok, It’s Alright With Me.” As somewhat of a stickler for correct grammar, I have a hard time typing that title in its intended form (was “Okay, It’s All Right With Me” just too conformist, Eric?). Crystal’s Caddyshack tune (Kenny Loggins’ “I’m Alright”) was hard enough, but two Alright vs. All Right battles two weeks in a row is too much for me to take lying down. Listen, kids, it’s never all right to use “alright.” Never. I digress.

I’m faintly aware of this Hutchinson kid and his unassuming folky pop, and am surprised Casey isn’t trying something a bit showier for such an important night of the competition. He says this tune is “a good representation” of “some of the stuff” he writes in real life, though, so I’ll take his word for it and give him the benefit of the doubt. He’s off to an unfortunate start before he even utters a note, however, due to his astoundingly awful shirt. Heads up, Casey: Jimmy Buffett called, and he wants his wardrobe back. As for the performance, it’s as modest as Casey’s humble personality. The poor guy just doesn’t have a ruthless bone in his body and can’t muster the audacity to slay the stage with the kind of showstopper he needs to garner the votes to go to the finale. While he sounds perfectly adequate and has clearly established himself as a person with undeniable musical talent, I get the feeling Casey may be so shocked he’s made it this far the possibility of winning has never really occurred to him. In fact, I suspect winning may not even be a real priority. Based on this performance it seems Casey is going to sing what he wants to sing, regardless of whether or not he thinks it’ll propel his Idol career to the next level – an observation that, frankly, makes me respect him more than ever, but also quite certain he’ll be headed back to Texas sooner rather than later. There’s never a glory moment where the crowd squeals with delight, and his awkward point towards the audience during the last note solidifies the mediocrity of this performance for me.

An unimpressed Randy says the title of the song made sense because the song was “just kinda all right” with him, while Ellen is a bit despondent, telling Casey she wishes he had “brought it.” Me, too. Kara notes the difficulty of performing a lesser-known song, saying it’s hard to “take it to the next level and make it your own” if it’s the first time most of the audience has heard it. “This isn’t going great, is it?” asks Simon. “Not really,” retorts Casey. No kidding. Simon continues the ho-hum judges’ response, telling Casey it was a “dud” song choice and akin to “the salad” portion of dinner service. “Hopefully something more substantial is coming,” he adds. “It’s a two-course meal,” Seacrest pipes in, reminding us Casey does have another shot tonight to bring down the house. Regardless of the outcome, I think “it’s okay, it’s all right” with Casey in the long run. B-

Crystal’s next, and she’s singing Melissa Etheridge’s “Come To My Window,” a choice which seems to please the cheering crowd. “It’s a song about passion and love and things like that,” says Crystal when Seacrest inquires about the reasons behind her decision to perform it. The two decide tonight’s mantra is “have fun and get votes” before Crystal “moseys on over” to the stage. While I championed her Dylan-esque harmonica holder earlier in the season, tonight it seems superfluous and almost distracting as the harp is only given a few halfhearted toots at the very beginning and end of the song. In between, it seems to just get in the way of her physical performance and actually block our view of her face. While the song itself is definitely a good choice for Crystal from a musical perspective, her voice sounds uncharacteristically strained and the arrangement is a bit speedy and unorganized. She pulls it off on an overall level, but marginally so, considering what we know she’s capable of. The performance as a whole needs to be tighter – it almost seems as though she hadn’t rehearsed enough.

Randy “didn’t love” the arrangement, either, but says Crystal’s vocal “rose above” and “made it work.” Ellen tells Crystal “Melissa would be very proud,” while Kara agrees with Randy that she seemed to be “fighting” the arrangement. While I initially concur, Kara then tells Crystal the song would have worked better acoustically because she doesn’t have the “tone” or “rasp” that Melissa Etheridge does. I, ahem, beg to differ. In fact, instead of “Come To My Window,” I would have chosen a real Etheridge anthem, “The Only One,” for Crystal precisely because she does possess the required vocal quality. So there! Simon doesn’t think it was the “most stunning version” of the song, but respects Crystal because she hasn’t “compromised herself as an artist,”  adding that it was “an honest performance.” For me, it was honestly disappointing. B

Lee DeWyze’s trip back to Chicago was a game-changer for him, as he tells us he wanted to “bring the energy” of his homecoming back to the Idol studios with him to secure his spot in the finale. He’s singing Lynyrd Skynyrd’s “Simple Man,” a choice he says he made because “every lyric speaks true to me.” Zen master Lee then adds, “When you understand something,, you can perform it better.” How profound. And simple. What a profoundly “Simple Man” you are, Lee. He definitely has more performance swagger than ever tonight, moving on stage with the effortless confidence that seemed lost on him mere weeks ago. You certainly have accomplished a great deal, young grasshopper. The song itself isn’t a showstopper for me – I liken it to album fodder rather than a hit single – but Lee certainly has a better command of the stage than Casey (tonight, anyway) and an attention-grabbing presence goes a long way on Idol, regardless of a bum note or two.

The judges prove this sentiment true as all four of them are practically drooling by the time the applause dies down. Randy says “Simple Man” was a “brilliant song choice,” and teases that “somebody in here is feeling like they could win!” Indeed, Lee seems pretty convinced of his skyrocketing stock in the competition, and I’m beginning to really believe he might win this thing, too – especially after Crystal’s worrisome turnout thus far tonight. Ellen marvels how Lee started as “a little lamb,” and is now a graceful, galloping “gazelle, or an impala.” Impala? “Jaguar!” Randy offers. “Round One goes to Lee,” declares Kara, after telling him he “showed us everything [he’s] got” in regards to “dynamics” and an emotional connection to the song. Simon informs  Lee he “just crushed the other two” contestants and calls “Simple Man” an “absolutely on the money” song choice. This is feeling less and less like a contest by the minute. B+

We’ve reached the second half of tonight’s performances, where the Idols will perform songs chosen for them by the judges. We’re treated to footage of the contestants learning which song they’ve been assigned as they each stand in front of an adoring crowd at their respective local AT&T store. Are they drinking Coke, too? While driving away in a Ford? Subtlety certainly isn’t one of Fox’s strong suits. Casey informs his hometown fans and us that Kara and Randy have chosen John Mayer’s “Daughters” as his sophomore effort this evening. While I’m aware many people have banished John Mayer from cultural relevance and their iPods due to his big mouth, I have to admit I think this is a sublimely written song that could end up a home run for Casey. Past performances of subdued, emotionally driven songs have really worked for him, a la “Jealous Guy,” “Don’t,” and even his Bryan Adams duet last week with Big Mike. Unfortunately, while his effort is discernible and it’s certainly better than the first performance, “Daughters” never takes off the way I’d hoped and the fact I can hardly think of a thing to say about Casey’s rendition pretty much sums it all up. It just isn’t captivating in the least, nor does it create a lasting impression. Nice knowing ya, Casey.

Randy, however, really wants to believe in his own awesomeness as he tells Casey the song “fit [him] like a glove” and presents a musical direction he should follow. Ellen tells Casey “a lot of daughters, mothers, and, who knows, sons” will be voting for him after that performance, and Kara (as equally unable to admit defeat as Randy)  tells Casey “Daughters” showed his “more artistic side.” Really? Casey’s strongest artistic skill is playing guitar, and, as Simon points out, the climax of “Daughters” is a “rather limp guitar solo.” While I believe this performance would have been perfectly acceptable early in the season, as a finale clincher it just comes up short. Simon can hardly contain his giggles after the crop dusting of B.S. from Kara and Randy and manages to collect himself enough to tell Casey there wasn’t any “wow factor.” God, this show is going to tank without him. B-

After a cute cutaway shot of Ellen and Crystal goofing around before the commercial break, we’re shown video of Crystal in Ohio (at the AT&T store!) announcing Ellen’s song choice for her: Paul McCartney’s “Maybe I’m Amazed.” Ellen tells Seacrest she wanted to give Crystal a chance to “show some range” and “surprise everyone.” While I am surprised, it’s a pleasantly surprising song choice, and I’m feeling optimistic as the performance gets off to a gorgeous start. Crystal is also completely devoid of any instrument for only the second time this season, and her resulting uneasiness is still noticeable as her movements around the stage are a bit stiff. However, her voice simply cuts through the air like buttah. We’re hearing her hit notes she’s never attempted on the show before and she’s wailing exactly the way Kara said she couldn’t a mere few minutes ago. For the first time in the competition, Crystal’s voice is her true instrument and I’m pleased that Lee may not have this as wrapped up as the producers would like to think. As a side note, I do notice that Crystal chose not to change the gender-specific lyrics, belting out “Baby I’m a man” enough times that I shudder at the thought of various idiotic media blowhards having a field day with this, but I commend her for respecting the song and singing it as it was written. I’m forced to recall Paige Miles’ switcheroo with “Honky Tonk Woman,” and we all know how well that worked out for her. Further props to Crystal for keeping it real.

Randy’s back on team Bowersox, shouting, “Great song, great vocals, and, America, I think we’ve got somebody else in it to win it!” I’m thrilled Crystal is showing more of a competitive side, as well, due to her doubted tenacity earlier in the season. “I couldn’t have asked for more,” declares a satisfied Ellen, while Kara offers curiously backhanded compliments such as, “You did a lot of risky things tonight, and I think it paid off.” Simon tells Crystal she will probably be “thanking Ellen for putting [her] in the finals,” adding that this performance proved she’s “got soul.” Amen, brother. A

With two contestants and three judges down, process of elimination tells me Simon is picking Lee’s final song tonight, conveniently scheduled to close the show. The Idol execs have clearly operated with the discretion of a foghorn for nine years now, but the lack of subtlety is only beginning as we learn Lee will be performing none other than Leonard Cohen’s “Hallelujah,” a guaranteed tear jerker if done properly. Poor Tim Urban and his attempt at this song only weeks ago (not to mention Jason Castro’s version in Season Seven) has clearly been forgotten about already, despite Simon’s disclaimer that “we’ve heard this song before, but I don’t think we’ve heard it the way Lee’s gonna do.” Indeed, the manipulation machine has kicked into high gear as the budget for Lee’s performance seems to be about five times that of Casey’s and Crystal’s. From the angelic lighting to the timpani drums and the emerging choir, Lee’s rendition of “Hallelujah” is indeed moving and beautiful. Too bad I feel completely exploited as a viewer. This blatant agenda exhibition on Idol’s part would enrage me if I were a member of Casey’s family, or even Crystal’s. The treatment given to Lee is so beyond favoritism, I feel I’m being directly instructed who to vote for as though Big Brother were watching.

Of course, Randy says he’s “been waiting all season to see who’s going to throw down the real gauntlet and try to win the whole darn thing,” calling Lee’s performance “unbelievable, man, unbelievable!” Ellen continues the pattern of repetition, saying it was “stunning, just stunning,” while Kara tells Lee he’s “what this show is all about.” A corporate money machine thinly veiled as a talent show? I can practically see the dollar signs flashing in Simon’s eyes as Kara adds that Lee is “the heart of this show … you just owned the entire night.” Simon, of course, is “very proud” of his new project and Lee smartly takes the time to thank him. Personally, I do think “Hallelujah” is one of the best songs ever written and Lee did a fine job given all the help handed to him. However, Casey or Crystal would have been just as successful (in Crystal’s case, maybe more so) if either one had also been given the opportunity to close the show with the production value of an off-Broadway musical. The only thing not working in Lee’s favor at the moment is the seemingly impossible task of topping himself during next week’s finale (let’s face it, folks, he’s in like Flynn). A for the overall performance, but a big, fat F for the patronizing ulterior motives.

I don’t feel an overwhelming need to discuss who the likely final two are, but I do feel a pang of fear for Crystal, given the fact that Casey’s dreamy-as-ever aesthetic could win him an underdog spot. During Wednesday’s results show, before Lee is declared safe, of course, we’re treated to Seacrest pretending to be Oprah as the longest interview  in the history of American Idol is conducted on stage between he and the contestants. For such an overblown segment, an alarmingly few number of complete sentences are actually spoken. Somebody named Travis Garland confuses everyone with a seemingly lyric-less “song” called “Believe.” Garland’s main endorser, a much slimmer Perez Hilton, claims this guy is better than Justin Timberlake, which is like saying Ke$ha is better than Lady Gaga. The strange phenomenon known as Justin Bieber also lip-syncs his way through a performance no one managed to stampede, and the extent of my bewilderment over the craziness for this kid knows no bounds. However, I’m now beginning to understand the extended stay of Aaron Kelly on this season of Idol. In a normal universe, this Bieber kid would be the biggest dork in school. In this universe, he’s a millionaire. Keep the dream alive, Aaron. After extended footage of the contestants’ homecoming parades, Casey is indeed set free from his life on Idol (except for the upcoming tour, of course), and his departure and corresponding swan song are the classiest yet. Prepare for next week, readers, as the ultimate, inevitable showdown between Crystal and Lee officially takes place and American Idol as we know it is put to rest forever.

For another take on this episode of American Idol, read Fat Lady, Just Sing Already! by Inisia Lewis.

Season 9, Episodes 40 & 41: Top 3 Performance and Results (originally aired May 18&19, 2010)

For more on American Idol, click here.

Photographs courtesy of Fox Broadcasting Company and IMDbPro.

Pop Culture Gurus Get Nonpretentious With Summer Mix Tape

POPTIMAL.COM GETS NONPRETENTIOUS WITH SUMMER MIX TAPE
DC’s Pop Culture Gurus Share Their Favorite Summertime Jams

Take a pinch of Bryan Adams, a cup of Kid Rock and stir it with some Lady GaGa and Gwen Stefani. What you get is not the recipe for a new salad, but an eclectic mix tape featuring summer songs selected by Poptimal.com’s own pop culture gurus published by Nonpretentious.com. (download from iTunes)

Poptimal.com and its writers are featured this week on the popular “Mix Tape” column of the fresh new Philadelphia based website that provides a virtual space where creative writers can share ideas and showcase their work.  Specifically, Nonpretentious cites as its mission its “desire to create a website that combined the best aspects of personal blogs, content aggregators, and commercial publications.”

Nonpretentious founder Melissa Sachs explains on the website that, the Mix Tape column is meant to be “…digital version of trading mix tapes/sharing music with friends. It also seeks to publicize the amazing work of ‘common people’ (i.e. not superstar celebs but celebs nonetheless) who are doing cool things around the globe.”

“We were honored to add our flavor to the Nonpretentious’s lists,” said Poptimal.com Editor-in-Chief, Zuberi Williams. “Because we focus so much on television and movies, we sometimes forget how much music was a part of our growing up and how it has been ingrained in our pop culture souls. Having our talented writers come up with these songs let us sit back, relax, and let our pop culture freak hang out, which in our virtual bullpen is usually a good thing . . . usually,” Williams further stated.

Poptimal.com’s writers selected tunes that epitomized the meaning of summer: freedom and having fun! Classics such as Summer Lovin’ from Grease and Summer of ‘69 by Bryan Adams made the list as did more recent hits like Flash Delirium by MGMT and All Summer Long by Kid Rock.

To find out what songs each writer chose, visit http://nonpretentious.com/2010/05/mix-tape-poptimals-summer-mixtape/ written by Justin Klugh.  You can also download the entire mix from iTunes

FOR IMMEDIATE RELEASE

Contact:
Editor-in-Chief
Poptimal LLC
8639B 16th Street, #243
Silver Spring, MD 20910
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editor@poptimal.com

The TNT/TBS Upfront: We Know Drama and Comedy All Too Well

Television shows have an interesting life cycle. Some can last years on the air and gain a strong following; others are lucky if they survive past the first three episodes.

Up Fronts are where new shows are introduced to the world by network executives, and old shows either make a triumphant return or meet their maker. Held every year in New York City on the third week in May, major networks host an Up Front meeting to reveal their fall primetime pick-ups. Press – including Poptimal! – and advertisers are invited to see clips from new series and meet the actors and crew involved with returning and upcoming shows.

On Wednesday morning in New York City, Turner Entertainment Networks, parents of TNT and TBS, held their annual Upfront for their 2010-2011 line-ups. Hosted in Hammerstein Ballroom, both cable networks put on a show for the press and advertisers.

The event started off with a video made by TBS chronicling the last month of Conan O’Brien as the unemployed talk show host withering away in his depression amongst pizza boxes and empty beer bottles. Met with laughs from the audience, the video encompasses Conan’s journey from depression to recovery for his return to late night television. With his return to late night scheduled for November 8, 2010 Conan took the stage for an early morning comedic routine.

“This is the first time I’m back in NYC since last year’s NBC Upfront. Last year at the NBC Upfront I had talked about my 25 year plan as host of the Tonight Show,” Conan joked. “If anyone in the audience, no seriously if anyone in the audience can explain to me what happened come talk to me after the show. The plot to Lost is more plausible than the last four months of my life,” he remarked.

Stepping aside from the jokes, Conan was ecstatic to be there, claiming that he believes in basic cable television. To end his routine on stage Conan put on a musical number, which he said he wants to start and end his show with in the fall. TBS, make it happen because it was totally awesome.

From here the rest of the show followed a similar routine as TBS aired clips of their shows and then brought out the cast to talk about the series and characters. Network favorite My Boys was the first to air with its montage of clips as the series plans to return this fall for its fourth season. TBS followed up with a new original series Glory Daze, a 1980’s set comedy that centers on four buddies who navigate college life and pledge a fraternity. Are We There Yet? starring Ice Cube, Terry Crews, and Essence Atkins is a new comedy based on the movie that was released back in 2005. Taking place where the movie left off, Are We There Yet? aims to focus on the aftermath and how the family will work out. Another new show hitting TBS this fall will be Neighbors From Hell, an animated sitcom following the lives of a demon family living on earth.

George Lopez took center stage and talked how his late night show knew what America wanted. “I’ve flown across the country, sidestepping Arizona of course,” Lopez joked when talking knowing his audience’s desires.  He seemed enthused about the new late night schedule saying, “This year Coco and Loco will deliver late night.”

In other news from TBS, the network has acquired the cable rights for CBS series The Big Bang Theory that will begin to air fall of 2011. Unseen at the event, but announced were the development of The Wedding Band, The Rabbit Factory, and The Catch.

• THE WEDDING BAND – The writing team of Josh Lobis and Darin Moiselle (South Park) and executive producer Mike Tollin (Wild Hogs, Smallville) introduce a fresh comedy that centers on four friends.  Some are married and some are single, all with day jobs and responsibilities, but they share one thing in common: They are in a wedding band.  THE WEDDING BAND comes to TBS from FremantleMedia.

• THE RABBIT FACTORY – From executive producer/writer Alan Loeb (Wall Street: Money Never Sleeps, New Amsterdam), executive producer Steven Pearl (The Beast) and Lionsgate Television, this series follows the detective team of Mike Lomax and Terry Biggs, two characters from the book series by Marshall Karp.  Recently widowed Lomax and recently married Biggs work to protect and serve, navigating the daily challenges of their jobs while tackling their personal lives.

• THE CATCH – Executive producer/writer Vic Levin (Mad About You) and executive producer Chris Albrecht focus on a widower who re-enters the world of dating, only to learn that he is quite the catch.

In the press release TBS also announced the development of two animated series Good and Evel and The Black Family.

• GOOD AND EVEL – Olive Productions (Stanley Tucci, Steve Buscemi and Wren Arthur), Gotham Group (Ellen Goldsmith-Vein and Lee Stollman), Lionsgate Television and executive producer/writer Glenn Eichler (The Colbert Report, Beavis & Butt-Head) introduce the ultimate dysfunctional family.  Voiced by acclaimed actors Tucci (Julie & Julia, The Lovely Bones) and Buscemi (Fargo, Boardwalk Empire), the show centers on Jack Good, a moral, upstanding family man, and his nefarious twin brother, Bo Evel, a rebel and drunk who’s been in and out of prison.

• THE BLACK FAMILY – Executive producer/writer Ali LeRoi (Everybody Hates Chris, TBS’s Are We There Yet?); executive producer/artist Todd Goldman; executive producers Keenan Ivory Wayans, Marlon Wayans and Shawn Wayans (Scary Movie, White Chicks, Little Man); and executive producer Rick Alvarez (Dance Flick) introduce a blended interracial family, the Blacks.

TNT’s presentation brought out trailers and cast members for all their new and returning shows. Set to have more nights of original dramas, TNT will now be using Sunday to Wednesday to air The Closer, Saving Grace, Dark Blue, Leverage, Memphis Beat, Rizzoli & Isles, and Hawthorne. The critically praised Men of a Certain Age will be returning at a later point in the season.

In their press release TNT announced the development of six new shows.

• UNTITLED DON CHEADLE MEDICAL SHOW – Executive producers Don Cheadle (Crash, Iron Man 2), Kay Liberman (Traitor) and Lenore Zerman (Darfur Now) of Crescendo Productions; executive producer Brett King; executive producer/writer Ed Horowitz (Exit Wounds); and producer/writer Norm Solomon focus on 1971 Los Angeles, where a group of idealistic doctors open an urgent-care clinic in hopes of upholding the values that inspired them to become doctors in the first place.  The project comes to TNT from Lionsgate Television and Cheadle’s Crescendo Productions.

• GRAYSMITH – Based on the life of cartoonist, writer and part-time private detective Robert Graysmith (author of Zodiac and many other books), this series will follow the renaissance man himself as he uses an unconventional approach and unusual skills to solve crimes.  GRAYSMITH comes to TNT from Scott Free Productions and executive producers Ridley Scott (Robin Hood, The Good Wife) and Tony Scott (The Taking of Pelham 1 2 3, The Good Wife) and executive producer/writer Dan Gordon (The Hurricane).

• GREEN DETECTIVE – Steven Bochco (NYPD Blue) and Jonathan Abrahams follow a quirky environmentalist who seeks the truth as an insurance adjuster for a big insurance company.

• BRAIN TRUST – Dean Devlin (TNT’s Leverage) and Marco Schnabel (TNT’s The Librarian movie trilogy) delve into the world of an old-fashioned (and recently demoted) detective as he teams with four brilliant but socially awkward, sheltered academics to help him solve crimes.  BRAIN TRUST comes to TNT from Electric Entertainment.

• MISS PHILLY – Executive producer/writer Jamie Foxx (The Soloist, Ray), executive producer/writer Barbara Hall (Joan of Arcadia, Judging Amy) and executive producers Marcus King (The Jamie Foxx Show) and Jaime Rucker King (Ray) explore the pristine suburbs and urban war zones of Philadelphia, where the mayor has hired the first African-American police commissioner.  She finds herself handling more than she ever expected.

• DEAR GOD – Executive producers Mark Gordon (Private Practice, Grey’s Anatomy), Mark Burnett (Survivor), Roma Downey (Touched by an Angel) and Deborah Spera (Army Wives, Criminal Minds), along with writer/executive producer Joel Fields (TNT’s Rizzoli & Isles), look into the dead letters bureau at the U.S. Postal Service, where a team of humanitarians try to help those on the verge of losing their faith by answering their letters to God.  DEAR GOD comes to TNT from ABC Studios.

Trailers for the new shows coming to TNT were shown along with an insight of the characters from the cast. Sarah Alexander and Angie Harmon took the stage for Rizzoli & Isles. It kinda bothers me that TNT is bringing on even more cop dramas, and with the addition of Memphis Beats it feels like majority of the schedule will be police procedural shows. Franklin and Bash, TNT’s new legal comedy featuring Malcolm McDowell, Mark-Paul Gosselaar, and Breckin Meyer, follows two slacker lawyers stirring up life at a law firm. The trailer for the show was pretty funny.

The greatest showing of the Upfronts came from Stephen Spielberg’s Fallen Skies. Six months after aliens have attacked humanity on earth, the remaining survivors prepare to fight the aliens for their survival. The trailer had a very War of the Worlds feel to it bringing about the desperation and fear of the aliens. Starring Noah Wyle and Moon Goodblood, Fallen Skies will be the show to look forward to in Summer 2011.

Ray Romano, Scott Bakula, and Andre Braugher took the stage for the final presentation of the Upfront. The cast thanked the audience and the critics for the critical acclaim the show received. Romano joked with advertisers saying he found a way to market their show better. “Advertisers, we know how to reach out. We will do a 3-D episode, Andre Braugher will do a crossover on Glee, and Scott Bakula will sleep with a vampire this season.”

The presentations from Turner’s network for the 2010-2011 season are promising for the most part. However, my major complaint arrives at the repetitious nature of show ideas for both TNT and TBS. They already have action, drama, and comedy, but none of the new shows, aside from Fallen Skies, deliver extraordinary. However, the quality of the new shows shouldn’t be taken for granted as each carries quality production.

Photos courtesy of Turner Entertainment Networks, Darren Michaels and David Moir

The Good Wife Review: The Sex Freak Returns!!!

This week on The Good Wife: more cutbacks for Lockhart and Gardiner, Peter goes back to court and a vengeful Carey gets an offer to bring the Flourics down.

Following the firing of Carey last week, we start the show with Diane and Will preparing to cut even more from the firm. In fact, so many people are being let go that several security guards are hired to keep the peace. This is just a precaution of course, but proves inconvenient as Carey returns for his belongings but is quickly shown the door, much to his annoyance.

After hearing of Alicia’s last minute client score, Kalinda takes Alicia out for a drink. She says it’s tradition for junior associates, but really it’s just a way to get Alicia’s mind off of her troubles. Alicia doesn’t feel good about how she beat Carey, even though Kalinda assures her Carey would have done the same thing in her place. In the middle of girl’s night, Will calls. A client needs help.

Colin Sweeney returns this week as the client. In proper Sweeney fashion, his re-introduction finds him covered in blood and handcuffed to a naked dead woman. The storyis, the woman was a stalker he occasionally had sex with but this time she went overboard and tried to kill him. Sweeney is a great addition; it seems forever since we’ve had a proper sex scandal. And, as always, we can count on Sweeney to bring it. Although he does have a problem with keeping his partners alive.

At home this week Peter and his team prepare to go back to court as Childs brings new evidence against Peter. It seems before Gerald Kozco killed himself he made a deposition tape that Childs hopes to use against Peter. In order to get the tape admissible in court, Childs has to prove both that Peter would gain from the death, and that he killed Kozco. Now, Peter’s facing murder charges.

In the Sweeney case, Diane excuses herself from his defense. The charges against Sweeney have put a financial merger at stake; it’s in the company’s best interest that Sweeney goes to jail. As the firm represents both Sweeney’s personal and financial interests, Diane joins the financial side. She explains her absence to Julius who understands that the firm will benefit if their client pleads guilty.

Carey spends this week looking for another job. He runs into some buddies from law school who tell him how hopeless it is to get employed. He goes for an interview with a company that has resumes for positions in 2011. A frustrated Carey joins his friends at a bar. There he meets Glenn Childs who offers him a job: to prosecute the worse scum and bring down Alicia and Peter. Carey eagerly agrees.

In Peter’s case, it is discovered that far from being dead Kozco is alive and well…spending money in the Cayman Islands. The case is thrown out. At the end of the trial an FBI agent warns Kalinda that the FBI is investigating Peter AND Childs. Kalinda is warned to watch out.

On the Sweeney front, Alicia and Julius look for a deal. With the evidence that the victim was a crazed court reporter who stalked men on trial for murder, they finally get the prosecution down to a guilty plea with 8 years in jail. Sweeney asks to speak to Alicia in private where he asks if he is the sacrificial lamb. Alicia admits that it would be best for the company if he were in jail. Alicia tells him he can’t get a better deal and she doesn’t know his chances in court. Colin thinks about this for a while and then finally admits, “Well, I did kill my wife. I guess the universe is having its little joke at my expense.” Alicia is stunned that he finally admitted it. I am too; it just sucks that his stepdaughter was arrested for the same crime.

Next week: Peter announces his bid for State’s Attorney, just as Will makes it clear where he stands with Alicia.

Season 1, Episode 22: Hybristophelia (originally aired May 18, 2010)

For more on The Good Wife, click here.

Tuesday at 10/9c on CBS

Photos courtesy of CBS and David M. Russell.

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