THE 100 Bats Far Above "The 48"

Article first published as TV Review: 'The 100' - 'The 48' on Blogcritics.

Warning: The following contains some spoilers from the season premiere of The 100.

CW’s The 100 is back for a second season this week. As the premiere episode opens, our cast remains scattered after the chaos of the season-ending battle last spring. Clarke (Eliza Taylor) and forty-seven others have been taken below ground by a group of survivors trying to live much the same way people used to on Earth, hence the title of the hour, “The 48.” Octavia (Maria Avgeropoulos) lies dying from the poison arrow she is shot with, Raven (Lindsey Morgan) is stuck with an unexpected companion, and Bellamy (Bob Morley) tracks a captured Finn (Thomas McDonell) through the forest.

Clarke’s subplot gets the biggest focus, as one might expect, since she is the main protagonist. She wakes up in a white room, confused, not knowing where she is or how she got there. The 100 does a good job of communicating the terror of being in an unfamiliar environment, letting the audience see things through Clarke’s eyes, and only after a bit of action do we find out what’s going on.

Clarke soon meets Dante (Raymond J. Barry, Justified), the leader of the so-called Mountain Men. He and his people are generous, offering the ‘rescued’ teenagers clean clothing and good food. Much of the group is very happy to be there, but Clarke is suspicious, believing the whole thing is too good to be true. “The 48″ doesn’t tell us whether or not Clarke is right, as most smartly-written dramas keep us guessing, letting things unfold in such a way that Dante could be a hero, a villain, or something in between. It will be interesting to see how things with him play out.

Clarke’s story is intriguing, but The 100 is smart to divide its cast because it allows for other avenues to be explored at the same time. Various combinations of personalities can be tossed together, played with for awhile, then remixed to keep the story interesting. For example, Murphy (Richard Harmon) winds up spending time with one of our main group. No one likes him, but by constructing the story in such a way that a beloved cast member is forced to spend time with him, it allows the conflict needed for drama and keeps things moving along. Thankfully, “The 48″ doesn’t end this pairing in a predictable way, either.

What many viewers will be wondering throughout this initial installment is, where are those that fell to the ground from space? Abigail (Paige Turco) and Marcus (Henry Ian Cusick) do show up about two-thirds of the way through the episode. I won’t spoil where they enter or what they do, but one thing is definitely clear: their presence marks a shift in the balance of power. The kids, despite having been back on the planet for only a short time, have their own hierarchy and rules now. Does anyone really think their parents and elders will just join that framework? Of course not. Which makes for another thread I’m anxious to see more of.

Finally, there is one main character who appears to be done in last year’s season finale but is definitely not. I was quite surprised to see this person pop up in “The 48″ and I’m not sure exactly why the writers have decided to keep them. Yet, like most of the other story lines, this one is mysterious enough to draw one in, and I definitely look forward to seeing how the writers get this person out of the corner they’ve written them into.

I’ve striven to tease without revealing, but I found The 100‘s season premiere quite good. It picks back up nicely from where it leaves off, and it begins a number of new plots that should serve the show well.

The 100 airs Wednesdays at 9:00 p.m. ET on the CW.

Count to 100

Article first published as THE 100 Review on Seat42F.

THE 100 is the best show currently airing on the CW. I say this confidently having only seen a single episode, and without the first installment having been publicly aired yet. It still hits a few of the basic groaner elements that the teen-focused network always hits, but overall, it’s much more intelligently written and complexly laid out than anything else on that channel. It took a considerable amount of will power to sit down and write this review now, instead of marathoning episodes two through six first.

The premise itself is really cool. Earth was decimated in a nuclear war nearly a century ago, and 4,000 survivors from a dozen international space stations are all that remains of the human race, living in a massive structure in orbit known as the Ark. With resources running scarce, and reluctant to reveal this to the general populace, the leaders of the Ark decide to send one hundred juvenile delinquents down to the ground to see if the globe is livable again.

These kids are picked because they are expendable, criminals locked up for various offenses. The criminal justice system on the Ark has been wheedled down to just two penalties: an internment for minors and death for adults, no matter what the infraction. Hence why none of the away team is over the age of eighteen, though all are nearly that old, meaning a very high percentage of the youth get into trouble and face punishment in this society.

It’s a bleak portrait, one of a crumbling race. I love a good dystopian tale as much as the next person, and there are some nice bits of Battlestar Galactica, a terrific series taking place after mankind is almost extinct, mixed in, including actor Alessandro Juliani. With the stress level so high, it’s no wonder the teens act out, and so this all makes perfect sense in the framing of the enticing tale.

Even better, the politics of the commanders are explored. Current Chancellor Jaha (Isaiah Washington, Grey’s Anatomy) is hopeful the mission to Earth will save his people, and he’s supported by his doctor, Abigail Griffin (Paige Turco, Person of Interest). But Jaha’s second-in-command, Kane (Henry Ian Cusick, Lost), is much more pessimistic, and plans to start weeding the survivors, writing off the kids entirely.

I wish more of THE 100 centered around the adults. This arc easily makes up the best scenes of the pilot, and all three performers mentioned in the above paragraph are very good. While out of contact with those on the surface, they have to make tough decisions with little information, and the drama gets quite intense in the initial hour. I do wonder how the power struggle, which includes main characters on opposite sides so you know it’ll be drawn out, will shake down.

The only weakness readily discernible in this part of the show is the unequal way in which the law is applied. That would never stand in such a fragile balance, as the civilization teeters on the brink of anarchy. It’s necessary for the story, as presented, to break these rules, but one wishes the writers had come up with something a little more brilliant.

The stuff on Earth is a little weaker, mainly because it plays into the CW’s formula of having children act like grownups, and some of the personalities border on unrealistic. Clarke Griffin (Eliza Taylor, Neighbours), Abigail’s daughter, is our plucky hero, determined to succeed, noble and compassionate by nature. She is joined by the chancellor’s son, Wells (Eli Goree, Emily Owens M.D.), who got himself sent down on purpose to protect Clarke, feeling guilty for his part in what went down with Clarke’s recently executed father. There’s also wild, reckless Finn (Thomas McDonell, Suburgatory), but he quickly fills the role of nice guy putting on a front, making the girls swoon, and not causing any real mischief.

While these three teens are good, others are less certain. Octavia (Marie Avgeropoulos, Cult) is tasting freedom for the first time, having been imprisoned all her life just for being illegally born, though she has a better disposition than her brother, Bellamy (Bob Morley, Home and Away). As justifiable as the chip on his shoulder is, Bellamy shouldn’t throw in with creepy John (Richard Harmon, Continuum) as he does, as that spells nothing but trouble for them all. John and Bellamy don’t exactly enact The Hunger Games, but they do establish a (less violent) rule of those on the planet, and that will serve up the tension needed in the story.

I do think some of the stuff the kids encounter is pretty cool, including some unexpected changes on Earth, and a journey fraught with hidden dangers. As much as the adult section is superior, the younger generation shows promise, and as the talent hones their acting chops, they could hold their own on the show in a year or two. Yes, I know the youngsters are the ones referred to in the title, but in the premiere, at least, the mature players hold just as important a role.

For now, the worst parts I can see of THE 100 are still as strong as the better elements of most of the CW’s fare, and the scenes that are amazing raise it up. I’m not saying it would dominate on another network, though it could get by on any of the broadcast ones or even SyFy, but for the CW, it’s at the top of the pack.

THE 100 premieres Wednesday at 9 p.m. ET on the CW.

BODY OF PROOF Examined One Last Time

Article first published as DVD Review: 'Body of Proof - The Complete Third Season' on Blogcritics.

The final season of ABC’s Body of Proof  begins on a sad note, with Dr. Megan Hunt (Dana Delany) just getting back to work after three months off, a break taken following the death of her professional partner, Peter (Nicholas Bishop). To make matter worse, her daughter, Lacey (Mary Mouser), is kidnapped, and a bomb is hidden in a dead body. So Megan’s return is not exactly something to celebrate.

It’s kind of nice, though, to start with a case that will match the current tone of the series. With both Bud (John Carroll Lynch) and Sam (Sonja Sohn) gone from the cast, too, there is a sense of loss and emptiness anyway. By going down such a dramatic, depressing path, it allows the show to match the sadness felt by fans, rather than just trying to pretend that nothing has happened and move on.

Unfortunately, the replacements for those missing characters seem a bit too contrived. I like Mark Valley (Harry’s Law, Boston Legal), but his character of Tommy Sullivan, the new police detective that works with the Medical Examiner’s office, has a past with Megan. Yes, he is more magnetic than Peter, but the two men are far too similar, making every feel like replaceable archetypes. Why must TV shows force past connections? Why not allow new relationships to bloom on their own? Why does Tommy so neatly fill the role that Peter did? There’s both a sense of continuity, and one of overreach, right from the start of the run.

There are some things this third season of Body of Proof does correctly. It allows Megan to delve deeper into her father’s suicide, uncovering a cover up, and find closure. In fact, her story overall ends on a very hopeful note. The ensemble is still intact, with delicious friction between Megan and Kate (Jeri Ryan), and comic relief provided by Ethan (Geoffrey Arend) and Curtis (Windell Middlebrooks). Each member of the cast gets some nice bits of their own this year.

The final thirteen episodes are teeming with fantastic guest and recurring stars. Among those featured in The Complete Third Series are Henry Ian Cusick (Lost), Alan Dale (also Lost), Luke Perry, Joanna Cassidy, Richard Burgi (Desperate Housewives), Lorraine Toussaint (Saving Grace), Marissa Ramirez (Blue Bloods), Annie Wersching (24), Christopher McDonald (Harry’s Law), and Sharon Lawrence (NYPD Blue).

Of course, bringing in that kind of roster, especially while struggling to stay on the air, does seem a bit gimmicky. And the biggest issue with the show, that it concentrates too much on the case of the week, rather than the soapy drama between the characters, which is the bread and butter of most ABC series, is not overcome. But as far as procedurals go, this one is better than many.

Now that it’s canceled, Body of Proof will be missed, most especially because Dana Delany deserves to be on screen. She is a wonderful actress who can draw an audience, a fact proven in the multiple shows she has starred in. At least we have The Complete Third Season on DVD to rewatch and enjoy, as these are pretty solid installments, especially the series finale. Hopefully, she’ll be back before you know it.

This three-disc set has five bonus features, including an amusing gag reel. Other offerings include featurettes on the look of the production, the importance of props, a set tour, and the visual effects that make Los Angeles look like Philadelphia. It’s an appropriate amount of extras for the size of the release, and while none are super memorable, they do fit with what is presented.

Body of Proof The Complete Third Season is available now.

Why Once Upon a Time is the new Lost

 Lost was a seminal television series that changed the face of network offerings. Steeped in mystery, staffed with a large cast, questioning human nature and philosophy, the show took six years to play out, sometimes doling out the clues in tidbits, other times in waves.

When it came to an end in 2010, whether fans loved the ending or hated it, many were saddened. Why not? They devoted years of their lives watching the show, countless hours debating it with their friends, and became extremely invested in the characters. Losing such a treasure is a big blow, and not one easily recoverable. It takes a very, very special series to replace such a loss.

I believe that Once Upon a Time has the potential to be that replacement.

How can I say that, considering that the beginning of both shows are quite different? On their faces, one is a modern day tale about a group of strangers trapped on an island, while the other involves fairy tale characters traversing world and possessing magic. And yet, there is so much the two have in common. While Once Upon a Time fervor may not yet have hit Lost heights, it still can, especially if it continues to travel the same path, and as more viewers discover it online and on disc.

Some of these similarities are obvious. Both shows air(ed) on ABC. They share producers Adam Horowitz and Edward Kitsis. Both count Emilie de Ravin among their stars and Alan Dale as a recurring, but vital, player. One of the most beloved actors from Lost, Jorge Garcia, recently guest starred on Once Upon a Time. Both delight in surprising the fans, making quick turns that change the game.

But it goes deeper than that, by far. For one thing, both deal with differing personalities within the same person, and how these people present themselves to the world. When we meet John Locke (Terry O'Quinn) on the island, he seems confident and sure of himself, not afraid to take a leadership position. Then we learn his back story, and see what has led him to this moment, discovering he was once a very different person, but is now embracing the new Locke. Yet, he is still not done growing. Similarly, Regina (Lana Parrilla) is an evil Mayor / Queen, who has a past that has changed her into this person, which she embraces. Until she doesn't.

Both shows have very complicated characters that look a little odd, and may or may not be bad, but are played by such fantastic actors that the audience cannot get enough of them. I refer, of course, to Ben Linus (Michael Emerson) and Rumplestiltskin (Robert Carlyle). Do we root for them? More than we'd like to, sometimes. They have done detestable things, and deserve to be reviled. But any excuse to see them on screen is a good one, and when exposing their vulnerabilities, they are at their best.

Both shows feature different worlds. On Lost, this was a little less obvious, but the present day mainland is quite different from the island locale, and, in turn, the 1970s Dharma compound, in which several characters from this millennium spend some time. On Once Upon a Time, they've gone the more literal route, presenting Storybrooke, fairy tale land, Wonderland, and even a black and white horror realm. Each of these places has different rules and different players that familiar characters must navigate and interact with. But Storybrooke might as well be an island, isolated from the rest of the world, and obeying different laws of nature.

Both shows like to begin a season with a new setting and character, startling the audience, and making the series feel fresh. Desmond's (Henry Ian Cusick) introduction in the hatch is one of Lost's most memorable moments, making an impression that still amazes to this day. Meeting Neal (Michael Raymond-James) at the start of season two of Once Upon a Time feels like it is exactly in the vein.

Both shows have a huge supporting cast of characters, some of which appear often, and some only pop up from time to time. These characters can be connectors, tying central players together in unexpected ways, or they may arrive to teach a lesson, or begin a quest, or fall in love, or they may just be interesting side stories. Everyone has their favorites (Nestor Carbonell's Richard, or Jessy Schram's Cinderella, or Amy Acker's Astrid, or Katey Sagal's Helen, or Sonya Walger's Penny), but there is no telling how often they may appear, or what importance they will or will not hold.

Both shows have an annoying kid, and benefit when he is featured less. I'm sorry, even though Henry (Jared S. Gilmore) can be a decent addition to certain episodes, he is also a drag on plenty of others. Lost kind of has a similar problem with Walt (Malcolm David Kelley), whom they promptly have kidnapped, and then send home. This wouldn't work with Henry, as Emma (Jennifer Morrison) would become just as obsessed with finding her son as Michael (Harold Perrineau) does, which would ruin her character on the show, and she isn't as expendable. Walt still appears from time to time throughout Lost, and it he ends up furthering the plot and becomes not as grating over time. But less is more with many child actors, and the writers would do well to remember that.

Both shows feature a flawed savior. Everyone believes in Jack (Matthew Fox) most of the time, but he isn't always capable of making the best decisions. He is reluctant to assume the leadership role, but it is something he naturally falls back on because he wants to save everyone. He also has made mistakes in the past. Emma is like Jack, trying to be a good person and do the right thing, despite what she may have previously done, and she has the ability to be a protector, unlike most other characters.

Both shows are willing to execute major characters, or send them away, leaving room to inject new blood, or expand a smaller role. Lost did this repeatedly, with some of the casualties including Boone (Ian Somerhalder), Charlie (Dominic Monaghan), and Libby (Cynthia Watros). Once Upon a Time, not quite halfway through season two, has already killed off Sheriff Graham (Jamie Dornan), had August (Eion Bailey) go missing, demoted Jiminey (Raphael Sbarge), and promoted Belle (de Ravin) and Ruby (Meghan Ory). But as any good Lost fan knows, characters can return at any time in the most unexpected places, so I wouldn't count out any of these people yet. Not even the deceased Sheriff Graham, because...

Both shows feature flashbacks heavily, and often. Everyone knows that a good way to learn about a character is to explore their past. But most television shows use this element sparingly. Lost and Once Upon a Time build entire episodes around such back stories, making them significant chunks of the episodes on a weekly basis, and tying the past to the present. When done right, it's clever and entertaining.

Mysteries abound. Why can't the Storybrooke residents leave their town? How can the island move? Where is Rumple's son? What is the sideways universe? Who is Dr. Whale (David Anders)? How did polar bears get on the island? Some of these questions are answered quickly, others take a longer period of time. Some things will never fully be explained. But always keeping questions coming, never telling the full story, keeps the show energized, and brings fans back week after week.

Plus, they both like smoke (purple or black, it doesn't matter) a whole lot.

Will Once Upon a Time catch the wonderment and following that Lost possessed at its height? Does that really matter, as long as it is allowed to run for years, and play out a sprawling, intricate story? The point is, if you are a Lost-ie looking for something to fill that hole in your life and you haven't given Once Upon a Time a chance yet (past the first few, admittedly poor, episodes), you are missing out. They may seem like very different series, but they have major similarities that should definitely appeal to the same types of people.

Did I miss anything? The answer is most definitely (SPOILER ALERT!) yes. Feel free to weigh in on the comments below.


Jerome Wetzel has been reviewing television shows for years now. However, not every thought can be contained in an article about a single episode, and sometimes it's fun to look at the bigger picture. Join him each week in this wandering essay column as he ponders trends and genres, giving you his insights and opinions into the current state of television.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as Why Once Upon a Time Is the New Lost on Blogcritics.

Scandal takes all hats off

Grade: 92%

ABC’s SCANDAL is back this week with “White Hats Off.” The episode title is a nod to the frequent reference the characters in the series make to ‘wearing the white hat,’ meaning, acting like a hero. But what does it mean to be a hero? Does one necessarily have to follow the law? What role does justice play in deciding the right thing to do, and does the end justify the means? These are just a few of the questions that SCANDAL explores weekly.

In season one, the overarching story was of Amanda Tanner’s accusations against President Grant (Tony Goldwyn). As season two begins, there are two major plots, which is fine, given the increased number of episodes in which they can play out. Grant still figures in prominently, as he prepares for re-election. His wife, Mellie (Bellamy Young), manages to get pregnant, as she’d hoped, and spin the baby into a way of controlling the campaign and the president’s policies. Grant doesn’t take too kindly to this, striking back in a public fashion, even while maintaining the illusion of a happy marriage.

Mellie is more prominent in “White Hats Off,” which speaks to further sparring between the First Couple. On one hand, it’s great to see just how manipulative and selfish she can be, Bellamy playing the villain nicely. But it also brings out the worst in Grant, turning him into a worthy opponent for his shrewish spouse. This makes for very entertaining television.

On the other hand, though, it’s sad that a couple has to fight so much, and it will certainly make the election hard to win, as they risk imploding at any moment. They should be teaming up to concentrate on defeating Grant’s opponent, and instead, they are engaged in an internal struggle for power. It’s hard to say who will come out on top, but it definitely will not be the American people.

The worst thing about seeing President Grant go down this path is that it tears him away from the great man he can become. When he is with Olivia (Kerry Washington), it is true he is cheating on Mellie, but he is also inspired to be a better leader, to live up to what Olivia believes him to be. This isn’t so with Mellie, who tears him down. He will fail professionally, as well as personally, if he doesn’t cut Mellie off. His campaign could take a hit from a divorce, but by not seeking one, he is risking a bigger meltdown.

While the arrangement is not made one hundred percent clear in “White Hats Off,” it appears that Olivia is back at work on Grant’s campaign. As much as being with her makes him better, it sort of does the opposite for her. If he were single, it probably wouldn’t, but the doubts she has about herself because of her feelings for him and the in appropriateness of it all cloud her judgment in other areas. She has lost a lot of that brazen confidence first glimpsed in season one, and breaking away may be her only shot to return to form.

It can’t be easy for Olivia to find the strength to do the right thing, with everything else going on. Stephen (Henry Ian Cusick) has gone on to find his happiness, which is what she encouraged, but it’s taken him away. Olivia is in the business of helping people, and Stephen is a prime example of what she can accomplish. Unfortunately, by helping Stephen to grow, Olivia cost herself a confidante and close friend. This leaves her more vulnerable to her new, negative shift.

The second major arc this year involves Quinn (Katie Lowes), who we learned last season is not really named Quinn. As “White Hats Off” opens, she is being tried for murder by David Rosen (Joshua Molina). If she can be trusted, and given her position as a main character and Olivia’s faith in her, she probably can be, she is innocent. But that doesn’t mean that there aren’t a lot of questions about who she is and what happened to her.

Viewers get only a brief glimpse at the Quinn debacle in this premiere, but it is a rich taste. I won’t spoil who is involved for those who haven’t watched it yet, but suffice it to say, there is definitely a lot going on that we still need to know, and Quinn’s inclusion into the group does not come about by happenstance.

One does feel bad for Rosen. He is fighting hard for justice. Finding Quinn guilty might not be justice, but he doesn’t know that, and it’s not like Olivia is going to make it easy for him to lock Quinn up. Rosen just wants to solve a murder and put away the guilty party. And while Quinn may not have killed anyone (or maybe, as unlikely as it seems, the twist is that she did), she is guilty of other things, as is Olivia. Rosen wants to work with them because they can help him to do his job effectively. But listening to this group costs him a little bit of his soul each time, as even if they do right, they often do it while breaking the law.

SCANDAL worked last year because of the intricate, engaging mystery, the juicy plot twists, and the likeable cast of characters. All of these elements continue on par in season two, so fans should be satisfied with its return.

SCANDAL’s second season begins this Thursday on ABC.

Fringe stops a "Brave New World"

Time is running out for both universes featured in FOX's Fringe in the climatic "Brave New World." William Bell (Leonard Nimoy) intends to play god, creating his own reality, but to do so, he is going to destroy everyone else. Not only that, he is using Olivia (Anna Torv) to power the destruction, so as September (Michael Cerveris) told them months ago, Olivia must die. Which is why Walter (John Noble) shoots her right between the eyes, in front of his son, Peter (Joshua Jackson), who loves Olivia.

Could this have been a heart wrenching series finale for the strange sci-fi show that has surprised and delighted viewers for four years? No. No Fringe fan would have been satisfied with such a tragic end, Olivia dead, son hating father more than ever, and Walter sinking even deeper into a mire of guilt. We care too much about these characters, and what happens to them. It is beyond cruel to leave all three central people in a bad place.

And so, as Bell escapes, Walter finds a way to bring Olivia back. She learns she is pregnant. They all celebrate in the hospital, where Astrid (Jasika Nicole) is recovering nicely from her own wound. Happiness for all!

Or is it? What happens in "Brave New World" concludes many of this season's plots, including stopping David Robert Jones (Jared Harris) and saving the world. It's a nice, and understated, two part episode, lacking the big cliffhangers from years past. It's exciting enough, and features a wonderful guest spot by Rebecca Mader (Lost). Tt doesn't change too many rules, other than draining Olivia of the powers she once possessed.

But just a couple of weeks ago Fringe revealed its final mission, slated to play out next year, the last season there will be of the show. In the future, The Observers rule mankind harshly, and a couple of survivors, Simon (Henry Ian Cusick, Lost) and Etta (Georgina Haig, The Elephant Princess), who happens to be Peter and Olivia's daughter, pull Peter, Walter, and Astrid from amber to help save humanity. This is the final conflict, the last great challenge the Fringe team must face. This is what hangs over "Brave New World."

How did Peter, Astrid, Walter, and William Bell get frozen in amber in the first place? Where is Olivia? Why must they wait decades to stand up to their oppressors? Is this a future that can be stopped before it happens? And, in this episode, the future is shown with a blue theme song. Does that mean things will be restored to Peter's universe, where everyone remembers him, before going down this path? And if that is the case, how could William Bell still be alive? Will we even see the red universe and Lincoln Lee (Seth Gabel) again?

On top of all these questions, why isn't this future episode the season finale? Why tease fans with it, when it didn't really fit within this season's mythology, other than to build appetite for next year?

It's a strange game Fringe is playing. It pushes and pulls in unexpected directions, keeping people on the edge of their seats, always wondering what is going on. With only thirteen episodes left to tell the story, it's sure to be a wild ride. If the first four years are any indication, it will also be a highly satisfying one, full of things no one can predict except those who write the show. I can't wait!

Fringe will return to FOX for its final season next fall.

If you like my reviews, please follow me on Twitter! To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com

Article first published as Fringe stops a "Brave New World" on TheTVKing.com 

ABC has a genuine 'Scandal' on its hands

ABC's Scandal, a new drama by Shonda Rhimes (Grey's Anatomy, Private Practice) premiered this week with "Sweet Baby." Quinn Perkins (Katie Lowes, Easy Money, Super 8) gets a job working for her hero, Olivia Pope (Kerry Washington, Boston Legal, Ray), and has to jump right in. That's because Olivia is currently jugging two cases. In the first, the firm defends an American military hero, Sully St. James (Wes Brown, Heart of Dixie, True Blood), who looks guilty of murdering his gal. Secondly, U.S. President Fitzgerald Grant (Tony Goldwyn, Ghost, Law & Order: Criminal Intent) asks Olivia to make Julia Tannen (Lisa Weil, Gilmore Girls), who claims she is having an affair with Grant, go away.

This is not Grey's Anatomy all over again. For those who claim Private Practice and, especially, Off the Map are just retreads of Rhimes's popular series, Scandal is something completely different. For one thing, there's only one new kid on the block. For another, it's in crisis management, not medicine, so the setting will involve more than just one building. There are antagonists, not diseases. It is doubtful everyone in this office will hook up. And there are clear political views trumpeted, such as that homosexuality should be accepted. Not that that should be political, but currently, it is.

That isn't to say that there aren't some similarities. Grey's Anatomy and Scandal both boast career-driven, strong personalities willing to go above and beyond the demands of a normal job. The characters in both shows live and breathe their work, and are very good at what they do. Both examine an elite group of professionals who are tasked with being above their peers, the heads of their fields. And both are highly entertaining pieces of drama.

Olivia Pope does not run a law firm. Yes, lawyers work there, but they are in the game of crisis management, which means that they are only concerned about their clients. They don't go to trials, though one supposes that they might, at some point, since that option is available. But for now, all their work and research is put into just making a problem go away, which viewers quickly learn, they are extremely good at doing.

Their focus on the client also means that crimes don't necessarily get solved. They clear St. James, but don't concern themselves with finding the real killer. As such, Scandal does not even come close to copying the various other dramas currently airing on television. Loose threads may sit a little uneasily with some fans, who would like to know what really happened. But that's hardly the point of "Sweet Baby," which concerns itself more with human drama than crime solving, so nothing feels missing at the end of the episode, even though the killer isn't caught.

Scandal inhabits a specific world. As "Sweet Baby" shows, the series takes place in Washington D.C., which many regard as a hub of sin and secrets. With all of the nasty stories about politicians that come out in the news on a regular basis, there should be no shortage of material that Pope and company can deal with. It's the perfect town for this series to take place in.

At first, the central character, Olivia Pope, may seem infallible. She goes with her gut, which we are told is always right. But in "Sweet Baby," she allows her heart, or something lower, to overpower her instincts. Turns out, Julia is not lying, and Grant is sleeping with her, just as Grant once did with Julia. Showing this opens up a vulnerability within Olivia, and makes her character at once relatable and human.

This will clearly be the start of an arc for Olivia, with Grant and Julia, as well as Grant's right-hand-man, Cyrus (Jeff Perry, Grey's Anatomy, Nash Bridges), appearing in next week's preview. Adding a serial plot to Scandal not only allows for further character exploration, but provides a reason to tune in week after week. Especially when the tale is only just beginning, and much of the back story remains to be filled in.

As the window in for viewers, Quinn is initially overwhelmed by the firm's staff, and has to adjust to their tactics. There's Harrison (Columbus Short, Studio 60 On the Sunset Strip), her assigned mentor. Huck (Guillermo Diaz, Weeds, Mercy) is the tech whiz. Abby (Darby Stanchfield) is a hot mess, and lusts after co-worker Stephen (Henry Ian Cusick, Lost), who is spoken for.

A theme made clear in "Sweet Baby" is that each member of Pope's team, including Pope herself, is damaged and needs fixed. This group of people is terrific at solving other people's problems, just not their own. Olivia does her best to seem like the one who has it together, assisting Stephen in his proposal. But she, of course, is in need of work, too. Which makes Scandal's main characters and their chosen career ironic and interesting.

Outside of this group resides prosecutor David Rosen (Joshua Malina, The West Wing, In Plain Sight). He cooperates with Olivia to some extent, apparently because she gets results. She doesn't necessarily make his job easier, but at least she finds the truth. Will David grow tired of the hindrance Olivia and her team are to his job, or will he become a trusted ally who can help guide them on their mission? Only time will tell, but seeing as how conflict builds intrigue, it will likely be the former.

Scandal may spend a bit too much time in "Sweet Baby" hand holding Quinn (and the audience) through what is going on, instead of dropping right into the world, like high quality cable shows do. However, it is probably the best network pilot that has aired this season, full of fantastic actors and enticing plots. Watch Scandal Thursdays at 10 p.m. ET on ABC.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Scandal - "Sweet Baby" on Blogcritics.

Lost: Ab Aeterno

     This week's episode of ABC's Lost was called "Ab Aeterno", which translated to English means 'from the beginning of time'.  This was highly appropriate, as it was a very heavy mythology story.  Almost the entire installment was dedicated to the long awaited back story of Richard Albert (Nestor Carbonell).  As previously suspected, he did arrive on the island on The Black Rock, an old sailing ship.  It was revealed that he actually got there in 1867, and why he still looks the same as he did back then.

     The episode was also heavy on plot between Jacob (Mark Pellegrino) and the Man in Black (Titus Welliver) who have been on the island for a very long time, seemingly since the beginning of time, if the episode title is to be believed.  The big reveal here was why people were brought to the island, and to confirm that perhaps some castaways died when they made the right choices and atoned for their sins.  But this one was about Richard, and most of the Jacob / MIB plot was more reassuring past hypothesis than anything.  Obviously the MIB has chosen to take the form of now-deceased Locke (Terry O'Quinn).  This is just a guess, but perhaps he had to take a form other than his own to leave the island?  That's the only reason I can think of, besides O'Quinn's popularity and contract, that Welliver hasn't played him all season.  The question now is, who will step up and assume Jacob's role in the ultimate showdown between good and evil at the end of the season?  There will be another big mythology episode coming up shortly before the series finale, and presumably that one will tackle all further revelations about the duo that the series creators intend to reveal.

     That being said, we still don't know why Hurley (Jorge Garcia) can see and talk to the dead.  Obviously this is an extremely important point, and I want to know why.  My first instinct is to say that this rules him out as being Jacob's successor, but come on.  Many of the fans will be disappointed if it's Jack (Matthew Fox), thinking they took the easy way out.  Many of the fans will be disappointed if it's not Jack, because he is the obvious choice, and deserves the mantle.  Either way, it's going to be a delicate balancing act to satisfy all of the fans, though if any show can do it, Lost can.

     What's next for the Losties?  Well, obviously there is showdown of ginormous proportions coming.  It's good vs. evil.  People are choosing sides or trying to stay out of it, but everyone will be involved.  With only ten hours left, next week marks the halfway point.  And we've barely seen Desmond (Henry Ian Cusick).  Obviously, that's the real crime.

Scrubs, Chuck & Lost: missing persons

     Three of the best shows on television will be returning soon, but this time they will be down a few cast members.  Is it the economy, scheduling conflicts, or creative decisions?  I don't know, but it certainly won't be the same without them.

     Chuck returns in January, and Anna Wu, played by Julia Ling, will no longer be at the Buy More.  This is hugely disappointing to the fans, especially those rooting for her character and Morgan to work out.  Chris Fedak, co-creator of the show, gave a glimmer of hope, however, when he mentioned to Ausiello that although she is not in the original order of thirteen episodes this year, six more were picked up and they are still being written, so there's always a chance.

     Scrubs has undergone a complete makeover, and will be missing practically the entire cast.  Only Drs. Cox (John C. McGinley) and Turk (Donald Faison) will be starring in the new year, which is moving to med school, with only an occasional visit to Sacred Heart, the hospital the show has taken place at up til now.  Judy Reyes, who played Carla, only wanted to return full time, and because of the new setting, it was decided not to honor that.  She is not currently signed to return at all.  The show will even get a new narrator, with Zach Braff being reduced to a handful of appearances.  Fear not though, most of the former cast will pop up from time to time, and there are plenty of new faces that will hopefully continue on the very funny tradition.

     The most disturbing shakeup has been for Lost.  Henry Ian Cusick (Desmond) and Elizabeth Mitchell (Juliet) are out, the latter currently starring in V.  They are both set to appear a little, along with former cast members Ian Somerhalder (Boone), Rebecca Mader (Charlotte), Dominic Monaghan (Charlie), and the recurring Katey Sagal (Helen), and likely more.  But Desmond was arguably the best character on the show, and he already had only limited screen time last season, being off the island but not with the Oceanic Six.  Also, he was added later in the show.  Very disappointing.  The enjoyable Jeremy Davies is also gone, and not yet signed to return at all.  The bright spot, however, is who was added.  Joining Jack, Sawyer, Kate, Locke, Sun, Jin, Hurley, Ben, Miles, and Sayid this year as full time cast members will be Jeff Fahey (Frank) and Nestor Carbonell (Richard Alpert).  Emilie de Ravin will also star, after taking last season off, as will Zuleikha Robinson, who played Ilana last year.  This final season is a complete mystery to fans, but it should be nothing if not interesting.