Channel Surfing: NBC's Latenight Dilemma with Jay Leno, Alan Ball Talks "True Blood" Romance, Russell Tovey Rumored for "Torchwood," and More

Welcome to your Friday morning television briefing.

Reports emerged yesterday that had NBC reconsidering its strategy of airing Jay Leno weeknights at 10 pm, with changes expected after NBC wraps its Olympics coverage on February 28th. Under pressure from local affiliates (whose 11 pm newscasts were all but decimated by the lack of a suitable lead-in), NBC was reportedly considering one of two options: either giving Jay Leno back the Tonight Show (which would leave current host Conan O'Brien out in the cold) or giving Jay a 11:35 pm ET/PT half-hour slot, after the local news, and shifting Conan O'Brien's Tonight Show to 12:05 am (and therefore Jimmy Fallon's show to 1:05 am). "While NBC officially said no final decision on the plan had been made, two senior NBC executives who had talked to the top management about the moves said that under the plan being discussed, Mr. Leno would definitely shift back to 11:35 but in a half-hour format, while Mr. O’Brien would slide back his start time by a half hour and then produce an hourlong show," writes The New York Times's latenight expert Bill Carter. For their part, NBC issued a statement that indicated that O'Brien wouldn't be leaving the network: "“We remain committed to keeping Conan O’Brien on NBC. He is a valued part of our late-night lineup, as he has been for more than 16 years, and is one of the most respected entertainers on television." (New York Times' Media Decoder)

SPOILER! Entertainment Weekly's Michael Ausiello has the scoop on the "intense" romance awaiting Sookie (Anna Paquin) in Season Three of HBO's vampire drama True Blood, directly from writer/executive producer Alan Ball, as Sookie becomes thrust together with Joe Manganiello's Alcide this season. "We were looking for a guy who was big, sexy, decent and heroic, with some darkness," said Ball. "And [Manganiello] showed us all of that in the audition... As in the book, he’s helping her find [her kidnapped boyfriend] Bill and he has a business reason for owing Eric a favor... He’s there with her during a very painful time in her life — and his life, actually. And they’re thrown into some pretty intense situations together." (Entertainment Weekly's Ausiello Files)

While there's been very little information about the planned fourth season of Doctor Who spinoff Torchwood, series lead John Barrowman has indicated that it's possible that Russell Tovey's Alonso Frame--last spotted being chatted up by Barrowman's Captain Jack Harkness in Doctor Who: The End of Time--could turn up on Torchwood. "What I'd love, what I think would be great, is if Midshipman Frame became Jack's companion in Torchwood," Barrowman told Doctor Who magazine. "He's the perfect companion for Jack. It'd be like Batman and Robin. Of course I'm Batman. He's Robin." (via Digital Spy)

Showtime has ordered thirteen episodes of comedy The Big C, which stars Laura Linney as a suburban mother grappling with a cancer diagnosis and Oliver Platt as her childish husband. The pay cabler is looking at a possible summer launch for the Sony Pictures Television-produced series, which is created by Darlene Hunt, who will executive produce with Linney, Neal Moritz, and Vivian Cannon. (Variety)

Entertainment Weekly's Michael Ausiello is reporting that Eric Millegan is set to return to FOX's Bones later this season for the procedural series' 100th episode, which will air on April 8th and which will feature a flashback depicting the first time Booth and Brennan's first case together. "Zack will be back," executive producer Stephen Nathan told Ausiello. "We’ll see Zack during their first case and we’ll see the first meeting between Booth and Zack." (Entertainment Weekly's Ausiello Files)

FOX has announced that child-focused gameshow Our Little Genius will not premiere next week as planned, following executive producer Mark Burnett's decision to pull the episodes after he learned that the contestants were not properly briefed during pre-production. It's unclear whether episodes will be reshot or whether the series will air at all. "Mark Burnett is one of the pre-eminent producers of unscripted programming on television," said FOX in a statement. "Even though we were incredibly pleased with the quality of Our Little Genius, we respect and appreciate his due diligence and the decision to pull these episodes. We agree there can be no question about the integrity of our shows. While these episodes will not air, the families who participated in the show will receive their winnings, and we are grateful for their participation."(via press release)

Heroes star Greg Grunberg--who is set to appear in Lost's February 2nd season premiere, by the way--has indicated that the superhero drama will be back for a fifth season. "We wrapped yesterday and the [final episode] is nowhere near a series finale,” Grunberg told Entertainment Weekly. "It is cliffhanger-y and exciting, but it is nowhere near an end to a series that people are so invested in. It does not tie everything up in a neat bow… I don’t have any doubt that the show will be back... Lost announced an end [date] and I think that helped both the people working on the show and the people watching it. They see the finish line and I think it gives them something tangible to invest in and be excited about. It’s like it’s a movie and they want to see the end of it. That’s what I hope happens with our show." (Entertainment Weekly's Ausiello Files)

CBS has announced pieces of its midseason lineup, which includes launching new medical drama Miami Medical on Friday, April 2nd at 10 pm ET/PT, shifting comedy Accidentally on Purpose to Wednesdays at 8:30 pm ET/PT starting March 31st (it will take over for Gary Unmarried, which will have finished its season run), and slotting returning comedy Rules of Engagement on Mondays at 8:30 pm beginning March 1st. (via press release)

Looks like Graham Norton won't be replacing Jonathan Ross as the host of Ross' eponymous Friday night talk show. According to Broadcast's Katherine Rushton, BBC sources have "categorically" denied that Norton will take over for Ross once he departs in April. (Broadcast)

Just what will former NBC topper Ben Silverman do next? Silverman has announced a new first-look deal between his Electus online entertainment studio and Yahoo!, under which he will produce original programming for the company's websites which will be "developed to provide advertisers with opportunities to integrate their products and brand messages within them," according to Variety's Marc Graser. (Variety)

David Hasselhoff has announced that he will not be returning for a fifth season of reality competition series America's Got Talent, stating that he has a new project in the works. "I am proud that I was part of making America's Got Talent the No. 1 rated show for the past four summers," Hasselhoff told People. "It's been a rewarding experience and now I'm thrilled to be able to follow my dream to do my own TV show, which will be announced very shortly." (Hollywood Reporter)

HBO has acquired rights to Pablo Escobar documentary film Sins of My Father, about the life of Colombian drug lord told from the point of view of his son, Sebastian Marroquin. Film, directed by Nicolas Entel, is expected to air this fall after premiering at Sundance. (Variety)

Stay tuned.

What New or Returning Midseason Series Are You Most Looking Forward To?

It's that time of year again as the broadcast and cable networks trot out some new fare to keep us entertained these cold winter months. (Unless you live in Los Angeles, as I do, where it's once again in the 70s.)

As the networks make way over the next few weeks to unveil some shiny new programming and bring back some old favorites, I'm curious to know which new and returning midseason series are you most looking forward to?

Amid the seemingly hundreds of series slated to premiere over the next few months, can you pick out the one that excites you the most? Is it the triumphant return of Chuck this weekend? The final season of Lost? Looking forward to getting the backstory on the birth of the Cylon race on Caprica?

Or, are you more interested in catching up with Nurse Jackie? Diving into the blood-and-sex of the 300-inspired Spartacus? Or the grit of HBO's ten-episode limited series The Pacific? Or hoping that BBC and BBC America announce a start date for the Matt Smith-led Season Five of Doctor Who?

Discuss which series you're most excited about and why.

Channel Surfing: "Lost" Start Could Be Delayed, Paley Festival, USA Locks "Covert Affairs," ABC Orders More "Cougar Town," and More

Welcome to your Thursday morning television briefing.

The start date for Lost's sixth and final season could be in peril, according to The Wrap's Josef Adalian, who is reporting that the White House is considering using January 26th or February 2nd--the launch date for Season Six of Lost--for President Obama's State of the Union address. The move would require ABC to shift back the start of Season Six, which the network would be particularly loath to do, considering the amount of marketing coin spent on publicizing the February 2nd start. "The good news, according to sources, is that the White House hasn't decided to press the button on the Feb. 2 idea," writes Adalian. "No doubt ABC has made its displeasure with the date very clear." (The Wrap's TVMoJoe)

The Paley Center for Media have announced several more series being feted at this year's William S. Paley Television Festival. Lost, Modern Family, Dexter, and Curb Your Enthusiasm will join the lineup, which so far includes panels on Glee and The Vampire Diaries. The complete schedule for PaleyFest2010 will be announced on Wednesday, January 20th. (Variety)

USA has given a series order to espionage drama Covert Affairs, ordering eleven episodes in addition to the 90-minute pilot. Series, which stars Piper Perabo, Chris Gorham, Peter Gallagher, Kari Matchett, and Anne Dudek, revolves around a CIA trainee (Perabo) who is "unexpectedly promoted to field operative while reeling over a mysterious ex-boyfriend who appears to be of particular interest to her agency bosses." Covert Affairs, from creator/executive producers Matt Corman and Chris Ord and executive producers Dave Bartis and Doug Liman, is expected to be ready to launch this summer, though it may contend for the summer slot with USA's other drama contender, Facing Kate. (Hollywood Reporter)

Entertainment Weekly's Michael Ausiello is reporting that ABC has ordered two additional episodes of comedy series Cougar Town. The move bumps the episodic total of the freshman season of Cougar Town to 24 installments, a move that's thought to bode well for a second season renewal. (Entertainment Weekly's Ausiello Files)

CBS has announced the identities of the castaways participating in Survivor: Heroes Vs. Villains, which will premiere with a two-hour installment on February 11th at 8 pm ET/PT. They include: Rupert Boneham, James Clement, Colby Donaldson, Cirie Fields, Amanda Kimmel, Jessica "Sugar" Kiper, Stephenie Lagrossa, James "JT" Thomas Jr., Tom Westman, and Candice Woodcock for the "Heroes," and Tyson Apostol, Randy Bailey, Danielle DiLorenzo, Russell Hantz, Jerri Manthey, Robert Mariano, Parvati Shallow, Sandra Diaz-Twine, Benjamin "Coach" Wade, and Courtney Yates for the "Villains." (via press release)

Talk show host Jonathan Ross, the BBC's highest-paid performer, has announced that he will leave the broadcaster in July when his current contract expires. Ross, who has been based at the BBC for 13 years, has indicated that he will leave his eponymous Friday night talk show, his Saturday morning show, and his late-night film show, but will continue to host the BAFTA awards show and will appear in other specials. "Over the last two weeks I have decided not to renegotiate when my current contract comes to an end. I would like to make it perfectly clear that no negotiations ever took place and that my decision is not financially motivated," said Ross in a statement. "I signed my current contract with the BBC having turned down more lucrative offers from other channels because it was where I wanted to be and – as I have said before – would happily have stayed there for any fee they cared to offer, but there were other considerations." Graham Norton seems to be the top candidate to take over for Ross for his Friday night talk show. (Guardian)

The Chicago Tribune's Maureen Ryan has a great interview with Chuck star Adam Baldwin about John Casey. "I've found the biggest challenge in playing Casey is, how do I walk that line between comedy and seriousness?" Baldwin told Ryan. "He is the straight man. But what they told me from the get-go is that Casey has to be dangerous, even when he's being handcuffed by a gorgeous Russian model-spy." (Chicago Tribune's The Watcher)

In an alteration of its previous development patterns, cabler TBS has given a cast-contingent pilot order one-hour mystery-comedy Uncle Nigel, from writer/executive producer Adam Breckman (Monk). Project, written by Breckman as a spec script, revolves around an uptight Philadelphia police detective who clashes with his screw-up cop nephew. (Variety)

File this under wha-huh? The BBC has shot back at claims that Doctor Who had an "anti-ginger agenda" following last week's Doctor Who: The End of Time (Part Two), in which new series lead Matt Smith made a comment about not being ginger, following his regeneration. Said the BBC in a statement: "We've received complaints from viewers who believed a line in Doctor Who: The End of Time was insulting to people with ginger hair. We would like to reassure viewers that Doctor Who doesn't have an anti-ginger agenda whatsoever. This was a reprise of the line in 'The Christmas Invasion' episode in 2005, when David Tennant discovers that he's not ginger, and here he is, missing out again - disappointed he's still not ginger. In addition, the Doctor's previous companion Donna Noble [Catherine Tate] and his new one Amy Pond [Karen Gillan] are both redheads." (via Digital Spy)

Entertainment Weekly's Michael Ausiello is reporting that Lee Tergesen (Life on Mars) will reunite with his former Oz co-star Chris Meloni on an upcoming episode of NBC's Law & Order: SVU. Tergesen will play "a deranged religious zealot suspected of murder," writes Ausiello, in an episode to air later this season. (Entertainment Weekly's Ausiello Files)

The CW will post the first ten minutes of the series premiere of dramedy Life Unexpected online a week before its network broadcast, thanks to a partnership between the network and Facebook, which will allow the CW's 5.4 million fans to watch the extended preview beginning January 11th. (Hollywood Reporter)

MTV is getting into the scripted series game in a major way. Cabler, according to Variety's Michael Schneider, will "produce as many as eight drama and comedy pilots in 2010," and "between two and four of those series will make it to air." The scripted venture--which includes drama and comedy pilots as well as telepic backdoor pilots--will be overseen by newly installed EVP of scripted development David Janollari. Network already has two scripted projects ordered to series: comedies Hard Times and Warren the Ape, as well as a pilot order for a remake of Teen Wolf. (Variety)

Stay tuned.

Eternal Bonds: An Advance Review of Season Four of HBO's "Big Love"

Those of us who watch HBO's gripping drama series Big Love know that it's a series of contrasts: between light and darkness, love and hate, tolerance and injustice. The never-ending push and pull of these elements is what drives the series, which remains one of the most intelligent and emotionally resonant series on television today. (My only complaint: that more of you aren't watching it.)

Season Four of Big Love, which begins this Sunday evening, picks up the threads that were left dangling at the end of the series' outstanding third season, which I rank as one of the very best complete seasons of television ever. Taut, provocative, and gut-wrenching, Season Three of Big Love pushed the Henrickson clan past their breaking point, throwing them on a series of soul-searching exercises as varied as a family road trip, excommunication, a new wife, and the unearthing of some long-buried secrets. (Not to mention storylines involving murder, kidnapping, cult leaders, assumed identity, and adultery.)

One might wonder just how series creators Mark V. Olsen and Will Scheffer could outdo themselves then after such a truly remarkable season. Any fears (and believe me, they were minor, if they existed at all) were quickly allayed after watching the breathtaking first two episodes of Season Four of Big Love (entitled "Free at Last" and "The Greater Good").

What did I think of the first two episodes of Season Four of Big Love? Let's discuss. (Beware: there are minor spoilers lurking ahead.)

The opening installments of Big Love's latest season find the Henricksons once more under attack from numerous directions, not least of which is internal. The wounds from some of last season's betrayals--most notably the deception perpetrated by Nicki (Chloe Sevigny)--still sting, especially for Bill (Bill Paxton), who once more is trying to keep his flock together in the face of overwhelming obstacles. (There's an especially powerful scene for Nicki at the end of the second episode that points not only to the depth of her faith but the heartbreaking explicitness of her belief system.)

But while the Henricksons have always attempted to remain a united front, there are larger cracks growing in their unity. Decisions made by Bill in the first few episodes will have longstanding repercussions for every single member of the clan, each of whom is tested in new and unique ways this season. The family's casino business, a major focal point for Season Three, forces Barb (Jeanne Tripplehorn) into a new and uncomfortable position within the family while Margene (Ginnifer Goodwin) grapples with the first blush of success as her own business begins to take off. As for Nicki, she must deal with consequences of her taking Cara Lynn (Cassi Thomson) away from her ex-husband JJ (Zeljko Ivanek) and off of the compound.

As for Ivanek's JJ, look for a seriously creepy reveal about Nicki's former husband in the season's second episode. It's a quick character-defining moment that has me squeamishly thinking about it weeks later. And keep your eyes peeled for an appearance by Mad Men's Melinda Page Hamilton as one of JJ's wives, who shares a certain similarity with Barb. (A minor hint: there's a dinner scene that ranks up there with the series' most off-putting moments.) And Cara Lynn might not be quite as innocent as she appears as she might just share a certain trait with her birth mother.

Elsewhere, the consequences of Joey's actions in the season finale are dealt with pretty quickly but not in the way that you might expect. However, there is a concrete resolution to the matter of the mortality of prophet Roman Grant (Harry Dean Stanton) in the opening episode, one that proves to be quite surprising... and cold-blooded. There is no shortage of madness at Juniper Creek; look for some truly shocking moves from both Alby (Matt Ross) and Adaleen (Mary Kay Place) as a power struggle begins anew at the compound, one that's potentially fraught with complications after the placement of Dale (Ben Koldyke), a state-appointed trustee to the UEB board.

Additionally, the dangling plot thread about Lois (Grace Zabriski) inquiring about a bird from the deliciously loopy Wanda (Melora Walters) is dealt with head-on as Lois launches yet another get-rich-quick scheme and crosses paths with her dangerous husband Frank (Bruce Dern), who might not be all that pleased to see her after she attempted to kill him last season. (Ice cream, anyone?)

I was thrilled that the producers opted to bring back Tina Majorino's Heather Tuttle this season after her falling-out with Amanda Seyfried's Sarah last year. Look for some major drama involving Sarah and her boyfriend Scott (Aaron Paul) as Sarah makes a series of decisions that will spell out the direction she's heading in for the rest of the season. (That's all I'll say on the subject.)

The season seems to be setting itself up as a battle between the personal and the political, the domestic and the public, and the illicit and the divine. Caught in the center: the Henricksons, who must take sides, hold onto their true selves, and find something to bind them together in the face of unstoppable change. There's a sense that the family is playing with fire in more ways than one and likely none of them will walk away unscathed.

Ultimately, the first two episodes of Season Four of Big Love point towards a forceful and riveting season ahead as the various members of the Henrickson family are tested by new challenges as each attempts to find their place in a shifting world. Even as your heart breaks for the various Henrickson family members, their imminent freefall makes for captivating television that's at once unique and universal. Hold on, indeed.



Season Four of Big Love premieres Sunday evening at 9 pm ET/PT on HBO.

Channel Surfing: Team Darlton Talk "Lost" Final Season, Mann and Milch Team Up for HBO, Ball Staying on "True Blood," Sharon Stone to "SVU," and More

Welcome to your Wednesday morning television briefing.

The Hollywood Reporter's James Hibberd has an interview with Lost showrunners Damon Lindelof and Carlton Cuse in which they speak about the looming ending of the iconic ABC series, which launches its sixth and final season next month. While Cuse and Lindelof's involvement with the franchise will end at that time, both were quick to point out that they don't own Lost and that the studio could revive the series in some fashion down the road. "The Walt Disney Co. owns Lost," said Cuse. "It's a franchise that's conservatively worth billions of dollars. It's hard to imagine Lost will rest on the shelves and nothing will ever be made with Lost. Eventually somebody will make something under the moniker of Lost -- whether we do it or not. We just made a commitment to this group of characters whose stories are coming to a conclusion this May." (Hollywood Reporter's The Live Feed)

Are David Milch (Deadwood) and Michael Mann (Public Enemies) joining forces for an HBO project? You read that correctly. Michael Mann is reportedly in talks to direct HBO horse-racing drama pilot Luck. Project, written by David Milch (who will executive produce with Carolyn Strauss), revolves around Ace Bernstein, described by Milch as "a guy versed in all the permutations of finance, elicit and otherwise. When he is released from jail for securities violations, he resumes his place at the race track, where he is a figure of long-standing repute." Production will begin in April, when it will shoot at the Santa Anita Race Track. (Variety, Hollywood Reporter's The Live Feed)

Is Season Four of True Blood nearing a lock? True Blood creator/executive producer has reportedly signed a two-year deal with pay cabler HBO that will keep him at the helm of the vampire drama series through the fourth season. "I just closed a deal to show-run [True Blood] for two more seasons, so I would assume that [the series is at minimum] going through Season Four," Ball told Abbie Bernstein of Buzzy Multimedia. (Buzzy Multimedia)

Sharon Stone has signed on for a four-episode story arc on NBC's Law & Order: Special Victims Unit later this season. Stone, who will first appear in an episode slated to air in April, will play "a former cop-turned-prosecutor who will (presumably) go toe-to-toe with Benson, Stabler, and the gang," according to Entertainment Weekly's Michael Ausiello. (Entertainment Weekly's Ausiello Files)

Elsewhere at Law & Order: Special Victims Unit, Mischa Barton (The Beautiful Life) has been tapped for a guest star role on the NBC procedural, where she will play a prostitute named Gladys on the March 3rd episode. According to TV Guide's Will Keck, "Mischa’s character is hiding a secret that will prove complicating for Mariska Hargitay’s Benson." (TV Guide Magazine)

FOX has given a put pilot order to Shawn Ryan's cop drama project Ridealong, which follows a group of police officers--ranging from beat cops to the female police chief--in Chicago. Project, written and executive produced by Ryan, hails from 20th Century Fox Television. "Something will happen in the pilot that will have overarching (ramifications) that we deal with over time. It will be less serialized than Grey's but more than CSI," Ryan told Variety's Michael Schneider. "I don't think it will be as gritty a world as The Shield was, but it will feel authentic." (Variety)

There's an online petition started by some diehard Lost fans to have Disney to consider creating a Lost-themed ride at one of its amusement parks. Lost showrunners Damon Lindelof and Carlton Cuse endorse the idea, according to The Wrap's Josef Adalian. (The Wrap's TVMoJoe)

ABC picked up two multi-camera comedy pitches from Sony Pictures Television and Tantamount, both untitled. The first, a family comedy from writers Mitchel Katlin and Nat Bernstein, will star comedian Carlos Mencia and his based on his life and stand-up act as he plays a man living amid a "very large multigenerational immigrant family." The second, a Cedric the Entertainer comedy vehicle, is written by Al Higgins ('Til Death) and Devon Shepard (Cedric the Entertainer Presents); Cedric will play "a retired baseball player-turned-radio host forced to re-evaluate the type of father he has been when his son and 6-year-old granddaughter re-enter his life." (Hollywood Reporter)

Could romance be in the cards for Ugly Betty's Daniel and Betty? According to executive producer Silvio Horta, it's definitely possible. "We’ve been batting around the idea," Horta told Entertainment Weekly's Michael Ausiello. "It is not outside the realm of possibility that something [could] happen, but we’re not sure yet." (Entertainment Weekly's Ausiello Files)

CBS has given a pilot order to Matt Tarses' comedy True Love, about a group of twenty-something friends in Manhattan looking for love. Project, from Sony Pictures Television, is executive produced by Tarses and his sister Jamie Tarses. (Variety)

Entertainment Weekly's Michael Ausiello is reporting Jeffrey Tambor will lend his voice to an upcoming episode of FX's animated comedy Archer, slated to air January 28th. The casting reunites Tambor with his Arrested Development costar Jessica Walter, who is a series regular (or her voice is, anyway) on Archer as Malory, the mother/boss of the titular spy. "In the episode, Tambor plays a United Nations intelligence chairman who Walter’s Malory tries to woo for the benefit of her spy agency," writes Ausiello. (Entertainment Weekly's Ausiello Files)

TruTV has ordered eight episodes of docudrama Southern Fried Stings, which follows a former state trooper who investigates criminals as part of a private security firm. Series, from Zoo Productions and Studio Lambert, will launch in March. (Variety)

Lacey Chabert (Mean Girls) and Ryan Merriman (Taken) star in Hallmark Channel original telepic Elevator Girl, set to air on Saturday, February 13th. (via press release)

Two promotions at Syfy: Blake Callaway has been named SVP of marketing, brand and strategic and Michael Engleman has been bumped to SVP of marketing, global brand strategy and creative. Both executives report to Dave Howe. (Variety)

Stay tuned.

The Daily Beast: "Sci-Fi TV Gets Frisky: Caprica"

Looking for some more information about Syfy's Battlestar Galactica prequel spinoff series Caprica? You've come to the right place.

Head over to The Daily Beast to read my latest piece, "Sci-Fi TV Gets Frisky," where I speak to Caprica executive producers Ronald D. Moore, David Eick, and Jane Espenson about the series, which launches on January 22nd.

Besides for some fantastic quotes from the talented troika of Moore, Eick, and Espenson and some insight about the series, there's also an exclusive video clip from the second episode of Caprica ("Rebirth") to boot.

Caprica launches with a two-hour pilot on Friday, January 22nd at 8 pm ET/PT.

TV on DVD: "Chuck: The Complete Second Season"

With only a few days to go before the triumphant return of Chuck to the airwaves, Warner Home Video has today released the fantastic Chuck: The Complete Second Season on DVD and Blu-ray.

While its first season was sadly truncated to the writers strike, Season Two of Chuck found its footing amid a glorious mix of genre-busting action, intrigue, romance, and workplace comedy. While the series' first season nicely set up the universe of Chuck, introducing its core troika of spies and the soul-crushing monotony of retail work, the second season expanded upon those ideas, taking the series to dizzying new heights while remaining grounded and relatable. (Who among us wouldn't jump at the chance to escape the drudgery of minimum wage and spend time with super-spies?)

Broadening out the world created by Josh Schwartz and Chris Fedak, Season Two of Chuck pushed hapless asset Chuck Bartowski (Zachary Levi) and handler Sarah Walker (Yvonne Strahovski) closer together while also throwing a number of obstacles in their way, not least of which was the cross-purposes of their own wish-fulfillment fantasies.

But Chuck's strength is that it doesn't mine just one genre, instead gleefully bounding from action to comedy over the course of a single-episode. Season Two deepened the supporting characters at the Buy More, giving us the mind-blowing rock stylings of band Jeffster (Vic Sahay and Scott Krinsky), the often tart romance between Morgan (Joshua Gomez) and Anna (Julia Ling), and a great workplace enemy in the form of new assistant manager Emmett Milbarge (the great Tony Hale).

If that wasn't enough for poor Chuck to handle, he also must contend with a complicated romantic love triangle involving suave spy Bryce Larkin (Matthew Bomer), the return of the ex-girlfriend that broke his heart (Jordana Brewster), and a deadly CIA splinter group (Fulcrum) determined to uncover the secrets of the Intersect and create an army of super-spies.

And, oh, learn the mysteries of how and why he became the Intersect. It's a journey that has Chuck not only delving into his secret backstory but also learning the truth about his situation and why his father (Scott Bakula) abandoned his family all those years ago. Really, it's a hero's quest in which Chuck becomes an adult and assumes the mantle of superhero, set over the course of 22 outstanding episodes.

The six-disc DVD box set of Chuck: The Complete Second Season contains not only all of those aforementioned installments (including the 3-D madcapery of "Chuck Versus the Third Dimension"), but also a slew of bonus features, including a gag reel, deleted scenes, two fantastic features ("Truth, Spies, and Regular Guys: Exploring the Mythology of Chuck" and "Dude in Distress," about the season's best action sequences), webisodes, the tongue-in-cheek advice featurette series "Captain Awesome's Tips for Being Awesome," and the comic instructional video "John Casey Presents: So You Want to Be a Deadly Spy?"

All in all, it's a must-own for any fans of the winsome NBC action-comedy and the perfect present for those in your life who for whatever reason have yet to fall for Chuck's killer charms.



Chuck: The Complete Second Season is available for purchase starting today for a suggested retail price of $59.98. Or pick up a copy today in the Televisionary store for just $36.99.

Restaurant Wars: An Advance Review of Season Three of BBC America's "Last Restaurant Standing"

I've long been captivated by BBC America's culinary competition series, Last Restaurant Standing (a.k.a. The Restaurant in the UK), which returns with its third season tonight.

While Last Restaurant Standing returns tonight, the series is a slightly different beast than in its two previous iterations. While chef/restaurateur Raymond Blanc and judges Sarah Willingham and David Moore all return and the overall premise of the series--"couples" compete to open their own restaurant--remains the same, there's something slightly different going on here.

For one, Last Restaurant Standing's format has changed, reducing the episode count and sucking out some of the series' nail-biting tension. In the UK, previous seasons of the competition series aired twice a week, with one episode devoted to the couples running their individual restaurants, amid frequent complications sprung on them by Raymond Blanc, and the second devoted to the Challenge, a gauntlet of fire through which the worst-performing couples would be run and by which one couple would be eliminated.

The Challenge is, rather sadly, gone. I always thought that it was one of the more interesting arenas for the series, forcing the contestants to adapt to any situation (sometimes quite mad ones) and really think on their toes. It was a good metric for understanding just how adaptable, intelligent, and determined each of the couples were, pushing them even further out of their comfort zone and forcing them to come to accept the harsh realities of the restaurant business. After all, it's not just dinner parties and shopping for ingredients at farm stores.

In the two episodes provided for review by BBC America, the new version of Last Restaurant Standing therefore places much more emphasis on the overall concept of the couples' individual restaurants and on their skills on line and in front of house. However, it's hard to judge the week-to-week tension and drama of the series as the couples don't actually move into their restaurant spaces until Week Three.

But that's not to say that the couples aren't under a great deal of strain in the first two episodes, because they are. The first episode finds them more or less auditioning for Raymond Blanc himself, as they are put into teams of three couples and tasked with organizing a three-course menu, with each couple responsible for creating a dish (starter, main, or dessert) that sums up their restaurant's concept. The second installment has the couples working on the line in a three of Britain's high street chain restaurants. It's a task that proves that many of them are ill-equipped to be running a place of their own and several seem to have little understanding of the amount of diligence, organization, and hard work necessary to run an endeavor such as that.

And, yes, some of the contestants engage in behavior that is outright shocking. Mother and daughter team Sandy and Natalie's attempts to open cans using a very sharp chef's knife (rather than, you know, a can opener) is so jaw-dropping and terrifying that Raymond is forced to take action from the start and actually intervene before one of them loses a finger. It's an eye-opening start to the season and one that makes me question the sanity of several of these contestants. Did they really not know what they were getting into? Had they never seen the series before? What did they expect that they would be doing?

There are a few that are worth keeping an eye on. One couple in particular seems extremely strong while another has a restaurant concept that is quite original... and mind-boggling at the same time.

All in all, a good start for what promises to be a fun season of Last Restaurant Standing but which so far lacks the same level of spark and heat of the last two seasons. Still, I'll be tuning in every Tuesday night to see just who walks away with their own restaurant...

Season Three of Last Restaurant Standing premieres tonight at 9 pm ET/PT on BBC America.

Channel Surfing: James Van Der Beek Finds "Mercy," Elizabeth Banks on "30 Rock" Stint, ABC Nabs Detroit Crime Drama, "Doctor Who," and More

Welcome to your Tuesday morning television briefing.

Entertainment Weekly's Michael Ausiello is reporting that James Van Der Beek has landed a recurring role on NBC medical drama Mercy, where he will play Liam West, the new head of the Intensive Care Unit at the hospital. "Cocky, womanizing, and manipulative, Dr. West will frequently clash with Sands, Harris, and the nurses," writes Ausiello. "But beneath the alpha-male swagger lies a brilliant MD whose primary goal is to make Mercy Hospital money. The new doc is also hiding a deep, dark secret." Should Van Der Beek's character mesh well with the series, it's thought to be possible that he could be bumped to series regular. (Entertainment Weekly's Ausiello Files)

Mssr. Ausiello also chats with Elizabeth Banks about her upcoming four-episode stint on NBC's 30 Rock, which kicks off in February. "She’s basically Sean Hannity in a skirt," Banks tells Ausiello about her character, a financial expert who falls for Jack Donaghy (Alec Baldwin) when he is a guest on her CNBC show. "What’s great about her relationship with Jack is they’re equals. She’s not some [pretty] young thing that he has a fling with. She really challenges him." (Entertainment Weekly's Ausiello Files)

Look for Doctor Who to potentially get an update of its iconic opening theme, according to the series' composer Murray Gold. Gold also indicated that former Doctor Who writers Mark Gatiss and Gareth Roberts have written scripts for Season Five of Doctor Who, which features Matt Smith taking on the mantle of the Doctor and Steven Moffat stepping in as the new head writer. (via Digital Spy)

ABC has given a pilot order to cop drama 187 Detroit from ABC Studios and Mandeville. Project, from writer/executive producer Jason Richman (Swing Vote) and executive producers David Hoberman and Todd Lieberman, follow Detroit police officers on the homicide beat, as seen through the lens of a documentary film crew. Project is said to mix comedy and drama. (Hollywood Reporter's The Live Feed)

In other pilot news, NBC has ordered a pilot for an untitled Adam Carolla comedy vehicle in which he'll play a contractor and father whose wife abruptly leaves him. Project, from Universal Media Studios, Jackhole Industries, and BermanBraun, is written by Kevin Hench, who will executive produce with Carolla, Jon Pollack, Jimmy Kimmel, Daniel Kellison, James Dixon, Gail Berman, and Lloyd Braun. [Editor: if you think that the above logline sounds exactly like that of CBS' Gary Unmarried, you're not the only one.] (Variety)

Pablo Schreiber (The Wire) has been cast as a series regular on FX drama Lights Out. He'll play the brother of former boxer Patrick "Lights" Leary (Holt McCallany) and his boxing manager; Schreiber replaces Elias Koteas, who appeared in the original pilot episode. (Hollywood Reporter)

TV One has acquired rights to four-episode sitcom Love That Girl, from writer Bentley Kyle Evans (Martin) and executive producer Martin Lawrence. Project, which stars Tatyana Ali (The Fresh Prince of Bel Air), Phil Morris, Alphonso McAuley, and Kendyl Joi, will air over three nights beginning January 19th. (Variety)

NBC yesterday announced the cast for the latest installment of Celebrity Apprentice, which will see Darryl Strawberry, Cyndi Lauper, Bret Michaels, Sharon Osbourne, Michael Johnson, Holly Robinson Peete, Goldberg, Carol Leifer, Sinbad, Summer Sanders, Rod Blagojevich, Maria Kanellis, Curtis Stone, and Selita Ebanks compete for charity. Season Three is set to launch on March 14th. (via press release)

MTV has scheduled 90-minute documentary Summit on the Summit, about a group of actors and activists--among them Jessica Biel and Emile Hirsch--who scale Mount Kilimanjaro in order to raise awareness of the clean water crisis--on March 14th at 9 pm ET/PT. (Variety)

Grant Mansfield has taken over as CEO of RDF USA, replacing Chris Coelen, who left the reality shingle last month. Mansfield, who currently serves as director of factual, entertainment, and comedy for RDF USA's parent company RDF Media in the UK, will report to David Frank. (Variety)

Stay tuned.

Geronimo: First Look at Season Five of "Doctor Who"

"Trust me, I'm the Doctor."

Those of us still sniffing following this weekend's Doctor Who: The End of Time and the departure of series lead David Tennant can at least look forward to some new adventures for The Doctor heading our way later this year. (You can read my thoughts on Part One of Doctor Who: The End of Time here and on Part Two here.)

The BBC has released a fantastic one-minute-plus trailer for Season Five of Doctor Who, featuring new series lead Matt Smith as The Doctor and Karen Gillan as new companion Amy Pond. As Who fans well know, Season Five of Doctor Who also sees the head writing and executive producing duties being taken over by Steven Moffat, who previously wrote some of the series' most memorable installments, including "The Doctor Dances," "The Girl in the Fireplace," "Blink," and "Silence in the Library," to name a few.

The full Season Five trailer can be found below in all its glory. If you're extremely spoiler-averse, you might want to look away. (Personally, I think it's just a lovely teaser of things to come.)



What do you think of the Doctor Who Season Five trailer? Does Smith look capable of filling the considerable shoes of David Tennant? What do you think of the glimpse of Amy? Or the gun-toting woman? Excited to see the return of the Weeping Angels? Can't wait to see Steven Moffat's take on the Doctor? Discuss.

Season Five of Doctor Who is set to premiere in the spring on BBC One and BBC America.

Rage Against the Dying of the Light: Death and Rebirth in "Doctor Who: The End of Time (Part Two)"

The Doctor is bigger than just one man.

To date now, eleven actors have taken on the mantle of The Doctor, the alien time-traveler who travels about the heavens in a blue police call box that's bigger on the inside than it is on the outside.

The Doctor's frequent regeneration speaks not only of the resilience of the spirit but also to the temporary nature of all things. It's a reminder that, with each step we make, death stalks all of us, human and Time Lord, mortal and immortal alike. It's what we choose to make of that death--and of that life--that define us for who we really are.

With last night's final 2009-10 Doctor Who special, Doctor Who: The End of Time (Part Two), written by Russell T. Davies and directed by Euros Lyn, we said goodbye to the actor whom many of us believe has best embodied the madcap heroic attributes of the Doctor: David Tennant.

While I was moved when Christopher Eccleston stepped aside at the end of the first season, it is Tennant's departure that stabs me like a knife in the heart. Throughout his run, Tennant's turn as the Doctor has left an indelible mark on the Doctor Who franchise and its numerous fans, both young and old. We all knew that the Doctor would die, that he would regenerate (specifically into incoming series star Matt Smith), and that we would have to say goodbye. But that doesn't make the leave-taking any less difficult or any less fraught with emotion.

So what did I think of Doctor Who: The End of Time (Part Two)? Let's discuss.

I thought that Doctor Who: The End of Time (Part Two) showed significant improvement on the first part of the two-part David Tennant finale, which itself felt like it shoehorned in too many story threads, characters, and disjointed subplots. Was it necessary for Tennant's swan song on the series to include the return of The Master (John Simm), the possible return of the Time Lords, the Naismiths, Donna Noble (Catherine Tate), Wilf (Bernard Cribbins), Lucy Saxon (Alexandra Moen), the Mystery Woman (Claire Bloom), the Ood, the Vinvocci, and a slew of others? In that sense, the storyline was bound to suffer from the weight of too many elements, all jockeying for supremacy.

The first half seemed to set up several mysteries that went unanswered in the second half (and therefore may not have been important in the first case). Just why was the Master blond? Who was behind the cabal that resurrected him? Why did he suddenly have new powers? Why didn't Lucy Saxon's sacrifice work? And what happened to Lucy if she wasn't fused with The Master? Putting those minor thoughts aside, the larger mystery--the identity of The Woman--looms even larger. I'm still not entirely sure, even after watching both halves of the Doctor Who: The End of Time, why she was necessary for the story. Or even who she was, a fact that seems to be under debate.

What Doctor Who: The End of Time (Part Two) did successfully was hit some well-crafted emotional beats, particularly between the Doctor and Wilf. Both old men, both on the road to death, the unlikely duo has been linked by death from the start. Each is, in the words of Dylan Thomas, raging against the dying of the light in their own way. 80-year-old Wilf is in search of one last adventure before he lays down his pistol for the last time, while the Doctor is attempting to throw off the shackles of fate, to avoid his death, to negate the prophecy.

But death can't be escaped from. Not even for a man to whom time and space are mere playthings. The Doctor's folly is that he wants too desperately to live. It's a strain of the same disease which infects the bloodthirsty Time Lords, trapped within the Time Lock, looking for a loophole with which to save themselves. While the Time Lords--led by the nefarious Lord President, Rassilon (Timothy Dalton)--find that escape via the Master's insanity, the never-ending sound of drums in his mind, the Doctor realizes that any attempt to battle death is foolish. Death comes knocking whether you want it to or not.

I thought it a cruel, ironic twist that the four knocks of the Doctor's death came not from The Master, not from Rassilon, or the countless threats that the Doctor has faced down over 900-plus years of existence but from Wilfred Mott (Bernard Cribbins) himself. Doom isn't drawn pistols or energy-wielding gloves but four knocks from a kindly old man. I knew once Wilf had managed to lock himself inside the nuclear shielding that the Doctor was done for. But while others would have plead to the Doctor for salvation, Wilf is prepared to sacrifice himself to save the Doctor. For others, it might have been an easy choice. What weight does the life of an elderly man, a nobody by all accounts, have against that of a Time Lord?

But The Doctor isn't most people. His death has been foretold and his life has come down to this very moment. Can he live with himself if he lets Wilf die? Can he live with one more death on his conscience when he could avoid it? And so The Doctor steps inside the shielding and absorbs the now critical nuclear energies into himself. He frees Wilf and condemns himself.

To me, the most powerful elements of Doctor Who: The End of Time involve the Doctor and Wilf, whose friendship and scenes together give the finale some emotional weight. I'm less certain about the handling of the return of the Time Lords or The Master's modus operandi. (He was really going to then turn the Time Lords into more genetic copies of himself? Why?) It's a big reveal and an even bigger plot that's given short shrift by the demands of the story here. Part One of "The End of Time" dealt almost solely with the return of The Master, his resurrection, and his eternal battle with the Doctor but that's all swept aside in place of Gallifrey in Earth's orbit, a somewhat incomprehensible plot involving white-point stars, drumbeats, and paradox, and the possible resetting of the Time War.

The Doctor had to end the Time War and doom his own people once before (off-screen anyway, before the start of the revival series) but here this monumental decision to again obliterate his race takes place over the course of a few seconds as the Doctor has to decide whether to shoot The Master or Rassilon. He does neither as The Master attacks Rassilon with his new-found powers and they are all seemingly sucked back into the Time Lock.

Also propelled back into the darkness: the Mystery Woman who had appeared to Wilf throughout the two-parter. Why the Lord-President would take the two opposing Time Lords through the rift to Earth was odd to me but her presence seemed to be the mechanism by which the Doctor realized there was only one course of action. As for her identity, it's left deliberately vague. The obvious answer would be that she was the Doctor's mother (which itself feels far too pat and on the nose) but I couldn't help but wonder if it was the Doctor's granddaughter Susan (from the original series). The Doctor doesn't answer Wilf when asked who she was but instead looks to Sylvia (Jacqueline King) and Donna Noble. (It is, after all, Wilf's granddaughter's wedding day.)

But the real question is: why was the presence of the Mystery Woman--whether she was the Doctor's mother or granddaughter or, hell, Romana--necessary at all? How was she able to manipulate time and space to appear to Wilf from within the Time Lock? And why did she order Wilf not to tell the Doctor of their conversations and urge him to retrieve his pistol... which remained unfired by the end of the story, at least against an individual. (Which, ironically, goes against the narrative contrivance of having a loaded gun in the first act and setting it off in the third act. Was it, perhaps, a comment on the Doctor's dislike for guns? And the knowledge that he would choose peace over violence even at the end?)

The Mystery Woman's identity, however, remains a mystery. What is more tangible and therefore more powerful is the Doctor's final moments in the series. Choosing to bestow boons upon his former traveling companions, he tracks down Martha (Freeman Agyeman) and Mickey (Noel Clarke)--now married--and rescues them from a trigger-happy Sontaran; saves Luke (Tommy Knight), the adopted son of Sarah-Jane Smith (Elisabeth Sladen), from an oncoming car; gives "best friend" Donna one hell of a wedding present (a winning lottery ticket purchased by borrowing a quid from her dead father); gets a book signed by Verity Newman (Jessica Hynes), the granddaughter of lost love Joan Redfern; introduces heartbroken Captain Jack Harkness (John Barrowman) to Alonso Frame (Russell Tovey); and encounters Rose Tyler (Billie Piper) one last time, meeting her on New Year's Day 2005 and telling her that she is going to have a great year.

(Aside: I'm not quite sure why the Doctor didn't visit Joan Redfern herself rather than her author granddaughter Verity, given that he traveled back in time to see Rose but that's a quibble in a grand sequence of reminiscence.)

But it's the Doctor's final words--"I don't want to go!"--that show him truly grappling with his own mortality, an attempt to bargain with the universe at large. (It might as well have been Tennant himself saying those words as they made me burst into tears.) But as the glow of regeneration comes over him, the Doctor does rage, violently as the TARDIS seemingly begins to crumble around him, collapsing in a sea of sparks and a throb of energy... before the Doctor transforms into his Eleventh incarnation (Matt Smith).

While we're only given a glimpse of Smith as the Doctor, I'm already a fan, thanks to his use of Tennant's trademark head-tapping, the shock on his face when he considers that he came back as a woman, and his gleeful cry of "Geronimo!" as the TARDIS begins its rapid descent toward Earth.

All in all, Doctor Who: The End of Time found the Doctor--and the series--looking backward and forward in the same breath, much like the Doctor himself. The ending of Doctor Who: The End of Time, while arriving after a needlessly confusing and convoluted narrative, was a fitting send-off for Tennant, a man who made a mark on the eternal and never-ending character of the Doctor. He'll be much missed as we move into a new decade, new adventures, and a new Doctor. Allons-y once more...

Season Five of Doctor Who is set to launch in spring 2010.

Channel Surfing: Julie Benz Lands on Wisteria Lane, Kim Raver Upped to Regular on "Grey's," "True Blood" Nabs "Southland" Star, and More

Welcome to your Monday morning television briefing... and welcome back to work (sorry!) and as 2010 gets underway.

Entertainment Weekly's Michael Ausiello is reporting that former Dexter star Julie Benz has been cast in a recurring role on ABC's Desperate Housewives this season. She'll play Debbie, described as "a stripper with a heart of gold and a Masters degree in education," according to Ausiello, who says that "when Susan offers her the chance to transition into a more legitimate career, Deb jumps at it." Benz's first appearance is set for February and she will appear in at least three episodes of Desperate Housewives this season. (Entertainment Weekly's Ausiello Files)

Former Lipstick Jungle star Kim Raver has been promoted to series regular on ABC's Grey's Anatomy, shortly after joining the cast of the medical drama as a recurring character. Raver plays surgical cardiologist Teddy Altman and is slated to appear in nearly every remaining episode of Grey's Anatomy this season. (Hollywood Reporter)

The Hollywood Reporter's Nellie Andreeva is reporting that Kevin Alejandro (Southland) has been cast in Season Three of HBO's True Blood, where he will play Jesus, described as "a Latino orderly who is taking care of Ruby Jean Reynolds (Alfre Woodard) at her care facility and becomes involved with her son, Lafayette (Nelsan Ellis)." But Southland fans needn't worry: Alejandro remains a series regular on the now TNT-based cop drama series. (Hollywood Reporter

Luke Wilson and Diane Ladd will star opposite Laura Dern in HBO single-camera comedy pilot Enlightened, from writer/executive producer Mike White. Also cast: Charles Esten (who will recur) and Amy Hill. Dern stars in the project as Amy, a woman who, following a meltdown, becomes spiritually enlightened. Wilson will play Levi, Amy's druggie ex-husband; Ladd will play Amy's mother/roommate; Hill will play a HR executive at Amy's office; Esten will play Amy's boss/former lover. (Hollywood Reporter)

All's right with the world: Comedy Central has canceled The Jeff Dunham Show, which will not be returning for a second season. The cancellation, however, won't affect Dunham's overall deal with the cable channel, which will still produce a stand-up special, live tour, and DVD for the ventriloquist-comedian. (Variety)

Recasting is underway on FX drama series Lights Out. Catherine McCormack (28 Weeks Later) has replaced Melora Hardin (The Office), who played a pediatric orthopedic surgeon and the wife of an aging boxing champion (Holt McCallany) attempting to support his family after he is diagnosed with a rare neurological condition. Meanwhile, Stacy Keach (Prison Break) has replaced Kevin Conway on the Fox Television Studios-produced project; he'll play the father of McCallany's Leary. (Hollywood Reporter)

Syndicated talk show The Tyra Banks Show will wrap its run up this spring, following Banks' decision to focus more of her attention on her production company. The CW will keep the daytime talk show on the air through the 2010-11 season by airing best-of repeats. (Variety)

Johnathan McClain (24), Casey Wilson (Saturday Night Live), Jessica Walter (Arrested Development), and Christine Ebersole (Royal Pains) will star opposite George Segal in TV Land's multi-camera comedy pilot Retired at 35, about a businessman who leaves New York and moves into his father's retirement community in Florida. (Hollywood Reporter)

Shonda Rhimes' ABC Studios-based production shingle, Shondaland, has hired former Paramount Vantage executive Rachel Eggebeen as a development executive; she'll work with Rhimes and Betsy Beers to develop new programming. (Variety)

According to Entertainment Weekly's Lynette Rice, NBC is said to be in talks to resurrect canceled reality series Last Comic Standing. "NBC’s reality guru Paul Telegdy is looking to re-launch the franchise with a new host (so long, Bill Bellamy!) and some format changes so it can air as part of the network’s summer lineup, which includes America’s Got Talent and (possibly) the new Losing it with Jillian, featuring The Biggest Loser’s Jillian Michaels," writes Rice. (Entertainment Weekly's Hollywood Insider)

Food Network has renewed culinary series Alex's Day Off, featuring chef Alexandra Guarnaschelli, for a second season of thirteen episodes, which will launch on the cabler in April. (Variety)

Ashley Tisdale and Jessica Horowitz's Blondie Girl Prods. has signed a multiple-year producing deal with RelativityReal, the reality television division of Relativity Media. Under the terms of the deal, Tisdale will develop and executive produce new series for both broadcast and cable. (Variety)

Stay tuned.

The Daily Beast: "23 Shows That Changed Television"

Wondering why I didn't compile a best of the decade list on Televisionary? Head over to The Daily Beast, where you can find my latest feature, "23 Shows That Changed Television," which looks at the cultural impact (both good and ill) of 23 series that launched this decade.

Those influential series include American Idol, Lost, Survivor, The Wire, Mad Men, Weeds, Big Love, Arrested Development, The Osbournes, True Blood, Laguna Beach, Family Guy and Battlestar Galactica.

And if you're wondering why some of your favorites got left off, it's because each of the series had to have premiered after January 1st, 2000 in order to be included in the list. Which negated the inclusion of such influential series from the late 1990s, such as The Sopranos, Sex and the City, The Daily Show with Jon Stewart, The West Wing, and South Park, to name a few.

Head over to the comments section to share your thoughts on the list and your picks for the most influential series of the decade.

The Birth of a Superhero: Televisionary Talks to Zachary Levi of NBCs "Chuck"

While the holidays might be over now, there's at least something to look forward to with the return of several television series over the next few weeks. Not to mention the much anticipated arrival of Season Three of NBC's Chuck (my advance review of which can be read here).

I had the opportunity to visit the set of Chuck back in the fall, when the start of Season Three seemed uncertain (remember when we weren't going to get any Chuck until March?), and had the chance to sit down with the cast for a series of video interviews. (You can view my interview with Yvonne Strahovski here.)

Given that the holidays have just wrapped, I'm giving Chuck fans a little extra treat this year in the form of a condensed nine-minute video interview I did with Mr. Chuck Bartowski himself, Zachary Levi.

Watch as I sit down with Zachary Levi on the series' courtyard set to talk about what's coming up on Season Three of Chuck, the eleventh hour renewal, Chuck's relationship with Sarah, the new Intersect 2.0, the birth of a superhero, and more.



Season Three of Chuck launches January 10th at 9 pm ET/PT with a two-hour premiere before moving to its regular timeslot Mondays at 8 pm ET/PT on January 11th.

The Sainted Physician: The Doctor Faces His Greatest Threat on "Doctor Who: The End of Time (Part One)"

Time itself has caught up with the Doctor.

The latest Doctor Who Christmas special, Doctor Who: The End of Time (Part One), found the Doctor attempting to fight his fated death... or at least the prophesied end of this incarnation of the solitary Time Lord.

But it's not just the prophecy of the end of the Doctor's song ("he will knock four times") that provides the focus of this, the penultimate Doctor Who episode starring David Tennant as the Tenth Doctor. It was an installment that featured the return of several familiar faces, including John Simm's The Master (reborn in a matter of speaking), Bernard Cribbins' Wilfred, and Catherine Tate's Donna Noble. Along with the alien Ood, who telepathically tap into a global nightmare pattern involving the Master and alert the Doctor to impending doom in the form of the titular end of time.

Written by Russell T. Davies and directed by Euros Lyn, Doctor Who: The End of Time (Part One) finds the Doctor in the midst of an existential crisis. Still reeling from the disastrous choice he made in Doctor Who: The Waters of Mars, the Doctor finds himself at his lowest point, unaccompanied and alone, and must face his mortal enemy... as well as the possible end of his adopted people, the human race.

The scene between the Doctor and Wilf (Cribbins) in the cafe--an exercise arranged by Wilf so that the Doctor would see Donna and hopefully cure her--was absolutely heartbreaking, as the Doctor tearfully confronted his fallibility and his mortality. It was a scene masterfully played by Tennant, who not only embodied the Doctor's own fears but also our own sadness at the inevitable end of this incarnation. Has he made the right choices? The wrong ones? Is he to blame for what's about to happen? Is his eternal loneliness penance for the mistakes he's made, the friends he's lost? For the fire and the floods? The ice and the destruction?

But the Doctor isn't quite alone: he has a companion of sorts in Wilf, the grandfather of his former traveling companion Donna Noble (Tate). The Doctor and Wilf are united by a bond of deception--both, after all, conspired to lie to Donna in order to save her life, erasing all traces of the Doctor from her memory--and by something else, something that keeps them crossing paths. The Doctor refers to Wilf as existing "at the heart of coincidence," but there are signs that someone--or something--is deliberately pulling their strings.

After all, we still don't know the identity of the mystery woman (Claire Bloom) whom Wilf meets in that church, the one that depicts the "blue box" of the "sainted physician" in its stained glass window. She's the same woman who appears on his television set during the Queen's speech and who urges him to help the Doctor, saying that he can still be saved if Wilf bears arms once more and doesn't reveal the contents of this message to the Doctor himself. But is this mystery woman helping or hindering their cause? And just who is she really?

Her presence in the story is one of many mysteries in Doctor Who: The End of Time (Part One), which sets up a final confrontation between the Doctor and his nemesis, the mad Time Lord known as The Master, seemingly resurrected from death with some newfound powers... and a new blonde hairdo.

It's that hairstyle that's odd, really. I can't help but wonder where the blonde hair came from and if it has anything to do with the presence of Lucy Saxon (Alexandra Moen) at the Master's rebirth. Lucy is after all blonde... and we don't know just what she threw at the Master's visage during the resurrection process, an action that resulted in the death of several willing sacrificial victims (all loyal to Harold Saxon's anarchist cause). But where did Lucy go? Has she somehow fused with The Master himself? And just what are the source of his strange powers, which seemingly grant him the ability to absorb human life, fire electrical blasts, and soar into the sky?

Personally, I think the Master is terrifying enough without the additional abilities, which lend his character an air of over-the-top comic book supervillainy. The intimacy of the sequence where the Doctor forms a telepathic link with the Master and shockingly learns that the drum beats aren't in fact part of the Master's madness but something else, something real, was electric enough without having the former prime minister blasting away at his foe with blue electricity. Tennant and Simm are both fantastically dynamic actors and the scenes where the two face off with chess-like precision have more subtle power within them.

As Davies told me a few months back, it wasn't Lucy who reached into the Master's funereal pyre and pulled out his signet ring, but the new governor of the prison where Lucy Saxon is being held. The member of a secret cabal of Saxon loyalists, she uses the ring along with Lucy's biometric imprint to bring the Master back to life, at the cost of her own.

And there's another organization that wants The Master for themselves, a group overseen by father and daughter futurists Joshua Naismith (David Harewood) and
Abigail Naismith (Tracy Ifeachor) that has unwittingly constructed an Immortality Gate. Joshua intends to use the Gate to give his daughter neverending life but it's a gift that's twisted by the Master for his own insane purposes: the creation of a Master race, the rewriting of the human genetic code to create a literal race of Master clones.

Yet hope remains. Not everyone is affected by the genetic wave: both Wilf (ensconced in nuclear shielding nearby the Gate) and Donna (saved thanks to the metacrisis at the end of Season Four) remain themselves. But Donna's salvation triggers a flood of memories, which threaten to burn her up from the inside. We're left not knowing whether Donna will live or die (I'm leaning towards the former) but I have a feeling that the Master's final trick has unexpectedly saved her life and her memories.

But the true threat to the universe doesn't come from the Master's, er, masterstroke of villainy. Instead, it's the end of Time, a threat manifested in the return of the Time Lords themselves, numbering in the thousands. Just how have they survived the Time War? Where are they and Gallifrey? And why does the Lord President of the Time Lords (Timothy Dalton), who serves as the installment's narrator, seem so hell-bent on conflict? And are the drums the Master has heard his whole life the drums of a Gallifreyan war? We'll have to wait until the end of the week to find out.

All in all, Doctor Who: The End of Time (Part One) offered a fantastic prelude to David Tennant and Russell T. Davies' final act ahead. The penultimate Doctor Who special brought up some of Doctor Who's enduring subplots and set up a monumental showdown involving the Master and Time itself, as well as some of the revival series' narrative foundations themselves (given the destruction of Gallifrey and the Doctor's status as the last Time Lord).

Just how Time will be put to right again remains to be seen, but I am nervous about Wilf's wartime pistol, the mystery woman's warnings, and the deathly prophecy itself. Not to mention that this weekend's conclusion to Doctor Who: The End of Time will signal the end for the Tenth Doctor himself. Lives will be lost, sacrifices made, and the laws of the universe itself ripped apart... and I am sure I'll be moved to tears by the death of the Tenth Doctor and his regeneration.

This is one man, after all, who won't be going gently into that good night. Not without a fight, anyway.

Doctor Who: The End of Time (Part Two) airs Saturday evening at 8:30 pm ET/PT on BBC America.

Say Goodbye to the Tenth Doctor Starting with Tonight's "Doctor Who: The End of Time (Part One)" on BBC America

The inevitable and the inescapable have arrived.

Tonight's Doctor Who Christmas special, Doctor Who: The End of Time (which airs at 9 pm ET/PT), signals the end of the Tenth Doctor's run on the sci-fi series... and that of series lead David Tennant, who will leave the series following next week's concluding installment.

I've remained (and intend to remain) spoiler-free leading up to tonight's broadcast of Doctor Who: The End of Time, which aired last night in the United Kingdom. I'm steeling myself to be utterly heartbroken after tonight's installment, which features the return of John Simm's malevolent Master and several familiar faces, including Bernard Cribbins' Wilf and Catherine Tate's Donna Noble.

But I can't help but think back to when I first heard that Christopher Eccleston was departing Doctor Who and would be replaced by the relatively-unheard-of David Tennant, whom I recalled slightly from his turn as the titular character in Casanova.

At the time, I was deeply saddened that Eccleston was leaving Doctor Who and would be replaced by someone who seemed so completely different to him, one whose Doctor wouldn't be the same as the gruff, muscular, and stolid Doctor embodied by Eccleston. "Who," I asked my wife (then my girlfriend), in a unintentionally ironic question.

What a difference a few years make. Tennant--with his manic, madcap, and mischievous take on the Doctor--has become in my mind the definitive performance for the Time Lord and now he too is stepping aside as another relatively unknown actor, Matt Smith (Party Animals), replaces him after a roughly four-season run on the series.

Will Smith supplant Tennant in my esteem? Time will tell, though he has some mighty big shoes to fill. But as we settle in tonight to say goodbye the talented Mr. Tennant (and to executive producer Russell T. Davies, also departing), my thoughts won't be of the future of the series--of Matt Smith and new head writer Steven Moffat (both supremely skillful men in their own right)--but of the past. I'll be recalling Tennant's legendary run on the series, the off-kilter way he dove into every new adventure with equal parts glee and curiosity, the times his Doctor saved countless people and the times he failed, and of the actors who played his companions these past few years: Billie Piper, Freema Agyeman, and Catherine Tate.

The Doctor and Doctor Who are bigger than any single actor, yet Tennant's performance, which captures both the innate strengths and flaws of the alien time-traveler, will remain a highlight of the decades-old drama. As we prepare to embark on one final trip in the TARDIS with the unnamed man from Gallifrey, I find myself both tearful and exhilarated to see just what will happen next.

The Doctor, I am sure, wouldn't have it any other way.

You can read my cocktails-laden interview with David Tenannt from a few months back here... and watch my video interviews with Doctor Who executive producer Russell T. Davies and director Euros Lyn here.

Doctor Who: The End of Time, Part One airs tonight at 9 pm ET/PT on BBC America.

Top TV Picks of 2009

As 2009 begins to wind down, I figured now was the perfect time as any to look back at the series that that have entertained and inspired me over the past calendar year.

And what a year it was for the television industry, which was (and is) still recovering from the writers strike of 2007/08. This past year also saw NBC box up the 10 pm hour for scripted programming, a move that hasn't had quite the effect that the network hoped (I do feel for poor scapegoat Jay Leno), while sending viewers scurrying over to cable, which continued to make huge inroads this year.

It was also a year that saw comedy make a huge comeback, from the success of FOX's musical-comedy hybrid Glee to the season's biggest critical hit, ABC's Modern Family and the surprising resilience of NBC's Parks and Recreation (hands down the winner of the Most Improved Series award). And a year that saw much beloved series Chuck teeter dangerously towards cancellation, only to receive an eleventh hour reprieve, thanks to fans, critics, and Subway.

So, what were the favorite series in the Televisionary household? Which left me wanting more... and which ones made me eager to change the channel? Find out below.

Best US Dramas:

Big Love (HBO)

The third season of HBO's compelling and addictive drama Big Love provided perhaps the single greatest season of any series this year. Gut-wrenching and heartbreaking, Big Love's third season upped the ante by having the family diversify into the casino business and a fourth wife, take a brutal road trip, and deal with barbarians pounding at the gates. Transforming itself into the grand Shakespearean epic we always knew it to be, the series went to some very dark places, revealing the tragic backstories of both Chloe Sevigny's Nicki and the long-dead Maggie Henrickson, killing off Mireille Enos' beloved Kathy Marquart, and having Jeanne Tripplehorn's Barb get ex-communicated from the Mormon church. Throw in the unexpected pregnancy of rebellious daughter Sarah (Amanda Seyfried), multiple murder attempts, the formation of a new church by Bill (Bill Paxton), a newly independent Margene (Ginnifer Goodwin), and a possible end to the Grant legacy in Juniper Creek and you have the makings of a groundbreaking drama. One that effortlessly fuses together soapy intrigue, social commentary, and family dynamics into one unforgettable and unique series that explores the Henrickson clan's unusual familial set-up and renders it not only normal but riveting. I tip my hat to you, Mark V. Olsen and Will Scheffer.

Mad Men (AMC)

Mad Men's gutting third season, which saw the collapse of the marriage between Don (Jon Hamm) and Betty (January Jones) and the destruction of ad agency Sterling Cooper, proved that there are no sacred cows in the universe of the 1960s period drama, created by Matthew Weiner. Following a season filled with change, presidential assassinations, fear and paranoia, Weiner exploded our expectations of serialized television by upending the twin foundations of the series, giving Don Draper a new beginning and pushing Mad Men's characters towards a new and uncertain future. With its emphasis on the unspoken subtext and the simmering desires lurking beneath the slickly styled facades of its men and women, Mad Men held onto its rightfully earned status as adult storyteller, relishing in exploring the complex emotions and bruised egos of life in the 1960s.

True Blood (HBO)

In its second season, HBO's vampire drama True Blood went from being a guilty pleasure to a series that balanced the outright campy with the truly transcendent. By pushing supporting players such as Alexander Skarsgard's Eric, Rutina Wesley's Tara, Sam Trammel's Sam, Nelsan Ellis' Lafayette, Deborah Ann Woll's Jessica, and Allan Hyde's Godric to the foreground, creator Alan Ball and the series' writers deepened the universe of Bon Temps and gave True Blood some of its most heartbreaking and compelling moments with the suicide of Eric's maker Godric and the doomed relationship between Woll's Jessica and Jim Parrack's Hoyt. There are few series that are as gleefully unpredictable than True Blood, a series that rewrites the rules about storytelling while spinning a bloody good yarn.

Lost (ABC)

The penultimate season of ABC's enigma-laden masterpiece Lost found the castaways split into two groups: one spinning through time before landing in the 1970s and joining up with the series' ubiquitous Dharma Initiative and the other, having escaped, attempting to return to the island. Deepening its mysteries and paying off several long-standing mysteries, Season Five filled in the backstory of the Dharma Initiative while serving up some paradoxical stories about the nature of time travel and free will and introducing two very intriguing diametrically opposed entities locked in an eternal battle. Characters died, sacrifices were made, and the chess pieces shifted around into new arrangements as showrunners Damon Lindelof and Carlton Cuse prepare for one final game.

Honorable Mentions: Battlestar Galactica (Syfy), Damages (FX), Fringe (FOX), No. 1 Ladies' Detective Agency (HBO)

Best US Comedies (Half-Hour Format):

Parks and Recreation (NBC)

In its sophomore season, NBC's Parks and Recreation has done the impossible: transformed itself into arguably the most hysterical comedy series on television right now. Stepping out of The Office's shadow, Parks and Recreation has found its footing as a deeply layered, character-driven comedy about small town bureaucracy and changed Amy Poehler's Leslie Knope from being a bumbling female Michael Scott replacement into a preternaturally optimistic do-gooder whose main flaw is that she cares too much. Brilliant, hilarious, and biting, Parks and Recreation might just be the best comedy you're not watching.

Modern Family (ABC)

With its pitch-perfect pilot episode, ABC's Modern Family single-handedly announced the return of the intelligent family comedy with its winning blend of realistically flawed characters, mockumentary format, and whip-smart writing. Not to mention the perfectly cast ensemble of actors who embody the series' extended Pritchett-Dunphy clan. Rarely is a series this self-assured straight out of the gate but subsequent episodes have proven just as strong as the series' initial outing. By using relatable situations and universal truths about families, creators Steven Levitan and Christopher Lloyd render the engaging characters of Modern Family in three dimensions, crafting a family that many of us want to spend the entire week with and not just Wednesday nights.

It's Always Sunny in Philadelphia (FX)

FX's raunchy and raucous comedy It's Always Sunny in Philadelphia continued its winning mix of gross-out humor, jaw-droppingly selfish behavior, and absurdly comic misadventures and I couldn't look away. By playing fast and loose with the format and allowing the owners of Paddy's Pub to remain so completely unlikable, the series remains a hallmark for finding comedy in the most unlikely of places. Who knew that running a bar in Philadelphia could prove to be quite so dangerous... or madness-inducing?

Party Down (Starz)

Likewise, Starz comedy Party Down rendered the mundane quality of the life of a cater-waiter to comic effect, transforming the overqualified crew of Party Down into poster children for slackerdom and reveling in a scripted looseness that felt almost improvised. With fly-on-the-wall precision, Party Down nailed the frustrations of twenty- and thirty-somethings in the name tag-wearing workplace and mixed up a batch of comedy and tragedy in equal measure.

Nurse Jackie (Showtime)

With grit and heart, Showtime's acerbic dark comedy Nurse Jackie brings us a modern-day heroine unafraid of being unlikable and yet succeeding at her job in spite of a drug addiction, extramarital affair, and various unethical and illegal behavior at in the workplace. If the bristly Jackie (the luminous Edie Falco) has a fault, it's that she cares too much for her patients and not enough for herself. If the bristly Jackie (the luminous Edie Falco) has a fault, it's that she cares too much for her patients and not enough for herself, killing herself slowly with drugs, cheating, and a host of lies. The show's biting wit and thought-provoking storylines--not to mention a fantastic cast in Falco, Merrit Wever, Eve Best, and Peter Facinelli, among others-- give us one of the most darkly compelling comedies on television, filled with burn victims, beating hearts, and one extraordinary nurse.

Honorable Mentions: Better Off Ted (ABC), Bored to Death (HBO), Community (NBC), Curb Your Enthusiasm (HBO), Flight of the Conchords (HBO)

Best US Comedy (One-Hour Format):

Chuck (NBC)

As if there were any doubt that the fantastic and funny Chuck would make my list in some fashion. The action-comedy hybrid deepened in its second season, thanks to the winning chemistry of the series' talented leads (including Zachary Levi, Yvonne Strahovski, Adam Baldwin, Ryan McPartlin, Sarah Lancaster, Vik Sahay, Josh Gomez, Scott Krinsky, and Mark Christopher Lawrence), the perfect genre-smashing combination of action, adventure, romance, and workplace comedy, and a taut serialized element that had Chuck finding out the truth about his father and the Intersect, all while making the choice to fulfill his true potential... and his destiny. Building on the strengths of its too-short freshman outing, Season Two of Chuck charmed the pants off this writer (and kept me on the edge of my seat) and bucked the odds, winning Chuck a much deserved third season order.

Best Canceled Series:

The Unusuals (ABC)

While many series got the axe this year, the one that struck home the hardest was that for ABC's short-lived cop dramedy The Unusuals, from creator Noah Hawley. Revolving around a group of eccentric cops, The Unusuals found the detectives of the second precinct tackling some, er, unusual cases. The procedural mysteries were fun and offbeat and the chemistry between the series' sprawling ensemble cast top-notch. Though it only lasted less than a dozen episodes, each installment proved to be a little gem of witty banter, quirky mysteries, and off-kilter cops. It's much missed.

Best Reality Series:

Top Chef (Bravo)

Once again, the same three reality series pop up on my best of the year list and for good reason: they each proved that reality programming, when done right, can have the same stakes and drama as scripted television. No other series sates my culinary hunger like Bravo's formidable Top Chef, which had a season filled with some of the most talented chefs yet and a fiery sibling rivalry in Michael and Bryan Voltaggio. Compelling, hunger-inducing, and cutthroat, Top Chef takes our fascination with food to a whole new level, creating a series that rewards creativity and vision more than manipulation and controversy.

The Amazing Race (CBS)

Coming back with a strong season, CBS' The Amazing Race again sparked my interest once more and cast some intriguing, frustrating, and outright hostile couples--Mika and Canaan, anyone?--in the world's biggest scavenger hunt, sending them around the globe to compete in various challenges and put their relationships to the test. While some teams fell way too soon (sorry, Justin and Zev), the drama and the pacing, thanks to some quality editing, kept the tension going strong, all the way to the finish line.

Flipping Out (Bravo)

No reality series makes me laugh like Bravo's Flipping Out. Despite the plunging housing market and the economic recession, Jeff Lewis, Jenni, Zoila, and the gang were back for some more obsessive-compulsive misadventures in Los Angeles. Fear and paranoia reigned supreme this season, which offered not just some belly-aches but also some genuine emotion as Jeff accused his former business partner Ryan of cheating him out of work and considered adopting a child. It's a testament to the quirkiness of the series' leads that I want to go back to Jeff Lewis' office week after week. (Come on, Bravo, bring on Season Four ASAP!)

Best New Fall Series:

Modern Family (ABC)

Yes, I already mentioned it under Best Comedies but it warrants another mention here. ABC's Modern Family easily walks away with the award for my favorite new fall series. Boasting one of the most dynamic and talented ensemble casts, Modern Family serves up both humor and heart without delving into the melodramatic or the saccharine. No small feat, considering the series has changed my opinion on what's possible with the family comedy format, a creaky sub-genre until this breath of fresh air came along. The Pritchett clan is one family that I can't wait to catch up with each week and the subtle humor--ranging from Casablanca shout-outs to burgundy dinner jackets--is already a surefire hit in this household. Innocente!

Best British Imports:

Doctor Who (BBC America)

While only airing a handful of episodes (sorry, "specials") in 2009, Doctor Who remains at the top of my list of British imports, thanks to the fantastic performance of David Tennant as the Tenth Doctor. While his song is sadly coming to an end, Tennant offered some fantastic turns in such specials as Doctor Who: Planet of the Dead and Doctor Who: The Waters of Mars, the latter of which might just be one of the darkest and most compelling entries in the entire revival series. Quirky, compelling, and unpredictable, Doctor Who played to Tennant's strengths, allowing the Shakespearean actor to be charming, roguish, and insane in equal measure. David Tennant, you'll be missed.

The Mighty Boosh (Adult Swim)

Come with us now on a journey through time and space. The three seasons of critically-acclaimed BBC Three cult hit The Mighty Boosh (which aired Stateside on Adult Swim) are a dazzling blend of music, surreal comedy, and over the top fashion as Howard Moon (Julian Barratt) and Vince Noir (Noel Fielding), would-be rock gods/zookeepers/sales clerks, explore the twisted backwaters of the human psyche through a series of bizarre misadventures. Joining them on this psychedelic road trip to dimensions as-yet-unseen are pot-addled shaman Naboo the Enigma (Michael Fielding) and his ape familiar Bollo (Dave Brown). It’s indescribably weird, absolutely hilarious, and unlike anything you’ve ever seen before on television.

Ashes to Ashes (BBC America)

Spinning off of the trippy cop drama Life on Mars, Ashes to Ashes took a different cop (Keely Hawes' Alex Drake), another David Bowie song ("Ashes to Ashes"), and another era (1980s) and created an slick and addictive drama series that's a dark exploration of the psyche of damaged forensic psychologist DI Alex Drake as she struggles to survive a gunshot wound and make her way back to the present day. Plus, the series' eerie suspense, a twisted Season Two plot involving freemasons and other potential travelers, and the trademark banter between Alex and the gruff Gene Hunt (Philip Glenister), who waltzes away with some of the series' best lines, keeps the series cutting-edge and dynamic. As Alex solves some of period cases (and ones involving her own past), the clock is ticking down as the end of the series--and the franchise--looms next year. Just who is Gene Hunt? What is this world? And what has happened to Sam Tyler and Alex Drake? We'll be getting some answers in the third and final season of this fantastic sci-fi/cop/period/psychological drama in 2010. (Note: Season Two has yet to air in the States.)

Torchwood: Children of Earth (BBC America)

Unfolding with the breakneck pacing of an epic miniseries, the third season of Torchwood, entitled Torchwood: Children of Earth, offered an edge-of-your-seat thrill ride and set up a compelling, brutal, and gut-wrenching story of an alien invasion and the past sins of Captain Jack Harkness (John Barrowman). While the final installment buckled somewhat under the weight of the previous installments, the limited run proved to be unforgettable, offering some intense moral dilemmas, weighty adult themes, and tough choices for the employees of Torchwood.

Best British Import (Yet to Air in the States):

The Inbetweeners (BBC America)

The much-delayed comedy from creators Iain Morris and Damon Beesley might just be the best thing that hasn't yet aired in the US. (Look for the first two seasons of this hilariously raucous comedy to launch January 25th on BBC America.) Almost operating as the anti-Skins, The Inbetweeners tells the story of four teenage friends who spend their time trying to obtain booze, get lucky with girls, and cut each other down to size. In other words: they're painfully average teenage boys. In the hands of Morris and Beesley, the quartet have some painfully hilarious sexual adventures that will have you laughing, gasping, and groaning... all at the same time.

Best British Imports (Reality Edition):

Gordon Ramsay's F Word (BBC America)

Take outspoken British chef and restaurateur Gordon Ramsay, put him in the kitchen where he's putting some inexperienced brigades through their paces and send him out in search of all things tasty, odd, or curious or to teach people to cook at home and you have the truly fantastic F Word, a blend of culinary competition, food-oriented news magazine, celebrity interview, and all-around celebration of all things delicious. Ramsay's not shy of expressing his opinion but he's also at his most real here, as he transforms his family's back garden to rear pigs and sheep or teaching the hopeless how to prepare a tasty feast on their own.

Last Restaurant Standing (BBC America)

Words can't express my love for British reality series Last Restaurant Standing (which airs in the UK under the title The Restaurant), which challenges couples to run their own restaurants... and hands them keys to eating establishments where they'll man the front-of-house and the kitchen. Judges Raymond Blanc, Sarah Willingham, and David Moore put them through their paces with tough challenges but the real test is the daily service as the couples face the hard grind of the restaurant business and have to meet the judges' rigorous expectations of the food, service, decor, and atmosphere of their restaurants... and they must face the wrath of the culinary troika as well as the dining public. Compelling, shocking, and grueling, it's a treat to watch for foodies, who will count their blessings that they're not on the line for service that night.

And there we have it. A sampling of some of my favorites from 2009. As the year rapidly swings to a close, I'm curious to see what your favorite (and least favorite) series were, which shows you can't get enough of, and which ones you're happy to see the back of now. Discuss.

Love Versus Career: NBC Unveils New "Chuck" Promo

Will it be passion or professionalism?

With just a few weeks to go before the Season Three premiere of Chuck, NBC has unveiled a new promo for the action-comedy that plays up the romance between Chuck Bartowski (Zachary Levi) and Sarah Walker (Yvonne Strahovski) as well as the push-and-pull between duty and love.

Spoiler-phobes might want to look away as there are some rather intriguing reveals contained in the below Chuck promo, released today, that might point to some action for these spies.



Will these two finally get together this season? Who can say, though you can read my advance review of the first five episodes of Season Three of Chuck to glean any clues I may have left there about whether this star-crossed couple finally manages to put aside their professional responsibilities for some much deserved romance...

Season Three of Chuck launches January 10th at 9 pm ET/PT with a two-hour premiere before moving to its regular timeslot Mondays at 8 pm ET/PT on January 11th.

Channel Surfing: Mia Kirschner Bites into "Vampire Diaries," Starz Renews "Spartacus," Jeff Probst Believes Wrong Person Won "Survivor," and More

Welcome to your Tuesday morning television briefing.

Entertainment Weekly's Michael Ausiello is reporting that Mia Kirschner (The L Word, 24) has been cast in a recurring role on the CW's The Vampire Diaries, where she will play Isobel, described as "the sweet-yet-dangerous wife of Matt Davis’ history teacher, Alaric." Kirschner will first appear in the January 21st episode. (Entertainment Weekly's Ausiello Files)

Starz has renewed drama series Spartacus for a second season, more than a month before the first season even premieres. Season Two of the swords-and-sandals drama, entitled Spartacus: Vengeance, will go into production early next year, with executive producers Rob Tapert, Sam Raimi, Joshua Donen, and Steven S. DeKnight all returning for Season Two. [Editor: Look for former Dollhouse staffers Mo Tancharoen and Jed Whedon to also turn up on the writing staff for Season Two of Spartacus.] (Televisionary)

Over at EW.com, Survivor host/producer Jeff Probst has written about the season finale of the CBS reality series and his belief that the wrong person won the grand prize. "I think Russell was the victim of a jury of bitter people," wrote Probst. "I am not taking anything away from Natalie, she clearly did a great job of reading the group dynamic of the jury and as a result she deserves the money. Oftentimes on Survivor, the vote does come down to a choice where a determining factor is “how nice someone is” but that’s usually when all other criteria being considered is equal. That doesn’t hold up this season. This season was so lopsided in terms of one person (Russell) completely dominating the game that to not give him the money and the title is a bit silly." (Entertainment Weekly's PopWatch)

ABC has given a pilot order to multi-camera comedy Women Are Crazy, Men Are Stupid, about a man and a woman who have been very unlucky in love and hope that their latest relationship will work out. Project, from ABC Studios, is based on a book by Howard Morris and Jenny Lee, who will write the pilot script. (Variety)

BBC America has announced a February 13th launch date for post-apocalyptic drama Survivors. Series, executive produced by Adrian Hodges, will premiere Saturday, February 13th at 8 pm ET/PT, before shifting to its regular timeslot at 9 pm ET/PT the following week. (Televisionary)

CBS has given a pilot script order to CSI creator Anthony Zuiker's cop drama Jax and Amber, which will revolve around two female detectives who "harbor a unique insight into solving crimes," according to Variety's Michael Schneider. Project, from CBS Television Studios, will be written by Elizabeth Devine, who will executive produce with Zuiker and Deran Sarafian (House), the latter of which is attached to direct, should the project be ordered to pilot. Zuiker also has drama Cyber Crimes in development at CBS. (Variety)

Disney XD has given a series order to live-action comedy Pair of Kings, which revolves around a set of fraternal twins (one is white, the other black) who are "raised by their aunt and uncle until they find out that they are heirs to the throne of the island of Kinkou; they relocate there to become kings." Series, which will debut next fall, stars Mitchel Musso, Doc Shaw, Geno Segers, Kelsey Chow, and Ryan Ochoa and was created by Dan Cross and Dave Hoge (Aaron Stone). (Hollywood Reporter)

Liberty Media has named former HBO Chairman/CEO Chris Albrecht as president and CEO of Starz. He'll assume the position beginning January 1st and will oversee all Starz entities, including Starz Entertainment, Overture Films, Anchor Bay Entertainment, and Film Roman. (Variety, Deadline Hollywood Daily)

FremantleMedia North America has promoted Manfred Westphal to senior VP of marketing and communications at the company, which produces American Idol and America's Got Talent. (Variety)

Stay tuned.

Uprising: Starz Renews "Spartacus" for Second Season

In an unusual move, pay cabler Starz has renewed Spartacus for a second season, over a month before the first season, entitled Spartacus: Blood and Sand is set to debut.

Starz handed out a thirteen-episode second season order to Spartacus today, which will begin production on Season Two in early 2010 in New Zealand. The plot details for Season Two, expected to be entitled Sparactus: Vengeance, are being kept firmly under wraps. Executive producers Rob Tapert, Sam Raimi, Joshua Donen, and Steven S. DeKnight (who is also the series' head writer) will all return for Season Two.

"We couldn’t be happier with the first season. Spartacus delivers on all levels – action, characters, intrigue, romance and excitement," said Stephan Shelanski, Starz Entertainment EVP, Programming, in a statement. "Spartacus is the most ambitious original project we’ve ever undertaken, and speaks to the commitment to our subscribers to provide truly original programming along with our unmatched lineup of theatrical features."

"Steven S. DeKnight and his team of writers have created a rich narrative that lays the groundwork for more great stories," added Tapert. "The slave rebellion led by Spartacus and the oh-so-current political intrigue and personal dynamics laid out in the first season provide rich source material for the second season and beyond."

Season One of Spartacus is set to premiere on January 21st on Starz.

The full press release from Starz announcing the pickup can be found below.

STARZ RETURNS TO THE ARENA WITH MORE ‘SPARTACUS’
Second Season of Highly Anticipated Action Adventure Series Gets
Green Light Prior To January 22 Premiere

Burbank, Calif. – December 21, 2009 – In a bold vote of confidence, Starz executives announced plans today to order a second season of the ground-breaking new original series “Spartacus: Blood and Sand,” set to premiere Friday, January 22nd at 10 pm ET/PT. The unusual timing of the renewal, more than one month prior to the debut of the highly anticipated program, gives returning executive producers Rob Tapert, Sam Raimi, Joshua Donen and Steven S. DeKnight (who is also the head writer on the show) the green light to start production in New Zealand on 13 new episodes in the first quarter of 2010.

“We couldn’t be happier with the first season. Spartacus delivers on all levels – action, characters, intrigue, romance and excitement,” said Starz Entertainment EVP, Programming, Stephan Shelanski. “Spartacus is the most ambitious original project we’ve ever undertaken, and speaks to the commitment to our subscribers to provide truly original programming along with our unmatched lineup of theatrical features.”

“Steven S. DeKnight and his team of writers have created a rich narrative that lays the groundwork for more great stories,” added Executive Producer Rob Tapert. “The slave rebellion led by Spartacus and the oh-so-current political intrigue and personal dynamics laid out in the first season provide rich source material for the second season and beyond.”

The title of the second season is expected to be “Spartacus: Vengeance,” but other details are being kept under wraps, so as not to spoil any of the sure-to-shock plot twists the first season promises to deliver.

Nearly 4 million moviegoers saw the new “Spartacus: Blood and Sand” trailer in theaters over the weekend and it is expected to hit wide online today.

“Spartacus: Blood and Sand” features Australian newcomer Andy Whitfield as the title character, a Thracian fighting to return to his wife after being sold into slavery at a gladiatorial school. He is joined by Lucy Lawless (“Xena: Warrior Princess,” “Battlestar: Galactica”) as the deceptive Lucretia, John Hannah (The Mummy movies) as her power-hungry husband Batiatus, Peter Mensah (300) as the head of the gladiatorial school, Doctore, along with a cast of familiar as well as fresh faces.

The series is shot utilizing virtual environments in the graphic novel style of such successful features as 300 and Sin City. The process gives the show a fresh narrative approach and a hyper-realistic look that is unlike anything yet seen on TV. It’s an entirely new vision of the ancient legend.

Debuting exclusively on Starz, “Spartacus: Blood and Sand” is produced by Starz Media with Executive Producers Rob Tapert (The Grudge, “Xena: Warrior Princess” and “Hercules: The Legendary Journeys”), Sam Raimi (Spider-Man and The Evil Dead), Joshua Donen (The Quick and the Dead) and Steven S. DeKnight (“Buffy the Vampire Slayer”).

About Starz Media
Starz Media, LLC, is a programming production and distribution company operating worldwide. It includes the Film Roman, Anchor Bay Entertainment, and Manga Entertainment brands. Its units create animated and live-action programming -- including theatrical films -- and programming created under contract for other media companies. It distributes that programming, and programming acquired from outside producers, through home video retailers, theaters, broadcasters, ad supported and premium television channels, and Internet and wireless video distributors in the US and internationally. Starz Media (www.starzmedia.com) is a controlled subsidiary of Liberty Media Corporation attributed to the Liberty Capital Group.

About Starz Entertainment
Starz Entertainment, LLC, is a premium movie service provider operating in the United States. It offers 16 movie channels including the flagship Starz® and Encore® brands with approximately 17.3 million and 30.7 million subscribers respectively. Starz Entertainment airs more than 1,000 movies per month across its pay TV channels and offers advanced services including Starz HD, Encore HD, Starz On Demand, Encore On Demand, MoviePlex On Demand, Starz HD On Demand, Encore HD On Demand, MoviePlex HD On Demand, and Starz Play. Starz Entertainment (www.starz.com) is an operating unit of Starz, LLC, which is a controlled subsidiary of Liberty Media Corporation, and is attributed to Liberty Starz (NASDAQ: LSTZA), a tracking stock group of Liberty Media Corporation.