Formulaic Television: The Networks’ Disturbing Trend

Article first published as Formulaic Television: The Networks’ Disturbing Trend on Blogcritics.

I regularly use the terms “serial” and “procedural” when referring to the structure of scripted television shows. If you’re someone who even occasionally reads my work, you’ll know I consider one of these a dirty word. Unfortunately, looking at the current broadcast television landscape, there seems to be a disturbing trend, which spells doom for the Big Four network TV for a very long time.

First, some brief definitions. A procedural drama fits each week into it a relatively rigid structure, using a signature formula to solve a case or a mystery of some kind. It’s also known as a case-of-the-week program, and is widely used in cop and lawyer shows. (In science fiction series, it’s sometimes called “monster-of-the-week). A serial sets up a longer-running story, with a continuing narrative. If you skip an episode, you may be lost about where the plot is going. This is popular among soaps (including those pretending to be heavier dramas) and genre shows, as well as the type of high-quality fare that usually wins awards. I think you can guess which of the two I like.

I do appreciate procedurals occasionally, and they can be good–especially if they give the viewers something new. Castle and Bones are both well done, and the acting and writing teams have managed to conceal the procedural skeleton so well, a casual viewer might not even recognize they’ve being re-fed the same stuff over and over. But too often, procedurals are subject to uninspired, lazy storytelling, and they can be boringly repetitive.  And the format’s severe limitations hold it back, serving an entertainment meal too bland and of little value: the fast food of the television world.

Right now, procedurals rule the primetime schedules of the Big Four – CBS, NBC, ABC, and FOX. Occasionally, the networks have experimented, and some of the more successful experiments include the soapy like Grey’s Anatomy and genre hit Lost, but by and large, the the networks continue to mass produce the procedural. And they’ve suffered for it in the TV ratings game, as the Big Four have seen their numbers erode more each season.

Viewers continue to flee these broadcast networks in greater and greater numbers. Although some ratings erosion is natural (It is accepted that, as a rule, each subsequent year will have fewer viewers), the current benchmark is to avoid losing too many viewers each year to the next new thing. Forget about holding steady, let alone gaining. There are exceptions, of course, but few.

Ratings erosion is largely blamed on the number of choices currently out there, and that’s fair. With basic cable networks, including FX, USA, TNT, SyFy, MTV, AMC now producing original content along with premium networks HBO, Showtime, and Starz, and the new streaming-only kids on the block like Amazon, Hulu, and Netflix, the field is getting crowded. That’s not even mentioning the growing number of web series and YouTube shorts. There are, these days, a heck of a lot more choices for your television viewing enjoyment. 

House of Cards, Game of Thrones, Breaking Bad, and Mad Men are among the series that people have gotten excited about, dominating social media, garnering critical acclaim and  awards show accolades. These series may never get the sort of conventional ratings the Big Four want (and need for advertisers), but they don’t have to please the advertisers–only the subscribers. It’s an advantage that an NCIS will never have.

The Big Four have been doubling down on their failed, losing model, and why not? Repetitive Procedurals get the most eyeballs, and NCIS, CSI, Law & Order: SVU, and Bones have been big winners for the broadcast networks in getting those important advertising dollars. However, the market for the the format may be shrinking, with younger viewers using new technology to seek out more relevant (and interesting) fare, and older viewers discovering that high-quality stuff is out there beyond the rabbit ears of broadcast.

The Walking Dead is a great example of this shift in viewing tastes. It is on basic cable, but pushes the boundaries of standard television fare. It’s gory and scary, but it also contains pathos and human emotion, with terrific character development and performances, and most importantly, the show makes you think. The Walking Dead is far from a procedural drama, yet, it gets more viewers than practically anything the Big Four are showing, and its audience grows every year. I’ve mentioned Game of Thrones, a soapy war of kings, that also achieves very high viewership (when you count the pirated copies that seem to be forever circulating). People are no longer content with just drivel.

Now, the best argument that can be made is that television networks care about money more than anything. Currently, the broadcast model gets the most out of commercials and ad sales, so they make more of the stuff that earns that immediate, direct income. However, this is not going to work over time. While there is still much struggle to monetize the way things are moving, there are subscription fees and other options, imperfect solutions, but not ineffective ones. Quality content can be charged for.

Over the next few years, this shift will continue, and the broadcast networks will fall further behind. Maybe they won’t even be relevant 20 years down the line. As the good stuff becomes more easily obtainable online and streaming to TVs, people won’t even consider checking out CBS, knowing they can find better elsewhere. When convenience reaches that tipping point, the Big Four will be left behind as a footnote of 20th Century entertainment.

Can the networks compete with all the cable and streaming fare? Sure. By taking the risk to produce the next Mad Men or The Walking Dead. Not all of network entertainment needs to be edgy and compelling, none of the cable nets air original programming every night in every slot. Let sports and reality and NCIS-style procedurals continue to pay the daily bills, but stop forcing Sleepy Hollow and Grimm to contort themselves to match some marketing VP’s model of “sure thing.”

At least, that’s my opinion. Feel free to add yours to the comments below.

BONES "Sacrifice" Rings Hollow

Article first published as BONES "Sacrifice" Rings Hollow on TheTVKing.

The characters in FOX's Bones have long been battling a super-smart, ruthless villain named Pelant (Andrew Leeds). That all ends in last night's episode, "The Sense in the Sacrifice," in which our heroes face Pelant for a final time, determined to stop him.

The beginning of the episode, in which the Jeffersonian team works up a plan to draw Pelant out of hiding, imitating his murderous style, only to be tricked by Pelant himself, who kills Agent Flynn (Reed Diamond), is brilliant. This is the kind of great writing the Pelant arc has highlighted on the show. They have created a bad guy who can anticipate everything, and can never be defeated, and it's amazing to see how he will stump the main crew next.

Which may be why, when they do defeat him, it feels hollow and doesn't quite work.

Pelant doesn't make mistakes. We've seen this over and over. But I buy Flynn managing to give the team a clue, giving them an opening. The problem comes when Angela (Michaela Conlin) and Hodgins (T.J. Thyne) use computers to figure out where Pelant is, and then Cam (Tamara Taylor) calls Booth (David Boreanaz) to relay that information, since it has been established that Pelant spies on everything electronic they do. They know it will only be a matter of time before Pelant discovers their progress, and given the precautions put in place to stall him, they might buy themselves a slight head start, but there's no way he misses all of this, so why don't they go off-line to avoid him learning anything at all?

What I really don't understand is how Pelant underestimates that time so poorly so that Booth has a chance to get in range and kill him. Yes, Pelant is waiting on Brennan (Emily Deschanel), whom he gave a separate set of clues to, and so doesn't want to run off too quickly. But Pelant hasn't played with Brennan nearly enough to think he could have swayed her yet, if he ever could. He's too smart to believe a single mystery would draw Brennan to his side, romantically speaking. And, knowing the team as he does, he should be able to better estimate both her rejection and when Booth can or will arrive.

It would be far more satisfying if the team outsmarted Pelant using novel, old-fashioned methods. By going back to their typical computer style, they open themselves up to vulnerabilities that surely Pelant would be able to exploit. Maybe the writers didn't leave Pelant enough weakness to truly have a satisfactory take down, but "The Sense in the Sacrifice" feels lazy, like they weren't even trying to anticipate the holes that could be poked in it.

This is echoed in the sequence in which the team, including Ms. Julian (Patricia Belcher), spy on Booth and Brennan in Pelant's lair. They want to see if their friends are OK, and I don't even blame them for lingering too long on the smooching couple, as until they see Pelant's body, they may worry about lurking danger. But without sound, how do any of them know Booth is sort of proposing? He doesn't get down on one knee. It's an unnecessary leap.

Bones is a solid series, for the most part, and has delivered many excellent stories. There are great elements in "The Sense in the Sacrifice," such as when Sweets (John Francis Daley), who is on leave from his job, is drawn back in because of his ingenious idea for stopping Pelant, the moment Mrs. Julian finds Booth heading out for a revenge killing, and when Brennan talks to Aldo (Mathew Zickel) in the bar about whether Booth will shoot Pelant.

Yet, the quality isn't consistent throughout the hour, unfortunate for a special installment that should long be remembered, a departure from the normal case-of-the-week. The show has done better in the past, and hopefully will do so again. It's just so disappointing that it falters now, at a time when all eyes are on them. Bones doesn't make many mistakes, but this episode is sadly one of them.

Bones airs Mondays at 8 p.m. ET on FOX.

"Family Conference" With THE NEIGHBORS

Article first published as "Family Conference" With THE NEIGHBORS on TheTVKing.

ABC's The Neighbors, which began last fall as a goofy, unliked "comedy," and grew into something sweet and charming by spring, returned for a second outing this week with "Family Conference." While celebrating their first anniversary as neighbors, the Weavers and the Joyner-Kersees discover their teenage children have been secretly dating, which throws everyone for a loop.

It's funny how, as much as the humans and the aliens grow close as friends, there is still a bit of prejudice against one another, and "Family Conference" pulls that to the forefront. It wasn't so long ago in our societal history that mixed race marriages were considered taboo, and this is sort of an extension of that, albeit among two clans who know each other well enough that there isn't hate so much as just fear of the unknown.

Not that I'm saying The Neighbors is a study in race relations. It's way too silly to take itself that seriously; the bits about what the offspring would like it prove that point. But it's admirable how they can a weave an element of that into a show that is plain funny. The aliens are unaware of Earth customs all that much, but they also consider themselves above such things at times, making for amusing clashes.

The show also tackles teenage romance, a familiar territory, putting its own spin on it. Amber Weaver (Clara Mamet) and Reggie Jackson (Tim Jo) have the normal emotional ground to cover, plus the added difficulty of their varied backgrounds. Reggie wants to commit to Amber for life, but has a soul mate, whom he dubs "Jane" (Megan Park, The Secret Life of the American Teenager) when she shows up this week, whom he is magnetically attracted to.

We don't yet know a lot about Jane and Reggie's connection. Clearly, there is chemistry and a literal attraction, but is this something Reggie can overlook to be with Amber? He states as much, but the end of "Family Conference" hints that it might be out of his control. It should make for a good plot this fall.

Another theme of "Family Conference" is the relationship between mothers and their children. Jackie Joyner-Kersee (Toks Olagundoye) wants to be the sole focus of Reggie's life and adoration, while Debbie Weaver (Jami Gertz) would be happy with any enthusiasm at all from Amber towards her. Both sort of get their wish, to a small extent, in this episode, but it's clear these are relationships they will continue to work at.

Larry Bird (Simon Templeman) doesn't seem to care a lick about Reggie's feelings, but that's in keeping with his character, not necessarily his sex. Marty Weaver (Lenny Venito) very much is concerned with Amber, even if he doesn't understand her. So I wouldn't say The Neighbors perpetuates gender stereotypes; it's just the characters at the center that seem inept at relationships. After all, Reggie is very in touch with his feminine side.

Besides these larger themes, the show operates on a joke-by-joke level, with the characters themselves being the real draw, and moments really working. Olagundoye continues to stand out as Jackie Joyner-Kersee, the alien who would rather jump through lasers in a catsuit than clap them off. Her younger son, Dick Butkus (Ian Patrick) has not outgrown the cuteness this adult-like child exhibits, serving as office manager and court reporter in this installment. And little Abby Weaver (Isabella Cramp) may just get the best scene this week when she shows she's the only one who really gets the relationship between Amber and Reggie.

Also, I recommend pausing the screen in the conference room whenever a profile of one of the leads is displayed on screen. Among other things, we get to see that the alien parents are well over 600 Earth years old, and the death dates for Marty and Debbie. Love it!

The last observation I have about "Family Conference" is when did The Neighbors on ABC become Bones on FOX? I'm used to Bones blatantly pushing product placement, with what are essentially car commercials integrated into the episodes and a shout out to the series airing after it, Sleepy Hollow, in this week's season premiere. Yet, The Neighbors does the same thing with Diet Dr. Pepper and Shark Tank in it's own first episode back. Product placement isn't new, it's just slightly disheartening to see it spreading so blatantly. It does not detract from either of these shows, yet if it continues to become popular, it could easily become a hinderance.

The Neighbors airs Fridays at 8:30 p.m. ET on ABC.

BONES Conceals "The Secrets in the Proposal"

Article first published as BONES Review Season 9 Episode 1 The Secrets In The Proposal on Seat42F.

Fans of FOX’s BONES have had a very long summer. Last season ended with Booth (David Boreanaz) calling off his engagement to Brennan (Emily Deschanel) because of a threat made by Pelant (Andrew Leeds). Now, three months later for the characters, and even longer for the viewers, we finally get to see what the fallout from that is in “The Secrets in the Proposal.”

Surprisingly, Booth and Brennan are still living together. Yes, they have a daughter, Christine, and she is certainly a factor in that decision. However, the fact that Brennan hasn’t dumped Booth yet, sticking around even after he cancels their wedding, reveals the depth of the emotion between them. They are not just a couple casually dating; this is real love, the kind that cannot be killed off by a psycho’s manipulation.

At least, for now. Brennan is getting tired of waiting for an explanation, and feels like Booth has been pulling away from her. Booth has a good reason to be avoiding his home, feeling guilty for hurting Brennan, and pouring his energy into looking for Pelant so he can end this pain, but she doesn’t know that. As such, Brennan feels like he may be done with her, and as hard as that is for her to accept, she considers moving on.

Booth is isolated from everyone. Boreanaz does a terrific job of showing us just how much Booth wants to confess the truth to Ms. Julian (Patricia Belcher), Sweets (John Francis Daley), Angela (Michaela Conlin), Cam (Tamara Taylor), or especially Brennan herself. All of these people are judging Booth and are not happy with his behavior. He is basically shunned from his social circle, which has to compound his pain ever more.

So it’s not surprise that Booth turns to someone completely unconnected with the situation to spill his guts to. This person is Aldo Clemens (Mathew Zickel, Newsreaders, House of Lies), a former priest and army buddy who now owns a bar. Away from electronics that might be spying, Booth can tell Aldo the truth, something Booth desperately must get off his chest. And Aldo listens with a kind ear, giving Booth the outlet and support he needs to keep going.

It’s disappointing that Aldo is someone who comes out of nowhere; it would be nicer if he had been mentioned or we’d seen him before. But at the same time, the role he plays must be someone completely out of left field who has no connection to Brennan or the Jeffersonian. As a fan of Zickel already, I am pleased with the new character, who reminds me a little bit of Dr. Gordon Wyatt, for some reason, and look forward to how he will integrate with the rest of the cast as the season plays out.

I won’t spoil what happens with Booth and Brennan, or with Aldo, but suffice it to say, there is definite movement in the relationship story in “The Secrets in the Proposal.” Things are not just punted down the road, and fans won’t be made to suffer for weeks as they wait to see what will happen between the couple.

The end of the premiere is a big taunt to Pelant. While the slight at the madmen is not intentional or meant to provoke, it will certainly bring him out of hiding sooner, rather than later, promising a somewhat fast pace for this fall’s larger story arc.

Of course, this being BONES, there is a case of the week in “The Secrets in the Proposal.” A CIA agent is murdered, and despite their personal problems, Booth and Brennan must work together to solve the case. There isn’t anything super special about this investigation, nor would one expect there to be after so many seasons. But it succeeds in being somewhat interesting, and not distracting from the story most fans really care about, so the episode is a good one.

The case also introduces us to Danny Beck (Freddy Prinze Jr., 24, Scooby-Doo), a CIA agent whom Booth is familiar with, and who sort of helps out. Though he is only briefly in the episode, Danny is said to be potentially recurring, so this could be the beginning of another story larger than one hour, something BONES has got to deliver more frequently as it becomes an aging procedural. Even if he only makes this one appearance, though, it’s a treat for Sarah Michelle Gellar fanatics to see her current husband on screen with her one-time-TV-lover.

The reason I watch BONES, while detesting most other similar shows, is because of the chemistry of the cast, and the entertaining way the supporting players interact. “The Secrets in the Proposal” contains some wonderful examples of this draw, such as when Hogins (T.J. Thyne) tries his latest experiment, despite Cam’s protestations, or when Daisy (Carla Gallo) tries to assert that her own failed relationship with Sweets can serve as an example Brennan can aspire to. This is why the show works, even when ithe plot does become rote for weeks at a time, and when combined with the bigger stories in this premiere, it positively soars for most of the hour.

I also liked the cross promotion for new FOX drama Sleepy Hollow, less intrusive than most of BONES’ implanted marketing.

Though, I do not really understand the title of this episode, or how it applies.

BONES returns Monday, September 16^th at 8 p.m.

"Secret" Kept From Bones

Article first published as "Secret" Kept From Bones on TheTVKing.

FOX's hugely popular Bones completes its eighth (!) season, still going strong, this week with "The Secret in the Siege." Pelant (Andrew Leeds) resurfaces, and this time he's using Sweets' (John Francis Daley) work against the team. But when Brennan (Emily Deschanel) proposes to Booth (David Boreanaz), Pelant is upset by the draw of focus away from him, and takes revenge in a very cold way.

Pelant is an intriguing and complex villain. It's incredibly hard to predict his next move, for both the audience and the characters. Yet, each new development makes sense for the character and the story. I know the bread and butter of Bones is procedural, case-of-the-week junk, but the good stuff is always when Bones goes a bit deeper than that. Bringing in a personality like Pelant has given intrigue and movement at a time when many series would start to go stale, keeping the show interesting, and rising it above its other, lesser peers on television.

"The Secret in the Siege" reveals just how involved Pelant wants to be with the main group of the series. His games get more and more personal each time, and it's like he wants to be a big part of their lives. Even though he only resurfaces every few months, he always tries to make an impact, and interact with them as if they know each other well. It's disturbing, but it works, as by this point his presence screws with everyone's heads, and often causes unfortunate mistakes when passion for revenge overrules common sense.

Pelant's main target is always Booth and Brennan, perhaps sensing that they are the leaders of the group, though he's fair enough to give focus to other cast members from time to time, such as invading Angela (Michaela Conlin) and Hodgins' (TJ Thyne) home. Sweets is a vulnerability, dealing more with the inner workings of a mind than the other characters. This presents a ripe opportunity for Pelant to not only mess with, but mess up, a main player mentally, without having to worry about inflicting physical harm, thus risking removing him permanently.

Rumor is, what Pelant does in "The Secret in the Siege" will have lasting impact on Sweets. I don't believe this episode really sets that up. Yes, we see Sweets grow frustrated, but by the end of the hour, he seems to be OK, even as everyone is disappointed at still not having caught Pelant yet. I could see this working if we are shown that Sweets spends a lot of time mulling over what Pelant has done, but that doesn't come through in this season finale itself.

An on-going theme, especially early in the series' run, is that Brennan is out of touch with human emotion and motivation. She deals much better in logic and fact. This bites her in the butt hard now, just when viewers may think she's made progress with a child and steady partner, by not taking into account Pelant's feelings. If she were more empathetic, she would know not to hurt Pelant's feelings, and that asking Booth to marry her would do so.

Brennan does pay the price, having to endure Booth's canceling of their engagement without being told the reason why. This is extremely hard on Booth, to be sure, but at least he has the knowledge that he is doing the right thing and saving lives. Brennan is just hurt by the person she cares most about, with no clue as to why. I wish Booth could give her some sort of signal, but given the stakes, I understand why he doesn't want to risk it.

Normally, throwing an obstacle in a key romantic relationship is a desperate move shows make to extend the tension. It doesn't feel desperate here. Maybe it's because we know Bones will forgive Booth when the truth comes out, loving him more for his nobility. Or maybe it's because Pelant is a brilliant foe whom I can't wait to see the team tussle with again. Whatever the reason, as painful as it is to watch the scene where Booth breaks Brennan's heart, there's an underlying impression that, despite tribulations, the couple will be all right in the end, and this makes the story good, rather than weak.

The only disappointment "The Secret in the Siege" brings is that Ms. Julian (Patricia Belcher) shows up with no mention or sign of her new love interest, one of the best developments on the series in recent months. But she's busy, so it's forgivable that he isn't on her mind right in this moment.

Bones has already been renewed for a ninth season, and will return to FOX in the fall.

Bones frees "The Patriot in Purgatory"

This week's installment of FOX's Bones is one of the best stand-alone episodes the series has ever made. I do not say this lightly, as despite it's procedural format, I highly enjoy the show most weeks. It may be the only procedural I hold in such esteem. The credit goes to a truly fantastic ensemble cast, and the quirkiness of the various characters. In "The Patriot in Purgatory," these people are taken to new levels of emotion.

The hour begins with Dr. Brennan (Emily Deschanel) bringing together her five best interns so that she can try out some coaching skills she learned from reading Phil Jackson's book. Yes, Brennan is finally into some small aspects of pop culture, most likely thanks to her ever-deepening relationship with Booth (David Boreanaz). She assigns these five to examine old bones with new technology in the hopes of identifying many remains that have never been named.

At first, the squad humorously argues and gets competitive, each trying to outdo the other ones. This is to be expected, as Brennan has, until now, created a fiercely competitive environment. Each jockeys for Brennan's favor, and tries to prove they are better than the others. Had this been the way the rest of the episode played out, it still would have been good, because seeing these personalities clash is entertaining.

Yet, "The Patriot in Purgatory" soon deepens when Vaziri (Pej Vahdat) becomes obsessed with a homeless man. Taking the ignored case to heart, as the police clearly didn't do a thorough investigation the first time around, Vaziri becomes obsessed with figuring out who this man is, even if he neglects the other bodies in the process.

It isn't long before his fellow interns are also drawn in by the mystery. Wendell (Michael Grant Terry), Clark (Eugene Byrd), Finn (Luke Kleintank), and even, eventually, Fisher (Joel David Moore) each lend their strengths, which differ from person to person, to the case. Only together, can they solve the puzzle. This is not only a display of what a great team the Jeffersonian has, and more proof that Brennan picks the right interns, but also an inspiring tale about a quest for justice.

Before long, the guys decide that their bones belong to a man who died shortly after 9/11 due to injuries suffered on that fateful day. Not only that, he is a soldier. This quickly draws Booth into the mix, becoming just as determined to solve the case as the squinterns, and everyone else helps, too. Thankfully, this time murder isn't involved, but there is a huge disservice being done to a guy who should be a national hero, and Booth will not rest until the truth comes out, and the body is honorably buried.

"The Patriot in Purgatory" is a holiday episode. Not many shows tackle a Veteran's Day theme, but Bones shows that an inspiring tale can be told at this time of year. It took such a series, with a character like Booth, who is devoted to the military, to do it right. While not based on anyone that actually lived, at least, not that I know of, it is a spotlight on the sad tragedy of what happens to many soldiers who return from war, and the neglected heroes living among us.

This also provides an opportunity for each of the squinterns to share their 9/11 story. Wendell's, in particular is sad, but Vaziri also gets to give voice to many an American Muslim who suffered on that day because of the actions of extremists. He reminds us that we should not hate the religion, which isn't really to blame, but the people who take it and twist it into something ugly. Christian history has plenty of similar examples. Let's not forget that.

In the end, tears flow, and viewers are left feeling deeply moved. There is some serious drama and character development here, all perfectly executed. This is why "The Patriot in Purgatory" deserves to be watched and remembered. And maybe, like the best of Christmas-themed specials, dusted off every few years to be rewatched and enjoyed again on the holiday it celebrates.

Bones airs Mondays at 8 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted on TheTVKing

Bones is the future and the past

Grade: 94%

BONES is back! Not just the series, which returns to FOX this week, but also the character affectionately nicknamed Bones by her partner, Dr. Temperance Brennan (Emily Deschanel).

The eighth season premiere, “The Future in the Past,” begins months after last spring’s finale. Brennan is still on the run with her baby, Christine, and father, Max (Ryan O’Neal), and she has been replaced at the Jeffersonian. But she hasn’t just been hiding. Instead, she has found one of Pelant’s (Andrew Leeds) early victims. She leaves clues for her old gang to find, and works discretely to help them in the goal of clearing her name and taking down a true monster.

As sad as it is to see Brennan’s office redecorated, it’s cool that one of her own interns, Clark (Eugene Byrd), gets the promotion. Sure, there is some push back by the rest of the staff, who don’t want to adopt his binder system. But at least he’s one of their own. It could have been some selfish outsider who wants to do things their own way, and would resist giving up the job if Brennan re-emerges. This would have been predictable and boring. With Clark, he takes his more experienced co-workers’ flack with grace, and works diligently to help Brennan, even if that means losing his prime spot. I’m not sure every squintern could have done as well in this situation.

Everyone on the team helps in their own way. The one who is the most fun to watch this week is Cam (Tamara Taylor). As the boss, she can’t act as openly in Brennan’s interests as everyone else. That doesn’t mean that she is an obstacle, though. She gets out of their way, even when she knows they are blatantly going against the rules and the law, and even stirs up a bit of mischief when she thinks she can get away with it. She’s really come a long way since joining the cast, and this attitude cements her as a humorous and important character.

These two character shifts, more than anything else, change the dynamics in the group. With Brennan in command, everyone is focused on a specific goal, and while they have quite a bit of freedom, their activities are pretty structured. Since Brennan is gone, Cam can’t lay the hammer down, and Clark has no desire to make friends into enemies, there is a wildness in this episode not usually present in the series. Characters keep secrets from one another in order to protect everyone, but it also strains relationships as loyalty and trust are tested. It’s a great, solid way to build a story, and it keeps things interesting eight seasons in. Better yet, we finally get to see just how smart and capable these people are individually!

It’s too bad as it’s not going to last. I won’t spoil the ending of the episode by revealing if Brennan’s name is cleared yet, or if things return to normal. But as a formulaic procedural, every fan knows that this is exactly what will happen, sooner rather than later. BONES is allowed to stray a bit from the weekly structure because its long tenure and high ratings have earned it the right to do something bold every once in awhile. But it refuses to change the foundation of the series because that could drive away long-time viewers, so status quo will be restored.

That being said, it’s still entertaining to explore various changes. Booth (David Boreanaz) is not only is missing his family, he’s been demoted. Flynn (Reed Diamond) is an intriguing new element, taking Booth’s spot, and proves to be a person whose motivations are hard to pinpoint. Ms. Julian (Patricia Belcher) is still suspended, which might make her a tad grumpier than usual. Angela (Michaela Conlin) is more determined than we’ve probably ever seen her. All of these things add up to make “The Future in the Past” special.

In “The Future in the Past,” we discover something very shocking about Hodgins (T.J. Thyne). Hodgins is many things, but a dangerous or violent man is not one of them. How much can a person take before being pushed to their breaking point? What is a good man capable of when people he cares about are threatened? This episode not only opens the door on a fresh side of the character, but also asks some tough questions, and exposes who Hodgins is at his core.

Another plot point of note is when Booth needs someone he can trust to offer protection when he can’t, he calls Sweets (John Francis Daley). The mind doctor has often lived up to his last name, and the relationship he has built with Booth is touching. The season premiere really tosses that in a different light, stripping away the goofiness and the ribbing to reveal what Booth really thinks of Sweets. Moments like these define a series, and this is merely one example of the strong emotions that bond the entire central cast.

Also, it must be said that BONES picks fantastic music! When a perfect song is needed for just the right moment, the series delivers, and this episode is no different.

All of this praise might make one think that the episode is perfect. It isn’t quite there, of course. The most glaringly obvious mistake is the wig that Emily Deschanel is forced to wear in this episode. Yes, it’s supposed to be hair dye, but it’s pretty obviously a fake, and an unattractive, poorly made one at that. Surely BONES could have spared a little budget to give its lead some decent hair?

Overall, BONES remains arguably the best procedural on television. The smart writing and brilliant ensemble raise it a notch above other case-of-the-week shows, and at times even put it up as a valid contender among those series that don’t stick to a formula. Eight seasons in, not only has the show lost nothing, it continues to grow better, adding more complicated situations, relationships, and villains. It won’t likely run for another eight seasons, but if it bows out anytime soon, it will do so at the top of its game, rather than just being put out of its misery.

BONES returns to FOX Monday at 8 p.m. ET.

Broken Bones

FOX's Bones does something unexpected with "The Past in the Present," this spring's season finale: it does not solve the case in one hour! As enjoyable as Bones is, mostly due to the colorful, talented cast of characters, it is still a procedural. Recently familial developments keep things moving along from week to week, but each episode still makes time to solve a murder. Except in "The Past in the Present."

Christopher Pelant (Andrew Leeds, Major Payne), whom viewers might remember from this year's mid-season finale, returns. Pelant previously matched wits with the Jeffersonian team, still managing to mess with them and control the investigation while under house arrest. For those hoping for Pelant's return after that first, brilliant installment, "The Past in the Present" comes a little late, almost after he is forgotten. But being set up as such a formidable foe, Pelant will surely return again at least once, hopefully several times, more.

In "The Past in the Present," Pelant murders Brenna's (Emily Deschanel) friend, Dr. Ethan Sawyer (Darin Toonder), then pins the killing on her. Evidence begins stacking up, first circumstantial, then concrete. The F.B.I. even finds Ethan's hair in Brennan's trunk! Due to Pelant's manipulations, Brennan is soon thrown off the case, followed closely by Booth (David Boreanaz), Sweets (John Francis Daley), and Ms. Julian (Patricia Belcher). Max (Ryan O'Neal) encourages his daughter to flee, but she hesitates, knowing that Booth would not approve, as he trusts the system that he devotes his life to working for.

In the end, Brennan makes a run for it with Max's help, taking her infant daughter, Christine, with her. Booth is furious, having been kept out of the loop, and knowing that it makes Brennan look guilty. Yet, as Booth refrains from punching Max, there's also a sense that he knows this is what Brennan has to do, and an understanding the Max is helping to protect the woman they both love. The case against her is too strong, and there have not been any breaks. Brennan would be found guilty and locked up if she stays. So running is her only choice.

This will be a huge disappointment to Cam (Tamara Taylor). She insists on working this investigation by the book, following every rule, even when it leads to casting more suspicion on Brennan. Hodgins (T.J. Thyne), Wendell (Michael Grant Terry), and especially Angela (Michaela Conlin) are bothered by this, wrestling with the moral dilemma. But Cam's actions are what keeps them on the case, when everyone else is removed, and her tears prove that it's not easy for her to betray her employee and friend. The only way they can help Brennan is by doing their jobs as thoroughly as possible. Brennan running away will not make the task of proving her innocent any easier.

There is an interesting moment in "The Past in the Present" where Brennan insists on Christine being christened before she is arrested. One might assume that her friends' unwavering faith in her innocence sparks a little bit of belief within Brennan as well. But as the episode ends, this does not seem to be the case. Maybe Brennan just wants to do right for the baby by Booth before she takes Christine away from her father.

But why does Brennan run with Christine? Couldn't Booth protect her more comfortably, not being on the lam? It's not like Booth would have to leave Christine with someone else while he looks for clues. Booth is off the case. Surely, taking the baby along is not a smart decision. Which is another sign of Brennan acting more irrationally, more human, since she has become a mother.

Brennan's feelings for Booth are confirmed fully in "The Past in the Present" when she tells Booth that she isn't with him just because of Christine. It's something fans are pretty sure of anyway, but one can see how Booth might have doubts, especially considering what Brennan is about to do. As such, this is a fantastic moment that really sells their relationship in a very real way, and shows Brennan's growth as a character, as she thinks of Booth's feelings. Great job!

The one thing that doesn't gel with this episode is why Booth is so hostile towards Agent Flynn (Reed Diamond, Dollhouse, Franklin & Bash), who takes over the case. If the two have a past, it's not been seen by fans, since this is Flynn's first appearance on Bones. Flynn is just doing his job, and surely Booth knows this. Brennan doesn't blame Cam and the others for continuing to work, so why does Booth blame his colleague? This could be chalked up to the stress of the situation, but it doesn't really seem in character for Booth to act this way.

Finally, what of the alarm clock that Pelant replaces in Booth and Brennan's home? Is it a bomb? Will the writers really destroy this new home that the couple have just built? So soon? Certainly, Booth will not be killed off, but taking away this sanctuary would be regrettable. Please don't!

Any way you slice it, "The Past in the Present" makes an exciting cliffhanger for Bones! Anticipation will be extremely high for next fall's premiere.

In the meantime, there is also the question of what to do with the extra, "stand-alone" episodes that were filmed this year. It wouldn't really make sense to air them this summer. Might next season be even longer than fans are accustomed to? Because that would be awesome!

Bones will return to FOX next fall.

Click here for every Bones review I've ever written. If you like my reviews, please follow me on Twitter! Please click here to purchase DVDs and streaming episodes of Bones. Article first published as Broken Bones on TheTVKing.com

Does TV, and CBS in particular, have too many crime dramas? Continue reading on Examiner.com Does TV, and CBS in particular, have too many crime dramas?

Cop shows. Crime dramas. Police procedurals. All of these are terms for a very familiar television trope. Many, many shows on the air feature a bunch of people in law enforcement investigating crimes, which are usually solved by the end of the hour. The people may vary, and different camera techniques and varying levels of humor may be used, but the simple fact remains that busting perps is a very common television series topic.

Most networks, especially the broadcast ones, available without a cable subscription, have their own version of this. FOX has "Bones." ABC has "Castle." NBC has "Grimm." But perhaps CBS is most guilty, filling the air waves with "CSI" and its spin-offs, as well as "Blue Bloods," "Hawaii Five-0," "Person of Interest," and now, as of last night, "NYC 22." The number of these programs beg the question: are there no original ideas left?

Television is often used as escapism. Some viewers, tired after a long day at work, wish for a form of mindless entertainment, where the good always triumphs over bad, and most issues are relatively black and white. But with so many options to fulfill this need, why do networks keep churning out program after program, adding more crime dramas to the schedule every year? Enough is enough. This quota has been met. Stop robbing the airwaves of fresh ideas.

Now, that is not an argument against getting rid of all crime shows. "The Killing" is a unique take, spending more than a season solving just one crime. Why not try more experiments like this? This is the polar episode of new series "NYC 22," which has nothing in the first episode that hasn't been done a hundred other times, and is the perfect example of why this needs to stop.

But that's not what the people want. It's the same reason the airwaves are flooded with mindless "reality" shows and singing competitions. Which makes people who care about quality weep, watching great, interesting, original series after great, interesting, original series bite the dust, while yet another one of these same-as-the-last cop shows gets renewed or ordered all of the time. Is this fair? Is this right? No, but that's not the way life is.

So what can be done? Well, stop watching the pulp, and start looking for shows that deserve your attention. Encourage your friends to do the same. Many people want to watch what others are watching so they can keep up with the conversation. Change starts somewhere. Let it be on your television screen.

If you like my reviews, please follow me on Twitter!

'Bones' faces a new bump in the road

This week, FOX's Bones presents "The Bump in the Road." Brennan (Emily Deschanel) finds it hard to concentrate on her work, now that her baby is in daycare nearby. Cam (Tamara Taylor) also had a mommy dilemma when her daughter, Michelle (Tiffany Hines), begins dating new-ish Jeffersonian intern Finn (Luke Kleintank). Will these parents be able to compartmentalize their kids and their careers, and still do right by both?

In the fall batch of Bones episodes, the new dynamic between Brennan and Booth (David Boreanaz) does not hurt the series at all. If anything, Bones becomes energized by the shake up. However, the same cannot be said of the past two episodes, which are more baby-centric. Yes, it's nice to see Booth and Brennan have a little family, and the scenes featuring these two are mostly authentic and sweet. Bones has always been good at writing the romantic stuff. It's Brennan-as-a-mommy that they have yet to figure out, and so other parts of "The Bump in the Road" come off as clumsy.

Brennan studies human behavior, without fully understanding how to fit into social interaction herself. It's always been a part of her character, so it's no surprise that being a mother is an adjustment. However, the overwhelming emotion Deschanel lets slip into the part glosses over this. This is not the complaint, as it isn't a surprise that giving birth could change a person.

However, to hear Brennan endlessly talk about motherhood doesn't feel all that authentic. The scene where she catches Angela (Michaela Conlin) hiding her own child in a file cabinet is worse. Sure, it's believable that Angela might sneak her kid into the lab, but the whole thing feels like a staged set up to give Brennan something to babble about. The way Brennan is now being written just seems a bit fake. It's like the writers know how they want her to act, but haven't quite mastered how to make it happen at the same level they were writing the character previously.

Booth fares a bit better, but then, he's not the mommy. His scene with Special Agent Shaw (Tina Majorino), where she admits to having a child, also feels staged. The fact that she acts awkwardly as Booth stumbles for something to say, settling on praising her motherly abilities, of which he has not witnessed, saves it. He act authentically out of step after such a weird confession, and she also looks uncomfortable. This works, even if the initial conversation does not.

Cam, too, is written weirdly in "The Bump in the Road." She is a cheerleader and mentor for Finn, until he wants to date her daughter. Understandable. But then Cam implies that her concerns are about Finn's past, which has already been justified to her and the audience. Why not have Cam express hesitation because of how she sees Finn treat a girl in the diner at the beginning of the episode? That would feel much more real. And without her bringing it up later, instead, using other excuses, why even have that scene?

The lack of focus on this week's case is not a problem. Bones is at its best when it lets its character breathe, and doesn't stick them stringently into the crime formula. But since the characters have all undergone big shifts, and the writers haven't completely adjusted yet, "The Bump in the Road" feels like a mediocre effort. Perhaps it should have been a practice script that didn't see the light of day.

Given the long track record of greatness that Bones has, things will probably get sorted out, hopefully sooner, rather than later. Watch Bones Mondays at 8 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Click here for all of my Bones reviews. Please click here to purchase DVDs and streaming episodes of Bones.

The Finder looks for a couple of "Bullets"

     FOX launched the Bones spin-off, The Finder, last week. This week, episode two, "Bullets," finds Bones character Dr. Lance Sweets (John Francis Daley) arriving in Florida to determine if Walter Sherman (Geoff Stults, October Road, 7th Heaven) is crazy or not. Sweets's opinion will determine whether Walter will be permitted to continue to work with Deputy U.S. Marshal Isabel Zambada (Mercedes Masohn, Chuck, Quarantine 2: Terminal), or any other government official, for that matter. Sweets accompanies Walter as he searches for two bullets, in a swamp that has been paved over, in order to save a man from execution. What Sweets discovers doesn't exactly put his mind at ease. But the good doc does get to see the benefits of Walter's work, which is enough to convince Sweets to clear him for six months.

     Admittedly, The Finder seems like a slight twist on a tired concept. There are so many crime series already clogging the network television airwaves, that another one is rarely welcome. Yet, The Finder bubbles with unique characters and amusing situations, so much so that it manages to be highly entertaining. Considering it is a spin-off of Bones, arguably one of, if not the, best procedurals currently running, this shouldn't be all that surprising. And yet, it is, especially with this smaller cast, and a setting that is featured in many competing shows like Burn Notice, Dexter and CSI: Miami. Somehow, The Finder manages to be more than watchable, and slightly addictive after a mere two episodes.

     A large portion of that can be attributed to the cast. Stults is perfect as the brain-damaged man obsessed with finding things, and with a knack for uncovering the truth of any situation. Michael Clarke Duncan (The Green Mile, Armageddon) shines as Leo Knox, Walter's soft-spoken, extremely loyal lawyer, who devotes his life to protecting Walter in a variety of ways, from preparing food, to running interference on those who would disturb Walter's work. Mashon has had less to do in the first couple of episodes than the guys, but is likable enough to spark some interest and the hope she becomes more developed soon.

     Rounding out the cast is Maddie Hasson (God Bless America) as Willa, a troubled teen who is on probation, and looked after by Leo. She might be, perhaps, the most interesting of the group, given that her history remains her murky, and her motivations unclear. Willa gets some really interesting plot in the "Pilot," but less so in "Bullets." This week, she merely hangs out with a cute guy, then, learning he is a douche, walks away, leaving him to take the rap for a car they steal. She is a bad girl, who can be good when she wants to be, which certainly isn't always. Of course, Leo will rub off on her, and she will turn over a new leaf soon. But what will be the result of that, and what will she bring to the team when she starts helping them on their missions, as she eventually must? These question make her pretty darn intriguing.

     The case of the week in "Bullets" is pretty neat. A cop is killed twenty-years ago, and Walter is asked to clear the convicted murderer's name. The swamp where everything happened is now paved over, so finding the bullets proves difficult. Plus, colorful characters, such as a couple of Miami Vice knockoffs, a slimy IA officer, and an exciting, humorous shoot out keep things interesting. And yet, even with all of these distractions, Walter somehow manages to find what he is looking for. Sure, sometimes the plot stretches reality here, but the writing is clever enough to seem plausible, if unlikely. It's also really cool to see how Walter's brain works, including figuring things out while hypnotized, resisting control from Sweets, and building models.

     A story point that is a bit odd is that Sweets is sent to Florida, since surely there are qualified mental health professionals nearby, and one does not need to be sent from Washington D.C. Though not mentioned, perhaps Sweets's friends, who met Walter last spring, pull some strings to send their guy, thus providing Walter with someone they think will give him the fairest chance. And Walter is a great character to pair up with Sweets because of the various neurosis both have. So it works out very well, and hopefully Sweets will return in six months to re-evaluate Walter.

     In summary, The Finder manages to be a pretty great show, despite a number of factors working against it. Only time will tell if it can maintain some of the elements that make it great, which, by necessity, will have to evolve. But it's off to a good start.

     Watch The Finder Thursdays at 9 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

"The Crack in the Code" doesn't help Bones

     FOX's Bones ends its current run of episodes with "The Crack in the Code" this week. A partial body is left on a Lincoln statue, and an examination reveals a cryptic message. The team uses this information to find the rest of the remains, as well as the murder site and who the killer is. The problem, though, is that the guilty party, Christopher Pelant (Andrew Leeds), is a tech genius who is confined to his home, which gives him an airtight alibi, as his ankle monitor says he has been there the entire time. Yet, his toying with the team, and scenes shown to viewers, indicate he has a plan that isn't even close to done. Also, Booth (David Boreanaz) finds a new home for Brennan (Emily Deschanel), himself, and their unborn daughter.

     It's been a little while since Bones faces a might foe. Sure, there was the sniper last season, but he only did a few episodes, and was caught relatively quickly, with little personal interaction. By contrast, Pelant seems more like an earlier villain, who is well developed, a worthy match for our heroes, and also might engage in a contest of wills as much as of smarts. His taunting of Booth and Sweets (John Francis Daley) in "The Crack in the Code" is creepy enough. But Pelant's remarks about Hodgins (T.J. Thyne) are downright worrying.

     As far as brains go, Brennan may have met her match. Pelant fries Angela's (Michaela Conlin) computer with a fractal pattern carved into bones! Who can do that? His clues trip up the whole team, and any progress they make, such as finding the scene of the original crime, is what he allows them to make. He seems to be steps ahead, and acts incredibly confident during his interrogation. He even takes down a well-known reporter to cover his tracks, a bold move few would attempt, as it only draws more attention. He has tricked his monitor somehow, and it really calls into question how the Jeffersonian crew will be able to prove he is involved in anything. They fail at that in "The Crack in the Code."

     Pelant also seems pretty scary. With one squintern biting the dust last year, Pelant's higher stakes, more complex game puts the main characters into jeopardy. Who is really expendable? Might Bones consider ditching a beloved favorite after so many seasons? While it would hurt considerably, it's hard not to hope for a big time murder, considering it would really shake things up and breathe new life once more into the series. Not that new life is needed, but it's always welcome.

     The development of Booth and Brennan finding a house is much more heartwarming. The two search high and low, but are unable to find something within their price range that meets the wants of both partners. Until Booth buys a really rundown place at an auction. It needs work, but he's handy enough. Also, it's a great deal, financially, something necessary because Booth wants to put in at least half, and he makes considerably less than Brennan. Her comments about the house's "bones" may be a little on the nose, but it also makes one smile. It's so exciting to see where these two are heading next, as they are on a wonderful path at the moment!

     Watch Bones Thursdays at 9 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

     Click here for all of my Bones reviews.

     Please click here to purchase DVDs and streaming episodes of Bones.

Bones sifts through "The Memories in the Shallow Grave"

     A woman's body is found by some paintball players in the seventh season premiere of FOX's Bones, "The Memories in the Shallow Grave. The team quickly becomes confused when identifying the remains and solving her murder, since the woman herself lost memories, and lived more than one life. Still, the squints are good, and eventually they sort out the mystery.

     Dead bodies might be interesting, and the meat of Bones's concept, but the one featured in "The Memories in the Shallow Grave" takes a back seat to the relationship between Booth (David Boreanaz) and Brennan (Emily Deschanel). Picking up months after the season six finale, in which Brennan reveals she is pregnant with Booth's baby, the two are now fully committed as a couple, spending all their personal time together, as well as work assignments. It's a little sad that viewers miss most of the adjustment phase, they two already being a pretty happy couple as Bones resumes the new season.

     There is one major stumbling block to this long-awaited union however, and that is where the couple will live. Brennan thinks it is logical for him to move into her place, but he is angry that she seems to make that decision without him. It's a battle of brain versus emotion, an interaction that plays out many times between the partners over the years. This is merely the latest instance that it manifests in. Of course, in the end, Brennan gives in. She has to, because she's wrong. Maybe not for an intellectual standpoint, but relationships are not about intellect.

     Even more interesting, Brennan and Booth both think the other will end up proposing first. It's about time they got together, and they both seem to have decided that their marriage is a foregone conclusion. Which is kind of a relief after so many years of "will they, won't they?" It also makes sense, because it's not like they both haven't had plenty of time to think it over. Instinct says Booth will probably do the asking, but that may not necessarily be true. Brennan is flooded with hormones that make her more in touch with her feelings than usual. Plus, it would be a fun twist.

     It's awesome that they shut Sweets (John Francis Daley) out of the entire matter. He is a friend, yes, but sometimes he seems them more as an interesting case study than people. This is best left for the two of them to work out, without his interference, as much as he'd like to be in the thick of things. Maybe Sweets just needs to concentrate on his own love life instead of theirs, since they've moved past needing his help.

     Elsewhere on the baby train, Cam (Tamara Taylor) in none too pleased when Angela (Michaela Conlin) sneaks her baby into the lab to visit daddy Hodgins (TJ Thyne). Sure, Cam thinks the kid is cute, like most people. She's not immune to the infant's charms. But she's also the boss, and she is correct that babies don't belong in a place of business. Especially not a place like the Jeffersonian lab, with tons of dangerous and fragile equipment and chemicals. As such, it's hard to get upset with Cam, no matter how sympathetic the new parents are.

     Wendell (Michael Grant Terry) is the lucky squintern to appear in "The Memories in the Shallow Grave." He doesn't get anything particularly juicy to do, but watching him try to sooth Cam's ego when she realizes that pregnant Brennan is far more intimidating is great. Plus, it's nice to see him being OK with losing Angela to Hodgins, after a bit of an awkward period.

     Watch Bones Thursdays at 9 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

     Click here for all of my Bones reviews.

     Please click here to purchase DVDs and streaming episodes of Bones.

Blu-ray Review: Bones The Complete Sixth Season

     Now out on Blu-ray and DVD is Bones The Complete Sixth Season. Year six begins with "The Mastodon in the Room," in which the team comes back together, after many months apart, to help Cam (Tamara Taylor). The absence has made Brennan (Emily Deschanel) realize that she wants to be with Booth (David Boreanaz), but in the interim, he has moved on with Hannah (Katheryn Winnick). Similarly, Daisy (Carlo Gallo) tries to reconnect with a jilted Sweets (John Francis Daley). But back together again, they all understand they are strongest together, no matter what personal woes plague them.

     The sixth season of Bones is an excellent one, with many fun highlights. In "The Maggots in the Meathead," Brennan visits the Jersey Shore to interact with Guidos, a cultural group she is very interested in. "The Body and the Bounty" finds Professor Bunsen Jude, The Science Dude (David Alan Grier), coming to the Jeffersonian to shoot an episode of his popular series. "The Bikini in the Soup" is an amusing Valentine's Day case. Many pairs of dismembered feet wash to shore in "The Feet on the Beach." Also, Angela (Michaela Conlin) and Hodgins (T.J. Thyne) welcome a child.

     But season six isn't all fun and games. "The Bullet in the Brain" brings with it the assassination of longtime foe, the Gravedigger (Deirdre Lovejoy), and kicks off Booth's hunting down of the shooter, his former friend Jacob (Arnold Vosloo). Even worse, before Booth can stop Jacob, the bad guy kills beloved squintern Vincent Nigel Murray (Ryan Cartwright), a tragedy that hits the entire team pretty hard. In the aftermath, taking comfort in Booth's arms, Brennan ends up (SHOCKER!) pregnant with his baby, a fact that will surely lead to all new chemistry between the leads in season seven.

     Among the other milestones in The Complete Sixth Season, Bones presents a backdoor pilot in "The Finder," introducing a couple of characters who will be headlining their own spinoff later this year or early next. It's a decent episode with an interesting concept. Because Bones will be doing a reduced number of episodes to accommodate Deschanel's real-life pregnancy in season seven, several Bones characters will appear in episodes of The Finder, further tying the two together. As such, this is a very important episode, in the universe of the series.

     Bones belongs on Blu-ray. With its special effects and detailed settings, HD is the best way to enjoy the series. Bones The Complete Sixth Season's Blu-ray release is in 1.78:1 widescreen high definition with English 5.1 DTS-HD Master Audio. Which means things look and sound crystal clear. I'm supposed to talk about just how good the picture quality is with any Blu-ray release, but to be honest, if you've seen one recent television show on Blu-ray, you've know exactly what this looks like. That isn't the point, though. Why would you want to watch Bones in anything but the best quality available?

     Extras are a little sparse, but the ones included are chosen well. Two episodes, "The Bikini in the Soup" and "The Daredevil in the Mold," are extended slightly. Audio commentaries are available on two other installments, "The Doctor in the Photo" and "The Blackout in the Blizzard," both heavily emotional entries for the character of Brennan. Additionally, "The Blackout in the Blizzard" has an eight plus minute behind the scenes look at the making of the hour, as the actors talk about doing a bottle episode, and the great elevator set.

     There is a twelve minute featurette on the visual effects of Bones, which will open fans' eyes to just how much goes into the show. After all, it is filmed in Los Angeles, but familiar Washington D.C. landmarks frequently appear in exterior backgrounds. On top of that, the special delves into adding sky and extras in "The Maggots in the Meathead," creating an underwater experience for "The Finder," and making a body explode in a visually stunning way. This will make you appreciate just how much technology and effort goes into each and every episode of the series.

     Plus, there's a four and a half minute gag reel. Those are always fun. And the pilot of AMC's remake of The Killing is included, presumably to entice customers to purchase that series on Blu-ray or DVD as well. If you haven't seen The Killing, it's great, and you really should check it out. Though it is a completely different series than Bones, so not sure about the wisdom of the pairing.

     Buy Bones: The Complete Sixth Season today, and don't miss the Season Seven premiere on November 3rd!

     If you like my reviews, please follow me on Twitter!

     Click here for all of my Bones reviews.

     Please click here to purchase DVDs and streaming episodes of Bones.

Article first published as Blu-ray Review: Bones - The Complete Sixth Season on Blogcritics.

Bones makes "The Change in the Game"

     FOX's Bones gives viewers a comparatively mediocre season finale, compared to others they have done, save for the final moments. With the take down of the sniper who plagues the team this season, along with a fairly significant death, occurring in the penultimate episode, most of "The Change in the Game" deals with a normal, standard case. Booth (David Boreanaz) and Brennan (Emily Deschanel) go undercover in Max's (Ryan O'Neal) bowling league to find out who has killed a man found among the pins. Angela (Michaela Conlin) goes into labor, but a video link to the Jeffersonian keeps her and Hodgins (T.J. Thyne) more or less working the case up until the baby arrives. However, the end of the episode has a big, game changing reveal, in keeping with the hour's title.

     Brennan is pregnant with Booth's baby. Their sexual hookup comes as comfort after losing an intern in the previous episode, and takes place subtly and off screen. In fact, there is disagreement among the fans about what exactly occurs between the two in the bedroom until Brennan makes her announcement. It truly is "The Change in the Game," as Brennan and Booth dance around each other romantically, and have been for years. This development will force them to mature into a couple quite fast, as both are happy about the baby, and want to be good parents to it. The writers are smart to skip the dating phase of their relationship, avoiding pratfalls that can come by changing the characters too much with early stages of love. Instead, strong feelings growing over many years will suddenly manifest in a big way.

     What should be very interesting is how the expecting parents will interact with the new ones. Angela and Hodgins are sure to raise their child very differently from B and B, so all sorts of conflict may arise between the two parenting styles if advice is given. One baby following so closely on the heels of another will shake up much of the team dynamic, and should reinvigorate a show that is going into its seventh season.

     During the labor alone, plenty of humor is provided as Cam (Tamara Taylor) and Wendell (Michael Grant Terry) try to figure out Angela's equipment, and mess it up. For anyone who thinks Angela has the cushy, easy job, being the artist in residence, all such notions are dispelled as the two co-workers discover just how hard it is to operate the various computers that allow Angela to help solve the murders.

     At the bowling alley, there is also a fun story, as Max's bowling teammates include the overconfident Hercules (Kevin Alejandro, True Blood, Southland) and the precocious teenage boss, Chance (Kristin Quick, The Secret Life of the American Teenager), as well as a rival team of colorful characters. The B's go undercover as a lower class engaged couple, and all sorts of hilarity ensues. While this isn't too far off of a standard case, the inclusion of such interesting side characters do make the story pretty entertaining.

     Bones also stars John Francis Daley, and will return for a seventh season next fall on FOX.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     Please click here to purchase DVDs and streaming episodes of Bones.

Article first published as TV Review: Bones - "The Change in the Game" on Blogcritics.