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.

House - "Born Again" (Season 9 Premiere Review)

So FOX's House returned this week for its ninth season. In the episode, "Born Again," little snippets are revealed about what happened between seasons, and there is some serious emotional depth. Sure, a few obstacles have to be overcome to return things to the status quo, but as usual, House manages to do so without leaning too far out of the realm of believability.

First, the tease. It's heartbreaking to watch Wilson (Robert Sean Leonard) dying in that house on the beach. The beautiful scenery contrasting with his deathly pallor makes a real impact, and House's (Hugh Laurie) silent, stoic expression is perfect. Yes, maybe I would have liked to have seen House's reaction after Wilson breathes that last breath, but the scene is so artistic, teasing us without being explicit, and panning away before we become eerie voyeurs onto such a private moment, that one can't be upset. It is exactly how it should be done.

The "real" opening of "Born Again," after the tease, is brilliant. Having House just walk into his old office and pretend everything is the same is the right way to handle things, and letting his fellows shake their heads in disbelief is a great way to address the audience's own confusion. House has that swagger, that confidence, that lets him get away with more than most people. It's good to see that that hasn't disappeared in the time since we last saw him.

Of course, what we are all thinking is, "What is House doing there?" When last we see him, he is riding off into the sunset with Wilson, and then we see Wilson die in the opening. What come back now? It's pretty obvious that Wilson died months ago, so what prompts his return to the old halls?

The police business can't be brushed under the rug. It's not unpredictable that the patient of the week turns out to have some major pull and is able to get House a pardon, but after seeing how much softer and more attentive House is towards the POW, especially in contrast to the almost cold way that he stood all the way across the room from poor Wilson in the beginning, it works. Who wouldn't want to help that guy, especially after House saves his life?

And House being as nonchalant as ever, knowing he is going to get that pardon, but not telling a frantic Foreman (Omar Epps), who is doing his best to hold off the law, is just classic House. Managing to keep Foreman in the dark about House's role in even bringing the patient to the hospital, whom House must have met sometime after the opening tease, is quite an accomplishment. Thank goodness Foreman is so happy to have House back that he lets it go in the end without getting too upset.

Will House's softer side last? I can't imagine that it will, even with the episode title. One has to believe that he is playing the judge in the hospital to get off of the charges against him. But, at the same time, there are hints that he might also be trying to make up for how he treated Wilson. Did House really pull away from Wilson? Not holding his hand in the end almost seems cruel, but without knowing how he acted in the moments leading up to that bit, it's impossible to say for sure if he stayed a good friend 'til the end. This is a changed House, surely, as one cannot watch their best friend perish and remain the same. But how deep the change goes, or the true motivation behind it, dance, as always, in the glimmer of House's eye, rather than being revealed to the viewers.

Yes, "Born Again" may not even refer to House himself. It probably has more to do with the judge, who is struggling with his own religious beliefs. But even if House isn't sincere, seeing him humor this POTW in talks of god, and not just dismissing it as he may have done in the past when the judge gets too sentimental, is unarguably a change.

Quick side note, Stephen Fry (Bones, QI), who plays the judge in this episode, previously did a sketch comedy series with House star Hugh Laurie. So awesome to see them reunited, even if only for an hour!

It makes sense that Chase (Jesse Spencer) is no longer in the cast. He has a decent enough send off last season, and Spencer is starring in Chicago Fire now, anyway. But I am slightly disappointed that Dr. Adams (Odette Annable) didn't return, as I felt her character could have been explored a bit more fully. I guess a short run is the curse of many pretty girls on House.

That being said, it's cool that Taub (Peter Jacobson) and Park (Charlyne Yi) stayed. Their various reactions to seeing House, whom they believed to be dead until he suddenly walks in the door, is funny. Taub screaming like a girl and Park getting angry is wonderfully in line with their characters, and creates fantastic comedy in an emotionally heavy episode.

The poor replacement for House just doesn't stand a chance at keeping his job, right from the start. I really like the actor they have playing the new head of diagnostics, having seen him in other shows, even though I didn't expect him to join a series like House. Even though it would be hard for anyone to balance a character who is genius enough to be Park and Taub's boss, but is humble enough to agree to stay on with a demotion when House is offered the job back, I think this guy can handle it. I definitely sense his role will not just be milked for a laugh in the coming year.

That still leaves an opening in the cast. I think that House will probably just keep a team of three, but who will take Wilson's office? It's sweet that Foreman has left it empty all this time, and the scenes where each of the docs go in there are heart-wrenching. It's a loss felt on screen and off. But that's prime real estate in a busy facility. I don't know that I want Wilson's Chief of Oncology replacement, Dr. Jerry (Peter MacNicol, Numb3rs, 24), to move in, as I kind of am hoping that it will be a person that House can befriend, and I'm not sure Dr. Jerry is that person. But he could be an amusing side trip for awhile.

And finally we get to the final scene: Cuddy (Lisa Edelstein) standing in the door of House's office. The camera cuts before either House or Cuddy say anything, but that brief bit is so ripe with the unspoken, it's going to drive viewers crazy for an entire week until the next installment! Does she know what House did for Wilson? She has to, right? Why else would she return? Will his selfless actions be enough to earn her forgiveness? What will she do if she learns that House killed Wilson, if he did indeed do so, which is hinted at in the conversation where Park accuses House of it, but is never confirmed? Would that change her mind, or make her see him as even more noble?

Rumor is that Edelstein has agreed to return full-time, even though it hasn't been confirmed by the network yet and her name is absent from this week's opening credits, but what will her role be? Foreman isn't going anywhere, and she can't just go to work on House's team. Could she take over Wilson's office, and in what capacity? Would the woman who became an administrator so young want to go back into endocrinology at this stage of her career? Or is she there simply as a love interest again?

Truly excellent start. Some may think that House has run out of stream after eight years and its almost cancellation last spring. But if future episodes hold up as well as "Born Again," we should all be grateful for the suspended sentence that both the series and the titular character have earned.

House airs Mondays at 9 p.m. ET on FOX.

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

Holy Flying Circus alights on DVD

Now available from Acorn Media in a Blu-ray/DVD combo pack is the comedic docudrama, Holy Flying Circus. Is this a sketch film? Is it a Monty Python parody? Is it a retelling of historical events? Is it purposely offensive to religious people? Yes, to all of these things, and more.

The main focus of Holy Flying Circus centers around the release of the 1979 film, Monty Python's Life of Brian. For those who may not remember, Life of Brian follows a guy named Brian whose life parallels Jesus Christ, and is mistaken for the messiah, even as evidence stacks up to contradict this assertion. When the movie originally came out, it was steeped in controversy, and some Christians took offense to the themes and jokes, especially if they hadn't actually seen the movie.

What Holy Flying Circus does is to re-create those events with a very Python-esque flavor, making the movie in the style of Python's classic films and shows. This does a couple of things. One, it makes Holy Flying Circus way funnier than most documentaries. Two, it should appeal to the sensibilities of Python fans, who are most likely the target audience of this piece. Three, it sneaks messages into the silliness, providing much fodder to think about. And four, it honors the comic legends who ruled Britain's funny scene a couple of decades ago.

Now, one might argue Holy Flying Circus isn't very good, as the writing veers off in odd ways, not always the direction the viewer would like it to go, especially with the fantasy sequences. It also borrows heavily from the existing Monty Python works, meaning there's a degree of copying. These are valid arguments.

However, what saves Holy Flying Circus is the fantastic ability of the performers to mimic the real life people that they are based on. Each member of the great cast, which includes Steve Punt (Mock of the Week) as Eric Idle, Phil Nichol (The International Sexy Ladies Show) as Terry Gilliam, Rufus Jones (Mongrels) as Terry Jones, Thomas Fisher (The Illusionist) as Graham Chapman, and especially Charles Edwards (Murder Rooms) as Michael Palin, and Darren Boyd (The Jane Show) as John Cleese, deliver uncanny imitations. Jason Thorpe (Little Dorrit) as the BBC executive and Stephen Fry (Bones, Jeeves and Wooster) as God also lend much to the proceedings, making for a memorable movie.

Besides the terrific casting, there are also a number of tongue-in-cheek references to the Pythons and their various projects, including things they did after this movie, in the "future." They are numerous, and many are sly. The more you times watch it, the more you are likely to catch.

The central question at the heart of Holy Flying Circus is, is it alright to poke fun at religion? Not in a mean-spirited way, of course, but in the service of legitimate comedy. Especially in America's currently heated presidential campaign, the debate the rages on, not always in the public spotlight, but ever important to a sizable percentage of the population. It almost makes the Pythons seem ahead of their time to have tackled this back in the day, though they weren't the only ones doing so. Should the religious community have a sense of humor about themselves and their beliefs? What if the jokes come from people who believe the same things?

This is not a debate quickly settled, and as we see when Cleese and Palin appear on the British series Friday Night, Saturday Morning; this may be a debate not many are willing to actually have. The characters, much as it happened in real life, find themselves pitted against religious leaders who are not willing to budge from a stance, nor listen to logic and reason if it conflicts with this opinion. Are they justified in acting that way? This movie has a view on the subject, and it is one likely shared by many would-be watchers, though not necessarily by the population at large.

The extras are a little disappointing. The nine minutes of deleted scenes are pretty good, although the nearly 20 minutes of outtakes drag on a bit. The sole exciting featurette shows how the opening sequence was made, which is very complicated and cool. But that's it. Nothing from the Pythons themselves, which is what I would really like to be included, though it seems unlikely they would want to participate in such a project. Still, the draw is the film, and it is worth watching.

Holy Flying Circus is available now.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as DVD Review: Holy Flying Circus on Blogcritics.