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Drama Mama

Tired of reality TV? So is Drama Mama. Each week, I look for the best scripted shows that will both entertain and let me use my grownup brain for once. Here's what to look for this week:
"Lost" (Wednesday, 9 p.m., ABC)The two-hour season finale of "Lost" is occasion enough to put the phone on silent, turn out the lights, and watch without interruption. But this one promises to be a doozy, with Jack setting his plan in motion to stop the "incident" that will ultimately result in the plane crash. What's more, the "Lost" producers have selected a nickname from fan votes for what is sure to be another jaw-dropping final scene: "The Fork in the Outlet." Can't wait!
"House" (Monday, 8 p.m., Fox)House and Cuddy hooking up? Mama's in. Couple these developments with the incongruous guest appearance of Carl Reiner, and this week's season finale becomes oddly compelling.
"Fringe" (Tuesday, 9 p.m., Fox)J.J. Abrams's dominating cross-network, cross-medium synergy continues in the "Fringe" season finale with an appearance by Leonard Nimoy, whom everyone who watches this show will have just seen over the weekend in the Abrams-helmed reboot of "Star Trek." Say what you want about this uneven "X-Files" pastiche, but it knows its audience.
"Law & Order" (Wednesday, 10 p.m., NBC)Incredibly, original recipe "L&O" is still on the bubble at NBC, so Mama is going to be sure to throw her support behind the creatively resurgent mother bear over her seedy spinoffs, since Jeremy Sisto and Linus Roache have been great additions to the cast. Plus, Mama gets enough sex crimes talk at her local neighborhood watch meeting.
"Harper's Island" (Saturday, 9 p.m., CBS)You know, if Mama had realized that cheese-tastic Harry Hamlin was in the cast, she totally would have started watching weeks ago, as this may be the only show on CBS that isn't a rote police procedural. But apparently he's already been bumped off, so oh well. Let me know how it ends.

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Star Trek: Take 2

Lately I’ve been wanting a film that comes out punching, that doesn’t dally, that just drops the audience into the middle of intense action and lets us swim for our ever-loving lives. I’m talking about a movie that knows how to open a movie. The last one was The Dark Knight. Finally, I get my wish with J.J. Abrams’s re-booted Star Trek.
A tentacled spaceship with overwhelming firepower. A Star Fleet vessel limping and crumbling to pieces. Dozens of evacuating shuttles. And a baby being born. It’s the Odessa Steps at warp speed. And we instantly know that this one is set for stun.
And that’s just the beginning, because what we get is an exhilarating string of these things. What Abrams accomplishes is to rival Steven Spielberg’s capacity to stage wide-canvas action scenes, dotting the screen with multiple thrillers taking place in multiple locations simultaneously. We shift among them with swiftness, smoothness and ferocity.
So we go from a starship to high-speed parachuting, to a swordfight on top of a mile-high drilling platform. We move from a single cockpit to a starship bridge, to watching the battle in slow motion from a million miles away with spacecraft and torpedoes slowly charging across the eternal night. It’s awe-inspiring. I can’t say enough.
Let’s shower Abrams with praise. After an overhyped transition to the big screen, the Lost impresario finally delivers, re-charging what appeared to be a dead franchise. Returning us to the iconic characters, times, and spirit of the original television series of the ’60s, the film invigorates the earliest adventure of Captain James T. Kirk (Chris Pine), Spock, Dr. Leonard “Bones” McCoy, and the rest of the crew of the Starship Enterprise.
he geek favorites meet at Star Fleet Academy, but their friendships begin as petty rivalries. As cadets, they are dispatched on a humanitarian mission to Vulcan aboard the newly minted Enterprise. The humanitarian mission becomes a military emergency when they meet a heavily armed Romulan mining ship that has traveled from the future through, yes, a temporal anomaly (which happen to be ideal for re-booting). It has come with a nasty captain (Eric Bana) and a destructive plan. As the crew loses its veteran captain (the always steady Bruce Greenwood), the Enterprise bridge dissolves into back-and-forth mutiny as the young officers squabble over what to do.
We can watch the generations roll by through Star Trek. The original series operated with the Silent Generation’s enlightened bureaucracy. In the spiritually sensitive Boomer era, the crew saved whales and sought peace, while the Next Generation provided an oligarchy run by Up With People and the idea that humans are evolving into gods.
It took a while to dip into ’90s-style sci-fi paranoia, ala Babylon 5 or The X-Files. It didn’t connect with Star Trek’s historically earnest outlook. Star Trek really isn’t Star Trek with Star Fleet officers hiding dark conspiracies and evil motives. The series had becomes moor-less and passé.

Rebooted and reloaded, we now have a Star Trek updated to modern action conventions -– a crew of orphaned rebel-heroes whose wounded pasts shadow their idealism. In this version, Kirk is the talented but unorthodox son of a dead space hero. Chris Pine, with the toughest measure-up as the embryonic Captain Kirk, cruises with the cocky hamminess inherent in the role…or inherent in William Shatner. Take your pick.
To call the performers unknown is an understatement. The only really famous person is Winona Ryder, in a small part. But for once, Abrams’s don’t-hate-me-because-I’m-beautiful casting doesn’t betray him. Only Karl Urban’s portrayal of Bones flips disturbingly between imitation and parody. Scotty is a parody deftly steered into comic relief by Simon Pegg, who steals all of his scenes. Zoe Soldana gets to play Uhura as saucy, savvy and semi-relevant.
The bravest risk and the greatest reward comes from the nearly unthinkable decision to put the film’s emotional center on the legendarily emotionless character. What started as a one-episode gag 40 years ago –- that Spock is half-human –- fully fleshes to its completion. This Spock is prideful, ambitious, shy, vulnerable, orderly, rebellious…an enigma to both of his worlds. The Spock we are given here is a human wanting to be a Vulcan. Wholly and admirably, Zachary Quinto rebuilds the Vulcan from the inside out. Is it too early to say Quinto is a better Spock than Leonard Nimoy?






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Do We Want Sci-Fi on TV?

Michael Trucco as Anders in the Battlestar Galactica episode "The Road Less Traveled."? Carole Segal/Sci Fi ChannelEntertainment Weekly writer Marc Bernardin has grabbed some attention musing about how sci-fi on TV seems be to so unsuccessful lately. Bernardin compared the riproaring success of the annual summer schedule jammed with sci-fi and fantasy blockbusters with the anemic ratings for a whole slate of canceled or soon-to-be-canceled series – there's even a Terminator franchise entry this year in both the failed-TV-series and (presumably) the hugely-successful-movie categories.
This imbalance has led him to ask the unsettling question, "Why don't we want science fiction on television anymore?"
Do you think he's right? I kind of wonder there's a mistaken assumption involved here: I'm not sure about the "any more" part. Though individual science fiction or crossbred shows have done well – for example, The X-Files – most sci-fi and fantasy offerings have gathered a solid, enthusiastic fan-base rather than a broad swath of casual viewers.
Perhaps it's because sci-fi in general has a reputation for being more arc-driven and therefore harder to drop into on a whim, the way you can do with any random episode of Law & Order. It's not really true – you're just as likely to be confused joining Friday Night Lights in mid-season as you would with Battlestar Galactica – but there's a real inhibition getting involved in a sci-fi series for nonfans, so you end up with an avid core. And that avid core has seldom been large enough to satisfy ratings-hungry executives.
The movies are different – a one-off sci-fi blockbuster with lots of explosions and cool robots and sexy aliens is a great way to mindlessly blow a Friday night, and so the big sci-fi summer movies attract millions of people. (And they're not all successes. The small sci-fi movies that end up getting shown in late winter barely garner an audience. Did anyone go see Inkheart, for example?) A sci-fi TV show, however, to a lot of people represents an investment.
And I don't think the number of offerings has gone down – this season I've been tracking over two dozen active sci-fi series. Of those, as many as nine were killed off by their networks.
Sci-fi and fantasy are, by definition, more expensive than most other kinds of shows, because the special effects cost money both on the set (all those careful set-ups) and in postproduction, where all that labor-intensive CGI is done. Between smaller audiences and larger costs, it's surprising that any sci-fi gets made for TV at all.

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'Star Trek' movie breathes new life into franchise

You don't expect to find much fresh air in outer space, but that's exactly what the reboot of "Star Trek" brings to the musty franchise.
The film finds compelling new angles on iconic science fiction characters, thanks to spot-on casting and a young, sexy "Abercrombie & Trek" vibe. Faithful to the outlines of the classic TV series yet original, this revitalized, reimagined "Trek" is a gift to nerds and newbies alike. It's engagingly acted, intelligently scripted and confidently directed. Put it alongside "Casino Royale" and "Batman Begins" as a fresh start that gets almost everything right.
Take the command deck of the USS Enterprise. It's the same, yet different. Kirk, Spock, Sulu and Chekov sit in the same relation to each other on the bridge, but the controls, instruments and displays have a cool, elegant new design. Old "Trek" was a PC; this is definitely a Mac.
The cinematography and special effects have evolved. Space scenes feature lens flares and nebulas that look stunningly authentic, and the gorgeous landscapes on rocky Vulcan and a remote ice planet would be at home in a coffee-table book.
The first mission of the Enterprise is to neutralize a time-traveling Romulan craft boasting unheard-of weaponry. That's the basic setup of every "Star Trek" movie, and it's the film's weakest link. Eric Bana is all right as the villainous Nero, who has his reasons. And there are nods to contemporary geopolitics that will please "Battlestar Galactica" fans. But the spectacular space battles are beside the point. This is really the story of how the Enterprise crew meets, hammers out its differences and becomes a team, and the telling is pure bliss.
After a scene-setting space battle that opens the story at warp speed, we meet young Kirk, a juvenile delinquent before he enters his teens. He's joyriding in a 300-year-old Corvette, blasting the Beastie Boys, anachronisms that make him easy to relate to. Chris Pine's Kirk contrasts nicely with the original. He's a hellion and a cock-of-the-walk wise guy who joins the service as an alternative to doing jail time. He grows in the discipline of the Starfleet Academy, but he's still too impulsive to make the grade as a space officer. It takes real skullduggery to get him aboard the Enterprise. He starts out with more than a dash of "Futurama's" chauvinist, swashbuckling Zapp Brannigan, matures in a crisis and becomes an inspiring leader.
The script is ingenious in setting hurdles for the characters and then leaping them. It's delightful how deftly the film touches on and twists the standard ingredients of "Trek" lore, how it uses our familiarity for surprises and graceful storytelling shorthand. You will appreciate it if you are a casual fan, and the more "Trek" lore you know, the more your admiration will grow.
Yes, the red-suited member of the landing party is a goner, but never has his demise been so swift and darkly funny. Of course young Spock's logical Vulcan side and his human emotions are at war, but Zachary Quinto's tilt is far warmer than Leonard Nimoy's. Uhuru (Zoe Saldana) develops a romantic attachment to a shipmate, but not the one you expected. Before you accuse the filmmakers of rewriting history, understand they anticipated your objections and used a classic science fiction idea to answer them.
With the exception of Winona Ryder, wooden and unpersuasively aged as Spock's human mother, the cast is flawless. Simon Pegg is a superb Scotty, the kind of gregarious bloke you'd hope to sit next to in a pub, but that's no surprise. Who suspected that Karl Urban, a specialist in dark drama, would make such a delightfully grumpy "Bones" McCoy? How can you hear him call Spock a "green-blooded hobgoblin" and not smile? John Cho's Sulu, Bruce Greenwood's Pike, Anton Yelchin's Chekov - all honor the characters' creators but lift the roles to a new level.
The quality that has kept audiences revisiting Gene Roddenberry's universe for more than 40 years is the camaraderie between his characters, and this crew has it in spades. When the film ends, you miss them. After this exhilarating new start, "Trek" is guaranteed to live long and prosper.



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Will Smallville beat SG-1’s longevity record?

Stargate SG-1 fans have been holding their heads high since the show entered the Guiness Book of World Records a few years back (story), boasting the title of the longest-running science fiction show in North America. (Only the original Doctor Who ran longer.)
The series produced 214 hours over ten seasons (1997-2006).
Meanwhile, however, another Vancouver-made genre show has been quietly creeping up on Jack O’Neill and his team. The CW’s young Superman supershow Smallville is currently finishing up its eighth season, and has already been renewed for a ninth (EW.com). That will bring it up to a tie with The X-Files (in the season count), and hot on the heels of SG-1 for the record.
So is Smallville going to tie or beat SG-1’s record?
Stargate SG-1 produced 22 episodes per year for seven seasons, then 20 per year for its last three. Smallville has stayed at 22 episodes per year, with Season Seven shortened to 20 only because of the writer’s strike.
After Smallville’s 2009-2010 season, then, the show will have produced 196 episodes. If it continues on to a tenth season, it will tie SG-1 in the season count and surpass it in episodes — 218 if the network orders a full, 22-episode season.
Future prospects for the CW show rely heavily on signing lead actor Tom Welling. The eighth and ninth years have proven that the show can lose major cast members (Michael Rosenbaum and Kristin Kreuk, a.k.a. Lex Luthor and Lana Lang) and even its executive producers and keep going strong.
Smallville airs Thursdays at 8 p.m. (7 Central) on The CW in the United States. Season Nine begins this fall, and future contract negotiations and a tenth season renewal decision should come next spring.

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10 Shows that turn me on

You would think I would always have a ready answer to the question, “What’s your favorite program on TV?”
Amazingly, though, these inquiries from readers usually leave me flat-footed, like someone had just asked me which “Real World” hamster was my favorite. (OK, it was Devyn.)
So as the network television season winds to a conclusion, I’ve decided to make a list. After all, with your over-the-air options going away for the summer, it’s a great time to explore Television by Other Means. These days, shows can be streamed on Hulu, file-shared on Vuze, recorded on your DVR (if they’re airing) or rented on shiny discs.
Most of these are recent shows in reruns, but if you haven’t seen them before, as NBC used to say, it’s new to you!
I’d recommend starting with these:
1“Ashes to Ashes” (DVR, DVD). BBC America is airing the British sequel to “Life on Mars.” Now the lead is a female, and she’s knocked back in time to 1981, where once again the object is to return to the present day through the wormhole of a detective room that thinks DNA is a subject more appropriate to Oxford dons than London coppers.
2“Chuck” (DVR, Web). NBC is expected to bring back this spy comedy with Zachary Levi for a third season. One reason fans were so ardent about urging the network to “save Chuck” is the feeling that the show has kicked it up a notch.
3“Flight of the Conchords” (DVD, DVR). I was talking with theater critic Robert Trussell about the reinvention of the American musical, and certainly this terrific series from a couple of funny Kiwis is a great example of that. Future status on HBO is unknown, but the duo has certainly produced enough episodes to keep you occupied for, well, days.
4“Fringe” (DVR, Web). Fox just renewed this weird little series about paranormal crime-solvers, but that doesn’t mean you’ve seen even an hour of it. Anna Torv and Joshua Jackson are surrounded by a terrific supporting cast that brings the spookiness of “The X-Files” into a new millennium (meaning there’s more self-conscious humor than “X-Files” ever had).
5“Frontline” (Web). The Web site for television’s best newsmagazine offers dozens of episodes for streaming at full length. Start with “Poisoned Waters,” Hedrick Smith’s stomach-turning report on the decrepit state of America’s lakes, rivers and estuaries.
6“In Treatment” (DVR). I’m hoping HBO repeats this show’s outstanding second season, because I don’t want you jumping in where we are right now (Week 6). Much of the enjoyment of this show about a psychologist (Gabriel Byrne) and his patients comes from experiencing the cumulative effect of pain, failure and the rigors of confronting our demons in a professional, therapeutic setting. Even though there are no ads, it’s worth recording just to watch all five weekly episodes in one gulp.
7“Late Show With David Letterman” (DVR, Web). With Jay Leno’s abdication coming later this month, there will be a new king of late night. Of course, you could argue Letterman always was the king in everything but ratings. No one tells a bedtime story from his desk better than Dave. And no one books more guests based purely on personal interest. The other week he had the inventor of a $50,000 electric car on for two segments. And the car! Who else could pull that off?8“NBC Nightly News” (DVR, Web). Remember all that yak about “the death of network news?” For the 40 percent of Kansas City homes with a digital video recorder, that’s just nonsense. Do what we do and set a season pass for the newscast of your choice. In our household, that’s the one with Brian Williams who, despite his annoying habit of continuously mentioning other NBC properties in his newscast (too many Weather Channel shout-outs, Bri!), is the silver standard for network news.
9“Reaper” (DVD). I think this is going to be a show that people look back on and say, “We were a little harsh on them.” For what it was — a horror-comedy in which a slacker learns he belongs to Satan and must spend the rest of his life as Beelzebub’s bounty hunter — “Reaper,” recently canceled by the CW, was a fun little show. Perfect for summer viewing.
10“30 Rock” (DVR, Web). Nielsen ratings suggest that not everyone is watching the two-time Emmy winner for best comedy. I’m sure you have your reasons, but let me assure you: They are terrible reasons. “30 Rock” will get a nice boost next season if the new sitcom “Community,” with Chevy Chase and Joel McHale, is any good.

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