So Far So Good: One Blogger's Quick Review of Fall TV

OK, so it's only been like a month since the Fall TV season started, but what better time to evaluate the shows that have invaded my weekly routine and a few that just haven't quite made the leap to must-watch.

With "30 Rock" returning this week -- featuring a delightful guest spot from the ever-creepy Steve Buscemi -- the demands on my television watching (and my DVR) will only increase, so it's time for a little editing down of my weekly watching routine. So, who's in and who's out?

"The Good Wife": OK, so the politico-geek in me nearly squealed when last night's episode made reference to a shady real estate developer named Gerald Koztco that Chris Noth's embattled state's attorney Peter Florrick may have had dealings with. Ummm, Tony Rezko, anyone? Anyone? This show just seems to get better with every episode, and it's become a must on my list.

"Community": If John Oliver and Ken Jeong are in every episode, I would watch nothing but this show on repeat. Although it was hit-or-miss last week, the show has managed to pull off its ridiculousness with ease. It's a got a great "Scrubs"-esque cast of secondary characters like Jeong as Señor Chang that'll definitely keep me hooked for the season.

"Glee": Unfortunately this one's out. It's not that I don't find it funny. It's not that I dislike it. It's not that I don't think Jane Lynch deserves every award under the sun for her hilarious turn as Sue. It's just that the whole musical angle of it -- kind of important to the premise of the show -- bugs me in a scratch-your-eyes-out way, and I just can't get past it.

"Modern Family": Here's another critical hit I'm just not feeling the love for, although I may watch for Shelley Long and Benjamin Bratt who show up as exes on the show. It's funny and well-written, but I'm feeling underwhelmed by the premise and the characters. I think this'll just have to be one of those I watch when there's nothing else on.

"The Vampire Diaries": Oh, I admit it. This is my guilty pleasure for the season, but I don't feel so guilty anymore since I found out that Ken Tucker of EW enjoys this show almost as much as I do. It's a lot darker than I originally imagined (there have already been a couple of fairly gruesome deaths that I may have fast forwarded through on the DVR). And ever since the show revealed a potential anti-vampire coalition including the local Sheriff and a TV news reporter, it seems the show actually has a plot that goes beyond teen angst and brooding looks.

All in all, it seems like the fall season has been shaping up pretty well. Any fall shows you think I should be watching or shows that you think I've treated unfairly? Let me know in the comments below.

-- Malavika Jagannathan, mjaganna@greenbaypresssgazette.com

The Week That Was: Scanning one blogger's DVR tally

Last week was billed as the biggest on the Fall TV schedule -- and judging by my DVR tally (and the amount of time I spent on my couch this weekend) that was all too true. Having played catch-up with most high priority premieres and returning shows, here's my quick rundown on the week's winners and losers:

Winners:

"Modern Family": Very funny pilot, though I agree with Adam that its a little too cliche and familiar in spots. Particularly, the documentary style, which felt more like a distraction since it's already been beaten into the ground by NBC. Big points to ultra cool dad Phil (Ty Burrell), who managed to get the biggest laugh out of me by using the word "chillax" without a hint of irony.

"Cougar Town": A little scattered and too over-the-top in its preachiness -- did they really need to spell out the double-standard with men dating younger women that demonstratively? -- but overall, quite likable and even risque. Bill Lawrence ("Scrubs") has never been one to dial back on gushy life lessons, but the pilot established a smart, snarky tone (the aging real estate cougar was especially hilarious) and offered up some fun gender headbutting that should bode well for a full season pickup.

"Community": Strong debut, solid second episode. The B-plot in Thursday's new episode -- Britta's passion for global causes -- felt flimsy and forced, but Ken Jeong's appearance as uber-defensive Senor Chang (very funny) and Pierce's (Chevy Chase) delusional presentation with Jeff (Joel McHale) was like a cough medicine hallucination come to life. Still a lot of promise here even if the second episode didn't take a big step forward.

"The Amazing Race": There's a reason "Race" wins every Emmy (and should) for Best Reality Competition. It's revolutionary television. No other reality show can compete with the production value of an ongoing global adventure -- one that in a span of two hours stretched its considerable reach to Japan and Vietnam for hilarious (a Japanese game show with contestants choking down Wasabi bombs) and hardscrabble (getting caked in mud and herding ducks) challenges. Already, some villains (professional poker players Maria and Tiffany; meathead Lance and doormat Keri) have emerged, while others (Globetrotters Herb and Nate; good guys Zev and Justin, left) have jumped out as early crowd pleasers. Despite rarely tinkering with the formula -- though they eliminated a couple this year before the competition even started -- "Race" remains compellingly authentic TV.

"The Office": Dunder Mifflin is in a nice rhythm -- and all because they've stayed in the office for two straight episodes. Mining humor from the simplicity of Michael's ever pressing need to be included has resulted in some rapid fire riffs and even better plot development. Jim stepping up career wise -- and Michael attempting to hold him back -- also had a real moment of tension attached. Maybe the bar has been lowered, but some pretty funny stuff so far. Heck, I'm even looking forward to Jim and Pam's upcoming wedding.

"It's Always Sunny in Philadelphia": Another show that's rediscovered a nice, easygoing rhythm. No one is about to accuse the "Sunny" gang of "toning it down," but the last two episodes have felt a bit more restrained compared to last season's manic undertaking (kudos to FX for not airing new episodes back-to-back). In particular, the ending to "The Gang Exploits the Mortgage Crisis" was a stroke of genius, while "The Gang Hits the Road" kept things incredibly simple by containing its madcap comedy to a crowded car and flaming trailer. Plus, there was Charlie eating an entire pear and Sweet Dee's jar of urine splashing on Mac -- two uproarious moments that rank among the best gags in five seasons. Can't wait for Episode 11 and "Kitten Mittens," though.

Losers:

"Dancing with the Stars": When does 17.4 million viewers qualify as a disappointing start? When you're used to 21.4 million the year before. Tom Delay's debut certainly had some buzz Tuesday morning, but honestly, how long is the amusement of watching a creepy old man shake his diaper going to last? Confession: I tuned in to see the "Iron Chef" chairman dance and came away scarred by both Delay shaking his groove thang and the meager concept of this wretched, wretched TV show. Honestly, it isn't even the dancing, but rather those boring backstage interviews that absolutely horrify me. And really, how unbelievable is it that Delay, a man who wanted to abolish smut on television, is now bumping and grinding to "Wild Thing?"

"FlashForward": Maybe it'll get better over time, but the pilot had a chance to 'wow' and failed on every turn. Too big, too bloated and trying too hard to be "Lost." The cast -- which includes a few "Losties" -- seems solid though, and some of the future storylines carry promising bits of intrigue. It just needs to focus less on the big picture and bring character development and a more realistic pace into focus. Had higher expectations, that's all.

"The Beautiful Life": OK, so I didn't actually settle down to watch this. Then again, nobody did since it was already canceled by CW after two episodes. Sorry MJ, but even this Ashton Kutcher produced suckfest tanked faster than "Brothers." Points to everyone who picked it in the Fall TV Death Pool.

-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com

"Community" could be your new favorite comedy

Name recognition alone doesn't provide the funny. But headed by "The Soup's" Joel McHale, "The Daily Show's" John Oliver and an ancient looking Chevy Chase, "Community" got off to a promising start last week.

The show follows several misfits in action at a beleaguered community college, most notably Jeff Winger (McHale, in a name nod to Bill Murray's "Stripes" character, no doubt.), a suspended lawyer who is about to become disbarred because of his phony credentials. While trying to woo Elizabeth Shue look-a-like Britta (Gillian Jacobs) from his Spanish class, Winger resorts to sleazy lawyer tactics, only to see his diabolical plan fall apart thanks to a motley crew study group that includes a semi-creepy seven-time divorcee (Chase), a former pill-popping underachiever (Alison Brie, or Trudy from "Mad Men"), a disgraced jockhead who won't shed his high school letterman's jacket (Donald Glover), a temperamental mom who made bad life decisions (Yvette Nicole Brown) and a fast-talking '80s movie buff with Asperger (or as Troy puts it, "assburger") syndrome (Danny Pudi).

It's a pretty straightforward pilot in terms of plot introduction, but the jokes are rapid-fire and justifiably acidic. Winger, bitter at finally being caught by the law he's supposed to uphold, wants to take every short cut in the book so he can get back to the comfort of his Lexus lifestyle. Since he's above a rinky-dink community college -- playing off that loser stereotype is a huge component of the show -- Winger figures he can bully a former client/psychology professor (Oliver) and perhaps score with Britta before going back to his old tricks.

Except everything that brought these community college rejects to this stage in their lowly life will be turned into something deeper, something redemptive they probably didn't know was there. For instance, Chase's eccentric businessman character, Pierce, seems oblivious to how he is universally perceived. Yet he's harmlessly kooky and might even be incredibly savvy. Same goes for Glover's Troy, who is aware that he's no longer a high school prom king, but still wants to cling to his glory days past while making something of himself in the future. "Community" will likely strike a balance between personal and professional maturation while also allowing its main characters to engage in "Office" like hi-jinx within the fertile community college setting.

After all, it's a half hour comedy, so I'm not sure how much meat you actually want to bite into here. "Community's" pilot already paid tribute to John Hughes (both with a hilarious "Breakfast Club" bit and with a memorial screen at the end) and its characters, while dysfunctional, appear worth rooting for. It's a premise that should work as a sort of sitcom version of "PCU" with a dose of "Revenge of the Nerds" -- and that's just fine considering NBC's Jay Leno experiment is your current alternative to original comedy on network TV.

"Community" airs at 8:30 p.m. Thursday on NBC.

-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com

"Glee" earns an encore

I warned my wife before we watched Fox's "tweet-peat" of the "Glee" pilot this weekend that it might be a complete waste of our time.

Admittedly, I was trying to retain some credibility in case the quirky show choir comedy turned out to be more "High School Musical" than "Freaks & Geeks," but honestly, I really didn't know what to expect.

After a much-ballyhooed premiere following "American Idol" in May, Fox saved the second episode for fall's big bang (8 p.m., Wednesday to be exact), creating some heavy buzz on Twitter and other social networking sites. I wanted to watch the pilot when it originally aired, but conveniently forgot ... so that led me to avoid critical write-ups, and more or less hope that I'd be given the opportunity to find the show on my own.

Set in an Ohio high school, "Glee" follows a dysfunctional show choir led by the talented but Tracy Flick-ish Rachel Berry (Lea Michele in a star turning role). Spanish teacher and Neil Patrick Harris-lookalike Will Schuester (Matthew Morrison) plays your typical wide-eyed teacher trying to change the world, and when given the opportunity to take over the slumping show choir -- thanks to a particularly amusing plot twist and teacher dismissal -- he begins to dream big.

Only problem? Five misfits, including Berry, comprise the glee club, or a group about as far down on the social totem pole as the acne-ridden geeks who used to convene in the cafeteria at my high school so they could play "Magic: The Gathering." (Sorry for piling on, guys. I hope you've adjusted to the real world by now.)

When Berry threatens to quit because she can't take the ridicule from peers any longer, Schuester faces a near-impossible task -- transforming the glee club into something cool on campus. In a twist of fate, he overhears star quarterback/'80s monster ballad enthusiast Finn Hudson (Cory Monteith) singing REO Speedwagon in the locker room shower, and thanks to the power of some pot-fueled blackmail, finds a studly male counterpart who can hang with Berry's impressive vocals.

Without giving anything else away, the "Glee" pilot succeeds by sticking with archetypes that everyone who has survived high school can relate to. One one side of the hallway stands the uber popular crew of jocks and cheerleaders ("Cheerios" headed by the awesomely evil Jane Lynch.) On the other, social outcasts that live face down in the toilet bowl.

While parts of the pilot come across as heavy-handed and all-too familiar, the inner workings of the high school caste system can breed comedy gold. Already, Lynch's Sue Sylvester is a standout, a heartless taskmaster who is used to winning trophies and monopolizing the market of popular bubbly blondes. She couldn't even being to comprehend life with a competing social entity like a well-rounded glee club. However, you can see the gears turning in Will's head. He plans to push her at every turn.

Those monumental face-offs -- others include Will and his controlling wife; Finn and teammate/school bully, Puck; Rachel and Finn's celibate girlfriend -- should be enough to carry the show through one season. Ultimately, they'll have to work around some of the cheesier, cliche-ridden components and really dig deep into the dark humor that I found so inviting. Subtlety could also go a long way.

Having Alexander Payne's "Election" as an early reference point is a great start. So far, "Glee" has made use of the movie's inner monologues, quick-cut backstories (Finn's is particularly memorable) and quirky background instrumentals. "Glee" also steals liberally from "Freaks" -- McKinley High for the school name, the Mathlete-like wordplay of Cheerios -- but doesn't (and probably won't) feature the soul-crushing realism of Paul Feig's masterpiece.

So while every critic has seemingly chimed in with an opinion, the hype here is that "Glee" has a chance to bring the high school dramedy to a new level thanks to its bold musical numbers. They're ready made for big ratings and if done right as over the top parodies, big laughs.

That could be a huge turnoff to those who like their teenage angst a little less glitzy, but for most, it'll be a nice ray of sunshine in what plays out like a relatively gloomy high school existence. We'll see if Wednesday's second episode picks up where the entertaining pilot left off.

To watch the "Glee" pilot online visit www.fox.com/glee.

-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com

Fall TV preview: 10 frosh shows to watch

Hard to believe, but Channel Surfing isn't on the TV industry's radar all that much.

J.J. Abrams doesn't have us on his speed dial. The cast of "Melrose Place" has never offered to hold a viewing party in the Press-Gazette conference room. The president of NBC likely doesn't even know where Green Bay is (though we think Conan O'Brien does since he called us all white and fat.)

So you'll have to excuse us for not being able to draft our own Fall TV preview like the heavy-hitters who get advance screenings of new shows or get whisked away on promo tours with smiling celebs at every turn.

We'll chime in soon on which shows we plan to watch (ahem, "FlashForward"), which ones get the Channel Surfing seal of approval (more on "Glee" coming soon). But before you waste valuable time on the next "Gary Unmarried," here are 10 freshman pilots that get a thumbs up from TV writer Frazier Moore of the Associated Press.

What are you excited to see? Let us know in our comments section.

“Melrose Place” (CW, premieres Tuesday). Here’s romance, glamour, naughtiness, mystery and (of course) Spanish-modern architecture in trendy L.A. It’s a smart-but-not-too-smart re-imagining of the original 1990s soap, with the apartment digs significantly posher than before. This revival could make a tired old term like “trendy” feel trendy again.

“Glee” (Fox, Wednesday). Maybe you already saw the pilot (which Fox first aired last spring and currently is putting online). A musical comedy about a struggling high school glee club, it was pitch-perfect. The series picks up Sept. 9 with the second episode. It, too, is quirky, tuneful, up-tempo fun.

“Community” (NBC, Sept. 17). No disrespect meant to community colleges, but this one (Greendale Community College) is an ideal backwater for goof balls, schemers and slackers. Sharp writing and a classy ensemble (including Joel McHale, John Oliver and Chevy Chase) earn the very funny pilot an A-plus.

“The Good Wife” (CBS, Sept. 22). Julianna Margulies has never been better as a wife and mother forced to pick up her long-dormant career as an attorney and return to work in a pressure-cooker law firm after her politician hubby, played by Chris Noth, lands himself in jail. There are a lot of human issues to sort out here — apart from the legal cases — and a splendid cast to do it.

“Mercy” (NBC, Sept. 23). A skilled, outspoken nurse, Veronica Callahan is back at New Jersey’s Mercy Hospital after a tour in Iraq, with more personal problems than when she left. “I don’t need to talk to anybody about it,” she tells her boss sarcastically. “You know why? Because, I’m on delicious Paxil.” The Paxil’s not working. But viewers, keep your fingers crossed that “Mercy” keeps on working as well as its pilot, where Taylor Schilling is terrific as its star.

“Modern Family” (ABC, Sept. 23). A lively half-hour boasting interlocked tales of three disparate families and a full-to-bursting ensemble (including Ed O’Neill, Julie Bowen and Sofia Vergara). Can this ambitious comedy make the most of its rich resources, and stay as brisk and funny as the pilot? Here’s hoping.

“Cougar Town” (ABC, Sept. 23). Courteney Cox (pictured above with Busy Philipps) as a woman with cellulite? This comedy about a 40-year-old divorced mom is both riotous and strangely true-to-life as it depicts youth obsession, and how the no-longer-quite-young grapple with it. Dicey material. But auspiciously enough, Bill Lawrence is a “Cougar Town” executive producer and writer. As mastermind of “Scrubs” he proved long ago he can find the familiar and funny in zaniness.

“FlashForward” (ABC, Sept. 24). It happens to everyone on Earth, including all the characters who populate this eerie thriller: They black out for two minutes, during which they see visions of their future as they might (or might not) live it on a certain day next April. What’s causing this? Will the visions come true? And, hey, isn’t that “Family Guy” creator Seth MacFarlane in a cameo appearance? If you watch this episode, expect your future to include more episodes.

“Brothers” (Fox, Sept. 25). The premise sounds like a sitcom at its most cliche: Two brothers (played by Michael Strahan and Daryl “Chill” Mitchell) who, in adulthood, squabble as they did when they were boys, plus their parents (Carl Weathers and CCH Pounder), all living under the same roof. The appeal of the pilot is its execution. It’s fresh, relatable, engaging. And funny.

“Trauma” (NBC, Sept. 28). Lots of action. Lots of blood. Lots of rescue. Lots of hanky-panky. The first-responder paramedics from San Francisco City Hospital are a trauma team who, in various ways, are themselves traumatized, both on and off the job. The pilot’s pyrotechnics and Bay Area locations make it look great. But what makes the series worth a second look: the fiercely complicated characters played by Anastasia Griffith and Cliff Curtis, who soar above the show’s formulaic melodrama.

Take a look at the law man, beating up the wrong guy ...

At least for the past two fall TV seasons, I've made it a point to try out one new show based solely on what looks most promising in previews.

So far, I'm 1-for-2 thanks to "Pushing Daisies" scoring a notch in the win column last year. But oh man, that the god-awful dialogue in "Studio 60 on the Sunset Strip" is still rattling around in my brain ... well, much like Brett Favre-loving Packers fans aren't about to forgive Ted Thompson anytime soon, I'm not sure I can ever back an Aaron Sorkin-project after that historic debacle.

Which brings me to tonight's experiment: ABC's "Life on Mars."

I'm trying to go in cold and without critical bias, which means reading limited press about the show. So far, I only know that it features two stellar actors, Harvey Keitel (who's apparently 70 years old, dear God!) and handlebar mustache-wearing Michael Imperioli (Christopher from "The Sopranos"), and one I'm only kinda familiar with, Gretchen Mol ("Rounders").

Based on a British drama of the same name, "Mars" is about a contemporary cop named Sam (Jason O'Mara) who gets hit by a car and wakes up as a detective in 1973 Manhattan. Did he travel back in time? Is he hopped up on pain medication? Or is he already dead and the soundtrack to heaven is David Bowie's "Hunky Dory?"

Either way, it promises to be a bit clunky at first as Sam attempts to get his bearings while engaging in "Back to the Future"-ish dialogue about where the nearest Starbucks is, that sort of thing. But the archaic crime-capturing conventions (say that three times fast) of the '70s should certainly lead to some interesting predicaments for Future Cop Sam.

Overall, there's a lot of promise in a show that keeps viewers wondering when/if the time clock will run out, how Sam will skate by knowing there's no escape from a year that saw O.J. Simpson run for 2,000 yards instead of, you know, getting busted for kidnapping (though if Sam sticks around a year, he can catch the Ramones in their infancy. That's worth a time warp headache, me thinks.)

So as long as the writing is sharp and the show doesn't abandon a clever premise to become a by-the-book cop show (something that ruined my beloved "Boomtown" in 2003), I imagine I'll be satisfied. Hopefully, tonight's premiere delivers a good dose of momentum moving forward.

"Life on Mars" airs at 9 p.m. tonight. If you visit ABC.com, for the first few seconds, the site will flash back to a 1973 computer screen. Groovy!

Now, if you don't mind, I have to go finish my game of "Pong."

-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com

Fall TV: Crazy about "Daisies"

Hold onto your knitted handgun cozies: "Pushing Daisies" is coming back from the dead. Last season's most whimsical, weird, wonderful show only churned out nine episodes before being cut short by the writer's strike. Having not aired since December, even the most fervent "Daisies" fans — of which several of us Channel Surfers proudly count ourselves — could be forgiven for a spattering of memory loss where Ned, Chuck, Emerson and Olive are concerned.

With the second season approaching mercifully soon (Oct. 1), and a gorgeous first-season DVD set in stores now, here's a quick recap of everything you need to know before making the return trip to Coeur d'Coeurs. (Note: This recaps includes a fair share of spoilers, so the uninitiated should beware.)

In the pilot episode (cutely titled "Pie-lette"), we're introduced to pie-maker Ned (Emmy-nominee Lee Pace), who makes a mean three plum, and can bring the dead back to life with a single touch. The catch is, the resuscitated party can only stick around for one minute, or else someone else in the vicinity will kick it. A second touch from Ned and they're dead again forever.

This is all well and good for a while — though I'm guessing he stays away from eating lobster — and in fact, the ability lends Ned a reluctant side gig helping cranky private eye Emerson Cod (the invaluable Chi McBride) crack unsolved murders by asking the victims themselves how they died and cashing in on the reward money. But when one of those victims turns out to be Ned's childhood sweetheart, Charlotte "Chuck" Charles (Anna Friel), Ned can't bring himself to re-deadify her, much to Emerson's open, withering dismay.

Chuck and Ned are in love, openly and blushingly. Trick is, they can never touch -- not even so much as brush pie crumbs off each other's cheek — or Chuck will go back to pushing up daisies. (Ohhh, THAT'S what the title means!) It's also not the only chink in their armor of amour: Back when Ned was a boy, his mother dropped dead of a brain aneurysm, and the young piemaker, only recently having discovered his unusual powers, brought her back. He had not, at this point, learned of the one-minute time restriction, and so his neighbor, Chuck's father, keeled over backwards while watering the lawn.

With Chuck back and suddenly such an important part of his world, the secret has been bubbling in Ned's stomach like the rotten fruit he brings back to life for his pies. The end of last season handled the fallout of Ned revealing his secret, and presumably this season will follow up the tenuous trust issues that Chuck has developed.

Meanwhile there's Olive Snook (Emmy-nominee Kristen Chenoweth), petite ex-horse jockey and waitress at Ned's pie shop, who's desperate to do a little touching of her own with her boss. Originally supposed to be a more peripheral character, Olive became a much larger presence thanks to the casting of Broadway star Chenoweth, and so much the better. Olive became a perfect foil in the early episodes of the show, desperate to find out Chuck's secret in an attempt to break apart the strangely incontiguous lovebirds.

Her plans lead her to the doorstep of Chuck's aunts and guardians, Lily (Swoosie Kurtz) and Vivian (Ellen Greene), a pair of former synchronized swimming stars stricken with dual bouts of crippling social anxiety disorder. Their niece's apparent death (Ned insists Chuck keep her distance from the grieving pair, to which Chuck reluctantly agrees, barring the odd pie she has delivered to them) has only exacerbated their shut-in tendencies. Olive's affection for the aunts prevents her from revealing Chuck's secret (or what Olive thinks the secret is, that Chuck faked her death) and together with Chuck concocts plans to break Lily and Vivian out of their funk. The main ingredient of the plan is a vial of homeopathic mood enhancers Chuck bakes into the crust of the aunts' pies (and sold door-to-door by Olive's would-be paramour, Alfredo.) The doping has some unintended side effects when an overdose leads a loopy Lily to reveal to Olive a long-hidden secret: She is, in fact, Chuck's mother.

All of this plot-wrangling — as bizarre and far-fetched as it sounds (and is) — is mere window-dressing for the nimble writing, the sharp comic acting, the brightly colorful set design, the musical interludes, and the dizzy romantic overtones of a prime time fairy tale for adults, complete with a omniscient, sometimes rhyming narrator (Jim Dale). It makes for a blissfully silly hour of television, and by the looks of the Season Two preview, it's only going to get better.



"Pushing Daisies" season 2 premiere airs Wednesday at 7 p.m. on ABC.

-- Adam Reinhard, areinhard@greenbaypressgazette.com

Fall TV: Why this is "The Office's" make or break season

All hail fresh episodes! Channel Surfing bloggers are placing the spotlight on new shows and returning favorites as the Fall 2008 TV season rolls out the red carpet. While longtime Dunder Mifflin-ites Thomas Rozwadowski and Sara Boyd will be on the couch at 8 p.m., both are preparing themselves for (an inevitable?) final run with the once-beloved series. The fifth season of "The Office" returns Thursday with "Weight Loss."

Thomas: Sooooooooo .... it's two days out before "The Office" comes back, and as a fellow fan who once put the show on a high, high pedestal, I have to ask: How are we supposed to feel about its arrival on our doorstep? I admit to shrugging my shoulders a bit, though I know I'll still watch with relatively high expectation because deep down, I'd love nothing more than to utter the immortal words, "'THE OFFICE' IS BACK!" on Friday morning.

But I know that can't happen. Season Two was the perfect storm. The writers were focusing on inter-office relations because, first and foremost, they had to introduce the characters in a familiar, bland context befitting the show's title (go figure.) Jim and Pam's game of googly-eyed ping-ping worked because it was neither melodramatic or a drawn-out tease. It was alternately fun and heartbreaking, even for jaded souls like myself who usually don't end up rooting for the good guy. And Michael ... dear Michael. Sure he did some insanely stupid things, but he wasn't oblivious like the Michael Scott who would eventually end up with crazy-but-not-the-funny-kind-of-crazy Jan. He just craved attention and acceptance. And Dundies.

So maybe the lowered expectations will work in its favor this time around ... because God knows I'm tired of feeling like the show is a continual disappointment even though it's still largely entertaining and well written. Heck, I didn't even buy the Season Four DVD this time around. So Boyd, do you think this is a make-or-break season or should I just get over the fact that it can't be what it once was, but at least the addition of Amy Ryan certainly means good things?

Sara: I think you're right. I mean, let's call a spade, a spade here. Last season -- writer's strike or not, was not good. Even Season Three was a bit lacking. Sure, they've had a few shining moments lately -- Amy Ryan's "new Toby" character thinking Kevin is actually mentally handicapped = hilarious. But it's a far cry from what it used to be. Call me crazy but I think the added popularity killed a piece of "The Office" that can never be returned.

By Season Two, the show was still working to gain viewership and let people know that a quirky, dry-humored show was on primetime. By Season Three, they were almost like the geeky nerd who shelled out good money to be transformed overnight to a popular, babe magnet jock by simply removing its glasses and putting a little gel in its hair. Yes, that's the plotline of "Can't Buy Me Love," what's your point?

All I'm saying is, with the so-called cliffhanger NBC has us dangling on for the start of Season Five, I'm not holding a lot of hope. We've got a preggers Jan who is going to be the mother of a sperm donor baby, Michael who is right behind her toting a diaper genie and burping cloths and the will-he-won't-he bore-snore of Jim's imminent proposal to Pam. Remember when the season finale was a long-awaited Jam (Jim + Pam) kiss that potentially could've broken Pam's engagement? Ahh, the good 'ol days.

Of course I agree (what? never!) with Mr. Roz and would be pleasantly surprised and back on board with a stellar season premiere, but I just don't know if it's in the cards. I suppose "back on board" is a bit strong. I'm still a big fan, I just approach this season with a bit more caution and perhaps, pessimism -- hoping for the best but expecting the worst. It really is a make-or-break season and that's unfortunate, but let's be honest, no one's going to stick around to see what happens with Andy and Angela. TRoz, from the brief previews we've seen of its return -- is there hope? And what plotlines just need to be squashed in order to restore the brilliance of this show?

Thomas: You know, I think we cracked the case. If Dwight and Jim engaged in the African Anteater Ritual ala "Can't Buy Me Love," this show would be in much better shape.

I wanted to avoid making the "popularity killed a piece of 'The Office'" argument for fear of being called a TV elitist, but since you did, well, I can't help but feel the same way. I know you're a huge "Friends" fan, so maybe you can make the logical leap here, but it seems tying everyone down in a relationship -- or at least deliberately trying to get everyone AWAY from the actual office setting -- really stripped the individual identities of each main character. That worked well for Dwight, who probably shouldn't be a one-dimensional office freakazoid. But what happened to Jim? He's no longer the underdog, so it's become hard to root for him in any capacity. I'm betting he'll do the nice guy thing and let Pam spread her wings at art school. They'll reconnect at Dunder Mifflin and be stronger in their relationship, which as we all know, is heading toward marriage at SOME point. Not that it's a bad thing. I've been consistent in saying that there is nothing wrong with the two of them being together and happy. But seeing them together and happy also doesn't make the show for me. I think the show's popularity among the masses is largely steeped in that Rachel-Ross-type drama. Personally, I'd rather see Michael do more Ping impressions.

As for plotlines, I want Jan gone. Her presence will only continue to sabotage any hope I have for Michael. (as an aside, "The Dinner Party" aired a few weeks ago, and while flipping channels, I couldn't even stop on it for two minutes, I despise that episode so much.) I expect to harshly judge the Dwight-Angela-Andy triangle, if only because it's never been adequately explained why Angela is WITH Andy in the first place. To make Dwight jealous? Really? It has shades of a classic soap opera contrivance with Angela staying engaged to Andy even after doinking Dwight in the Season Four capper ... for what purpose, I'm not really sure, but my guess is they'll drag it out to humanize Mr. Lonely Heart Schrute some more. Or at least put him in more zany predicaments where he has to "prove" his love. Again ... relationship humor.

I liked Ryan's prickly turn, but not how they placed him in cuffs toward the end. Making him "the villain" might create a funny redemption story, but it was a pretty abrupt turn that didn't kill on the comedy scale. The secondary characters still deliver and the Holly Flax addition, really, is the only thing memorable (at least while giving it two seconds of thought) from Season Four. Since I'm not Michael Ausiello, I have no clue how long Amy Ryan is supposed to stick around, but if her presence is short-lived, it would be a positive step to have Michael forgo his plan with Jan, find his soul mate in Holly and create a situation where she can't work at Dunder Mifflin because of their relationship (and the lessons he learned from the Jan debacle), thus opening the door for Toby's return (which is rumored to be a strong possibility.) Imagine if Michael had to make that choice: a happy (off-screen) relationship with Holly, but only if it meant they weren't in the same office, which means putting aside his hatred of Toby for the greater good.

Your turn to put that "Beet Goes On" inspiration to use.

Sara: I definitely don't consider myself a TV elitist -- let's be honest, some of my favorite shows are low-brow reality TV series. But I agree, it's really taking the "Friends" formula to heart -- that being, let's hook everyone up with other characters until they make lovely two-by-two pairs that skip down the halls of Dunder Mifflin and suck at the merciful teat of Nielsen's ratings. And clearly, it's been used and does not need to be repeated.

You're right about Jim too. I'll admit, his face still covers my computer's screensaver but this "new Jim" is just not someone I'm a big fan of. I miss awkward face Jim -- the Jim who shrugs at the camera, not this Jim who is brazen with a customer during a game of golf so he can afford a better life for he and his bride-to-be. And my God, where's the Jim that loved to torture Dwight? He's gone soft! (That's what she said.) If anything, the show needs to rekindle that relationship and stop creating all these new ones.

So I disagree. If Michael ends up banging Holly, that'll be the last straw. Enough already with the interoffice dipping of company pens in company ink! Here's my pitch for a new storyline this season: Dwight decides he is done being sad about Angela and starts scoping out eHarmony.com for a true match ... like clockwork, Jim finds out Dwight's password to his account and changes his profile dramatically, stating things like he likes to have sex with beets ... Pam goes to art school in New York -- everyone's sad, Michael most likely makes a very inappropriate farewell speech ... new reception desk chicky comes in and there's a level of flirtiness, a level of forbidden-ness and of course, she and Jim become chummy ... drama ensues, no wait, hilarious drama ensues ... Andy forcefully kills one of Angela's cats in the middle of the night in their first week of newlywed bliss ... viewers strap in for a long, and hilarious, divorce proceeding ... oh, and Creed dies (just 'cause) and later in the season comes back to life.

There you go. Another freebie, writers ... take it and enjoy. (That's what she said.)

-- Sara Boyd, sboyd2@greenbaypressgazette.com and Thomas Rozwadowski, trozwado@greenbaypressgazette.com

"Heroes" season 3: The Dark Blight

"Heroes" relaunches tonight for its third season — a fact that caught me off guard when I found out last week. After the catastrophic crappiness of last season, I suffered a bout of series-selective amnesia, and as such almost completely forgot that a show called "Heroes" ever existed. It took typing the word "amnesia" just now for me to even recall that lead hero Peter "I can crush a virus in my hand" Petrelli also suffered from some very convenient memory loss for most of that monumentally mundane season.

Ah yes, now the floodgates are open. I'm starting to remember much of what went down in that uberly unpleasant string of episodes. The virus the kills 96% of the world. Sylar trying to get his powers back. Kristen Bell as an electricity shooting baddie. The Wonder Twins who got a lot of cloying airtime before getting snuffed by Sylar. Hiro stuck in feudal Japan. That white guy posing as a Japanese guy who turned out to be immortal. Kristen Bell as an electricity shooting baddie. Nathan Petrelli getting assassinated. Niki dying in a fire or an explosion or an airline crash or something. Kristen Bell as an electricity shooting baddie.

It's safe to say my memory favors some parts over others. Overall, though, it was a tremendous squandering of the goodwill that the cast and series creator Tim Kring had built up in their astounding first season. Fans expecting the "Heroes" universe to expand and build upon itself instead got bland new characters and reheated plot lines. The writers strike and its dastardly effects on production didn't help, sure, but even if Kring and Co. rushed things a little in preparation for a work slowdown, their initial product should've been strong enough to withstand a little corner-cutting. It wasn't.

So now we get Season Three, which, in a bid to elicit a little excitement from the fanbase, is being dubbed "Heroes: Villains." The season premiere has been ready since at least July, when it was screened for the supergeeks at Comic Con — in fact, Herc over at Ain't It Cool News has a review and a bevy of spoilers for you here — and is part of a much-hyped two-hour event at 7 o'clock tonight. I'll be watching, of course ... but whether or not I remember it a few months from now, we'll just have to wait and see.

I would love to eat some crow on this one and enjoy an amazing season of "Heroes." Coming after a summer that gave us both "Iron Man" and "The Dark Knight," fans are ready for a truly great television series about superheroes. Season One hinted at it. Season Two failed miserably. Let's see what they give us next.



"Heroes" Season 3 two-hour premiere event starts at 7 p.m. on NBC.

— Adam Reinhard, areinhard@greenbaypressgazette.com

Fall TV: "It's Always Sunny in Philadelphia"

All hail fresh episodes! During the next few weeks, Channel Surfing bloggers will place the spotlight on new shows and returning favorites as the Fall 2008 TV season rolls out the red carpet. The fourth season of "It's Always Sunny in Philadelphia" begins Sept. 18 on FX. The Season Three DVD hits stores Tuesday.

When we last saw "Philly": Thanks to his idiocy, Charlie offered Paddy's Pub as the grand prize in a radio station dance marathon. Despite his best choreography to "Take My Breath Away," Charlie ended up face down in his own drool, the victim of a cough-medicine spiked brownie. Sweet Dee was also left writhing on the floor, her knee shattered by a vengeful ex-priest callously nicknamed Rickety Cricket. Dance-off losers Mac and Dennis each had 25-pound kegs hung around their necks. And due to Frank's constant scheming, a homeless man ended up the grand dance champion and new owner of the gang's bar.

Background: While you really should catch up with the first three seasons of "Philly" -- Sunday's Best Buy ad has Seasons 1 & 2 at the ridiculously low price of $20 -- the brazen FX comedy doesn't follow a linear format. Sure, the McPoyle brothers are funnier if you know their history as gross-out foils to the Paddy's gang, but you can drop into any episode of the series and become an instant fan.

If you're expecting easy-to-stomach laughs though, look elsewhere. The Philly gang dishes out topical humor with an acerbic, uncomfortable twist. It's been lovingly called "Seinfeld" on crack for a reason. Truth be told, the crass, confrontational tone is more "Curb Your Enthusiasm" than anything, but its outright lunacy -- and the level of self-awareness for that lunacy -- is unmatched by any other comedy on TV.

Like "Seinfeld," "Philly" revolves around the twisted group dynamic of Dennis (Glenn Howerton), Mac (Rob McElhenney), Charlie (Charlie Day), Sweet Dee (Kaitlin Olsen) and Frank Reynolds (Danny DeVito). All five are highly-flawed proprietors of Paddy's Pub in Philadelphia, but don't do anything except try to lazily outwit the system, constantly backstab each other for selfish gain, and of course, ruin countless lives in the process. Seriously, if you thought George Costanza was emotionally-stunted and deserved to be rotting in a jail cell at the end of "Seinfeld" ... well, these guys would be prime candidates for the firing squad.

Should you watch: With "The Office" past its expiration date, "Flight of the Conchords" on hiatus, and even "30 Rock" firing a few blanks last season, "Philly" is the funniest comedy on TV. The show gets away with a lot more by being on cable, but it really thrives because it's the brainchild of Howerton, McElhenney and Day. All three made the pilot for a mere $85. They've maintained creative control, brought DeVito on as a priceless addition at the start of Season Two, and have even employed Mr. Kevin Arnold himself, Fred Savage, as a director. Best of all, they refuse to water down the content or consider anything taboo.

It's high point, however, was last season's "Sweet Dee's Dating a Retarded Person" -- or quite simply, the funniest half hour of comedy I've ever seen. Yes, that even includes "Arrested Development," "Seinfeld," "The Simpsons" ... you name it. "Night Man/Day Man" officially put the Philly crew over the top. Not lying. We're talking tears ... after five viewings, even. From that point forward, I've made it my mission to tell everyone about this show. Well, anyone with a decent sense of humor.

Looking forward: Among the topics already covered: abortion, gun control, welfare, terrorism, slavery, incest, pedophilia, mental illness and Nazism. As for Season Four, the official "Philly" blog lists the following episodes:

Mac and Dennis: Manhunters
The Guys Solve the Gas Crisis
Mac and Charlie Die: Part One
Mac and Charlie Die: Part Two
Dennis Reynolds: An Erotic Life
Frank Buys a Billboard
The Gang Gets Extreme: Home Makeover Edition
Who Pooped the Bed?
The Night Man Cometh
The Gang Cracks the Liberty Bell
Mac Dates the Waitress
Sweet Dee Has a Heart Attack
Paddy’s Pub: The Worst Bar in Philadelphia

Oh, then there's this gem ...


-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com

Fall TV: "9021-No"

All hail fresh episodes! During the next few weeks, Channel Surfing bloggers will place the spotlight on new shows and returning favorites as the Fall 2008 TV season rolls out the red carpet. Thomas Rozwadowski recently watched back-to-back episodes of "90210," which debuted Tuesday night, and subsequently scored pretty nice ratings for The CW.

When we last saw "90210": Brenda's mom caught Kelly's mom doing coke. Brenda and Brandon rescued an alcoholic teenage girl from drowning. Brenda got a bad dye job. Emily Valentine tried to set fire to the homecoming float. Kelly joined a cult, got raped, became addicted to coke, got burned in a fire, got engaged to Brandon, got engaged to Matt, had a miscarriage and caused a lesbian to fall in love with her -- not necessarily in that order. Donna held onto her virginity. And held on. And held on. Ray pushed Donna down a flight of stairs. Andrea offered her geeky bod to Brandon and won on "Jeopardy!" Steve stole the master key to the school and joined a stupid frat. Dylan got scammed out of his money, started drinking more than Lindsay Lohan and almost died in a car crash. David, sweet dance moves and all, flopped as a musician. Kelly Kapowski got a boob job and caused a whole bunch of trouble post-Brenda. Color Me Badd played a couple songs at the Peach Pit.

Background: First off, confession time. I've watched more of Aaron Spelling's "Beverly Hills, 90210" that I'd care to admit, but not because I was a fan myself. I've only caught up during SoapNet and DVD reruns in recent years because my wife was a huge fan back in the day, and naturally, seeing Ian Ziering's curly mullet still makes her weak in the knees. I don't mock her for this. Clearly, I'm allowed to leave the room if I want to. So by proxy, I picked up on enough of the zip-code drama to not be completely lost ... which I'm only revealing here because it means I have a decent "90210" foundation -- "Donna Martin graduates! Donna Martin graduates!" -- to guide me into the new show. However, I'm not a Brian Austin-Green loyalist, which means I also won't judge the "90210" remake -- or as the CW calls it, a "edgy, contemporary spin-off"" -- by comparing it to the original.

That said, the flashy two-hour "90210" premiere was all you needed to see if you're on the fence about whether a nostalgic shot of Jennie Garth as Kelly Taylor: Grown-Up Guidance Counselor will cater to your adult sensibilities. You either love trashy shows about teen drama or you hate them. Guess what ... I'm not a teenager. So I hate them.

It's way too easy for me to dump on a superficial show like "90210," which I realize is supposed to be a trash-filled foray into the lives of too-cool-for-school teenagers. And normally, I'd buy into the logic that it isn't supposed to be made for someone like me -- or at least my wife, who as I said, loves the original version and was somewhat excited to see Garth, Shannen Doherty (Brenda Walsh) and maybe to a lesser extent, Joe E. Tata (Nat from "The Peach Pit") reprise their former roles. But with those casting choices -- though all three are periphery characters more than anything -- clearly the new show is trying to reach out to teens and young adults who grew up loving every minute of the Dylan-Brenda-Kelly love triangle or Brandon's ambitious exploits at the West Beverly Blaze. But this isn't your older sister's "90210." Yeah, Brenda had a pregnancy scare while dating old man Dylan during those early years. But Steve Sanders never had a teen skank go down on him in the front seat of his Corvette. Times have changed that much, eh "90210" producers? Man, no wonder I want to punch 16-year-olds in their stupid faces when I'm at the mall ...

Should you watch: The series is all about catering to the MTV generation -- which means style over substance, or trying WAY too hard to pick up on current trends by rolling them into the daily conversation of rich and spoiled Beverly Hills high school students. Basically, the show plays out like a bunch of 30 and 40-year-old writers and producers (two of which are, shockingly enough, Jeff Judah and Gabe Sachs of "Freaks and Geeks") trying to accurately depict how text-happy, "Juno" slang-spewing 16-year-olds function these days. Not pretty.

At one point, Silver, the former friend of vapid rich girl Naomi, reports on her "video blog" that her mortal enemy is still hanging onto cheating heartthrob, Ethan. (That they show these actual videos is even more absurd.) The plot twist boasts that the site gets more than half a million Web hits. Would that many people really care about a video blog solely devoted to student gossip at a Beverly Hills high school? Really?

Worst of all, the plot contrivance that lands the Wilson family (call them the new Walshes) to Beverly Hills is downright ridiculous. Super suave Harry Wilson (Rob Estes of "Melrose Place" and "Silk Stalkings") moves his family from Kansas to the glitzy home town he left behind to take care of his mother (Jessica Walter of "Arrested Development"), a former actress with a booze problem who is so filthy rich ... um, she wouldn't need her son's family to actually take care of her. Walter plays a less funny version of Lucille Bluth, a wise-cracking drunk who, if "90210" blows up, will probably be written off the show and replaced by a super-hot live-in foreign exchange student so that the whole "how the Wilsons ended up in BH" plot arc becomes a complete afterthought. Old people aren't attractive to the MTV or MySpace generation. Ask John McCain.

Oh, and Estes is also the new principal of the school -- or far too good looking to be in any administrative role, really. I mean, c'mon, at least the old show cast someone believable like James Eckhouse in the boring father-knows-best role. And finally, to really differentiate the new "90210" from the old one, they decided to cast a minority in a lead role -- Tristan Wilds, or Michael Lee from "The Wire," as adopted son/lacrosse star, Dixon Wilson.

Yeah, because hayseeds in Wichita -- like those hayseed Walshes from Minnesota -- play freakin' lacrosse. But I said I wouldn't compare shows ...

So yeah, obviously I'm thinking too much while watching "90210" -- which really defeats the whole point of watching it. And not being the authority on such matters, I can only guess that "90210" is trying to roll "The OC," "Gossip Girl" and "The Hills" into one deliriously fun package for teens who have video blogs and apparently dish out BJ's like party favors. And it'll probably work. The plot from the first two episodes barely had anything to do with "fitting in" on a realistic level, but instead, lurched forward into heavy relationship-make out-richy rich-macho in-fighting-drama that kids apparently can't get enough of these days. Even Principal Wilson, ever the responsible authority figure in a school full of Abercrombie and Fitch models, gets thrown into a messy sitch with the "Beverly Hills MILF" character/former teenage love interest who reveals -- GASP! -- they have a kid together. Nice.

The good? At least the teens on the show kinda look like teens -- not 28-year-old Ziering or 45-year-old Luke Perry worrying about that big zit on Prom night. And you can tell I'm getting old when I could care less about the "hot" teen actresses trying to be the new Mischa Barton or ... whoever the hell is on "Gossip Girl." I'll take Mama Wilson, a.k.a. Lori Loughlin, thank you very much. Yowza.

The bad? Everything, including the fact that Beverly Hills teenagers are too uppity to scarf down burgers at the Peach Pit anymore. They go to Peach Pit After Dark to drink wine, look ultra cool and talk about Sweet 16 parties where Tilly and the Wall are performing! (Ugh, don't ask.)

Ah, to be 17 and live in Beverly Hills! Seriously. Could this Calculus homework be any more useless to the glamorous real world full of insanely hot people that actually exists?

-- Thomas Rozwadowski, trozwado@greenbaypressgazette.com