Experience THE GIRLFRIEND EXPERIENCE

Article originally published as THE GIRLFRIEND EXPERIENCE Review on Seat42F.

In 2009, Steven Soderbergh released an interesting little film called THE GIRLFRIEND EXPERIENCE. It followed a high-class escort named Christine (porn star Sasha Grey) who worked under the name Chelsea, providing the illusion of a relationship for men who could pay (a lot) for it. Now Starz, with Soderbergh producing, is bringing that world to the small screen in a weekly half-hour (non-comedy) show, premiering this week.

This time around, Riley Keough (Mad Max: Fury Road) plays Christine / Chelsea. Instead of glimpsing a few select days, this version of THE GIRLFRIEND EXPERIENCE delves into why Christine would get involved in prostitution in the first place, as well as how she balances a “normal” life with her nighttime work. It’s a fascinating character study of a ripe, but little-seen, subject, begging for a series such as this.

THE GIRLFRIEND EXPERIENCE rises and falls on Keough. Only spending a small amount of the running time with her clothes off, she has to have acting talent to remain captivating, something less of a concern in a film. Keough is Elvis’ granddaughter, and has a sex appeal like the King, but in a more reserved way, which left me unsure if she was any good or not through at least the first episode. Yet, the more I watched, the more I was captivated by her performance, which mixes an almost cold woman in her personal relationships with someone who craves the attention and power one gets from selling one’s body. She’s very interesting.

Christine becomes aware of this career option through her friendship with Avery (Kate Lyn Sheil, House of Cards), who already has a steady man financing her life. At first, Avery seems to want to show off and maybe shock Christine a little. But once Avery introduces Christine to her version of a pimp, Jacqueline (Alexandra Castillo, The 6^th Day), Avery becomes uncomfortable with how successful Christine becomes, almost overnight, knocking their pairing out of alignment.

This friendship is a lynchpin in the early episodes, but seems like it probably won’t be in the near future, despite Sheil being listed as a main player. The dynamic between Avery and Christine is a strange one, as much about competition as it is affection, and with no other friends shown, the more we see of Avery, the more she seems to reflect something about Christine. I’ll let others debate if this says something about female bonds in modern society, simply stating it makes for good TV.

THE GIRLFRIEND EXPERIENCE doesn’t stay confined to the sex trade. We follow Christine to her internship at a prestigious law firm, where she works for partner David Tellis (Paul Sparks, Boardwalk Empire). Christine’s relationship with David is a strange one, too, Christine not seeming to fit into the normal framework of human interaction, and I can’t help but wonder how soon it will be before David gets pulled into her after-hours work. It seems an inevitability to me.

What is compelling about that, though, is the inclusion of Erin Roberts (Mary Lynn Rajskub, 24) as a core cast member. Erin works with David, and is nice enough to Christine. But I can’t see Erin approving of any personal relationship between David and his underling, and that seems like fertile ground for THE GIRLFRIEND EXPERIENCE to move to once it gets through the Avery arc.

And this is just skimming the tip of what this show could be. Delving into the mind of a smart, driven woman who makes some choices outside of the social norm (and hangs with creepy older gentlemen) is fascinating stuff, and this show is a lot more than just a titillating tease. Sure, I assume we’ll get some juicy kink eventually, but that’s not what the main draw is, and I would recommend it to anyone, male or female, who likes original quality entertainment. It’s a very well made show, with atmosphere and pacing that set it apart.

THE GIRLFRIEND EXPERIENCE premieres this Sunday on Starz, which , for those who have abandoned cable (like myself), is now available as a subscription through Amazon.

24 LIVEs ANOTHER DAY

Article first published 24: LIVE ANOTHER DAY Review on Seat42F.

Jack is back. This week brings the revival of the popular series 24, four years after it went off the air, in a twelve-episode miniseries, 24: LIVE ANOTHER DAY. Set in London, Jack Bauer (Keifer Sutherland) emerges from hiding to stop a threat on the president’s life, as only Jack can.

WARNING: The following contains some spoilers, but does not ruin any big twists, concentrating mainly on things revealed in the first thirty minutes or in already-released press. Please read this article in real-time.

Anticipation is high for the adrenaline-fueled show, and I have to admit, watching the two-hour premiere is a bit like getting a fix of an excellent drug, or so I imagine, not being a drug user myself. That’s because 24: LIVE ANOTHER DAY releases the same endorphins and chemicals in your brain that 24 always has, scratching an itch in a spot that no other television program quite reaches.

Right from the start, it’s the same show. Keifer’s voiceover of the “events occur in real time” line and the ticking clock are there. While some installments will skip hours, this day being only half the number of episodes as previous ones but still covering a full twenty-four hour period, the premiere is from 11 AM until 1 PM, providing an unbroken starting point. And while CTU is gone, the CIA office featured and the people that staff it seem exactly like CTU, tonally and stylistically. I’m still waiting to hear if the phones share the iconic ring tone.

The opening act is intense, just as it should be. An American CIA office led by Steve Navarro (Benjamin Bratt, Private Practice) closes in on a suspect. It will come as no surprise to those who remember 24’s series finale that said wanted man is Jack, hiding among the homeless. He’s a high value target and Steve is ecstatic to get him, or as ecstatic as Steve probably gets, being a pretty mild person, emotionally speaking.

Quick to catch the attention of viewers is new player Kate Morgan (Yvonne Strahovski, Chuck). In the process of being forced out of her job because of something her husband did, Kate is the new Jack of this CIA branch, smart and wanting to make up for past wrongs. She is the only one that figures out what Jack is up to, and she butts heads with her would-be replacement, Erik Ritter (Gbenga Akinnagbe, The Wire), much to Steve’s dismay. Plus, there’s a tech guy, Jordan (Giles Matthey, True Blood), who likes Kate, but also doesn’t want to lose his job. Here is our familiar, messy dynamic.

Jack is brought into the CIA, but as soon as the president’s office is notified, Chief of Staff Mark Boudreau (Tate Donovan, Damages) orders that Jack be handed over to a special squad that is more versed in torture. Mark has a personal stake in the matter at hand, being married to Jack’s former love, Audrey Raines (Kim Raver), now released from the mental hospital. Mark is also serving under Audrey’s father, President James Heller (William Devane), who is losing his mental abilities. But what is Mark’s plan for Jack? Is Mark a good guy protecting his family or a bad guy manipulating vulnerable people?

It’s gratifying to have Heller and Audrey back on 24: LIVE ANOTHER DAY. Audrey is a loose end for Jack, someone he hurt and who suffers a lot. 24 likes to bring recurring players onto the scene over and over again until they die, so admittedly, their re-appearance could spell danger for them. But considering Jack’s history here, Heller and Audrey are ripe for exploration.

It’s also a nifty way to tie in the POTUS, whose office has almost always been a part of 24. Sure, 24: LIVE ANOTHER DAY could have staffed the place with a bunch of newbies, but there are enough fresh characters already, and the pacing doesn’t have time to introduce all new people in every aspect. On these two, we can just jump back in.

Jack is beset by many personal concerns. His return is for a mission, of course, but who he cares about hangs so heavily on these first two hours, promising pathos. Chloe (Mary Lynn Rajskub) does figure prominently in this premiere, though for the sake of preserving some mystery, I won’t reveal how she plays a role, other than to say she currently works for an Anonymous-esque hacker organization.

The politics of 24: LIVE ANOTHER DAY feel a bit more liberal than past seasons, which have skewed conservative. In the opening, the morality of killing people with drones and whether it’s OK to release classified government documents is debated. The writers may ultimately come down on the protectionist side of things, of which Jack has always played a part, but by casting people Jack respects on the other side of the debate, and I’m talking about more than just Chloe here, it is sure to make Jack and the audience at least consider their stances.

To be honest, the London setting isn’t much used yet. We meet Prime Minister Alastair Davies (Stephen Fry, QI), who will likely figure into the political proceedings, and the initial villain, Margot Al-Harazi (Michelle Fairley, Game of Thrones) seems British, but that’s it, the flavor of the city barely glimpsed. One wonders if moving the production overseas is important or a gimmick, as the answer is not made clear in the premiere.

A lot happens in these two hours, but I’ve said more than enough. Suffice it to say, 24: LIVE ANOTHER DAY continues the proud tradition of a great series. If you liked 24, you’ll like this, and if you’ve never seen 24, it seems accessible enough for newbies to jump in at this point. 24: LIVE ANOTHER DAY premieres Monday at 8 p.m. ET.

"A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5)

Article first published as "A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting today, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each.

This new Arrested Development brings back all the beloved characters from the sitcom, but because of scheduling difficulties, each installment focuses on one specific player. Other cast members come in and out often, but there is a single person who gets the most stuff, while others are barely seen at all.

First up is "Flight of the Phoenix" with Michael (Jason Bateman), arguably the central protagonist of the ensemble. When last we leave Michael, he is trying to escape his family, a smart move considering how much they have been dragging him down. But as we see in this premiere, he is not able to stay away, and thus is pulled into self-destruction's embrace even tighter, hitting near rock bottom when forced to move into his son, George Michael's (Michael Cera), dorm room, only to eventually be kicked out.

This is wonderful development for Michael, both in keeping with the personality already established, and because it demonstrates just how much like the rest of the family he is. Michael has striven very hard to set himself apart and seem "normal," but that just isn't how life shakes out for him, and even after George Michael finally grows a bit of a spine and in a roundabout way asks Michael to leave, Michael still doesn't get the hint.

Michael seems better when episode four, "The B. Team," picks up his tale, but it has to be denial, rather than success, driving the change. Intent on becoming a movie producer, working with Ron Howard (the narrator of Arrested Development playing himself here) to put together a picture about the Bluth family, specifically Michael's relationship with George Michael. Hopefully, through this experience, Michael will finally see that he is just as bad a father as his dad is, albeit in different ways, and Ron Howard's interest will serve as a wake-up call to him, leading to understanding and lasting development.

I absolutely adore "The B. Team" because of all of the meta references in it. Besides Howard, we see Brian Grazer (himself), and their offices at Imagine Entertainment. Whether or not the picture gets made, which I feel it will, and that the flashback scenes with Kristen Wiig, Seth Rogen, and others playing the familiar characters are probably from this project, this is a clever, tongue-in-cheek extension of some of the self-referential jokes the series already does. I only wish Bryce Dallas Howard would play Ron Howard's daughter in Arrested Development, rather than Isla Fisher (Confessions of a Shopaholic) filling the role.

It's not just done for meta purposes, though, firmly ensconcing the bigger story with these bits. Through a few plot twists, Maeby's (Alia Shawkat) producer career ends up being connected, and former Bluth secretary Kitty (Judy Greer) now works there, using the job for some unknown scheme to bring down the family. And other recurring roles, such as Warden Gentles (James Lipton), Andy and Rocky Richter (Andy Richter), and Carl Weathers (Carl Weathers) figure in, as well.

In fact, that's how much of Arrested Development seems to be playing out. Season four, like the first three before it, brilliantly weaves new characters and gags into everything that has come before it, with many faces and bits returning when least expected. The list of guest stars in these first five half-hours is quite long, though each is used effectively to further the plot, rather than being distracting or plain stunt casting. I think this sort of talent effectively helps fill the gaps of the missing main players.

Episodes three and five, "Indian Takers" and "A New Start," unfold concurrently, with the former following Lindsay (Portia de Rossi) and the latter focusing on Tobias (David Cross). Each have many of the same settings and scenes, but "A New Start" does not repeat "Indian Takers," instead giving new glimpses of the bigger picture.

I think Lindsay and Tobias are meant for each other. Sure, they end up with two other lovers in these episodes (The Office's Chris Diamantopoulus and comedian Maria Bamford), but they way that they keep crossing paths and end up in the same spots proves they're connected. Perhaps they aren't sexually attracted to one another, but there's a reason they are in each other's lives, and it's kind of sweet, if a bit sad, to see how hopeless they are to escape each other, much as they might try.

These two installments aren't the only ones that cross, with a couple of focal points, the aftermath of Lucille's (Jessica Walter) arrest in the season three finale and a family meeting to discuss stimulus money, bringing everyone back together. While it's sometimes hard to pinpoint the exact timeline of the narrative, each episode tells a cohesive story, and also serves the season's arcs as a whole. Putting this together has to be a difficult feat, and I'm impressed with how well it's being done, assuming it will all wrap up neatly in the end.

The weak point of these first five is episode two, "Borderline Personalities." This is about a scheme George Sr. (Jeffrey Tambor) hatches with Oscar (also Tambor) being his unwilling accomplice, but despite the wonderful additions of John Slattery (Mad Men), Karen Maruyama (Pulp Fiction), and Mary Lynn Rajskub (24), as well as the genius dual performance given by Tambor, I just couldn't get into the setting or story.

I think part of the accessibility problem is my general disinterest with anything set in the desert or with that harsh southwestern color scheme, so perhaps this is a personal opinion that will not be shared by other fans. However, even though I do consider it the worst of the five, I still think it is pretty darn funny.

Ten more episodes remain to check out, and they are sure to evoke as many laughs as the ostrich, an inability to recognize faces, subtle references, a secret ballot, a Google unnamed tech company car, and so much more have already gotten. I like that Netflix has them all out at once because I don't have to wait, but it's sad to think they'll be burned through in a few days and then it'll be over again. Thankfully, the first five installments prove that Arrested Development has lost nothing during the very long hiatus, and remains one of TV's smartest, most original, most complex comedies. I'm so glad it's back!

Arrested Development season four is available in its entirety on Netflix now.

Move into 'The L.A. Complex'

Premiering last night on the CW (though the first episode was already available on Hulu) is Canadian series The L.A. Complex. Think of it as a sort of Melrose Place, where a bunch of people who want to be famous in Hollywood live in a motel together. There's the actress, the dancer, the stand up comedian, the music mixer, the new star, and the aging performer. Well, aging by Los Angeles standards, which means she's almost 30. Will any of them succeed?

Despite this being a Canadian show, The L.A. Complex feels like it takes place in Hollywood. And why not? Film and television types have been taking advantage of the tax breaks in our northern neighbor for years. The people who work up there have a pretty good idea of what they are doing.

"Down in L.A." starts a little rough. Perhaps to introduce the characters quickly, small snippets of each are shown, with their names flashing across the screen. These moments are meant to highlight the main cast, and they do, but only in retrospect. They do not last long enough to make a memorable impression, and though only six players are featured, it feels like more, and a bit overwhelming, as before viewers can get an idea of who one person is, the episode is on to the next one.

That being said, it settles down relatively quickly after that, and it has a nice little spice. The cast is mostly young, which one would expect for the CW, but they aren't all gorgeous. Some are, but some are around normal levels of attractiveness. The writing is also sharper, and the personalities more layered, than the typical CW fare. Which means The L.A. Complex should still appeal to CW's bread and butter demographic, but perhaps introduce a little more quality than one might expect from most (not all) of the shows on the network.

There are many flavors at work here. There's a bit of Melrose Place, as mentioned above, because of the basic set up. There's also a little of Undeclared, given the naive eagerness of several of the characters, who haven't yet found their groove. Fame could also be mentioned, because of those trying so hard to get their big break. Though, only parts of the first episode seem like a retread, as other scenes feel fresh and original. The L.A. Complex is a new twist on a classic set up. In all, it's a satisfying mix.

The biggest obstacle to reaching a large audience may be the network airing it. Although The L.A. Complex fits on the CW, it would also fit nicely on other networks, too. Hey, FOX and NBC, do you need their number? With the edgy content of some scenes, however, the series might play best on Showtime, as toning things down actually hurts the mood a little bit. And with a few tweaks, it could be another How to Make It in America-type series for HBO.

The cast is more than capable. While a couple of the players seem interchangeable with other television performers, several do stand out, and it leads one to believe that The L.A. Complex could help several careers along.

Leading this pack is welcoming familiar face Jewel Staite (Firefly, Stargate: Atlantis). Though not even thirty yet herself, Staite makes Raquel a relatable character. Wrestling with the failure of an early hit show called Teenage Wasteland (interestingly, the original title of That '70s Show), Raquel now can't get another part, and casting directors keep wanting her to play the mom. She clings to her youth, and her actions seem desperate and pathetic. Yet, Staite somehow makes Raquel likeable, and viewers will root for her. She can be refreshingly honest, such as when she asks a room full of black girls if any of them has a white best friend, playing on a television trope. And though she is not a mentor to the younger ones yet, there are hints that she might be in time, once she finds her path a little bit better.

Chelan Simmons plays Alicia Lowe, the dancer. At first glance, she might seem like just a hot blond, but she is also really nice, which comes a little bit out of left field. Simmons' work in The L.A. Complex calls to mind her previous series Kyle XY, and makes one wonder why ABC Family hasn't made another decent show in awhile. Which is a tangent, to be sure, but Alicia doesn't get a lot of her own story in "Down in L.A.," so it's hard to go anywhere else with her yet.

Nick (Joe Dinicol, Scott Pilgrim vs. the World) has the best scenes in "Down in L.A." Hopelessly unfunny, despite living and breathing stand up, he is thrown completely off of his game by meeting Mary Lynn Rajskub (herself, 24), who is very rude to him, in line with her own comedic sensibilities. Adding insult to injury, Rajskub and Paul F. Tompkins (himself, Best Week Ever) lambast Nick after the show. Somehow this sequence is hilarious, despite its cruelty.

The young lovers are Abby (Cassie Steele, Degrassi: The Next Generation) and Connor (Jonathan Patrick Moore, Neighbours). He has just made it big through dumb luck, and she is failing miserable. He is kind to her, but in retrospect, he sleeps with a girl he knows has a boyfriend, so is his nice guy thing just an act? It's hard to tell, especially as he sadly moves into his empty house. Both of these characters are going to be the focus of many teenage crushes, and the reason young girls tune in week after week.

Sadly, Tariq's (Benjamin Charles Watson) tale is the one that fails to resonate. He desperately wants to be respected, and makes a bold move to do so. However, he also comes across as someone not willing to pay his dues before he finds recognition, already refusing to keep his head down in "Down in L.A." Not that his boss, Dynasty (Dayo Ade), isn't unnecessarily harsh, because he is. But will Tariq's character turn this around? Let's hope so.


The L.A. Complex has already been given a second season in Canada. Hopefully, the CW will continue to air it, as "Down in L.A." is a promising start. Tune in Tuesdays at 9 p.m. on the CW.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: The L.A. Complex - "Down in L.A." on Blogcritics.

How to Be a Gentleman teaches anything but

     The "Pilot" of CBS's How to Be a Gentleman finds Alan (David Hornsby, It's Always Sunny in Philadelphia) dealing with a new job description. Alan has been writing a column about being a gentleman, a disappearing art, but his boss, Jerry (Dave Foley, NewsRadio), informs Alan that, per the new owners, he needs to shift to something that appeals to a completely different demographic. A chance encounter with one of his former high school tormentors, Bert (Kevin Dillon, Entourage), gives Alan an idea on how to go about that. Reluctantly, he tries to transform himself. 

     How to Be a Gentleman might just win Worst New Series this season. There are so many reasons to nominate it for such a title, and really no reason not to. The writing isn't smart, the concept is done, and actors are poorly used, and the jokes aren't funny. From start to finish, it's impossible to find one positive thing to say about the "Pilot." So let's break down some of the negatives.

     Hornsby works great in small doses, such as the recurring role he plays on It's Always Sunny. He doesn't work at all as a leading man. His whiny voice and annoying personality, assumedly done for the part he is playing, leads the audience to sympathize with Bert quite quickly. Viewers will all want to punch Alan in the arm. I'm not saying Hornsby is a bad man or a terrible actor, but this role does him no favors.

     But Bert is not off the hook. What works for Johnny Drama when he's part of an Entourage doesn't necessarily work as one of two leading men. It's a shame, because Dillon is essentially playing the same role. Not with the lifestyle or career choice, of course, but in terms of how he acts, talks, and thinks. Did Drama get a spin-off, and then at the last minute, the creators decided to rename his character and make it something new? It seems so.

     The supporting characters are no better. Foley is intolerable as a pushover, willing to do anything to keep his job. This wimpiness keeps him from being likable, much the same way it does for Alan and Alan's brother-in-law, Mike (Rhys Darby, The Flight of the Conchords). Mike's mother is played by Nancy Lenehan (The New Adventures of Old Christine, Worst Week), recycling the same forgettable character she always plays. There's nothing to hate about her, but that could be because her character lacks any discernable substance. Mary Lynn Rajskub is wasting the (deserved) adoration she built with 24 on another throwaway part, Alan's possibly cheating, overbearing sister. Some of these actors could do so much better.

     If the fates are kind, How to Be a Gentleman will be off the air by next week. But fates aren't always kind, so who knows? If you are interested in checking it out, How to Be a Gentleman airs Thursdays at 8:30 p.m. ET on CBS.

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The clock runs out on 24

        As the final seconds ticked out on the series finale of Fox's 24, there was a countdown clock rather than the one moving time forward, as has been the custom of the series.  It was appropriate, the "real-time" series finally coming to an end after eight seasons, nine years (there was no season the year of the writer's strike as producers did not want to deliver half a day).  Jack Bauer's (Kiefer Suthland) intonation of "events occur in real-time" was a welcome homage but back in the beginning of each of the last two hours, which was dropped long ago, and Kiefer's personal message to viewers was touching.  It is a series I will surely miss.

     The final moments of the show, as they should have, came down to Jack and Chloe's (Mary Lynn Rajskub).  Although Chloe was not part of the the original cast, she has appeared in the second highest number of episodes, after Jack, and has become a beloved character.  She has grown a long way since her annoying personality turned off viewers initially.  I think many of us agree with Jack that we did not expect her to be the one watching his back for the long haul, and yet, who else could have done such a great job of it?  Their show down midway through the finale was gripping, but their goodbye was one of the most moving moments television has yet to produce.

      Jack struggled more this season than any other with doing the right thing.  He always acted on his beliefs, even when they came into conflict with the law.  But as this season barreled towards a close, even fans such as myself found it hard to justify his decisions.  His cold-blooded massacre of many a Russian, because of their execution and cover-up of the assassination of his most recent love, Renew Walker (Annie Wersching).  Jack went into a dark place or revenge, and left the path of righteousness.  Yet, his video recording and his behavior in the last hour redeemed the hero in our eyes, though he will face a number of criminal investigations should the authorities ever catch up to him, which I assume will be the plot of the upcoming 24 movie, which while not guaranteed, is well on it's way to becoming a reality.

     One of the most interesting characters in the past two years was President Allison Taylor (Cherry Jones).  After she turned over her own daughter to the cops at the end of last season, it was easy to believe that she stood for principals rivaling even the fan favorite 24 president, David Palmer (Dennis Haysbert).  Then this season she made the mistake of listening to former President Logan (Gregory Itzin), who has been one of the show's greatest villains.  While she had noble aspirations, she allowed herself to let the ends justify the means.  Thank goodness that she decided at the last minute to let the truth come out.  It will protect Chloe, if not Jack and herself.  She fully redeemed herself in my eyes, and I hope we will learn from the movie that she earned the sympathy and continued respect of the American people, even if she has to serve a short sentence.  Unfortunately, Logan, who got away with crimes before, did not succeed in taking his own life.  Hopefully he will rot in a cell for the rest of it.

24 delivers best hour of season

    This has been a big week for Fox's 24.  Besides airing the best episode of the season, nay, one of the best of the series, last week, it also became known that the show is officially canceled, and will not be picked up by NBC, as previously rumored.  That's not to say that there are only eleven hours left in Jack Bauer's (Kiefer Sutherland) story.  In fact, the series finale is designed to set up Jack for a feature film, which is already in the works.  The head honchos always wanted a definitive end for Jack, and it looks like he will get one.  By their statements, it appears there will be only 24 movie, but perhaps that's a good thing.  Go out while it still works.  Speaking of working, last week...

      I always look forward to that awesome Chloe (Mary Lynn Rajskub) episode.  It comes after Chloe has been beaten down, not listened to, and generally, dumped on.  Then she wows us all and makes her bosses listen to her.  This week was that shining moment, as Chloe pulled a gun on the jerky NSA agents and fixed CTU's EMP-blasted computer system all by herself.  Chloe, you rock my world!

     The CTU mole was revealed.  Of course there was a CTU mole.  There always is.  However, even before the mole was exposed, I stopped rooting for the character.  Dana Walsh (Katee Sackhoff) has been one annoyance after another, and as she strangled the poor parole officer (Stephen Root), I stopped wanting her to get away with anything.  When, moments later, she was shown on the phone with the terrorist, it all fell into place.  The writers can be forgiven for making us hate Dana so much, because we needed to hate her eventually anyway.  And the twist gives hopes that Sackhoff's talents will not be wasted on the role.

     A side character died.  24 has not killed off anyone important yet this year, and so I have begun to get tense, knowing that it's just a matter of time.  True, Agent Owen (Julian Morris) with his six episode stint was not vital, but I still felt emotion as Jack lied to him, lying dying on the pavement.  His death is surely a harbinger of the bloodbath that will ensure.  There aren't many majorly important characters left in the series to kill off, but as long as it's not Chloe, I'm cool with it.

     Speaking of important characters, I still need to see the return of three of them.  Chloe's husband, Morris, (Carlo Rota) should make an appearance, as should secret service hero Aaron (Glenn Morshower).  I am really disappointed to have not seen Karen Hayes (Jayne Atkinson) since 2007, especially after her husband's heroic sacrifice last year.  And Jack's love story with Renee (Annie Wersching) cannot ever play out to satisfaction without bringing back Audrey Raines (Kim Raver).  I don't care if I have to wait for the big screen to see any of the four, but for me to be happy about the end of the story, I need to see what happened to the four of them.  And if they want to toss me a little Martha Logan (Jean Smart), I'll gladly take it.

     24 continues it's final season Monday nights, including tonight, at 9pm on Fox.

24: RIP CTU

     Wow.  I just completed a three episode mini-marathon of Fox's 24, ending with last night's, and I just have to say, wow.  An essential part of the show has always been the CTU (Counter Terrorist Unit) Los Angeles, until last season.  Prior to last year's episodes, CTU had been disbanded, its practice weres under review by Congress, and the FBI picked up the slack, although in a different way.  I was very happy to see the glossy new CTU New York building in Day Eight's premiere in January, staffed with a whole new crew of agents, and of course, Chloe O'Brian (Mary Lynn Rajskub).
     Then last night happened.  An EMP pulse effectively wiped out their entire operation.  Only halfway through Jack's (Kiefer Sutherland) eighth bad day, his support system is kaput.  Yes, he managed to save everyone last year without them, so the tension there is off, despite the startling preview for next week's hour, but that doesn't mean it isn't shocking and sad.  Chloe, Hastings (Mykelti Williamson), Arol (John Boyd), and Dana (Katee Sackhoff) are there!  What do they do now?  It would be nice if Rene (Annie Wersching) could step up and help them out, but I'm not counting on it.
     Well, surely Dana will continue her very annoying, and far too long drawn out plot of covering up her past life as Jenny.  This story, which, at the latest, should have ended two weeks ago when she disposed of the bodies, was made slightly more interesting by the appearance of another great actor on the case, Stephen Root (True Blood, Pushing Daisies, The West Wing).  However, as previously noted, Katee is a great actress, too, and that hasn't been enough to save the plot, so it is doubtful Root, despite his considerable talents, can help.
     24 does do some things right, though.  Besides the dramatic taking out of CTU, the subplot between Kayla (Nazneen Contractor) and Tarin (T.J. Ramini) was done well.  There was real emotion between the two, and I was kept guessing what Tarin would do throughout.  First he was thought to be guilty, then innocent, then guilty, then guilty but having a change of heart, and now, he's fully on the wrong side of things.  How the two of them may further affect the plot is a point of interest, although it seems unlikely that a happy-ever-after is in their future.
     24 still has twelve hours left, and will continue Monday nights at 9pm on Fox.

Another 24 hours for Jack Bauer

     Last night Fox aired the first two hours of their annual 24 season premiere event, and as usual, it did not disappoint.  Opening with Grandpa Jack (Kiefer Sutherland), happy and satisfied with his family, fully recovered from the biological weapon that almost killed him last season, it took a bit longer than usual for Jack Bauer to get fully involved in the action.  In fact, Jack didn't agree to commit to stopping the latest terrorist plot until nearly the end of the two hours, even denying his best friend, Chloe, (Mary Lynn Rajskub) the favor he so seriously owed her.

     Speaking of Chloe, it is awesome to see the technical guru playing fish out of water, presumably having fallen out of practice and the latest innovations because she was spending time with her own family, and was forced back to work by her husband getting laid off.  Chloe, who started as an annoying, anti-social tech whiz at Counter Terrorist Unit (CTU) back in season three, and has become the series's second most important character, after Jack.  Last year, she only appeared in about half the episodes, and she was certainly missed.  It's nice to see her back in action, with a new and fresh plot.

     The sparkling new CTU New York Chloe is working at is welcome, after CTU had been disbanded and put on trial sometime before last season.  While the FBI bureau filled in for it, it wasn't the same.  Already we are putting together all the pieces of our typical CTU formula: a hot shot new agent following in Jack's footsteps (Freddie Prinze Jr., Scooby Doo), someone with a secret that should have never been missed when they joined the group (Katee Sackhoff, Battlestar Galactica), an inept boss who won't listen when Jack tells him what is really going on (Mykelti Williamson, Forrest Gump).  The only thing missing is the inevitable mole within the unit that works for the terrorist, but surely that will show up soon as well.  Believe it or not, that formula somehow manages to never get stale, and when it was changed a bit last season, it was felt.  The best part of the FBI last year, Agent Renne Walker, (Annie Wersching, General Hospital) should be showing up in tonight's installment.

     Also nice to see back President Allison Taylor, (Cherry Jones) the woman who choose to continue to serve her country rather than let her daughter get away with murder.  This year she is working on an historic middle east peace accord with President Omar Hassan (Anil Kapoor, Slumdog Millionaire), who is the target of the assassination plot Jack is trying to stop.  Fans of 24 know that the murder is only the beginning or what will be a rapidly falling domino array that Jack must stop before he can get back to his family.  Despite the fact that Jack kept saying "I'll be done soon" last night, we know he will be in done in exactly 24 hours, not a minute more or less.

     Hours three and four of 24 will air tonight on Fox, before settling into one-hour-per-week episodes next Monday.