"F-" NEWSREADERS

Article first published as NEWSREADERS Review Season 2 on Seat42F.

NEWSREADERS is back on Cartoon Network’s Adult Swim this week for a second run! For those unfamiliar with the series, a semi-spin-off of Childrens Hospital, the name tells you pretty much exactly what it is. It’s a parody of a 60 Minutes-style news magazine, but delivered with tongue-in-cheek humor, sort of like The Onion. Basically, it’s very funny, so you should check it out.

The first episode back is called “F- Dancing, Are You Decent?” and is divided into several segments, despite its roughly ten-minute running time. In the first part, Amir LaRussa (Kumail Nanjiana, Portlandia, Franklin & Bash) examines a new trend sweeping teen pop culture of people actually having sex while dancing. In the second, a correspondent (Lost’s Harold Perrineau) proves people are racist, and when those walking by don’t reveal that ugly side of themselves right away, goes to extremes until they have a reaction that he can pervert into classifying as racism. There’s also a commentary from popular ‘old man’ Skip Reming (Ray Wise).

These segments are much the same as fans of the first season have come to expect. They go after a topic like a normal news reporter would, but then skew it far to the extreme, often with a weird twist few would think of, and milk it for it’s worth. All of the participants are in on the game; this isn’t just a ‘gotcha’ hidden camera show or a Daily Show-esque interview that some people could mistake as real. Instead, it’s completely scripted for maximum effect, and it lands.

The most obvious change in season two is that host Louis La Fonda (Mather Zikel) is sadly gone, though his replacement, Reagan Biscayne (Alan Tudyk, Suburgatory, Firefly), is a worthy successor. Reagan may not share Louis’ Kate Walsh obsession, but he does a fine job keeping the train on the tracks, introducing the various parts of the episode.

A level of social commentary pervades NEWSREADERS. When looking at “F- Dancing,” the trend is not all that far off from the way teenagers actually act. This lends an authenticity that allows the audience to relate to the joke, even if the particular way things are presented would never happen. They then take it a step further, showing what happens when the older generation joins in, and extending the commentary.

Now, the racism stuff is more poking fun at the way CNN and other news networks treat their reporting on racism, not actually pushing forth a political viewpoint as to whether racism is over or not. NEWSREADERS is clearly meant to make people laugh, not to effect change in our culture. It avoids judging anyone or anything real, setting itself in a crazy, fictional world.

The quality of the writing is apparent, and the talent attracted to this project further lends it gravity. Besides those listed above, Reno 911’s Tom Lennon and others appear in the first episode, with a rotating cast over the weeks, allowing many familiar faces to pop in for a spell. The way NEWSREADERS is shot allows a flexibility to include people who might not otherwise be available, given busy work schedules.

It’s difficult to evaluate a single episode of NEWSREADERS on its own. Perhaps if a bad one were ever aired, it would stick out, but instead, the program is consistent and full of small bits, not delivering a cohesive story, but not needing one. “F- Dancing, Are You Decent?” is as good as other installments I have seen.

The premiere episode of NEWSREADERS is available now on Adult Swim’s website, and fresh installments will be airing Thursday nights / Friday mornings at midnight on Cartoon Network.

PSYCH "Remake" Not Improvement

Article first published as PSYCH "Remake" Not Improvement on TheTVKing.

USA's Psych feels like its taking a victory lap as the series wraps up. I say this because, rather than delivering typical episodes, the writers are getting more creative more often and doing some zany things, from musicals to a European excursion. This week's latest installment, "Remake A.K.A. Cloudy... With a Chance of Improvement" is actually a redo of a season one episode, working off what is a very similar script and storyline, albeit with a different killer.

The original episode (which I re-watched this week) was the twelfth one that aired, "Cloudy... With a Chance of Murder," way back in February of 2007. It is a relatively normal entry in which Shawn (James Roday) and Gus (Dule Hill) help a bumbling defense attorney named Adam Hornstock (Michael Weston, House M.D.) clear his client of having murdered her lover, a newscaster. In the original version, the victim's jealous assistant (Keegan Connor Tracy, Once Upon a Time), is the culprit.

This time around, the defense attorney is still played by Weston, but now the suspects are a plethora of recognizable faces, rather than the relative unknowns used last time. The guest cast includes Ralph Macchio (Ugly Betty, Eight is Enough), Janet Varney (Burning Love), Katharine Isabelle (Being Human), Carlos Jacott (Big Love), Lindsay Sloane (Sabrina, the Teenage Witch), Alan Ruck (Spin City, Ferris Bueller's Day Off), Ray Wise (Twin Peaks, and a previous Psych guest star twice over), and Dana Ashbrook (also Twin Peaks and Psych). This roster lends the whiff of a stunt episode to the mix.

It isn't surprising Psych would finally get around to a tribute to itself. It has, after all, paid homage to many other shows and movies in the past. With its offbeat sense of humor, it makes total sense to go in this direction, especially if the end is nigh.

That being said, "Remake A.J.A. Cloudy... With a Chance of Improvement" adds little to the series portfolio, and it would be hard to argue it's even a bit better than the first, no matter what the title suggests. I believe part of this is because it picks a very run-of-the-mill entry to play off of, and the other part is that it doesn't do much to change things. The one thing the new one has over the old is that in the original, it's very clear the team hasn't figure out what the show is yet, exactly, whereas here, there's a welcome level of comfort and confidence.

In fact, the character dynamics are much closer to the current relationships that the original chemistry, despite the insistence of text on screen that this takes place years ago. While Jules (Maggie Lawson) says she isn't amused by Shawn, we know it's not true. Lawson doesn't do enough to convince us of that, which, as funny as it is when Shawn insists they will be together, something that can be added to the story in hindsight, is too bad. Lassiter (Timothy Omundson) also goes too soft on the boys.

A couple of things that are nice additions is that Henry (Corbin Bernsen) talks to a baby at the beginning, rather than a child, and Woody (Kurt Fuller), now an important part of the ensemble, is a witness in the case. But even in this, they waste Woody, not even setting him up to be a pal or have his current job.

Overall, "Remake A.K.A. Cloudy... With a Chance of Improvement" is a disappointment. Not because it's not entertaining; it's about as much so as a mediocre, typical Psych episode. Instead, it's the missed opportunities like the jokes that weren't done (such as using an old theme song) that keep it from being memorable. It's a good idea, not executed as well as it could have been, though it does have some good references.

Psych airs Wednesdays at 9 p.m. ET on USA.

Mad Men finds drama "At the Codfish Ball"

In this week's installment of  Mad Men "At the Codfish Ball," Don (Jon Hamm) is honored by the American Cancer Society for his infamous Lucky Strike letter. His family accompanies him to the dinner that goes with the recognition. This includes Megan's parents, Emile (Ronald Guttman, All My Children) and Marie (Julia Ormond, Law & Order: Criminal Intent) Calvet, who come to town for the occasion. But considering that the couple doesn't exactly approve of Don's marriage to their daughter, and that their own union is on the rocks, the night doesn't exactly go so well.

Megan (Jessica Paré) really comes into her own in "At the Codfish Ball." Not only does she come up with a brilliant idea for the Heinz campaign, she also masterfully finagles the business dinner to sell said idea just before Raymond Geiger (John Sloman, The Ugly Truth) fires them. She proves her creative and business acumen quite nicely. Not only does this show that she deserves the position she now holds in the firm, but it also demonstrates why she is a great match for Don.

Side note: Harry's (Rich Sommer) telling of the Heinz dinner story and Ken (Aaron Stanton) admonishing him with "You weren't even there!" is one of the best Mad Men bits ever. Classic!

Don could not be prouder of Megan in "At the Codfish Ball." He celebrates with her, and makes sure she gets credit in front of her co-workers, despite her initial protest that she doesn't need it. To the client, sure, Don has to play the master, sharing ownership of her idea. But Megan doesn't seem upset, understanding the nature of the business. Their excited sex afterwards should erase any doubts of those who still don't think they don't have good chemistry or belong together. They have challenges like anyone else. But they also complement and challenge each other, and she can hold her own with him, something few women have been able to do.

It's too bad Megan's parents have to spoil her happiness. They come to town with their bickering, making everyone around them miserable. Emilie feels emasculated, and Marie cheats on him. It's not a healthy relationship, and one wonders how the pair is in any position to judge Megan and Don. Yes, Emilie's concern that Megan may be giving up her dreams may be valid, but Megan seems to feel fulfilled and satisfied where she is. So why do they have to be such a drag?

Don is riding high in "At the Codfish Ball," and why shouldn't he be? He has a wonderful wife, who just saved a major account, and is now being honored in front of lots of important people! But he soon gets a reality check from Ken's father-in-law (Ray Wise), who helps Don make an important realization. What good is respect if no one trusts you? Don's success may make people say good things about him, but it won't necessarily bring him business. Roger (John Slattery) is right. The letter is a mistake.

Sally (Kiernan Shipka) also attends the ceremony. She is feeling so grown up being included, and in her dress, she looks the part, too. After viewers see her talking to Glen (Marten Holden Weiner) on the phone, she seems even more of an adult. But then Sally witnesses Marie giving Roger a blow job. It's a startling scene to her, and one that disgusts her. In that moment, Sally is shown to still be a child. She has not yet reached maturity; this much is clear. It's a wonderful contrast for her, and "At the Codfish Ball" illustrates her awkward age well.

Which leads to a fantastic scene where Don, Megan, Emilie, Marie, and Sally all sit with their heads hanging low, a stark contrast to the picture of glee they begin the evening with. Fantastic!

While Don is off getting his dues, Peggy (Elisabeth Moss) faces some tough choices. Abe (Charlie Hofheimer) forces her to prioritize himself over her work. What may be most surprising is that Peggy does so. Up until now in Mad Men, Peggy's professional rise has been her focus. "At the Codfish Ball" reveals that she wants something more out of life, too. She may not be a traditional woman in many ways, but she does desire a loving husband. Might Abe be the one? Joan (Christina Hendricks) certainly thinks so when Peggy goes to her for advice.

But Abe doesn't propose marriage. Instead, he simply wants to move in together. Peggy readily accepts. Is this a mistake? Peggy's mother (Myra Turley) thinks so, telling Peggy that Abe will only use her for practice until he finds the woman he actually wants to get hitched to. This doesn't seem likely. Peggy and Abe are of a different generation, and Peggy's mom just doesn't understand that. For them, living together first is right.

It's great that Peggy stands up to her mother a bit. She understands what her mom is saying, but also reserves the right to believe her mother is wrong. Peggy is neither naive nor immature anymore. She has earned the ability to make her own decisions. Living with Abe is going to make her happy, so she should do it, and she does. No one else's judgment matters. Kudos to Peggy for reaching a point where she realizes this, and also begins to see that a career is nice, but it isn't everything.

Roger is also in a good place in "At the Codfish Ball." Free of his wife now, he meets with his first spouse (Talia Balsam), and they get along. Roger even asks her for a favor! This is not really something he could have done while still married to Jane (Peyton List). Yet, Jane matters not at all in this situation. Roger is finding some peace in his life, Mona can see that, and it really strips away the conflict that has long boiled between them.

Roger credits his LSD trip for his new worldview. Is he right? Well, that's hard to say. Taking drugs certainly does make Roger see some things in a new light. But the experience only enhances reality and brings out things within himself that he may have found anyway. It is a catalyst for Roger to make some much-needed changes in his life, but that doesn't mean he should run off and drop acid again, as enjoyable as that episode is, for him and Mad Men fans.

This serenity is in total contrast of Roger allowing a married woman to blow him, but then, some things never change. Roger remains a horny little bastard, a descriptor meant in the fondest sense.


Mad Men continues its amazing (and somewhat different) season five run Sundays at 10 p.m. ET on AMC.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as TV Review: Mad Men - "At the Codfish Ball" on Blogcritics.

How I Met Your Mother meets "Noretta"

     This week's How I Met Your Mother, "Noretta," delves into the chemistry of relationships. James (Wayne Brady) comes to visit, and is grossed out by just how much his brother Barney's (Neil Patrick Harris) girlfriend, Nora (Nazanin Boniadi), is like their mother, Loretta (Frances Conroy, Six Feet Under, American Horror Story). Kevin (Kal Penn) says this is perfectly normal, that people often end up with spouses who have similarities to their parents. Suddenly, the whole group begins seeing their significant other this way, and all sexual attraction dissipates.

     Is this true? Do people really end up with their parents? It's certainly possible. Kids imitate the adults in their lives. Watching their parents interact shapes much of who they are, and it's what they grow up thinking of as normal. So, of course, they would seek out a similar person, so that they can have a similar relationship as their parents do. Even if the parents get don't along, it's still what the child is used to, which is why there are negative repeating patterns as well as positive. Luckily, in this series, and in the case of these characters, those qualities are overwhelmingly positive. Obviously, this does not hold true for everyone, or society would be stagnant, but it's a valid trend, and one worth noting.

     The conceit is great because it gives How I Met Your Mother the chance to bring back some of the wonderful performers who play the characters' parents, and all in one episode. Besides Loretta, there is Ted's (Josh Radnor) mother, Virginia (Christine Rose, Heroes), Lily's (Alyson Hannigan) father, Mickey (Chris Elliott, Everybody Loves Raymond, Eagleheart), a glimpse of Kevin's unseen-before mom, and best of all, the return of Marshall's (Jason Segel) deceased father, Marvin (Bill Fagerbakke, SpongeBob SquarePants, Coach). Robin's (Cobie Smulders) father, Robin Sr. (Ray Wise, Reaper, 24) sits this one out, but that's OK, because he appears in last week's episode. Each of these actors are great in various roles, and having them together in one episode is a wealth of riches.

     It should be noted that Fagerbakke's return, the subject of much sorrow and grief last season, is done in a lightly comedic way. There are no tears or sadness accompanying it, and that's a good thing. Marshall has really begun to move on with his life, something he needs to do.

     Hilarity ensues when the characters have to play opposite their parents in sexual situations. The elder performers give it their all, fully committing to the scene, leaving their "children" to shrink back in disgust. It's equal parts disturbing and funny. Perhaps the best gag, though, comes as Marshall and Lily both get the complex at the same time. This leads to Marvin and Mickey on screen together, leaning in for a kiss. It's not sexy, but it will have viewers roaring with laughter. Thank goodness the camera stops before it happens! To show that would turn into pure silliness, and ruin the moment.

     Of course, because this is a point that hits home with a lot of people, it would be uncool of How I Met Your Mother to leave viewers hanging without resolution. Thus, it's left to Barney to say that his mom is the coolest person he knows, and that any similarity between Nora and Loretta is wonderful. This is a healthy, mature attitude to take. Nora and Loretta don't look alike, so there's no conflict there. All Barney is saying is, you love your parents; why not pick someone who shares their best qualities? And he's right. One doesn't want someone exactly like one's parents, but it's impossible to imitate their relationship without a partner who is looking for the same things as you. Thus, it works on a number of levels.

     In "Noretta," Barney is looking forward to finally having sex with Nora. He's been patient, something unusual for the character, but necessary for the growth he is experiencing, and the level of effort he puts into the relationship. Because How I Met Your Mother is a sitcom, zany events pop up to try to derail his sexy night with his girl. Barney pushes through, as he always does. What's unusual here is that Barney isn't just pushing through for the sex, as he has numerous times before. Instead, there are real emotions present, and care for Nora in his actions. Which is why, despite everything, it appears that things work out in the end for the couple. Love wins the day, and can overcome anything. A nice message leaving viewers feeling good.

     "Noretta" is significant because there is a real focus on where Ted stands in the group. The entire theme of How I Met Your Mother involves Ted finding his future children's mother. Yet, at this point in season seven, he is the only one currently single. Lily and Marshall have been together since well before the series begins. But with commitment-phobic Barney and Robin now getting serious with Nora and Kevin, respectively, it reminds Ted just how much he is failing in this mission. He may very well end up being the last one left alone. It's not his fault, it's just the way the characters have developed.

     It's true that Ted is not in the right place in his life to settle down for most of the series thus far. As much as he wants a partner, he isn't emotionally ready. He goes through a series of mistakes, has trouble finding himself, and ends up acting like a jerk many times. This isn't the right attitude to have when finding the woman of one's dreams. But now Ted is turning things around, and finally getting to the soul of who he is. He is satisfied professionally, and not desperate but open to love. It's in this state that he is ready to meet the mother, and hopefully he soon will. How I Met Your Mother will be running at least through the spring of 2013, but the mystery cannot be stretched out that long. It's time to end it.

     Kevin is still an enigma in terms of how he fits into the group. He's rapidly getting past the creepy stage, which starts because he is Robin's therapist when they meet. But he can't help that encounter, and he's moved past it. He is correct in his criticisms of the codependent group, but that also makes him more of an outsider. The central characters aren't likely to change their behavior, so he either needs to get with the program and join in, as Nora does to some degree, or move on, as so many others have. What points to the former possibility is that he does make effort, such as this week when he pretends to be a Weird Al (who cameos a 1980s version of himself) fan to make Ted happy. It's a generous, compassionate move that bodes well for Kevin. 

     How I Met Your Mother is back on the right track, so for fans who gave up on it during the rocky last couple of years, it's time to come back. Watch How I Met Your Mother Mondays at 8 p.m. ET on CBS.

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Article first published as TV Review: How I Met Your Mother - "Noretta" on Blogcritics.

Wilfred doesn't define its "Identity"

     In the season finale of FX's Wilfred, Jenna (Fiona Gubelmann) eats drug-laced candy that Wilfred (Jason Gann) leaves laying out at Ryan's (Elijah Wood) place. The resulting strange behavior causes Jenna to lose her job as a news anchor. Ryan puts his lawyer hat back on to help Jenna with her boss (Ray Wise, Chuck, Reaper), but must resort to blackmail to get her position back.

     Because Ryan touches the dark side of himself, left behind until now, he begins to be sneakily manipulative in other parts of his life, too. Ryan drives a wedge between Jenna and her boyfriend, Drew (Chris Klein), because he wants Jenna for himself. However, this backfires, and soon Jenna is planning on marrying Drew, thinking she is pregnant, while Ryan's sister Kristen (Dorian Brown), a pawn in his game, is left by her husband, Leo (J.P. Manoux), not realizing she is the one carrying the baby. Plus, she tells Ryan he is dead to her. To make matter worse, Wilfred is hit by a car, leaving Ryan without any help in fixing the mess he made, as well as finding his "Identity." "Identity" being the title of the episode.

     "Identity" is a confusing episode of Wilfred for a number of reasons. First of all, Ryan struggles to comprehend what exactly is going on with Wilfred. His canine companion, whom he sees as a man in a dog suit, is perceived as a dog by others. Is Wilfred a dream? Is Ryan in purgatory, as Wilfred hints when he references Lost this week? Is Wilfred sent to better or worsen Ryan's life? Or perhaps he is a dark part of Ryan's psyche manifesting itself. This last explanation makes some sense, given that Ryan's bad qualities apparently disappear when Wilfred arrives on the scene, and after Ryan takes them back, Wilfred is left severely injured and with amnesia.

     But the question is, if Wilfred is representative of Ryan's bad side, why does he sometimes do good? The dog is an enigmatic figure, whose motivations are often murky, at best. While much of the time Wilfred campaigns to help Jenna and use Ryan as a servant, other times he truly seems to want to assist Ryan in bettering himself. Or Wilfred gets him into big trouble. So what exactly is this dog? An angel or a devil on Ryan's shoulder?

     It's also odd that Wilfred just happens to accidentally leave a drug sucker laying around, since his other actions are almost always well thought out, whether with good or bad intentions. Wilfred may act like a dumb dog at times, but he is a very deliberate character. To make such a stupid, far-impacting mistake seems unlike him. So maybe there is more going on here than is immediately obvious.

     Finally, why did Ryan's basement disappear, to be replaced with a closet? Certainly it ties into Wilfred's will, a foreshadowing of a disastrous event. But now Ryan can't each the will. Will the will explain why these happenings went down? Or how Ryan can get the old Wilfred back? Ryan didn't imagine the whole friendship with Wilfred, because the dog is still a man in costume just before Ryan goes home to discover the missing lower floor. The confusing finale leaves much in doubt between seasons.

     That being said, Wilfred remains an intriguing show, and while a tad unsatisfying, the finale cannot be called simple or boring. Wilfred has been renewed for a second season on FX.

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Article first published as TV Review: Wilfred - "Identity" on Blogcritics.

Psych climbs Twin Peaks

     I wish I had watched Twin Peaks back in the day. Of course, I was seven years old when the show premiered, and nine when it was canceled, so I certainly missed the boat, age wise. Still, watching this week's episode of USA's Psych, I can't help but long to see the series that was once wildly popular, and then was pulled after only two seasons. As a non-fan of Peaks, I only caught some of the many, many references I am told were packed into last night's episode. And most of the things I did catch, I assumed were there to be caught, without really getting where they came from. The cinnamon pie, the Log Lady, a burned down mill, Ray Wise's suddenly white hair, the owl, Lodge Blackman, crazy dancing, donuts, a redone theme song. They were all obviously supposed to mean something, and I hope they did for the legions of former Peaks fans out there.

     The episode was called, appropriately enough, "Dual Spires", and is widely reported to be a James Roday passion project. Roday stars in the show as faux-psychic detective Shawn Spencer. In this week's episode, he gets a mysterious e-mail that leads him to a town where a young girl's body is found in the water and wrapped in plastic, a homage to Peaks. The hour (plus eight minutes) also featured seven of Peaks's former stars, including the aformentioned Wise (returning as a character he played on Psych last year), Sheryl Lee, Sherilyn Fenn, Dana Ashbrook, Catherine Coulson, Lenny Von Dohlen, and Robyn Lively. A huge number, that easily explains why the episode ran longer than in normal weeks.

     As a Psych episode, it was fairly standard. Good movie references, Shawn referring to Gus (Dule Hill) by a name that wasn't his, a murder that must be solved. There were no big developments for the regular Psych characters. It was a love letter to a show from long ago, and that was the entire point. In that regard, I believe it succeeded, although, again, I'm probably not the best person to make that call.

     This is not the first time Psych has done a themed episode, or deviated from the normal season arc. It may be the entry that required the most work, though, with everything that went into it.  Watching the episode, it's impossible not to be impressed with everyone involved, and how such a fine episode came together, staying true to Psych, but honoring a television legend such as Twin Peaks.

     Even though the Twin Peaks references are done, there is still plenty of Psych.  The show airs new episodes of its fifth season Wednesdays at 10pm on USA.

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The Good Guys is doing pretty good

Not in the ratings, sadly.  But creatively, summer's funnest show, FOX's The Good Guys, has gotten even better this fall.  Following the buddy cop formula, Bradley Whitford plays Dan Stark and Colin Hanks is Jack Bailey.  I've said it before, but I think Whitford, a fabulous actor, as proven by his long stint on The West Wing, is just plain having fun in this show.  That makes it enjoyable for the audience, when you see a guy clearly loving what he is doing.  Stark is obnoxious, backwards, sports a 70's 'stache, and goes on about the good old days.  Bailey is straight-laced, mostly by the book, though Stark has been rubbing off on him.  Hanks plays it wonderfully, too, finally a role that really suits him.

     The plot the last few weeks has gone a little further into character development.  Two weeks ago, we finally met Stark's old partner, Frank Savage (Gary Cole, Entourage, Office Space), who has long been retired, and given up his antics.  He lives a quiet life with wife, Cynthia (Rachael Harris, The Hangover, My Boys, Notes From the Underbelly), who does not approve of Dan coming back and upsetting their balance.  Also in that episode was Ethan Suplee (My Name is Earl, Chasing Amy) as Andy, the now-grown little boy that Stark and Savage saved back in the day, and a TV movie was made about it.  As the plot unfolded, one could see that Savage and Bailey are two quiet different partners for Stark.  Bailey tries to reign him in, while Savage lets the crazy fly.  They both clearly care about Dan though, with Bailey's affection grown into unwavering loyalty in just the short time they've worked together.  Do you blame him though?  Dan is nothing if not loyal, and while he can be a screwup, he is sincere and honest.  Obviously, while Stark and Savage have fun, with Bailey's influence, Stark can be a better cop than ever.

     This past week the guest talent kept coming, with Ed Begley Jr. (Gary Unmarried, Veronica Mars) as Jack's crooked but charming Uncle Nate, and Method Man (The Wire, How High) as an arson-happy villain.  Nate brought some needed background and depth to Jack, as usually the past we hear about it Dan's.  Dan also managed to drag his favorite snitch, Julius (RonReaco Lee, Worst Week, The Shield) into the fray, though Julius wasn't too happy about it.  It's always a pleasure to see Julius, and hopefully the series will keep him coming back.

     The show isn't all great guest casting, though the past two weeks have been among the best in the series.  It's about the characters that star every week.  There are two women in the opening credits, too, and though they don't often get much plot, they are wonderful actors.  Diana Maria Riva (Studio 60 On the Sunset Strip, The West Wing) plays the boss, Lt. Ruiz, while Jenny Wade (Reaper) is Jack's ex-girlfriend, whom he is still smitten with, A.D.A. Liz Traynor.  The two girls were featured a few weeks ago, as they attempted to bring down a Senator (Wade's former Reaper co-star Ray Wise) on their own.  It was nice to see the two out of an office, and while Bailey and Stark and definitely the heart of the show, hopefully the women will get more to play with, as they can certainly handle it.

     I highly recommend you check out The Good Guys, as they can really use a ratings boost.  The show is way better than many other shows with higher numbers, and one of the most laugh-out-loud cop dramas ever made.  It's not high quality television, but it's loads of fun.  The Good Guys airs Friday nights at 9pm on FOX.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.