Through creative advertising campaigns -- not to mention noteworthy shows -- cable networks such as TNT, FX, USA and lately AMC have established their identities with the public. We tend to know what we’ll be getting when we tune in to those channels: crafty escapism on USA, sophisticated storytelling on FX, mainstream procedurals on TNT and urbane, cinematic drama on AMC.

So why would an established cable network mess with a good thing?

For Sci Fi—which changes its name to Syfy Tuesday—it’s a matter of survival.

The old way of doing business—in which a network merely airs programs and collects ad dollars—won’t quite cut it in the multimedia future, said Sci Fi president Dave Howe in a recent interview in his New York office. And the name Sci Fi—which also applies to an entire genre of film, books and other forms of media—wasn’t something the network could trademark.

“Nothing gets greenlit unless we believe the business model is much more than linear, live viewing,” Howe said, citing DVD movies, video games, Webisodes, Web sites and iPhone apps as just a few of the multimedia ventures the network sees as vital to its future. But Sci Fi wanted to brand those kinds of ventures with a name it could own and trademark.

“When people understand the rationale, they do get it,” Howe added. “You can’t have a brand called ‘Sport’ or ‘Drama’ or ‘News.’ It’s just not a brand name.”

Certainly, awareness of Sci Fi, which was launched in 1992, had grown in recent years, especially during the era of the award-winning “Battlestar Galactica,” which ended its run in March. During Howe’s tenure—he’s been at Sci Fi for eight years—the network went from exporting shows to a few other countries to shipping programming to more than 50 territories.

As the network expanded worldwide and into multimedia realms, executives wanted a more distinctive name, but finding a name that would not only work for the network but be available legally and obtainable in the online realm (the network’s new site will be syfy.com) took two years.

“The issue that we’ve always had with Sci Fi is that it only communicates three things: Space, aliens and the future,” Howe said. “That’s the default perception, and that’s a barrier to entry for people who we know like [reality fare such as] ‘Ghost Hunters’ and ‘Destination Truth’” as well as “Eureka”, which returns July 10, and the sprightly and amusing “Warehouse 13,” which premieres Tuesday.

So why not change the name more radically? It was pointed out to Howe that "Mansquito," the name of one of the network's goofball Saturday-night horror flicks, was right there for the taking. 

Howe found that idea amusing, but when he was done laughing, he explained that a branding agency came up with a list of 300 names that the channel could possibly use. Of those, only a few dozen were legally viable, and executives at the network only really liked a couple from that short list (Howe wouldn't reveal what the runner-up was, but said the network may use it as a "sub brand" in the future).

What Sci Fi executives liked about Syfy was that it serves as a transition between the network's old identity and its new path, which involves a "Battlestar" prequel series, "Caprica," which debuts in January, "Stargate Universe," a space-adventure series that debuts in October, and comedically-tinged fare such as "Warehouse 13."

"We absolutely embrace the genre but we embrace the totality of it," Howe said. "[We're about] sci fi, fantasy, paranormal, supernatural action-adventure, mystery, investigation. The new brand works with those and gives us permission to do more of that."

Though the escapist and accessible "Warehouse 13" "epitomizes" where the network is going, Syfy won't abandon "space opera," Howe said. The network is trying to develop a classic genre show along those lines. It's also developing a remake of "Alien Nation" with writer/producer Tim Minear, and the "Battlestar" tradition continues with the TV movie "The Plan," which airs in November, and with "Caprica," which is set 50 years before the events of "Battlestar."

The network is also in the process of creating more shows that will cater to audience segments that it discovered through market research, especially viewers curious about the supernatural world and fans of "thrill ride," emotion-packed shows with a horror element.

There was a fair amount of mockery, especially in the online realm, when the name change was announced in March, but Howe said that compared to the cancellation of “Stargate Atlantis,” which overwhelmed his e-mail inbox for months, he’s only gotten a couple of dozen snarky e-mails about the Syfy switch.

“We expected fans not to like it. The reaction from fans always same default reaction—it’s that we’re going to abandon the genre,” Howe said. “This isn’t what that’s about.”

Photos: "Battlestar Galactica," "Warehouse 13."

Here's my take on the "Children of Earth," which airs five consecutive nights starting July 20: It's the best thing BBC America has broadcast since it aired the original British version of "The Office."

Two things you need to know about "Children of Earth": It's a thriller, one of the most effective ones I've seen on TV in some time. Yes, "Torchwood" is a spinoff of "Doctor Who" and thus could be classified as a sci-fi show, but these five episodes expertly rachet up the tension while providing the enjoyable character drama fans have come to know and love. If this is sci-fi, it's sci-fi that non-genre fans can definitely love.

Also, you don't need to have seen "Torchwood" before you watch "Children of Earth." It works fine if you've never seen the drama before. Of course, for fans of the irreverent show, it'll be extra-fun, but no previous knowledge is necessary.

Prior seasons of "Torchwood" have aired on BBC2 and BBC3 in the UK. But creator Russell T Davies said in a Tuesday interview that since "Children of Earth" will air on BBC 1 -- the biggest network in the UK -- the goal was to make it accessible to newcomers.

In the third season of a show, "there's a danger you can settle for preaching to the converted." But he wants to "reach out to absolutely everyone and hopefully get some new viewers," he said.

Viewers will learn some dark things about Captain Jack Harkness (John Barrowman) in "Children of Earth," and I asked Davies if there was a limit to how far he could take the frequently heroic character.

"With a good character and actor, as far as you want," he said. "I think the audience is very intelligent and they don't like it when you handle a character with kid gloves. Good drama exposes people's faults, that's what we empathize with."

Viewers will learn more about Ianto (Gareth David-Lloyd) and Gwen (Eve Myles) as well (and by the way, what a crackling core cast this show has). "This is what I would have done no matter what," even if Season 3 had not been a compressed 5-episode experiment, Davies said. "It's simply time to explore the backgrounds a bit... It was time to expand and explore every connection."

One final note: Peter Capaldi is fantastic as Mr. Frobisher, a man who seems like a gray bureaucrat at first but whose role becomes extremely ambiguous throughout the course of the series, which airs July 6-10 in England.

I'll have much more from Davies and from Barrowman, who plays Captain Jack, when I do a longer "Torchwood" piece later in July, but I had to share a couple of "Doctor Who" details I wrangled from Davies in that Tuesday interview (and there are a few bits and pieces from a recent Barrowman interview here).

Davies relaunched the "Doctor Who" franchise to great success four years ago, but after a series of 2009 specials starring the current Doctor, David Tennant, a new season of "Doctor Who" will begin in the spring of 2010 with Matt Smith as the title character and Steven Moffat as the head writer.

Regarding those Tennant "Doctor Who" specials, "Planet of the Dead" airs July 26 on BBC America. There are three specials after that, and BBC America has confirmed that they will air in this country in around the end of the year. (For a recent interview with Tennant, look here.)

"Waters of Mars" is expected to air in November in the UK, and it should air in this country that month as well. Tennant's last outing as the Doctor is in a two-parter that airs in England on or around Christmas Day and New Years' Day. And those final Tennant specials will air on BBC America around those dates in this country as well. 

Davies would not say much about Tennant's final three episodes, except to confirm Lindsay Duncan as the companion in "Waters of Mars" and Bernard Cribben as the companion in the final two-parter.

Davies said there's "enormous amounts of fun" and some good comedy with the alien species in those last two episodes, but there's also an undercurrent of sadness. "It's not a matter of me saying, 'Shall I be dark?' There's this meta-textual game with 'Doctor Who' -- everyone knows David is leaving. You can't avoid that fact, you can't have him walk into a door and regenerate. Everyone knows death is coming. That informs the drama," Davies said.

The final two episodes are Tennant's "finest hour by a million miles," he added.

Would he confirm any of the other casting for the final two Tennant specials? No, with a genial Welsh laugh, he would not.

But he did say that, though he'll stick with "Torchwood" and "The Sarah Jane Adventures," his next project will not be a genre piece. He's "dying" to write a 9 p.m. BBC drama set in the modern-day, entirely real world, he said.

As I said, I'll have fuller transcripts from Davies and Barrowman soon.

Sponsored Link: Amazon's Torchwood Store

It's official: San Diego Comic-Con organizers have confirmed that there will be a "Farscape" panel to celebrate 10th anniversary of the show, which aired 1999-2003 on Sci Fi. 

Appearing on the panel will be stars Ben Browder and Claudia Black, as well as creator Rockne O'Bannon and executive producer/director Brian Henson. The panel takes place Friday, July 24 at 10:15 a.m. in Room 6BCEF.

And I can add this tidbit: That's not the only "Farscape" panel that will be happening during Comic-Con, which takes place July 23-26 in San Diego.

According to a very reliable source, at Comic-Con, there are also plans for a "Farscape" panel revolving around the series of comic books based on the show. Those comic books, which I've been reading and enjoying a lot, started coming out last year. When I get the time/date for that panel, I'll add that information here.

I'm a huge fan of "Farscape," so this is all very exciting news. As was the news that Sci Fi is still committed to a series of "Farscape" webisodes, which Sci Fi president Dave Howe confirmed are still in development (though they are not near the script stage yet).

The DVD press release is below.

AS SCI FI TELEVISION CLASSIC FARSCAPE MARKS ITS 10TH ANNIVERSARY,
A&E HOME ENTERTAINMENT AND THE JIM HENSON COMPANY PARTNER
ON A RE-LAUNCH OF THE DVD FRANCHISE

The Re-packaged Line, Slated for November 2009, Includes the First-Ever
COMPLETE SERIES MEGASET™ Featuring All Four Out-of-This World Seasons

Fans Invited to Attend Panel Featuring Executive Producer Brian Henson,
Creator Rockne O’Bannon and Stars Ben Browder and Claudia Black
This July at Comic Con International 2009

NEW YORK, NY (July 1, 2009) – When a freak accident during an experimental space mission catapulted Astronaut John Crichton (Ben Browder) across a thousand galaxies to an alien battlefield, a cult classic was born with the epic, adventure-filled TV series Farscape.  The award-winning fan favorite show, which ran from 1999-2003 on Sci Fi and was named by TV Guide as one of television’s best cult shows ever, is about to blast off again on DVD courtesy of a pact between A&E Home Entertainment and The Jim Henson Company. 

Blasting off in November 2009, as the show marks its 10th Anniversary, the treasure of the
newly re-packaged DVD line will feature a Farscape home entertainment first: THE COMPLETE SERIES MEGASET™.  Never before available in one package, A&E Home Entertainment brings together all four out-of-this-world seasons with countless hours of absorbing bonus programming featuring multiple commentaries, interviews with cast and crew, behind-the-scenes featurettes and much more!  Single season collector’s sets will also be released, offering genre fans of all walks the opportunity to sample this superlative sci-fi classic.

To launch this eagerly-anticipated re-release, there will be a Farscape panel convening at this year’s International Comic Con in San Diego.  Executive producer Brian Henson, creator Rockne O’Bannon, and stars Ben Browder and Claudia Black (Officer Aeryn Sun) will be in attendance to discuss their favorite moments from the series and the DVD re-release.

I would especially enjoy getting a few philosophical/theoretical/hypothetical questions from you, if you have any. Lately the majority of questions I've been getting have been -- understandably -- of the "Is such-and-so show coming back?" Networks generally do a terrible job of telling the world what shows have been canceled, so I understand the confusion.

But before you leave a question along those lines below, please enter the show's title into the search engine at The Futon Critic or check out his ShoWatch page, which should tell you if the program is returning or not.

So. Meaty questions. Smaller questions. Things that have been nagging/pleasing you -- share with the class below! I'll pick some for my question column later this week and try to answer more in comments. You can also email your questions to tribtvquestions@gmail.com. Thanks!

Before we get to that news, however, here's a little tidbit about "The Middleman," the ABC Family series that is unfortunately no longer around. However the cast -- including stars Matt Keeslar and Natalie Morales as well as creator Javier Grillo-Marxuach -- will reassemble at Comic-Con to do a table read of the final episode of the show, which did not get made (it was turned into a graphic novel from Viper Comics). The "Middleman" DVD set comes out on Shout! Factory July 28.

Sci Fi will have the casts and creators of the following shows at Comic-Con: "Stargate Universe," "Eureka," "Warehouse 13," "Sanctuary," "Caprica" (which debuts in January) and the November TV movie "Battlestar Galactica: The Plan" (those last two programs will do a joint panel).

I'll be at Comic-Con again this year, and I certainly hope to be at the "Caprica"/"The Plan" panel, not just to hear from executive producers Ronald D. Moore, David Eick, Jane Espenson and "Caprica's" Esai Morales, but to hear from Edward James Olmos, "BSG's" Admiral Adama and the director of "The Plan." Olmos, to the delight of journalists everywhere, rarely sticks to PR-approved talking points and thus is always a very enjoyable wild card at any "Battlestar"-related event.

For comprehensive lists of what TV shows will be presenting panels at Comic-Con, check out my previous posts or Watch With Kristin. Also, follow my Twitter feed, the feed of Seat42f and IGN's Eric Goldman, for daily Comic-Con news morsels. And follow Comic-Con's Twitter feed to see if the organizers of the event put more passes to the San Diego festival on sale, as they have in recent days.

The information about "The Middleman" panel and the full release from Sci Fi is below.

SCI FI FEATURES FAN FAVORITE SERIES AND STARS AT COMIC-CON INTERNATIONAL 2009

New York, NY – June 30, 2009 – In keeping with its longstanding tradition of hosting some of Comic-Con’s most popular, crowd-pleasing events over the years, SCI FI Channel will once again feature some of its biggest hits – as well as its highly-anticipated new series – at this year’s Comic-Con International, held July 23-26 at the San Diego Convention Center.  Fans will have the opportunity to see their favorite SCI FI stars and get the answers to all their burning questions at each of the Channel’s star-studded panels, including Warehouse 13, Eureka, Sanctuary, Stargate Universe, and Caprica/Battlestar Galactica: The Plan.  

In addition, SCI FI will take over a restaurant at the Hard Rock Hotel, re-branding it as Eureka’s “Cafe Diem” for the duration of the convention. The fictional local hot spot heavily featured in the popular dramedy, Café Diem will be the hub of all SCI FI activities during the week. 

SCHEDULE OF EVENTS
Friday, July 24

10:30 AM-11:30 AM               Stargate Universe
Ballroom 20
A new chapter of the Stargate saga begins with the all-new original series Stargate Universe. Join stars Robert Carlyle (Dr. Nicholas Rush), Brian J. Smith (1st Lt. Matthew Scott), Elyse Levesque (Chloe Armstrong), David Blue (Eli Wallace), Alaina Huffman (1st Lt. Tamara Johansen), Jamil Walker Smith (Master Sargeant Ronald Greer), and Ming-Na (Camile Wray) alongside Brad Wright (Series Co-Creator) and Robert Cooper (Series Co-Creator) as they take you through a gate you’ve never seen before.

11:45 AM-12:45 PM               Caprica / Battlestar Galactica: The Plan
Ballroom 20
The present meets the past as the makers of Battlestar Galactica deliver the highly anticipated original series Caprica and the 2-hour event, Battlestar Galactica: The Plan, directed by Edward James Olmos. This is your chance to get the inside scoop on these exciting projects and see two generations of Adamas on stage together for the first time. Executive Producers Ronald D. Moore, David Eick and Jane Espenson sit down with Caprica star Esai Morales (Joseph Adama), and Battlestar Galactica’s Edward James Olmos (Admiral William Adama), director of The Plan, to reveal the truth about these two new chapters in the mythology of BSG.  Moderated by Geoff Boucher, Los Angeles Times.

3:15 PM-4:15 PM         Eureka
Room 6BCF
Eureka is back this summer with all new episodes, and Salli Richardson-Whitfield (Allison Blake), Erica Cerra (Jo Lupo), Neil Grayston (Douglas Fargo), and Jaime Paglia (Executive Producer/Co-Creator) are stopping by to let you in on the fun. Don’t miss your chance to see one of Comic Con’s most entertaining panels.  Moderated by Josh Gates, Destination Truth. 
 
8:30 PM-10:30 PM                SCI FI Screening
Room 6DE
Warehouse 13 & Eureka will premiere every week this summer on SCI FI, but only Comic-Con fans can see them on the big screen. Join SCI FI for an exclusive screening of the next all-new episodes of the summer’s two hottest series, along with best of clips from Ghost Hunters.  
 
Saturday, July 25

12:30 PM-1:30 PM                Sanctuary
Bayside Hilton Indigo Room
Before Sanctuary returns for an all-new season, don’t miss your chance to go inside the action and behind the scenes. Join stars Amanda Tapping (Dr. Helen Magnus) and Robin Dunne (Dr. Will Zimmerman) as well as Martin Wood (Executive Producer) and Damian Kindler (Executive Producer) for an exclusive conversation about one of television’s most innovative shows. Moderated by Michael Logan, TV Guide.

2:15 PM-3:15 PM                 Warehouse 13
Room 6A
This summer, the unknown has an address in the new original series, Warehouse 13. Join stars Eddie McClintock (Pete Lattimer), Joanne Kelly (Myka Bering), Saul Rubinek (Artie Nielsen), Allison Scagliotti (Claudia Donovan), Jack Kenny (Executive Producer/Showrunner) and David Simkins (Executive Producer) as they reveal confidential information about America’s most classified secret.  Moderated by Michael Logan, TV Guide.
 
Café Diem Hours of Operation:
Wednesday, July 22nd 6:30am-midnight
Thursday, July 23rd 6:30am-midnight
Friday, July 24th 6:30am-3am
Saturday, July 25th 6:30am-3am 
Sunday, July 26th 6:30am-10pm
 
SCI FI Channel is a television network that fuels the imagination of viewers with original series and events, blockbuster movies and classic science fiction and fantasy programming, as well as a dynamic Web site (www.scifi.com). Launched in 1992, and currently in 95 million homes, SCI FI Channel is a network of NBC Universal, one of the world's leading media and entertainment companies.    SCI FI will become Syfy on July 7, 2009.

"The Middleman" info:

Thursday [July 23] 11:15–12:15

The Middleman Cast Reunion and Lost Episode Table Read— creator Javier Grillo-Marxuach (Lost) and the complete cast, including Matt Keeslar and Natalie Morales, reunite to celebrate the DVD release of The Middleman: The Complete Series on Shout! Factory, with an exclusive table read of the lost 13th episode, The Doomsday Armageddon Apocalypse, which was never produced for television but which is now available as a graphic novel from Viper Comics. Room 6A
 
12:30 - The Middleman signing session at Shout! Factory's booth. (#3749).

And about that title. Strangely enough, the object that provides the inspiration for that adjective does not make an appearance in the first four episodes of the show. Apparently viewers just have to take the other characters’ word for it when it comes to the physical attributes of former jock, current teacher and would-be gigolo Ray Drecker (Thomas Jane).

Though “Hung” is billed as a comedy, this wry half-hour show isn’t a male version of “Sex and the City” (that would probably be the dude-fantasy “Entourage,” which returns July 12). “Hung” is set in Detroit and, like the city,  Drecker has seen better days.

His wife left him for a prosperous doctor, his teen twins view him with suspicion, if not scorn, and other misfortunes are heaped on him as well. With financial ruin looming, Ray eventually decides, with the help of Tanya (Jane Adams), his diffident new lover, to put his only real asset to work.

“Hung” has a good deal in common with AMC’s “Breaking Bad,” not to mention a host of other shows that dwell on the plight of middle-age men at sea in a changing society. And maybe you have to be a guy in order to fully appreciate either show. I often find “Breaking Bad” tedious and predictable, despite its terrific lead actor, Bryan Cranston, and I also found myself growing impatient with Ray for any number of reasons.

Here’s a guy who is so tethered to his past that he refuses a reasonable offer on his decrepit house, despite his desperate need for money. Perhaps we’re supposed to feel sorry for the big galoot, but it takes four episodes before Ray begins to actively embrace his new life as an escort, and before that happens, he treats one customer with shocking arrogance.

Back when he lettered in three sports and was a prospect for the major leagues, Ray “tasted and came close to greatness,” as he puts it in a voice-over. So?

Despite Thomas Jane’s innate appeal as a performer—and his deft, deadpan skills are the show’s main draw—I came to realize that Ray’s tendency to wallow in the past is rather grating. Not to be all Kate Gosselin about it, but move on, buddy.

Anne Heche has a mostly thankless role as Jessica, Ray’s high-maintenance ex-wife, whose second marriage and newfound prosperity has left her unhappy and “unrealized.” (Jessica, like Ray’s uptight next-door neighbor, exists mainly to reinforce Ray’s moral if not financial superiority.) “Hung” isn’t exactly subtle in its symbolism; at one point, Jessica retrieves a decorative nutcracker from Ray’s shabby home.

“Hung” was one of the first projects commissioned by the HBO regime that was eventually installed after longtime CEO Chris Albrecht exited the network in 2007. As such, it tells us something about the tastes and creative ambitions of this new set of executives.

And thus “Hung,” despite some droll humor and the occasional dry insight, is even more of a disappointment. Perhaps we still expect too much from HBO; not every show is going to be the next “Sopranos” or “Deadwood.”

But “Hung,” it must be said, is less than advertised.

Three more "Hung" clips are below.

“The Next Doctor,” a “Doctor Who” special that airs this weekend (8 p.m. Central Saturday, BBC America), definitely falls in the latter category. Prepare yourself for a Dickensian romp complete with snow, street urchins and gentlemen in waistcoats.

Aside from a typically energetic and enjoyable performance by David Tennant as the Doctor, the best thing about this lightweight outing is the guest turn by David Morrissey (star of the original “State of Play” TV miniseries).

“From the moment I took over [as the Doctor, the U.K. tabloids] were all saying, ‘Well, who’s going to be next’” in the role, Tennant said in a recent phone interview. “One of the names that always came up was David Morrissey, so it was nice to be able to play with those expectations a little bit.”

“The Next Doctor” is part of a series of specials that mark the end of Tennant’s run as the Doctor. On July 26, a “Doctor Who” special titled “Planet of the Dead,” which guest stars Michelle Ryan (“Bionic Woman”), debuts on BBC America.

A third special, “Waters of Mars,” is likely to air in the U.K. in the fall, and the actor’s final, two-part turn as the Doctor will probably air in England around Christmas, Tennant said. (U.S. air dates have not yet been announced for “Waters of Mars” or Tennant’s final two-parter).

“'Planet of the Dead’ is a bit of a larky one, a bit of a romp, and really that’s the last time we’re going to see the Tenth Doctor allowed to have quite so much fun,” Tennant said. “I think inevitably, because we all know the Tenth Doctor’s days are numbered, the storm clouds hang over the last stories. ‘Planet of the Dead’ is, in some ways, the Doctor’s last hurrah. He’s clearly in a death-defying situation, but he’s enjoying himself and having a blast.”

Tennant was a wise choice for the role of the Doctor; he's got a light touch with the comedy, bounteous energy and a lively spark in his eye. Yet thanks to Tennant's versatility, you never forget how much the Doctor has seen -- and lost -- in his 900 years of existence. He's a great deal of fun, to be sure, but he's also one of the loneliest men in the galaxy. 

Writer Russell T. Davies revived the "Doctor Who" franchise in 2005, and now that Tennant's run is almost over, Davies has handed the reins to Steven Moffat, who penned many of the show's most memorable and emotionally acute thrillers. From the start, Davies liked to "turn the thumbscrews on [the Doctor] and give him ever more emotional moments to navigate, but from an acting point of view, that's what you want," Tennant said. "You want to have that range of emotions and states to play. That's what makes it just about the most exciting character to inhabit, because he can be everything and is everything.

It has been hard for Tennant to say goodbye to the role, but he said it’s the right time to move on.

“As a rule, it takes an enormous infusion of creativity and energy and enthusiasm to do it justice, which I’ve had, I think—I’ve really enjoyed the last four years,” Tennant said. “I’m quite happy to leave it still feeling that way, leave it before it starts feeling like a job. ... I have such fond memories of watching ‘Doctor Who’ when I was a kid and growing up, that if I’ve left anybody anywhere with memories as fond, then I feel like I’ve done my job.”

An edited and slightly condensed transcript of my interview with Tennant is below. Here are the highlights, in case you don't want to read the whole thing:

• British tabloids have said that all 11 doctors, including Tennant and the next Doctor Who, Matt Smith, would be featured in a short "Doctor Who" film that would benefit charity. Tennant said he knew nothing whatsoever about that project.
• He finished filming "Doctor Who" about three or four weeks ago. "It was very emotional, very exciting. We managed to go out with some of the best scripts I had in four years."
• Tennant and Davies will visit San Diego Comic-Con for the first time July 26. He has "no idea" what to expect he is "fascinated to see what I'm coming to."
• Before ending his run as the Doctor, he filmed a two-parter for "The Sarah Jane Adventures" that will air in the U.K. in the fall. 
• He's also completed work on "Glorious 39," a Stephen Poliakoff film, and also just finished work on a film version of "Hamlet" for the BBC.

The entire transcript follows.

Questions are in bold, answers are in regular type.

Where are you in the filming of the "Doctor Who" specials?

I'm all finished. Three or four weeks ago, I filmed my last scene. So it's over. Still a long time to go before they're all broadcast, though, so I'm still clinging on for a bit. But yeah, it's done. It was very emotional, very exciting. We managed to go out with some of the best scripts I had in four years. So it was a real treat.

Is the general plan for the last specials to be broadcast around Christmastime?

I believe so. I mean, these things can always change. But that's the plan at the moment. "Planet of the Dead" has already [aired] here, "Water of Mars" will be toward the end of the year, as it leads into the final two-parter [that concludes Tennant's run.]. The plan for those is Christmas-New Year's time, but they'll be very secretive about what their plans are until the last minute.

They like to keep us guessing, don't they?

They keep us all guessing.

Oh, I just thought it was us in the press that they wanted to keep in the dark.

No, it's exactly the same for us. We usually find out [when the holiday special is on] when the Christmas edition of the Radio Times [the UK's TV Guide] comes out. Then we finally learn what the scheduling is.

You also appear on "Sarah Jane Adventures" too, right?

Yeah, I filmed an episode of that.

Was it one episode or two? I thought I read that it was a two-parter.

Eh, ah, without giving too much away, yeah, it's a two-parter.

Now I also have to ask, I read a story about all 11 Doctors being united for a charity special some time this fall. Is there any truth to that?

Ooooh, that sounds like a good tabloid wheeze!

Well, if there's one thing I've learned from reading UK tabloids it's not to trust UK tabloids. So I thought I'd ask the source.

Oh sure. So what are they saying?

They're saying that for Children in Need, there will be a 15-minute charity film, it will reunite all the past Doctors via old footage or newly shot scenes. So I didn't know if you knew anything about that.

It's not something I've heard anything about. And I would have thought they'd be in touch. But that'd be quite a curious way to introduce Matt Smith, I'd have thought they'd wait until his first ["Doctor Who"] story. Not anything I've heard about yet.

Well, one of the stories I read today misspelled TARDIS, so I wasn't taking it all that seriously.

So maybe they're not going from an official press release [laughing].

Maybe not. Just to get back to your final run of specials as the Doctor, I was thinking that there's sort of a split in "Doctor Who" episodes -- there are the more larky, adventurous, light-hearted episodes, then the darker episodes with more of a psychological thriller aspect. Would you say [the fall special] "Water of Mars" and the final two-parter are more in that second category?

I think inevitably, because we all know the Tenth Doctor's days are numbered, the storm clouds hang over the last stories. "Planet of the Dead" [the special that airs July 26] is in some ways, the Doctor's last hurrah. He's clearly in a death-defying situation, but he's enjoying himself and having a blast.

By the time we come to "Waters of Mars," things start to happen that mean things can never be quite be the same again. Stuff occurs in "Waters of Mars" which leads directly into the final story, where the doctor really is on the run from the inevitable, I think it's fair to say.

There's a tiny little hint at the end of "Planet of the Dead," a tiny portent of doom is whispered in the Doctor's ear. And really that's heralding the beginning of the end. So yes, "Planet of the Dead" is a bit of a larky one, a bit of a romp, and really, that's the last time we're going to see the Tenth Doctor allowed to have quite so much fun.

And "The Next Doctor" is sort of in that realm too. What was it like working with David Morrissey on that?

Well, David and I worked on a show called "Blackpool" a few years ago.

Oh yeah, "Blackpool." That was great.

Yeah, I think it was called "Viva Blackpool" over there. Then I guess it was "Viva Laughlin," which I guess wasn't so successful.

It was … really bad. It wasn't as good as your one, put it that way.

OK [laughs]. Well, I was quite proud of our one. Don't know what went wrong there. But yeah, Dave and I got to know each other on that, so it was a real treat to have him in "The Next Doctor."

And of course you know what tabloid stories are like. From the moment I took over [as Doctor], they were all saying, "Well, who's going to be next?" One of the names that always came up was David Morrissey, so it was nice to be able to play with those expectations a little bit.

I'm going to make this next question a double-decker, and you can skip over the first part if you want, because I'm sure you've been asked it a million times. So the first part is, why leave "Doctor Who"? And the second part is, "Doctor Who" is such a long-lived franchise -- what do you feel you've brought to "Doctor Who" or left it with?

Oooh. It's very hard for me to answer that. It may be for others to answer and for history to dictate. I've had a wonderful time. I hope I'm leaving at the right time. I think you can overstay your welcome and I hope I'm not doing that. It's funny because it's difficult to leave something that you love so much and have such a great time with. It's hard to ever move away from--I could stay forever. I think it's always best to leave yourself and hopefully everybody else wanting more. I'm hoping I've done that and I'm hoping I'm leaving at the right time.

As a rule, it takes an enormous infusion of creativity and energy and enthusiasm to do it justice. Which I've had, I think--I've really enjoyed the last four years. And I'm quite happy to leave it still feeling that way, leave it before it starts feeling like a job. So it's probably not for me to say what I've left it with, but hopefully some stories that people will come back to and enjoy and feel very fondly about.

I have such fond memories of watching "Doctor Who" when I was a kid and growing up, that if I've left anybody anywhere with memories as fond, then I feel like I've done my job.

Do you have a favorite episode or a favorite memory of making the show?

It always feels wrong to choose favorites. It feels like choosing between children. It's unlike filming any other series, because every story is so different. Every story leaves you with particular memories. And we have a different guest cast every time. There's very few shows that are like that, I suppose. We have one standing set, which is the TARDIS, which we're only in for a couple of scenes. So each story is such a different world, with such different people. I genuinely have fond memories of every story we've done and each one lives very vividly in my memory still. It feels disloyal to choose.

It's the people I'll miss, and getting those fresh scripts, and being the first one to read them. But at the same time, it'll be lovely to return to watching the show and not knowing what happens next. I'm a genuine fan of it and I look forward to being a fan again, in a more traditional sense, rather than a fan who happens to have the best job in the world.

But it seems as though it's a taxing job -- there's lots of running around.

Oh, it's full-on. The Doctor is the kind of character -- because the guest cast is changing all the time, there are very few constants in the show, so the Doctor -- when you're there, you're in it a lot. You're speaking a lot. It's a lot of lines to learn and he speaks quickly, so you've got to learn them well. There's a lot of running around and a lot of energy and it takes a level of commitment and enthusiasm to serve that stuff up the way that it needs to be fulfilled.

I'll miss all that because that kind of energy is very inspiring in itself. But yes, it's relentless, that filming schedule. You have to keep on top of it and you have to keep ahead of the game to give it what it requires. But I'll miss that too. I'm jealous of Matt starting out [Matt Smith, Tennant's successor in the role, starts shooting "Doctor Who" in July] and having all that to look forward to, but at the same time, it's correct and the right time to move on for me.

One thing I've always appreciated about your take on the Doctor, and obviously this was Russell's doing as well, is that he has many emotional colors, if you will. He's not just lighthearted and adventurous all the time, there's an undertow of melancholy or sadness to him as well. There's a sense of the knowledge he has or the history he's lived.

Well obviously some of that kind of thing is script-led, but it's something that I'm always delighted to play, because it just makes sense, doesn't it? It's just real, that someone who's 900 years old, when no one else in the universe can live that long -- he's going to be lonely. He's never going to be able to find happiness.

And Russell likes to turn the thumbscrews on him and give him ever more emotional moments to navigate, but from an acting point of view, that's what you want. You want to have that range of emotions and states to play. That's what makes it just about the most exciting character to inhabit, because he can be everything and is everything.

I think perhaps in the classic show, the emotional life of the Doctor wasn't quite as investigated as it is now. But I think that's wonderful [that we see moments of that], it's great to get to play all those different colors and all those different scenes.

So you're coming over here for Comic-Con. Have you ever been to things like that before? Do you have any expectations of what that'll be like?

Never. Absolutely none, I have no idea. We're sort of in and out, I think. I think Russell [T. Davies, the show's outgoing head writer] and Julie [Gardner, the BBC executive in charge of the show] are there for longer. I think we do a panel and Q&A. And then I'm doing the TCAs [after Comic-Con, the Television Critics Association's summer press tour takes place in Pasadena]. But I don't even know where San Diego is, that's how green I am.

But I'm fascinated to see what I'm coming to. San Diego Comic-Con has become a bit of a sensation, hasn't it, a huge industry event after starting out as a fan meeting. It's become this huge industry event. I know Julie and [new "Doctor Who" head writer] Steven Moffat were there last year.

So what's next for you as far as roles you'll be playing?

I've done a sort of cameo in a movie called "Glorious 39," which Stephen Poliakoff wrote and directed. Then there is some stuff but it's all a bit unconfirmed so I better not say anything in case it all falls apart. I don't quite know what the next move is, really, so I'll just wait to see what scripts come in.

I just finished "Hamlet" for the BBC. I did it on stage last year, in the break from filming. The day after I finished "Doctor Who," I started shooting that ["Hamlet"] production, a TV version of the stage production. So I just finished that. As soon as I get off the phone with you, I'm on my way to the wrap party. I'm just beginning to unfold my brain from all that. It was very quick. We had three weeks to shoot three hours.

So it's been a fairly manic, fairly high stress-level three weeks. But I'm really chuffed that we get to have a permanent record of what I think was a very special show, I think.

So you've been busy.

I really have, yeah. To go from one to the other -- I finished "Doctor Who," then went the next day to "Sarah Jane," then the next day started "Hamlet." So I might have a drink tonight.

Have two.

Well, let's not go crazy. It's been very hard work the last few months, I'll be quite a lightweight. I don't want to embarrass myself.

Sponsored Link: Amazon's Doctor Who Store

Having grown up in the Seventies, Farrah and the other "Charlie's Angels" had a huge impact on my early adolescence (there's one sweater that Jaclyn Smith wore on the show that I still distinctly remember wanting. And there was that time I took a paperback autobiography of Farrah to the pool and someone stole it. That made me mad for weeks).

How could I ever look as mesmerizingly pretty as Farrah? How could I ever be that comfortable in my own skin? "Charlie's Angels" and the jiggle TV shows that copied it made me ask myself those kinds of questions for years. I'm not sure I ever figured out the answer, but Farrah always wore her beauty lightly. She was gorgeous, but not intimidating. Even if we envied her, we also wanted to be her.

Perhaps the "Charlie's Angels" leads weren't the most enlightened roles ever written for women, but at the very least, the show gave us three women who were good at their jobs and didn't take themselves or life too seriously. There's something to be said for that. And when she left the show, she was castigated for turning her back on its success and what it had done for her. Yet she knew there was a difference between being a star and being an actress, and she wanted to be the latter. It took guts to act on that realization.

The way she reinvented herself as a serious actress, via "The Burning Bed" and "Extremities," is admirable. Later, the way she faced her illness with courage, grace and candor was inspirational.

Farrah Fawcett proved, in the end, that she was far more than just a pretty face. But what a pretty face indeed.

Patti Blagojevich emerged from “I’m a Celebrity … Get Me Out of Here!” having learned a few things.

In a Wednesday conference call with the media, Blagojevich, who on Tuesday was ejected from the NBC show that Lou Diamond Phillips won in the Wednesday finale, would not say how much she earned. “I feel that’s a personal question,” Blagojevich replied when asked about her pay.

But later in the call, she did say that her goals in doing the reality contest were to rehabilitate her image, raise money for charity and  help “earn money for my family.” The NBC series ranked No. 1 in Chicago last week, according to Nielsen ratings.

Some things she took away from Costa Rica, aside from bug bites and 15 minutes of fame:

1. The image rehab may have worked. She said her husband, former Gov. Rod Blagojevich, “said the response has been really great” whenever people have mentioned the show to him.

2. She learned what she missed most: “cocooning” with her family on weekends, sitting on the couch and watching movies.

3. Though she was caught on federal investigators’ audiotape using some choice words, she met her match in fellow “Celeb” competitor and former Chicago Bulls player John Salley, who tried to get inside other players’ heads during challenges. “I’m not a trash-talker” like Salley, Patti Blagojevich said.

4. Despite the constant bug bites, the jungle was a good place to get away from it all. “It was a quiet time for introspection” and “tuning out the negative,” she said.

5. Eating tarantulas is not impossible. “Once you do something like that, that you never thought you could do, and live to tell the tale, I think it really gives you strength to go on.”

6. Though she fared well on the show, she’s not going to translate that brush with fame to a political or acting career. “I’m not much of an actress,” she says. As for political aspirations, “I hope we’re done with that now.

"Virtuality" (7 p.m. Central Friday, Fox; three and a half stars) does what a television pilot is supposed to do: It piques the viewer’s interest in what will happen next.

But there’s a caveat that goes along with that recommendation. The two-hour pilot for “Virtuality,” an adventurous and savvy story about 12 travelers on a commercial space mission, is probably all we’re going to get. Fox is airing the pilot but has not ordered a “Virtuality” series.

So is this complex and intriguing film worth watching, knowing that the questions that percolate through it will likely never be answered? The answer is yes, if you’re a sci-fi buff and/or a fan of the show’s creators, Ronald D. Moore and Michael Taylor, who are veterans of the acclaimed “Battlestar Galactica.”

Otherwise, the answer is maybe. Though I think “Virtuality” works as a character drama, as an observant commentary on our technology-obsessed culture and as a mystery-thriller, I don’t want you to spend your precious free time on it if you think you’ll end up frustrated with its lack of resolution. So it’s your call.

It would be easy to grumble about Fox’s call; the network chose to pick up the satirical “Glee” for next season, but not “Virtuality,” which is an ambitious meditation on truth, self-deception and the nature of reality. Yet we must not forget that Fox has committed to a second season of Joss Whedon’s “Dollhouse,” an equally dense meditation on identity, morality and the nature of exploitation.

But broadcast networks have always had an uneasy relationship with anything that features space ships, and though both Moore and Taylor wrote for a variety of "Star Trek" series, "Virtuality" is much more comfortable with ambiguity than that TV and film sci-fi franchise typically has been.

“It’s true, there are a lot of layers” to “Virtuality,” Taylor said in a recent phone interview. “It’s a little more challenging than your typical network fare. But it’s a pilot. … It’s laying out the situation. We had planned for it to become a streamlined, thoughtful but adventurous and fun show—something of a thriller.”

In “Virtuality,” Nikolaj Coster-Waldau stars as Commander Frank Pike, the leader of the crew of the Phaeton, which works for a business consortium that is offsetting the cost of the expedition by making the astronauts star in a reality show about the journey. To escape the ever-present cameras scattered throughout the ship, the crew members often escape into their “virtual reality” headsets, which allow them to interact—sometimes in surprising ways—in fantastical settings.

“Virtuality” deftly lays out the relationships among the characters, who range from the tough Sue Parsons (Clea DuVall) to the canny ship’s therapist, Roger Fallon (James D’Arcy). All these characters carry not just the hopes of Earth, which is in the grip of an environmental crisis, but their own emotional baggage and neuroses. And the ship itself—or at least its virtual reality programs—are not exactly functioning as planned.

Though Ritchie Coster is instantly interesting as second-in-command Jimmy Johnson, not all of "Virtuality's" characters stand out, and there are a some overwrought moments and less interesting segues. But the generally well-paced film is impressive in the way it builds toward a tense conclusion even as it explores the nature of role-playing in a technology-obsessed world.

“The way we live our lives now, we spend so much time on the Internet. We relate to people [that way], we find boyfriends and girlfriends on dating sites, we interact on social networking sites, we watch videos, we’re saturated with media,” Taylor said. “I think the point of this show was to examine, not in an intellectual way but in an interesting, fun way—what does that mean? Where is that taking us? I think like a lot of ... good science fiction, you’re [allegedly] writing about the future but you’re really writing about the present.”

Though there is a chance -- a very small chance -- that "Virtuality" could spring back to life at Fox, other possibilities for the show have been explored, notably a new home on Sci Fi or a partnership deal with DirecTV. But so far, those journeys of network exploration have come to naught (and Taylor was unaware of any concrete plans for a DVD release).

Yet it's hard not to imagine that if HBO, AMC or FX were to do a space story, this is the kind of sophisticated, thoughtful and quietly irreverent show they'd commission.

For Taylor, who is now a writer on Sci Fi's upcoming "Battlestar Galactica" prequel series, "Caprica," "Virtuality" was "an ideal show" to work on after the "broad political tapestry" of "Battlestar."

"It seems like it casts a wide net -- it's a reality show, it's a virtual reality show -- but to me, it's a chance to tell a very focused story about a handful of characters," Taylor said.

Photos above: Gene Farber as Val Orlovsky, Jose Pablo Cantillo as Manny Rodriguez, Nikolaj Coster-Waldau as Frank Pike; Coster-Waldau. Photos below: Omar Metwally as Adin Meyer, Coster-Waldau; Ritchie Coster as Jimmy Johnson; Clea DuVall as Sue Parsons.

Below is an edited and condensed version of my interview with Taylor. Questions are in bold type, answers are in regular type.

The people on the ship are on a journey but the show itself has been on quite a long journey too.

Yeah, a longer journey, it feels like. The six months or two years or whatever -- however long it took to make the thing -- it does feel like we should have reached another planet. We have encountered new life forms that were unfamiliar to me.

I liked "Virtuality," but I also thought it was maybe too serialized or complicated, possibly, for where a broadcast network was willing to go. What do you think changed Fox's mind about this project or made them nervous?

It's kind of a mystery. We basically did what we set out to do. We did the show we pitched. They loved the script and all that. There was still, at the very beginning, not hesitation but -- with us, they're getting into an unusual arena for them. Similar to Joss and "Dollhouse" [in some ways]. I'm not sure if they got more than they bargained for from us or they never quite knew what they were doing [with the show].  

Ron has also pointed out that this is a difficult, conservative time for networks. They're trying to find their footing in a changing landscape, which their own cable channels have helped change. They're trying to find what works and there's a lot of quick judgments. But that's often been the case with network television.

[The cut that Moore and Taylor sent to the network in the winter is about 13 minutes shorter than the cut that will air on Friday -- they were asked to expand "Virtuality" so that it would fill a two-hour running time.]

I think it works well at two hours. It's not perfect in this version, there are things we would have loved to have reshot. When you [expand] something up to two hours as quickly as we did, you realize there are other issues, pacing -- things that you would normally fix if you had the wherewithal. But we're still really proud of it.

To answer your original question, it's hard to say what Fox's thing was. I look at a show like "Glee" [which was picked up to series around the time "Virtuality" was not] and I think, here's a guy [Ryan Murphy] who is doing something he truly cares about, and it's about something. But I also -- I don't want to disparage another show -- but I also see characters that seem to be kind of cookie-cutter to me, that I've seen many times before. It seems flatter to me.

As [Fox entertainment president] Kevin Reilly put it, he thought ["Virtuality"] was a very nifty show but he thought that it was a little "dense," that was a word he used. It's true, there are a lot of layers to the show. It's a little more challenging than your typical network fare. But it's a pilot. It's getting its feet on the ground. It's laying out the situation. We had planned for it to become a streamlined, thoughtful but adventurous and fun show -- something of a thriller.

It's interesting all this stuff we're talking about, because it seems like there's another case study like this in what happened to "Dollhouse." Fox wanted the show to be a certain way and it kind of went that way for the first half of the season. But then the show was renewed because people -- including the network -- really responded to what he did in the second half of the season, which was more serialized and dense and challenging. It's like, they want what they want 'til they realize want something else.

That's the thing. They hire people like Joss and Ron and to a lesser extent me, and they try to impose their vision of what it should be. As Ron said, when we were in our one-day recutting of the thing -- "We like this." Why don't they just let people do what they do? Have a little faith. "Dollhouse" was a case in point. The show was less adventurous, less engaging than it could have been [at the start], but certainly the second half, when they loosened the reins and let Joss do what he does -- the show bursts and pops.

[We talked about "Virtuality's" various online promotions, including its two Facebook pages and the character summaries Taylor wrote for "The Edge of Never," which is the name of the reality show within "Virtuality" and also the name of a site about the Fox show.]

If there's a chance that a lot of people might tune in to watch this on a Friday night in the summer [laughs] then what the hell. If in the end it's just a failed pilot, that's a sad way to look at it, but then again, it's on television.

I thought I heard there was some contractual thing, that the network had to show the pilot on air?

I thought there was a contractual thing, but my lawyer says there's not. I'm mystified. I don't actually know the deal on that.

Do you know anything about a DVD release?

That is would be a reasonable assumption but there's been no official word on that either.

[We talked about possibilities for the show living on beyond the pilot -- there's still a chance, albeit a small one, that Fox could pick it up. Taylor said Sci Fi really liked the show and "there was talk" of that network picking it up, but for budgetary reasons, it appears that Sci Fi can't pick it up. There was talk of a partnership with DirecTV, but DirecTV had  "spent all their coin" on an NBC co-production of "Friday Night Lights," Taylor said.]

There are some people online saying, "Write to Fox, write to Sci Fi," and I totally encourage that.  

Has there been any approaches made or interest from any other networks?

That I'm not aware of.

It's interesting to me, it kind of felt like, if FX or Showtime were going to do a sci-fi show, it would be something like "Virtuality." But then again, even the more adventurous cable networks are having to think a little harder about how much they let shows be serialized. What would  "Virtuality" have been like going forward?

The first season in particular, I think we wanted drive. We imagined a fairly tense kind of thriller, not unlike [a classic mystery novel], or the tone of "Damages" came to mind, though I've only watched the pilot of that show. But something really propulsive and tense. Shows like "24" do pretty well, and I can't imagine anything more serialized that. We would have split the difference [between serialization and non-serialized elements] somewhat.

Maybe it's because I watched "Caprica" around the same time that I watched "Virtuality," and "Battlestar" was coming to a close at that time too-- but it struck me that all of these projects contain this question of, What is real? What's real and what's a projection of our minds and our fantasies? Would it be fair to say that that's an issue that all of these shows explore?

It definitely is. And "Caprica" as we develop it, it's moving more into the arena of "Virtuality," just because it's something of interest to Ron, to myself and the rest of the writers.

When we were working on "Virtuality," some people said, what's the difference between virtual reality and a holodeck? [Both Moore and Taylor worked on various "Star Trek" TV series, which featured holodecks for crew recreation.] And it occurred to me and Ron as well, that here's the difference -- this is in your mind. The way we live our lives now, we spend so much time on the Internet. We relate to people [that way], we find boyfriends and girlfriends on dating sites, we interact on social networking sites, we watch videos, we're saturated with media.

In a way it seems like we're already living in "Virtuality." I think the point of this show was to examine, not in an intellectual way but in a really interesting, fun way, what does that mean? Where is that taking us? Those are some of the same concerns that are in "Caprica." Where is technology taking us? Robotics is one thing that's in "Caprica," but the common ground [between "Virtuality" and "Caprica"] is the virtual lives that we lead, where we are online, connected to other people. That is the thing that is already changing us and will change us even more.

I think like a lot of science-fiction shows, or good science fiction, you're writing about the future but you're really writing about the present. With "Galactica," I think the resonance was mainly political. That's what resonated most strongly with people. It was very much a show of the time, in some ways spurred by 9/11 [and the aftermath of that event].

"Virtuality," why it seems so fresh and different -- it was pushing into a new sphere. It's concerns were less political than technological, [it is] exploring the effects of technology on culture. And not just examining in terms of virtual reality, [which is] the metaphor for a heightened Internet. There's a reality show on the ship as well. The way NASA's going, you can see maybe private funding being one of the ways they go in the future. Why wouldn't the astronauts have to sing for their supper?

That adds another layer of observing -- what is real, what is performance? How are we in the eyes of millions? In our reality-show saturated culture, we're all stars or imagining ourselves as stars.

This, however, became one of the contributing factors to someone like Kevin Reilly saying, "Wow, the show is great, but a little dense." It's true, there are a lot of layers, a lot of things going on.

It seems to me that part of the show is a commentary about how everything these days is a commercial enterprise -- the the criterion of whether something is artistically valid becomes, "Well, did it make money?" And that whole thing -- ratings, money, commercial success-- that influences the show on the ship and how people treat each other.

It's a science-fiction television show that's also about television. It's about space travel and virtual reality and also TV. That was what was so cool about it from the beginning. While we're happy on the one hand that we get to show the pilot, as Ron once said, "My God, the potential of this thing is extraordinary, where this could go." We've imagined seasons of this show, where it could go.

For me this was an ideal kind of show after "Battlestar," [a show that was] dealing with this broad political tapestry, and focus instead on 12 characters. And that was really the essence of "Battlestar" -- the characters. That is the essence of this show --  it's a journey for these 12 people, it's mankind's journey [in a way] and it's a journey to survive and change and also of transformation.

It seems like it casts a wide net -- it's a reality show, it's a virtual reality show -- but to me it's a chance to tell a very focused story about a handful of characters.

And even without all the layers about technology and society and all that, it functions fine as a thriller/mystery. You can just watch it as that.

That's the thing. We're not interested in telling cerebral stories that are only of interest to French film magazines or something. No knock on them. Yeah, it's a mystery. It's television. It's supposed to be entertaining and engaging. It's set in space but it's kind of down to earth.

Where are you at with the writing process of "Caprica"?

We are basically writing the episodes for the first half of the [20-hour] season, and they should be done or mostly done by the time we start shooting [in July]. It's been a really cool process. It's been an organic process, similar to the way we worked on "Balttlestar," figuring out where we're going then making adjustments. I think we were all so ambitious [at first] in what we were trying to do. We thought, here's a show, there are no space ships per se, it's going to be very different. But it's also a show set technologically years in the future from where we are now. It's imagining how all that changes. We've found a way, even without space ships, to come up with some a coo,l sci-fi, visual feast of a show.

Has it changed at all, once you got in the room -- did any of the ideas change once you started hashing it out and working through actual scripts?

It certainly changed. The things that were set in motion in the pilot are all still there, it's still a story of two families, very much. It's how will artificial intelligence come about and [some stuff redacted here because it's spoilery if you haven't seen "Caprica's" pilot]. It's exciting, it's thoughtful and all that but it's also a lot of fun. If "Virtuality" doesn't go forward, that's awful, but at the same time, this show also going to be a great show.

[We discussed the two "shows within the show" that will be a small element in "Caprica." One is a "Daily Show"-type program, for which "Caprica" co-executive producer Jane Espenson is serving as a "joke staff of one," Taylor said. The other is a retro show that the show's characters view as we view "Little House on the Prairie" -- a guilty pleasure that shows daily life in simpler times. "It's a bit of 'Nick at Nite' nostalgia that everyone is addicted to," Taylor said.]

Some things [about the writing process] are the same, it's a lot of the same the people I've worked with [on 'Battlestar'] and I know where the focus is -- telling good stories and getting to know the characters and not putting limits on ourselves. And above all staying away from anything that's predictable.

On the other hand, it's different. It's a new show. I think it took a while for me to know what the first [episode] I would write would be. To see, "Oh, now I see how this show can work" as a soap opera with a science-fiction element. I think in some ways it has a lighter touch than 'Battlestar.' There's a war in the offing, 10 or 15 years down the road, yet the pilot seems less fraught. And for me, it was just finding the fun -- that's what helped me latch on to it and find it.

What's fun about it?


In some ways, the tone being a little bit lighter. We're exploring a world that's a little bit more technologically advanced than ours. It's got that virtual world, an extension of our Internet world, a gaming world. It's fun, it's stimulating, it's very close to where we are now and imagining where we might go.

I'm writing an episode now that partly reflects my enthusiasm for movies like "The Searchers" and also for games like "Grand Theft Auto," which is an interesting combination. It just feels fresh.

In the week ending June 14, the Wednesday and Thursday editions of “I’m a Celebrity” landed in the Windy City’s Top 10, according to Nielsen Media Research.

Eight months ago, Patti was known, if at all, as the wife of then-Gov. Rod Blagojevich. Seven months ago, she was heard on a federal investigators’ audiotape uttering four-letter words, and soon thereafter her husband was out of a job.

Patti became the family breadwinner when she was chosen to replace her husband to be on “I’m a Celebrity,” where she was largely successful at winning over her fellow competitors.

But her luck ran out Tuesday, when votes from viewers came in and Patti didn't have enough. Both Patti and another contestant, Sanjaya Malakar, were eliminated from the show, which broadcasts its finale Wednesday.

"I found more strength within myself here thanks to my campmates and thanks to the jungle," Blagojevich said when her elimination was announced. "It's inspirational."

The strategies Patti employed to survive for weeks in the Costa Rican jungle came right from the Chicago politics playbook:

• Don’t make no waves: Patti stayed in the background for the most part.
• Don’t back no losers: Patti avoided hanging out with lightning-rod contestants such as Spencer and Heidi Pratt and Janice Dickinson.
• She didn’t want nobody nobody sent: Who was Patti’s biggest alliance with? No-nonsense former Bulls player John Salley.
• Don’t bleepin’ criticize people where they can hear you: Patti found ways to make nice to her fellow contestants’ faces while delivering the occasional zingers behind their backs.
• When in doubt, play the sympathy card: Patti’s tears about her family’s travails swung some over to her side.
• Politics make strange bedfellows, but reality shows make even stranger dinner entrees: Used to dealing with her share of venom as the daughter of an alderman and the wife of a governor, Patti had no trouble eating a tarantula in one challenge and dealing with other pesky critters (such as biting ants) along the way.

The Blagojevich family saga with “I’m a Celebrity … Get Me Out of Here!” began in April, when news emerged that the former governor was hoping to join the cast of the NBC series.

A judge ruled against his participation, and Blagojevich was not allowed to go to the show’s Costa Rica set. Not long after Rod’s bid to join the “Celebrity” cast was rejected,  Patti was announced as a contestant. She kept a low profile for much of her run on the show.

There was a strange moment in the June 1 season premiere, in which Patti prayed with reality veterans Heidi and Spencer Pratt. Also in that episode, when asked by Spencer Pratt about the charges that her husband faces, she defended Rod.

“I can’t really get into it too much, except that, yeah, they made a big hoopla about something that wasn’t even the truth,” Patti said. “My husband was governor for six years, and, you know, was always about doing the right thing for people.”

With those words, Jon Gosselin announced what anyone who follows TLC's "Jon & Kate Plus 8" already knew: That the couple began divorce proceedings on Monday.

Just a few observations about Monday's hourlong episode of the show:

• Kate seemed much calmer than she has in recent weeks. In the show's May 25 season premiere, she appeared to be vibrating with anger. Not so much Monday.
• Jon said he would not be around as much because someone might "offer [him] a job." What, exactly, is he qualified to do? He quit his job some time ago to be a full-time dad, and right now his only marketable skill appears to be "reality TV celebrity." Then again, next year NBC will need another crop of D-listers for "I'm a Celebrity...Get Me Out of Here!" so Jon's agent (presuming he has one or gets one) should look into that.
• The couple has chosen to keep on doing the show. The kids will stay in the house, but the parents will rotate in and out. And where will they live when they're not at the kid compound? I guess now the Gosselins will have three homes to support -- Jon's, Kate's and the kids. So presumably this show will keep going ... and going... and going.
• The first part of the show was blatant product placement for the company who made the children's new custom playhouses. How disturbed were you by the fact that the children were, as James Poniewozik tweeted, "walking billboards"? I found it sigh-inducing but not particularly unexpected.
• I'll say this about "Jon & Kate," if the show's ratings continue to go down (of course I'm sure Monday's ratings will be sky-high again, but I don't expect that bump to last): What will and has driven people away from the show, in my opinion, is not necessarily just a dislike of the lead couple or a disinclination to watch a marriage erode. I think one of the biggest problems with "Jon & Kate" is that the show became, to an alarming degree, a vehicle for product placement and the promotion of other TV shows, such as "American Chopper." When "Jon & Kate" began, it was about a couple struggling to deal with eight kids. Now it's about a family that lives in a McMansion and has Emeril Lagasse stopping by to whip up a meal. People may be turned off by Jon or by Kate or by both of the Gosselin adults, but I think they're almost as turned off by the relentless marketing on the show. Personally I find the continual cross-promotion and product placement the most tiresome thing about "Jon & Kate," at this point.
• Some quotes from the show:
• Jon: "This is the hardest episode ever. I'm two hours late to shoot because I had reservations about doing it, because I didn't know what to say."
• Jon on the relentless tabloid attention: "It's a shame that our society has come to that."
• Jon: "I was too passive. I just let her rule the roost… Now I finally stood up on my own two feet and I'm proud of myself."
• Kate: "It's the next chapter -- not a chapter that's been brought on by our show, not a chapter that's been caused by our career choices at all."
• Jon: "I don't hate Kate but i have to do what's best for me and my kids."
• Kate: "The goals are different now, but I don't hate him, never have, never will."
• Kate: "I'm tired of smiling on the outside when I'm crying on the inside. I've been doing that for a long time."
• Jon: "Kate and I have decided to separate."
• Kate's biggest fear going forward is "the label that we failed, how that will affect our kids, how they'll be another statistic. ...I don't want to do this alone but it's required and I've got to do it."
• On the screen: "On Monday June 22, 2009, legal proceedings were initiated in Pennsylvania to dissolve the ten-year marriage of Jon and Kate Gosselin.

Mikkel Bondesen, one of the USA show's executive producers, announced on his Twitter feed Sunday that "Burn Notice" will be doing a panel at the annual pop-culture extravaganza. According to Bondesen, the panel will feature Bruce Campbell (right), who plays the generally awesome Sam Axe, and "all the writers."

That includes creator Matt Nix, and it would be excellent if, during the panel, he could make a satellite dish or a remote detonator out of three paper clips, a shoelace and used gum. No pressure, but the assembled Comic-Con nerds will expect nothing less.

Special shoutout to "Burn Notice" fan Patti Wells for pointing out Bondesen's tweets to me. UPDATE: USA Network has confirmed the panel, but has not yet confirmed the date. However the network says that Campbell and Nix will definitely be on the "Burn Notice" panel.

Speaking of Comic-Con panels, the "Heroes" gyrations continue. On June 11, I reported that there will be no "Heroes" panel at Comic-Con, an announcement that prompted some head-scratching and annoyed reactions from fans of the show. Late last week, however, the Watch With Kristin team reported that now a "small" panel for the NBC show, featuring creator Tim Kring and some members of the show's cast, will take place.

For more coverage of what's coming to Comic-Con this year, check out these Watcher stories from the past couple of weeks. Seat42f and Watch With Kristen also have very helpful roundups of what shows will be there.

If you aren't going to Comic-Con, never fear: Closer to July 23, which is when the four-day convention begins, I'll hook you up with a list of folks who will be there and if you follow my stories, their blog posts and all of our Twitter feeds, you'll feel like you are there. But you'll be able to enjoy the crazed event without the hassle of waiting in endless lines or having some dude in a cardboard "300" costume step on your foot and/or block your access to the Lego "Star Wars" merchandise booth.

Whatever it is, as James Poniewozik points out, the couple is, as usual, milking every possible drop of publicity out of the announcement. As he writes, "It's hard to feel badly for a couple suffering in public when they're working so hard to get the largest possible audience for their suffering in public." Pretty much. Though as I said here, it's hard not to feel sorry for the kids caught in the middle of all this.

There's of course a promotional video for Monday's brouhaha (if you can't view it below, you can watch it here):

And on Twitter today, there was a lot of tongue-in-cheek speculation about what the big revelation could be:

• From @justinfinnegan: "Kids are getting too old, bringing on a younger obnoxious cousin. Also adding an animated sidekick only Jon can see."
• @2zen2: "Kate's really a man, Jon's running off with Cirque du Soleil & the kids get a normal life.''
• @elgray: "Another J&K possibility: Jon leaving Kate for Octomom, better working conditions."
• @amytvgal: "Survey says they'll be on the 'Family Feud' playing against the cast of 'Raising Sextuplets.'"
• @hitfixdaniel: "I'm hoping Jon & Kate are going to space!"
• @bjwaggoner: "Jon & Kate Monday announcement is: Kids emancipating selves."
• @TNRLM: "Jon & Kate selling kids to Angelina & Madonna."
• @franklinavenue: "Two new shows coming to TLC: 'Kate Plus 8' and 'Jon.'"
• What's your guess?

And at the end of this item, there's a video tour of the Watcher HQ! Can you stand the excitement?

On to your queries:

Maureen F.: I watched “Medium’s” [finale], and [Allison DuBois] had brain surgery and a stroke. It ended with “to be continued.” My brother said there is a rumor that CBS is picking up the show. Can you please provide some information on what is happening?

Mo sez: It is indeed returning this fall on CBS, not NBC. The show will air Fridays between “Ghost Whisperer” and “Numb3rs.”

Charles B.: It looks as if “In Treatment” has been canceled: Has it?

Victoria H.: I take it from what you’ve written that you’re a big fan of “Flight of the Conchords.” Do you have any scoop on whether they’ll be back for a third season? Or was their trip back to New Zealand [in the Season 2 finale] a more telling part of their story than just a vacation back home?

Mo sez: At this point, there’s no news on whether we’ll get third seasons of either “Flight of the Conchords” or “In Treatment.” An HBO rep says no decision has been made yet on whether to bring back either show, though I hope both return.

Harold G.: Do you know if “24” will ever be back?

Mo sez: Yes, it’ll return Jan. 17 on Fox. When it does, Katee Sackhoff (“Battlestar Galactica”), Freddie Prinze Jr. and Anil Kapoor (“Slumdog Millionaire”) will join Kiefer Sutherland, Mary Lynn Rajskub and the rest of the cast.

Debbie S.: Please tell me “Lie to Me” has been picked up for another season. I have three favorite “off the wall” shows: “Burn Notice,” “Mad Men” (when  does it start its new season?) and “Lie to Me.”

Mo sez: Yes, “Lie to Me” will indeed return on Fox this fall, and when it does, Rockford native Shawn Ryan (executive producer of “The Shield” and “The Unit”) will be the new head writer, a development that has certainly raised my expectations for the Tim Roth vehicle. As you probably already know, “Burn Notice” is airing Thursdays on USA this summer, and “Mad Men” returns Aug. 16 on AMC.

Ramon R.: I was wondering if you had any news on “Terminator: The Sarah Connor Chronicles”—if it was renewed and will be back this fall?

Mo sez: Sorry to let you know that “Terminator: The Sarah Connor Chronicles” was canceled by Fox. To read executive producer Josh Friedman’s hilarious and poignant account of the end of the show’s run, check out this blog post.

Pat P.: I haven't found "Kings" lately - has it been dropped?

Mo sez: The ambitious and interesting "Kings" has been kicked around the schedule quite a bit and will definitely not be returning. But the show's remaining episodes are airing 7 p.m. Central Saturdays on NBC.

Chris S.: Any word of the next original series at AMC? It would great if it had programming all year round like most of the other cable networks.

Mo sez: Great question, Chris. The only thing that is definitely in the pipeline is a limited-run remake of the classic British series "The Prisoner." AMC's version stars Ian McKellen and Jim Cavaziel and airs in November. AMC has other projects in development, but the network has not committed to a new scripted series at this time. But it stands to reason that AMC will likely add to its roster in coming years.

For a daily stream of TV news and musings, check out my Twitter feed. And leave questions (about matters big and small below) or send them to TribTVquestions@gmail.com. One caveat: If your question is "Is such-and-so show returning," before you ask that question, go to the Futon Critic and do a search there, or look on the Futon Critic's Fall Schedule.

Now for the bonus: Here's a tour of my home office. Sorry I didn't get a wide "establishing shot" to start the video off. I have new appreciation for cinematographers who have to shoot in small spaces -- my office looks the size of a hamster cage here, but it's more spacious than that. Fun trivia note: The sign that says "Picon" in my office may or may not come from the "Battlestar Galactica" event at the United Nations. More Watcher video fun: See if you can spot the can of Duff beer!

In any case, this video was a way for me to get my feet wet with my new Flip camera, which is quite the fun little gadget. Best part of the whole thing, I think, is how our neighborhood ice-cream truck provided the serendipitous closing soundtrack. Enjoy!

As I said in my Season 3 review of "Burn Notice," Karnes fits into the show's ensemble perfectly. The actor gets the show's tone (which not all "Burn Notice" guest stars do), and his laid-back but precise performance comes in an episode that is as tightly plotted and well-executed as anything "Burn Notice" has ever done.

Of the three Season 3 episodes USA sent for review, this one was by far my favorite, not just because Karnes is great as Brennen but because for Michael, there's something personal at stake, and those are always the "Burn Notice" stories that stay with me longest. "Burn Notice": Come for the explosions and spycraft, stay for the compelling emotional subtext.

Enough from me: Just sample the barbed, spiky rapport between Michael and Brennen (if the clip appears wonky here, you can watch it at Movieweb):

Don't fret, "Torchwood" fans -- John Barrowman, who stars as Captain Jack Harkness on that BBC America show, will be at Comic-Con as well. Davies, who has been the head writer and chief guru on both shows, will be part of both the "Doctor Who" and "Torchwood" panels. For much more information on shows that are coming to Comic-Con, look here. 

Speaking of Barrowman, I interviewed him Monday for a much longer "Torchwood" piece that will appear next month, before the July 20 debut of five-part third season of "Torchwood," which is called "Children of Earth."

I had to ask Barrowman if there is a chance that Captain Jack and Tennant's Doctor will meet again, before Tennant's run as the Doctor is over (the BBC is doing a total of five "Who" specials to end Tennant's run; two of them have aired in the UK, and those two specials air on BBC America June 27 and July 26). 

Barrowman's answer: "All I can say is, at any time, the Doctor may call upon Jack or run into Jack. Never say never" to Tennant's Doctor seeing Jack before his time is up.

Speaking of "Children of Earth," I watched the first hour of it, and it's very good. It's a concentrated dose of everything I like about "Torchwood," which is a spinoff of "Doctor Who." It's action-packed and fast-paced, though it contains "Torchwood's" trademark wit and flirty banter.

When I told Barrowman I thought Part 1 hit the ground running and only got more intense throughout the hour, he said that, compared to the other episodes, which air on five consecutive nights, "that's only a 5 out of 10" on the intensity scale. 

There's a big revelation about Captain Jack in the first episode of "Children of Earth," one that will explored in subsequent episodes of the season. "Jack has been hiding this secret for a long time," Barrowman said. The secret ties into the theme of "Children of Earth," which is "all to do with sins of the past," he said.

No decision has been made about future seasons of "Torchwood," Barrowman added, but if he were asked to play only Captain Jack for the next 10 years, he would do it. "I love who that character is, what he stands for," said the actor.

He added that future seasons may be -- depending on what the BBC wants -- event-based, a la the five-part "Children of Earth" season. Again, I'll have more from Barrowman in piece that will appear next month.

Back to Comic-Con: At the convention, there will be a screening of the final installment of the five-part "Torchwood: Children of Earth," which runs for five nights on BBC America starting July 20, and there will also be a screening of "Doctor Who: Planet of the Dead," which debuts on BBC America July 26. (Another special, "The Next Doctor," airs on BBC America June 27).

BBC America's full press release about its Comic-Con doings, which include promotional events for "The Mighty Boosh" and "Being Human," is below.

DAVID TENNANT AND RUSSELL T DAVIES ATTENDING COMIC-CON 2009

 - BBC hosts Doctor Who talent for their first ever appearance at Comic-Con -

New York, NY – June 17, 2009 – In support of BBC AMERICA’s U.S. premiere of four Doctor Who Specials, the Doctor himself, David Tennant, will appear alongside writer/executive producer Russell T Davies at this year’s Comic-Con in San Diego.  They will take part in a Doctor Who panel along with executive producer Julie Gardner and director Euros Lyn, Sunday July 26, 10:00-11:00am PT.

David will travel to Comic-Con, fresh from the Doctor Who set, having shot his final scenes as the tenth Time Lord.  He and fellow panelists will discuss the latest incarnation of television’s longest running science fiction series and take questions from the floor. There will also be exclusive sneak peeks from the upcoming specials. 

Fans can visit the BBC AMERICA booth (#3629) to capture their own photograph alongside part of the Doctor Who set - as well as purchase exclusive merchandise including David Tennant figures.

Fans of BBC AMERICA’s highest rated show ever, Torchwood, which will have just completed the five-part special, Children of Earth, will get to chat with the stars and makers of the show first-hand.  Just 48 hours after the last episode, the show makes a return visit to Comic-Con with a panel featuring star John Barrowman, writer/executive producer Russell T Davies, executive producer Julie Gardner and director Euros Lyn, Sunday July 26, 2:15-3:45pm PT.

As part of the same panel, Sunday July 26, 2:15-3:45pm PT, catch the talent from BBC AMERICA’s most buzzed about new sci fi drama, Being Human.  Creator and writer, Toby Whithouse, plus lead actors Russell Tovey, Lenora Crichlow and Aidan Turner, talk about the inspiration for the show and what it’s like to play three twenty-somethings with secret double-lives – as a werewolf, a vampire and a ghost.  All four panelists will be signing exclusively at the BBC AMERICA booth, Saturday July 25, 3:00-4:00pm PT.

Cult comedy favorite and BAFTA-nominated, The Mighty Boosh, comes to Comic-Con for the first time to celebrate the airing of all three seasons on Adult Swim, and the BBC’s DVD release, just two days before the convention begins.  Inspired by the Perrier Comedy Award-winning live comedy show, creators-stars Julian Barratt and Noel Fielding, along with actors Michael Fielding, Rich Fulcher and Dave Brown, will be on stage to discuss the magical, bizarre and exciting world of The Boosh, Friday, July 24, 4:45-5:45pm.  The hit UK comedy series follows crazy zookeepers Howard Moon and Vince Noir and was described by The San Jose Mercury News as “an acid-trip fantasy-comedy [that] is seriously deranged and seriously funny.”

Fans can also catch exclusive BBC AMERICA screenings during the convention with back to back episodes of Doctor Who and Torchwood.  Key talent from both shows introduce the last episode of the five part series Torchwood: Children of Earth and a U.S. premiere viewing of Doctor Who: Planet of the Dead, the first of four specials starring David Tennant.

Underground Toys (#3949) will be selling their entire Doctor Who and Torchwood lines of toys and novelty items. In addition, this year they will once again introduce new limited edition Comic-Con action figures that have never been seen before.

BBC AMERICA Comic-Con Panel and Signing Schedule

Friday, July 24

4:45-5:45pm The Mighty Boosh: creators-stars Julian Barratt and Noel Fielding along with actors Michael Fielding, Rich Fulcher and Dave Brown will be on stage to discuss the magical, bizarre and exciting world of The Boosh, currently airing on Adult Swim and released on DVD by the BBC two days before the convention begins.  The San Jose Mercury News describes the show as “an acid-trip fantasy-comedy [that] is seriously deranged and seriously funny.”  Room 6A

3:30-4:30pm The Mighty Boosh signing in the Autograph Area.

Saturday, July 25

3:00-4:00pm Being Human: creator Toby Whithouse and actors Russell Tovey, Lenora Crichlow and Aidan Turner signing at the BBC AMERICA booth (#3629).

7:30-10:00pm Torchwood/Doctor Who: Key talent from both shows introduce the last episode of the five part series Torchwood: Children of Earth and an advance viewing of Doctor Who: Planet of the Dead, the first of four specials starring David Tennant.  Room 6A

Sunday, July 26

10:00-11:00am Doctor Who: actor David Tennant, writer/executive producer Russell T Davies, director Euros Lyn and executive producer Julie Gardner discuss their creative process and experiences working on BBC AMERICA’s Doctor Who with exclusive clips and a Q&A session.  Ballroom 20

2:15-3:45pm Being Human/Torchwood: Being Human creator Toby Whithouse and cast members Russell Tovey, Lenora Crichlow and Aidan Turner, are on stage to give an inside look at BBC AMERICA’s U.S. premiere sci-fi drama about the lives of three twenty-somethings and their secret double-lives – as a werewolf, a vampire and a ghost.  Following that actor John Barrowman, creator/writer/executive producer Russell T Davies, executive producer Julie Gardner and director Euros Lyn talk about the making of the epic five-night television event Torchwood: Children of Earth as well as take questions from the fans.  Room 6BCF

“Top Chef,” the mother ship that spun off “Masters,” which premiered June 10, isn’t really about top chefs—it’s about kitchen obsessives who aspire to be among the culinary elite. The contestants may find success after the show—several alumni of the Bravo reality program are doing well in the restaurant world—but they’re just would-be top chefs during the competition.

“Masters,” on the other hand, is a competition for chefs who already have achieved mastery and success. Each week, four well-known chefs are pitted against each other in interesting challenges. In Week 1, for example, chefs such as Hubert Keller had to whip up their fare in a dorm room.

And Wednesday's quickfire challenge is, like the other mini-challenges on "Masters," an oldie but a goodie from "Top Chef's" second season. It's quite interesting to see which of these noted food-world hot-shots gets this whimsical challenge impressively wrong.

Wednesday’s main challenge has the chefs, who include molecular gastronomist Wylie Dufresne of New York’s wd-50 and Chicago’s hotshot Bowles (a veteran of Charlie Trotter’s and Tru who is now the proprietor of the restaurant Graham Elliot), coming up with cuisine that would be appropriate for the islanders on “Lost.” Among those dining on and rating the chefs’ fare Wednesday: Damon Lindelof and Carlton Cuse, the executive producers of “Lost,” along with the rest of the writers of the ABC show. (For a video peek at the challenge, look here.)

It’s a shame that the fast-paced “Masters” doesn’t spend much time on the “Lost” panelists’ reactions to the chefs’ imaginative and delectable-looking meals. Another quibble: These are terrific chefs (the other two competitors are Suzanne Tracht and Elizabeth Falkner). Anyone whose ever braised or pureed anything would probably like a more lingering look at how these masters work under pressure and with limited resources.

Still, “Masters” is entertaining, partly because it’s fun to see successful chefs battle their nerves; there are times when Dufresne looks as panicked as any untested “Top Chef” competitor. Bravo bleeps out Dufresne’s frequent profanity, but it won’t be hard to figure out his expletive of choice, which he utters when not running around the kitchen like a trainee who has had 10 cappuccinos.

What makes this show work is that these chefs are all extremely competitive. The money they win goes to charity (and the winners proceed to a final competition round), but it’s not  about the prizes. These chefs didn’t make it in the restaurant world by being laid-back; they are scrappy, imaginative and they hate losing (they would have done just fine on that "Lost" island, methinks).

And it’s hard to imagine that they care what the TV audience will think of them, but it’s clear that they don’t want to look bad in front of their food-world colleagues.

If the three top judges on this show (who aren't the usual "Top Chef" judges, by the way) are a pretty dry and flavorless, it necessarily matter all that much. The chefs' personalities come through, the dishes look delightful and by the end of Wednesday’s episode, you’ll wish you were on the “Lost” island—as long as these chefs are on the Dharma Initiative’s kitchen staff.

Chicago is well represented in the upcoming rounds of “Masters”: Bayless of Frontera Grill and Topolobampo competes in a street-cooking challenge June 24, and Smith of Chicago’s Table Fifty-Two is one of the chefs in the July 22 episode. Bowles is an affable, puckish presence in Wednesday's episode, but then the whole thing is a fairly pleasing confection.

“Top Chef Masters” comes from the crack Magical Elves production company, which also whips up “Top Chef” and used to make “Project Runway” for Bravo. (“Runway” will debut in its new Lifetime home in August.) “Masters” has the Elves’ signature snappy editing, smart casting and zippy pace. (A side note: Bravo's "Runway" replacement, the cheap-looking "Fashion Show," is not an Elves production, and it shows. It's a badly paced, shockingly uninteresting, not-very-hot mess.)

Photos, from top: "Lost's" Melinda Hsu Taylor, Elizabeth Sarnoff, Damon Lindelof and Kyle Pennington enjoying the "Top Chef" fare; "Lost's" Adam Horowitz, "Top Chef Masters" host Kelly Choi, "Lost's" Carlton Cuse and Brian K. Vaughan; Horowitz, Edward Kitsis, Choi, Cuse, Vaughan; Wylie Dufresne in the "Top Chef Masters" kitchen.

Check out The Stew blog on Thursday for my colleague Joe Gray's post-episode thoughts. The Stew also has this story and video on Bowles.

Bravo's episode summaries for Wednesday's episode and for the June 24 episode are below. 

June 17, "The Lost Supper": "Operating on an extremely tight budget, the chef’s must create the perfect amuse bouche using only what they can find in a vending machine (season two, "Top Chef"). Master chefs Wylie Dufresne (wd-50), Suzanne Tracht (Jar), Graham Elliot Bowles (Graham Elliot Restaurant) and Elizabeth Falkner (Orson) find themselves “lost” as they are challenged to make a meal inspired by the hit TV show, using ingredients such as fish, wild boar, fresh fruits, and other island specialties."

June 24, "Offal Tasty": "The chefs take their skills to the street. Rick Bayless (Frontera Grill), Cindy Pawlcyn (Mustards Grill), Wilo Benet (Pikayo) and Ludo Lefebvre (Ludo Bites) set out to make a treat for Los Angeles pedestrians, creating a quickfire dish based on a color (season two, "Top Chef"). One chef moves on to the Champions Round."

Then there are shows that have an unpleasant throwback stink to them, one that makes you think, "Why did this network pick up a pilot that was rejected by Lifetime 10 years ago and put this tedious, cliche-filled mess on the air?"

That's not the actual history of "HawthoRNe" (8 p.m. Central Tuesday, TNT; half a star); it was commissioned and made recently for TNT, by all accounts. Yet the show, which stars Jada Pinkett Smith as a dedicated, overworked nurse, has the painfully earnest, painfully obvious aura of something that was made by people who've never seen an episode of "ER," "House" or any of the canny star vehicles that cable channels have cooked up in recent years for top-notch actresses (not least of which is Showtime's "Nurse Jackie," which covers similar terrain with much more intelligence and clear-eyed heart).

Oh "HawthoRNe." Your "artistic" spelling did not signal anything good, but this show is so much worse than the cutesy moniker would indicate. The dialogue is full of clunky exposition, the characters are paper-thin and the plot can be predicted with uncanny accuracy. Even the synthesizer-based soundtrack, which is distractingly tinny and annoying, sounds like something from a mid-'80s network procedural.

Pinkett Smith is an engaging actress, but even her formidable energy can't liven up this sodden drama. If anything, the ferociously earnest "HawthoRNe" tends to bury all the qualities that make Pinkett Smith an interesting actress.

On June 4, USA's lineup of "Burn Notice" and "Royal Pains" handily beat NBC's much more painful lineup of "I'm a Celebrity… Get Me Out of Here" and "The Listener." TNT's "The Closer" regularly gets ratings that broadcast networks -- not just NBC -- would kill for. By now, we're used to the idea that the best cable networks generally come up with more thought-provoking fare the increasingly desperate broadcast networks frequently churn out.

But success can breed complacency, and there's no better proof of that than "HawthoRNe," which functions as a reminder that cable networks are just as capable of coming up with derivative and unimaginative fare.

By the way, the new season of the intermittently interesting Holly Hunter drama "Saving Grace" begins 9 p.m. Central Tuesday on TNT.

I'm excited. I enjoy Comic-Con quite a bit, but this will be my first time as a moderator there. If you're going, I hope to see you at the "Supernatural" panel on Sunday, July 26, at 11:45 a.m. 

And by the way, I don't know who else is on the panel, sorry! That news should come out next month when the Comic-Con program details go up on the convention's site. (To find out what other TV shows are presenting panels at Comic-Con, go here.)

That Comic-Con development prompted me to finish something I've been working on for a while -- writing up my notes on my "Supernatural" DVD Quest. As of May of this year, I'd seen every episode of Season 4 (and about a dozen episodes aside from that).

In late May, I began watching (or re-watching) every episode of every season on DVD. The Quest started about a month ago, and I'm currently midway through Season 2, but what's below concerns Season 1.

The first part of the writeup contains general thoughts about the season. It does not refer to plot specifics, so if you have yet to attempt your own DVD Quest, you can read this safely, it doesn't give anything away. At the end of this section, I recommend half-dozen key episodes from the season if you want to attempt a Mini-Quest.

The second part of the post refers to plot information in specific episodes. The second part is not really episode recaps per se (the writeups for each episode are quite short). Part 2 just has some random thoughts about what I liked or didn't like in individual episodes. Don't read that part unless you've seen Season 1 already. (I hope to post the Season 2 writeup in the next couple weeks. Generally speaking, I'm really enjoying Season 2). 

If you've ever wondered whether you should give "Supernatural" a try, you might want to peruse Part 1 of what's below.

Part 1: Thoughts on Season 1 of "Supernatural" (without specific plot information). 

I hate screaming.

I hate those moments in horror movies when the random girl who has just seen a body part/ghost/zombie/whatever starts that ear-piercing noise. In truth, I don't like body parts or ghosts or zombies much either. I'm just not a horror fan. Never have been. I like a good psychological thriller, but slasher flicks or any other sort of blood-spattered or ghost-infested fare?

Not my thing.

So when "Supernatural" debuted in 2005. I recall thinking the show was was competent, but not really in my wheelhouse. And early on, they had a formula and by God, they were sticking to it: Two brothers traveled the country in a '67 Impala, bickering and killing demons and other creepy critters along the way. There was muscular classic rock, there was quipping, there was exposition in which we learned about the monster of the week ("Many cultures have legends of shapeshifters") and, in the closing minute, there would be a scene of the Impala hitting the road once more.

Also, in the early going, there was some screaming. Did I mention that's not my thing?

I kind of gave up after watching five or six early episodes of "Supernatural." My husband, who has more time for horror-ish fare, gave up after about eight episodes.  

Silly us. We gave up on the show just before "Supernatural" figured out that it had much, much more interesting story engines just sitting there, waiting to be used. (Truth be told, I did watch "Supernatural" on occasion after Season 1, but never got into the regular habit of watching the show, given that I always seemed to stumble upon standalone episodes, not appetite-whetting mythology-based ones.)

By the end of Season 1, it was clear that the spectral creatures the Winchesters are fighting are really mistrust, rage, pain, grief, fear and terror of losing -- or being stuck with -- each other. Don't tell anyone, but this show about dudes in their macho car, playing their testosterone-heavy dude rock, well, it's all about … feelings.

Still, it was an uneven season. I was pleasantly surprised by the emotional gravity and subtle storytelling of "Faith." The next episode, "Route 666," was, er, not so great (but at least it was bad in a way that's a great deal of fun to mock).

Generally speaking, the second half of the season was appreciably better than the first, and the season's closing mythology-based episodes started to feel like the Season 4 episodes that I enjoyed most. In particular, the season finale contained not only several interesting twists but the most energetic performance to date from Jeffrey Dean Morgan, who plays John Winchester, father of Sam and Dean.

As it progressed, "Supernatural" got much better at the monster-of-the-week stories and, more importantly, at tying those stories to whatever the Winchester brothers were going though at the time. But even in the sub-par episodes, there are usually a few funny lines that make it all bearable. The show doesn't take itself so seriously that sitting through a not-great episode is a great trial.

In Season 1, "Supernatural" figured out what it could do well and started to take advantage of those strengths. Those strengths, by the way, include the show's cast, which I think is underappreciated. Both Jensen Ackles and Jared Padalecki grew as actors each season, but they were good when they started.

Thanks to them and to the increasingly interesting Winchester mythology, "Supernatural" went from being a show about two dudes crisscrossing the country in an Impala to being a character drama with a lot of twisted family history bubbling up to the surface.

Another thing "Supernatural" got right very quickly: It usually answers key mythology questions along the way.

Watching previous seasons is proving to be an interesting exercise in filling in the blanks, but "Supernatural" is not a show that requires you to come at it with a ton of previous knowledge. It's not "Buffy," it's not "Lost." Of course I love those shows, but I enjoy the fact that "Supernatural" doesn't require me to keep a massive Wikipedia entry in my head. It's a relief, actually.

Before Season 5 begins, I'll post a list of 10 or so episodes you may want to watch before the season starts. But having said that,

YOU DON'T NEED TO HAVE SEEN ANY SUPERNATURAL EPISODES BEFORE THE NEW SEASON STARTS.

I know that sounds like crazy talk. But it stresses me out when people say they think they watch every previous season before they begin watching Season 5.

Wrong. I don't necessarily think you need to. 

I can tell you, in two paragraphs or less, everything you need to know going into Season 5 (I'll write something along those lines before the show returns in the fall). I began watching Season 4 having seen fewer than a dozen previous episodes of "Supernatural" and I was fine. Between the "Previously" refreshers that start each episode and a little Internet research, I was up to speed in no time.

If you do begin a "Supernatural" DVD Quest but don't necessarily want to see the skippable Season 1 episodes, here are my Season 1 recommendations:

Must-see episodes: "Pilot," "Home," "Faith," "Shadow," "Dead Man's Blood," "Salvation," "Devil's Trap."

Recommended episodes (good but not necessarily crucial to the overall arc of the season): "Dead in the Water," "Asylum," "Scarecrow," "Nightmare," "Hell House," "Something Wicked."

Episodes I didn't love (you can skip these if you're not a "Supernatural" completist): "Wendigo," "Phantom Traveler," "Bloody Mary," "Skin," "Hook Man," "Bugs," "The Benders," "Provenance," "Route 666."

Part 2: For those who have seen Season 1 of "Supernatural."

What follows here is in no way an organized or in-depth season guide to the first year of "Supernatural." I'm doing this just for kicks, and I've basically written down some fairly random things I liked and didn't like about individual episodes.

"Pilot"

It's weird as a huge "Friday Night Lights" fan to see Adrianne Palicki appear here as Sam's doomed girlfriend, Jessica. I reviewed the show when it first came out, so I had memories of the characters, but had no memory of who played Jessica. And then … there's "FNL's" Tyra!

Generally speaking, I thought the pilot was all right. It got the job done, in a workmanlike way. The dude rock rawked, the two leads had some developing chemistry, and the direction was fine (although there were a few self-consciously arty moments I could have done without).

Here's one thing that really struck me about the pilot: These two brothers have always had a lot of conflict at the root of their relationship. Sure, a lot of love and loyalty too, but in the very first scene in which they interact, they fight! They try to beat each other up! Sure, they don't realize they're beating on each other, but the seeds of their future conflicts are already present in the first episodes of the first season. Some fans have said, in various comments on this site during Season 4, that they "miss the show" that "Supernatural" used to be, that they want it to be "about the brothers."

Perhaps I'll have a better understanding of what they mean when I've seen every season (currently I've watched up through about half of Season 2), but to me, the brothers have always had conflict in their relationship and have always been at odds in some ways, if not many ways. I guess I'm not exactly sure what fans want the show to go "back" to, given that, in my opinion, it only got better with every layer of complication and conflict that was added into the overall strories. 

Your mileage may vary, of course.

"Wendigo"

The less said about this one the better. The monster in the woods was scary when we didn't see him; when we did… well, erm… uh… hey! There's Doc Cottle from "Battlestar Galactica"! Yes, Donnelly Rhodes had a scene in this episode. So there's that.

"Dead in the Water"

A decent self-contained episode, mainly due to a low-key but effective guest performance from the dependably good Amy Acker, and due to the direction by Kim Manners (RIP).

"Phantom Traveler"

I would imagine that it was hard to do the special effects involved in an episode about a possessed plane on "Supernatural's" budget. Also… there's a possessed plane. Having said that, there are some good character moments in this episode, particularly Dean admitting that he is afraid to fly. And in this episode, as in the others, there is further delineation of the personalities of the brothers: Sam often has questions and is the searcher of the pair, while Dean is more of a "we do the family business and that's that" kind of guy.

It got kind of funny to see how many episodes ended with the closing image of the car racing off to another town to fight demons and such.

"Bloody Mary"

One of the characters actually says, "We think something's happened here. Something that can't be explained." You don't say!

That said, however, the Bloody Mary premise is kind of freaky, as was the image of "Mary" leaving her mirror. The rest of the episode is pretty formulaic, however.

The interesting thing about this episode that we learned that Sam had visions of Jessica dying before she actually died. But Sam didn't tell Dean that yet. Dun-dun-dun!

Otherwise at this stage the show was just picking off horror stories one by one and plunking the boys down in the middle of stories built around those urban legends (I began to dread the phrase "Every culture has a legend of a [insert name of urban legend here].") Clearly the show was working out the kinks and figuring out what worked and what didn't. I don't begrudge that; it got much better very soon. But the next three episodes, I didn't particularly care for.  

"Skin"

There's a bit of exploration of the boys' relationship to their dad; Sam is hurting because he feels everyone left him, and Dean is angry because, despite his hard work and loyalty, Dad still left.

Anyway… moving on.

"Hook Man"

I think I recall seeing this when it first aired and then deciding to bail out of of watching "Supernatural." It was yet another urban legend, not a very interesting one, and it featured screaming, which I am not a fan of. I may have mentioned that.

"Bugs"

Fell asleep halfway through. Felt no need to go back and finish it off.

"Home"

Now we're getting somewhere!

"Home" was the first post-pilot exploration of the boys' family mythology and as such, started the process of turning "Supernatural" in a much more interesting direction. Some elements of the story didn't quite line up for me (the psychic didn't appear to care that the second spirit was still in the house after the poltergeist was eliminated. That seemed odd).

But there was meaty characterization of the brothers. Dean is so desperate to be the good son, he follows every rule and worships his father yet still feels rejected in some way, and resentful of the way his Dad (from Dean's perspective) favored Sam. Whereas Sam doesn't know where his visions are coming from, is freaked out by them and is still deeply affected by their mother's death.

Dean gets frustrated with Sam's willfulness and rebellion, while Sam can't understand why Dean doesn't want answers to fundamental questions about their lives. Sam only ever wanted a normal life, which he now won't get, but Dean has been so inculcated in Dad's world that he has no idea how to have a normal life.

The brothers themselves as the freaks, as the haunted beings in search of redemption and rest? Now, THAT'S a show. I would watch that show. I would become mildly obsessed with that show. And that's what this show is turning into midway through Season 1. And that's an interesting process to watch.

"Asylum"

I didn't write down a lot of specific information about this episode in my notebook, but I recall liking it. A good, effective "Oh no, freaky stuff is happening in the creepy former mental hospital" story (edited to add: yes, as some have pointed out in the comment area below, there's some good family history tidbits and inter-brother drama in this episode as well). All in all, a well-made and solidly satisfying episode.

"Scarecrow"

A solidly enjoyable episode that did a good job of tying the brothers' issues into the scary-stuff-du-jour, which is what "Supernatural" began to do well with increasing frequency. The story -- for the brothers and for the residents of the small town they visited -- was all about family and what you will (or won't) sacrifice for them.

The brothers split up -- if only temporarily. And we met Meg Masters, who I thought was a good addition to the show. It always helps to have recurring characters who spice things up a bit. I don't know about you but I was shocked when she slit that guy's throat at the end of the episode.

And man, that scarecrow was freaky.

"Faith"

The high point of Season 1. It shook up the format right from the start -- the episode started in the middle of a job. And just like that, Dean was near death. That's a bold way to start an episode!

The production design was especially well-done in this episode -- everything had a slightly distressed, Depression-era feel. The man who played Rev. Le Grange was great, and the Reaper was truly unsettling (and "Don't Fear the Reaper" was expertly used in the soundtrack).

Ultimately it was a beautifully told, emotional story about mortality and, yes, faith. Jensen Ackles and Julie Benz gave wonderfully understated performances, and I challenge you to watch their final scene together and not tear up. When Ackles reveals Dean's vulnerability, as he does on occasion, it's impressive to watch.

"Route 666"

Um. A racist truck? Really?

The effort to tie the story of a racist truck into a tale about racial politics in the South, well, let's just say entire thing was less than successful. It all came off as a Very Special Episode of "Dukes of Hazzard."

Having said that, what makes even the less than stellar episodes of the show bearable is the humorous banter between the brothers. Thank goodness for that.

"Nightmare"

This episode started out one way but then took a turn and went in an unexpected and interesting direction. There wasn't much suspense about who was behind the weird happenings -- one look at the squirrelly Max made you realize he was behind all the wackiness -- but to link his visions to Sam's was quite intriguing.

Sam wants to believe he and Max were chosen -- but for what? It can't be anything good. Look how things turned out with poor Max. And I thought it was a much braver choice to have Max die at the end, by the way.  It was much more honest about where that character was at.

Also -- the brothers as priests? More than faintly hilarious.

"The Benders"

I didn't much care for this episode. Sure, I get that the whole point was that this family wasn't possessed and that there wasn't anything supernatural going on. As Dean says, "Demons I get -- people are crazy."

Still, it just seemed like a bunch of backwoods cliches tied to a series of "Most Dangerous Game" cliches -- "The best hunt is human!" I don't know, it all just seemed like it was a not-very-inspired riff on "The X-Files," which tended to do this sort of thing better in its early seasons.

The little girl's performance was disturbingly good, having said all that.

"Shadow"

A good, meaty, family-mythology episode. I like the way Meg toyed with the Winchesters, and once again we see the tender emotions that inhabit these muscular dudes: Dean just wants them to be a family again, "like it was before," while Sam just wants to get away from everything and go back to his old life.

The reunion with Dad was interesting -- their love and conflicting emotions grounded everything, yet because they are he-man manly men, they rarely actually talked about their feelings. They're all more repressed than characters in a Jane Austen novel, which is fairly delicious.

"Hell House"

I love, love, love the Ghostfacers guys. Comedy gold. And also, I liked the idea of a spirit that changes based on what people believe about it.

And if I do say so myself, a lighter episode was something of a relief.

"Something Wicked"

Another supernatural occurrence that serves to highlight the Winchester family relationships. Dean felt that, back in the day, he let their father down and didn't protect Sam from an evil being that preys on kids.

And Dean learned the lesson at that early age that, any break he took for himself, away from the job, could have dire consequences (hence his devotion to duty and his narrowly focused outlook on life). The pacing was a little off in this episode, but compared to the episodes early in the season, it's very clear how much "Supernatural" has improved.

"Provenance"

A haunted painting? Meh. This episode didn't do much for me. I guess we had some interesting moments revolving around Sam's attempts to move on after Jessica's death, but overall, that story didn't really grab me, nor did the story of the painting.

"Dead Man's Blood," "Salvation," "Devil's Trap"

A really strong trilogy closed out the season. These episodes (especially "Dead Man's Blood") highlighted, again, the brothers' differing natures: Dean as the order-follower, Sam as the questioner. "Why is [Dad] treating us like children, after all we've been through?" Sam asks, encapsulating the theme of the season -- the brothers' quest to carve out their own paths in life, independent of their father, even if they are pursuing "the family business."

John Winchester learned he had to trust his sons. Dean learned that he was capable of a lot -- maybe too much. "The things I'll do for you and dad -- they scare me sometimes," he said.

When the yellow-eyed demon possessed John, I thought it was Jeffrey Dean Morgan's finest work on the show to date. He was really on fire in that scene, and it brought a whole new intensity to his performance. The introduction of Bobby Singer and the final moments of Meg Masters were also well done. 

I'll reiterate -- I regret that I didn't stick with "Supernatural" longer. Around the middle of the season, it began to show what it was capable of, and the close of the season was satisfying indeed.

Amazon's Supernatural Store

There's been an ongoing war of words between David Letterman and Gov. Sarah Palin. Recently Letterman made a suggestive joke about a Palin daughter on "The Late Show With David Letterman." He half-apologized a few days after that, when it became clear that the joke that he thought was about 18-year-old Bristol Palin actually applied to 14-year-old Willow Palin, but the Alaskan governor and her allies were vociferous in his condemnation of his remarks.

Without going into the spat too deeply -- I found a lot of the remarks about the mini-controversy almost comically strident and vociferous -- I think Letterman was right to offer a more full and complete apology. Letterman is great at taking on famous people who can take what he dishes out (the most famous recent example revolves around his continual jabs at John McCain during the election). The fact that he does so with such a lack of aggressiveness is actually what makes his brand of dogged pursuit so effective.

To appear to have made an unfortunate remark about a 14-year old just seemed ... not Letterman-esque. That's not who he is. And his offhand not-quite-apology just made him look insensitive.

I believe him when he says that he didn't realize that Willow was the one at the baseball game he made the joke about. And I think he was surprisingly slow to realize how this whole brouhaha made him look.

But he's apparently had a change of heart about the whole matter. Here are his remarks from Monday's "Late Show With David Letterman":

And here is a transcript as provided by CBS (and by the way, I first saw the story about tonight's "Late Show" on TV Week's site): 

Letterman:  “All right, here – I’ve been thinking about this situation with Governor Palin and her family now for about a week – it was a week ago tonight, and maybe you know about it, maybe you don’t know about it.  But there was a joke that I told, and I thought I was telling it about the older daughter being at Yankee Stadium.  And it was kind of a coarse joke.  There’s no getting around it, but I never thought it was anybody other than the older daughter, and before the show, I checked to make sure in fact that she is of legal age, 18.  Yeah.   But the joke really, in and of itself, can’t be defended. 

"The next day, people are outraged.  They’re angry at me because they said, ‘How could you make a lousy joke like that about the 14-year-old girl who was at the ball game?’  And I had, honestly, no idea that the 14-year-old girl, I had no idea that anybody was at the ball game except the Governor and I was told at the time she was there with Rudy Giuliani…And I really should have made the joke about Rudy…” (audience applauds) “But I didn’t, and now people are getting angry and they’re saying, ‘Well, how can you say something like that about a 14-year-old girl, and does that make you feel good to make those horrible jokes about a kid who’s completely innocent, minding her own business,’ and, turns out, she was at the ball game.  I had no idea she was there.  So she’s now at the ball game and people think that I made the joke about her. 

"And, but still, I’m wondering, ‘Well, what can I do to help people understand that I would never make a joke like this?’  I’ve never made jokes like this as long as we’ve been on the air, 30 long years, and you can’t really be doing jokes like that.  And I understand, of course, why people are upset.  I would be upset myself.

 “And then I was watching the Jim Lehrer ‘Newshour’ – this commentator, the columnist Mark Shields, was talking about how I had made this indefensible joke about the 14-year-old girl, and I thought, ‘Oh, boy, now I’m beginning to understand what the problem is here.  It’s the perception rather than the intent.’  It doesn’t make any difference what my intent was, it’s the perception. 

"And, as they say about jokes, if you have to explain the joke, it’s not a very good joke.  And I’m certainly – ” (audience applause) “– thank you.  Well, my responsibility – I take full blame for that.  I told a bad joke.  I told a joke that was beyond flawed, and my intent is completely meaningless compared to the perception.  And since it was a joke I told, I feel that I need to do the right thing here and apologize for having told that joke.  It’s not your fault that it was misunderstood, it’s my fault.  That it was misunderstood.” (audience applauds)  “Thank you. 

"So I would like to apologize, especially to the two daughters involved, Bristol and Willow, and also to the Governor and her family and everybody else who was outraged by the joke.  I’m sorry about it and I’ll try to do better in the future.  Thank you very much.”  (audience applause)

But how could the screening of the episode and a full-fledged panel with the show's creator, Joss Whedon, and star, Eliza Dushku, fit into the typical one-hour Comic-Con slot?

A-ha! I can confirm three things: There will be a "Dollhouse" panel at Comic-Con, "Epitaph One" will be screened and the entire "Dollhouse" session will be two hours long.

The supersized session will take place Friday, July 24, in Ballroom 20, according to Twentieth Century Fox Television. Dushku and Whedon will be serving up "a no-holds-barred Q and A about what they have planned for Season 2" after the screening of "Epitaph One." (Whedon and Dushku are the only "Dollhouse" folks participating in this panel, by the way. The picture at right is of Dushku and "Dollhouse" guest star Alan Tudyk.)

Happy, Whedon fans? Hope so. 

If you haven't seen "Dollhouse" yet, by the way, it comes out on DVD four days after that Comic-Con event.

In this post from Thursday, I listed many of the shows that have been confirmed as participating in the four-day pop-culture convention ("Heroes" is not doing a panel, by the way, though it will "have a presence" at the convention). I thought it might be worthwhile to list every show that's been confirmed, either by myself, by Seat42f or Eonline's Watch With Kristin. 

Below are all the Comic-Con TV panels that have been confirmed so far, in alphabetical order: 

• "Battlestar Galactica: The Plan" (this is at the "likely" stage, it's not 100 percent confirmed)
• "Big Bang Theory"
• "Caprica"
• "Chuck"
• "Dexter"
• "Dollhouse"
• "Eastwick"
• "Eureka"
• "Flash Forward"
• "Fringe"
• "Human Target"
• "Legend of the Seeker"
• "Lost"
• "MythBusters"
• "Past Life"
• "The Prisoner"
• "Psych"
• "Sanctuary"
• "Smallville"
• "Stargate Universe"
• "Supernatural"
• "True Blood"
• "V"
• "Vampire Diaries"
• "Warehouse 13"

Among the "maybes," as reported by those sites mentioned above: "24," "Glee," "Ghost Whisperer" and "Bones."

"Heroes" actors and writers will be present at Comic-Con, but there will not be a panel on that show. For more on that, go here.

This year, however, "Heroes" will not do a panel at Comic-Con.

According to a representative from Universal Media Studios, which makes the show, "Heroes" will "have a presence" at Comic-Con in various ways, but that presence will not involve the typical panel discussion that is a staple of Comic-Con.

Most TV presentations involve the cast and creators sitting up on a stage, talking about their show, debuting new footage and taking fan questions. The fourth season of "Heroes" will be promoted at Comic-Con, but not in that way. (For my post earlier today on what TV shows will be at Comic-Con, go here. For news about "Dollhouse's" presence at Comic-Con, go here.)

I had contacted creator Tim Kring earlier Thursday to ask him if the show would be at Comic-Con. "Rumor has it that 'Heroes' will not be going to San Diego Comic-Con this July. Is that true?" I asked via email. "If there's not going to be a 'Heroes' panel at Comic-Con, can you say why?"

"No, those rumors are not true," Kring replied. "I plan on being there, along with some cast and writer/producers, etc. And we're fully expecting to have a great sneak peek at Season 4 to show. The fans that come to Comic-Con are the best, most loyal that we have. We wouldn't miss it."

From that, I drew the conclusion that Kring's statement meant that "Heroes" would present a full-on panel, which is not the case. In truth, I couldn't imagine that there wouldn't be a "Heroes" panel at Comic-Con. Last year's panel, after all, was held in Comic-Con's largest hall, and the first full episode of the season was shown.

When news becomes available regarding the nature of "Heroes'" presence at Comic-Con, I'll post it. There will indeed be a Season 4 sneak peek unveiled in San Diego, but when and how that will be screened is not yet known. Again, for more information on shows that are presenting panels at Comic-Con, go here.

So what do you think of Comic-Con without "Heroes"? Leave your thoughts in the comment area. 

That name is pronounced “Suhkhee.” Or “Soohkee.” The actual moniker belongs to Sookie Stackhouse (Anna Paquin), the true love of Bill Compton, a courtly vampire who, when human, fought in the Civil War.

Compton is played by an Englishman, Stephen Moyer, and the way Moyer tries to say the name with a Southern accent is faintly—OK, more than faintly—ridiculous. Yet that verbal mangling also provides a certain amount of enjoyment in the Watcher household—the competition to say "Sookie" in a Bill-like way that makes other laugh is by now a summer ritual.

That’s not to say Moyer is a bad actor—far from it. He gives Bill an air of quiet pathos and steely intelligence. Two seasons in, however, I’m still not sure what he sees in “Suhkhee”—sorry, Sookie—a psychic waitress whose main activity in Season 1 seemed to be flouncing angrily out of rooms, houses and bars. Give this woman a location, and she will find a way to stomp away from it in a foul mood.

There’s less flouncing and stomping this year, yet Paquin’s performance remains rather flat and predictable. And the love story of Bill and Sookie, the most mismatched couple in Bon Temps, La., remains about as interesting to me as it was in Season 1—which is to say, not very.

But the curious thing about “True Blood” is that, even if you’re not that interested in their relationship, there are other things to enjoy, notably the supporting performances and the mostly efficient plotting. And it the show itself doesn't seem to care much whether you take it seriously.

In a recent conference call with the media, “True Blood” creator Alan Ball used the word "fun" quite a bit— a word that didn't come up often in coverage of his last HBO drama, "Six Feet Under."

Ball called "True Blood," not inaccurately, a "big popcorn thrill ride."  And he had a simple explanation for the current popularity of neck-biters in pop culture (as evidenced by the "Twilight" book and movie franchise and the upcoming "Vampire Diaries" on the CW).

“Vampires are sex," he said. "Vampires are, like, the ultimate romantic, rock-star, bad-boy or -girl fantasy.”

No one could accuse “True Blood” of being prudish. You may wonder, as I did, if the show is an excuse to see attractive people who are not overburdened with clothing give in to their steamier desires.

Yet the character responsible for some of the steamiest antics—a mysterious woman named Maryann—is played by the magnetic Michelle Forbes, who gives the character a frisson of danger. Forbes’ crackling performance is one of the best things about the show, but the excellent work of several other supporting players—including Rutina Wesley as Sookie’s friend Tara, Alexander Skarsgard as a commanding vampire named Eric and Ryan Kwanten as Sookie’s brother Jason—make “True Blood” worth watching.

It’s a bit disappointing that Jason is stuck in a predictable side plot about religious zealots who are determined to wipe out the scourge of vampires. Ball said one theme of Season 2 is “the power of cults,” whether they spring from the supernatural world or from organized religion.

Just as Ball’s “Six Feet Under” could at times, “True Blood” can veer into ham-fisted preachiness once in a while. Are we supposed to sympathize with the vampires, who are sometimes presented as an oppressed minority, or see them as dangerous murderers (which a number of them emphatically are)? "True Blood's" exploration of this issue isn't so much nuanced and thought-provoking as it is muddled and indecisive.

But no matter. This is not a show that wants to make you think. It would be unfair to simply call “True Blood” trashy escapism. 

This is HBO, so this is well-acted, classy trashy escapism.

Below are a few other notes from the conference call with Ball. They contain a few bits of information about the upcoming season (mostly related to casting). Don't look if you don't want to know.

More from Alan Ball:

• Evan Rachel Wood guest stars in the last two episodes of the season as a very powerful vampire queen.
• A new character named Godric will arrive (he'll be played by Allan Hyde, according to an HBO rep). He's "the oldest [vampire] we've ever met but also probably the most human," Ball said.
• Episode 5 will contain a sustained flashback.
• Ball has never read the "Twilight" books or seen the movie. He says he doesn't understand why anyone would create a vampire story "about abstinence" -- "I guess it makes it safe for young girls."
• Bubba, a character from the books, won't be introduced on the show.
• Jessica (Deborah Ann Woll), a character who we met at the end of Season 1, wasn't in the books but we'll be seeing more of her journey in Season 2.
• Another new character in Season 2 is Daphne (Ashley Jones), a waitress at Merlotte's.
• The writer of the Sookie Stackhouse mysteries, Charlaine Harris, is "90 percent" happy with how the show turned out, Ball said. And Harris is likely to make a cameo on the final episode of the season.

Update 3: I've confirmed that there will be a "Dollhouse" panel on Friday, July 24. What will be special and different about it? Find out here.

Update 2: A representative for Universal Media Studios contacted me late Thursday to say that "Heroes" will not do a panel at Comic-Con. The show will "have a presence" and cast and creator Tim Kring will be in attendance. They will participate in Comic-Con in a number of ways, but there will not be a panel. The following story has been changed to reflect the correct information. And I've written a new "Heroes" item here.

Update: Breaking news...

"Heroes" will have a presence at and will show a trailer at San Diego Comic-Con. I got confirmation of that from creator Tim Kring himself.

"I plan on being there, along with some cast and writer/producers, etc," Kring said in an e-mail. "And we're fully expecting to have a great sneak peek at Season 4 to show. The fans that come to Comic-Con are the best, most loyal that we have.  We wouldn't miss it."

Other news is trickling out about San Diego Comic-Con, which takes place July 23-26. It sounds as though, as was the case last year, a ton of interesting new and returning shows will be presenting screenings, footage and discussion panels. It is going to be, in a word, nutty.

Yesterday a well-placed source revealed to me that "The Prisoner," an AMC remake of the classic Patrick McGoohan show, will present a panel at Comic-Con. Cast members will be in attendance (I will be able to say which cast members soon), and a meaty chunk of footage from the remake will be shown.

Yesterday I also got some details from the folks at Sci Fi (soon to be Syfy) about which of their shows will be heading to Comic-Con. Their game plan at present includes Comic-Con panels on the following shows:

• "Stargate Universe" (which debuts on Sci Fi in October),
• "Sanctuary" (which returns in October)
• "Warehouse 13" (which premieres in July)
• "Eureka" (which returns in July)
• "Caprica" (a "Battlestar Galactica" prequel series which is likely to premiere in January).
• There is "likely" to be a panel or some kind of presentation for "The Plan," a "Battlestar Galactica" TV movie that arrives in November (see below for info on a different "BSG" panel on Friday in New York)
• "Ghost Hunters" definitely won't be doing a Comic-Con panel, by the way.

Here's just a partial rundown of Comic-Con panels that I hope to be attending (in addition to panels for some of the shows mentioned above): "Dollhouse," "Supernatural," "Lost," "Flash Forward," "Chuck," "Fringe," "Big Bang Theory" and "V." It's quite likely "24" and "Glee" ("Glee"?!) will be at the San Diego confab as well.

Fun fact: Star-Ledger critic Alan Sepinwall, who played a notable role in the campaign to help save the show, will be moderating the "Chuck" panel at Comic-Con.

To see lists of all the shows that are definitely (or are likely to) turn up at Comic-Con, check out these stories from Seat42f and the Watch With Kristin team. It's worth following Seat42f and Watch With Kristin on Twitter for the most up-to-the-minute news on Comic-Con and other TV matters, and please check out my Twitter too, if you want to tune in to what I'm thinking and watching and reporting about.

[A paragraph of speculation about whether "Heroes" would be at Comic-Con has been removed -- here's the story on "Heroes" at Comic-Con.]  

A final note: There's a "Battlestar" panel of a different sort Friday in New York at the World Science Festival. Cast members Mary McDonnell (who played Laura Roslin) and Michael Hogan (who played Saul Tigh), along with several noted scientists, will participate in a discussion of developments in artificial intelligence and the ethical dilemmas of scientific breakthroughs.

Galactica Sitrep has an interview with McDonnell about the event and other "Battlestar" matters here.

Another reason to pick up a ticket to this event, if you're a "Battlestar" fan and live in New York? A clip from "The Plan" will be screened at the event.

For more on the World Science Festival and the "Battlestar" panel, go here.

• "Mad Men" will return on AMC Sunday, Aug. 16. There will be a Season 2 marathon on Aug. 10. The full press release is below.
• "Nurse Jackie," the promising Edie Falco show about a drug-addicted nurse, had a strong premiere for Showtime on Monday, and the network is so high on the show (if you'll pardon the pun) that it has already picked up "Nurse Jackie" for a second season. The press release is below.
• "Futurama" is returning. New episodes have been commissioned by Comedy Central. Wrong show, but appropriate quote, "Numfar, do the dance of joy!" Major points to you if you know what show that quote comes from. Check out Zap2it.com's story here.
• I'll have much more on the Sci Fi front soon, but in a Wednesday interview, the network's president, Dave Howe, confirmed that the "Battlestar Galactica" TV movie debuts in November. He also said that "Caprica," a prequel series set in the "Battlestar" universe, will likely debut in January. He also said that three to five years down the road, we may actually see a "Battlestar" feature film (I know, be still our hearts. It's just a possibility, however, and if it does happen, it won't be for a while).

AMC's press release on the return of "Mad Men":

AMC ANNOUNCES MAD MEN SEASON THREE PREMIERE

SUNDAY, AUGUST 16^TH AT 10PM ET/9 PM C

Premiere Episode to be Presented with Limited Commercial Breaks

Second Season 13-Episode Marathon Begins Monday, August 10 at 7 am ET

First and Second Season Available On Demand

New York, NY – June 10, 2009 - AMC will premiere the third season of its critically-acclaimed, award-winning drama Mad Men on Sunday, August 16^th at 10PM ET/9PM C. The premiere airing will be presented with limited commercial interruptions.

Leading up to the highly-anticipated new season will be a Mad Men marathon on Monday, August 10, from 7AM – 8PM EST, featuring all 13 episodes from the series’ award-winning second season.

Beginning today, Season One is available On Demand, in both standard- and high-definition.  Season Two will be available On Demand starting Monday, July 20.  The pilot episode entitled “Smoke Gets In Your Eyes” is available now for live streaming on www.amctv.com.

Mad Men debuted in July 2007 and has gone on to win multiple Emmy^® Awards, including the Emmy for Outstanding Drama, a first for a basic cable series. It is also the only basic cable series to win the Golden Globe award two years in a row (2007 and 2008) for Best Television Series-Drama and was the recipient of a Peabody award in 2008.  It has gained unprecedented recognition and has been hailed as, “One of the most critically acclaimed TV shows ever,” by the New York Post.  TV Guide called it, “madly, marvelously mesmerizing,” while the New York Times said, “It’s a sleek, hard boiled drama with a soft, satirical core.”   USA Today said, “If this is the future of TV, the future is looking good.”

Mad Men is created, written and executive produced by Matthew Weiner (Executive Producer/Writer, The Sopranos), co-executive produced by Scott Hornbacher (The Sopranos), and produced by Lionsgate.  AMC’s Joel Stillerman, SVP of original programming, production and digital content and Vlad Wolynetz, VP of Production, Series and Movies, oversee development and production for the network.

Showtime's press release:

NURSE JACKIE WORKS A DOUBLE

SHOWTIME Renews Its New Critically-Acclaimed Dark Comedy Series

Starring Emmy®-winner Edie Falco For A Second Season

LOS ANGELES, CA – (June 10, 2009) – In the wake of one of SHOWTIME’s most critically acclaimed original series debuts, the network has renewed its new dark comedy series NURSE JACKIE, a co-production with Lionsgate starring Emmy®-winner Edie Falco for a second season.  The announcement was made today by Robert Greenblatt, President of Entertainment, Showtime Networks Inc.  Production of 12 new episodes will begin this fall in New York City.

"NURSE JACKIE was a home run for us when Edie Falco decided to come aboard over a year ago,” said Greenblatt.  “We're thrilled that the critics, our affiliates, and the public in general have had the reaction to the show that we hoped they would.  While SHOWTIME was already in the pink, we're grateful to get a big shot in the arm from this feisty little nurse.”  

NURSE JACKIE premiered Monday, June 8 to both audience and critical acclaim.  After making her return to premium television, Falco has received some of the best reviews of her accomplished career for her role as the complicated Nurse Jackie Peyton.  USA Today gave NURSE JACKIE 4 Stars, stating, “Here’s a cure for TV’s summer doldrums:  “Take one great actress and one great role; repeat for 12 weeks;” The Washington Post says “Nurse Jackie is one of the true choice cuts of the year,” and TV Guide noted “Watch Edie Falco become one of those rare talents who will someday add comedy Emmys to her drama stash.”

The series is a co-production of Showtime Networks Inc. and Lionsgate Television and was created by Evan Dunsky and Liz Brixius & Linda Wallem (The Comeback, That ‘70's Show).  Wallem and Brixius are executive producers and show runners.  John Melfi and Caryn Mandabach are executive producers.  Richie Jackson, Christine Zander, Mark Hudis and Evan Dunsky are co-executive producers.  

NURSE JACKIE is a half-hour dark comedy that is at turns wicked, heartbreaking and funny.  Edie Falco stars as the title character Jackie Peyton, a strong-willed and brilliant -- but very flawed -- emergency room nurse in a complicated New York City hospital.  A lapsed Catholic with an occasional weakness for Vicodin and Adderall to get her through the days, Jackie keeps the hospital balanced with her own kind of justice. Every day is a high wire act of juggling patients, doctors, fellow nurses and her own indiscretions.  The first season also stars Eve Best, Peter Facinelli, Merritt Wever, Haaz Sleiman, Paul Schulze, Anna Deavere Smith, Dominic Fumusa, Ruby Jerins, Daisy Tahan and Stephen Wallem.

The show is co-produced by Lionsgate and Showtime Networks in association with Caryn Mandabach Productions and Madison Grain Elevator Inc. & Delong Lumber.

The first thing you must know is that pre-registration is required; that takes place June 20 and June 21, and registration wristbands will be handed out those days starting at 7 a.m. Those who obtain wristbands will be able to line up for auditions starting at 5 a.m. June 22.

"American Idol" has held open auditions in Chicago in 2002, prior to the show's debut season, and also in 2005, before the fifth season of the Fox talent contest.

The full details on the audition process are below.

From Fox's Tuesday press release:

PRE-REGISTRATION ON JUNE 20 & 21
 
WHAT: Open call audition for the ninth season of AMERICAN IDOL in Chicago, IL.
 
WHERE: United Center, 1901 W. Madison St., Chicago, IL 60612
 
WHEN: Pre-registration-- Saturday, June 20 and Sunday, June 21

Wristbands will be distributed to auditioners during pre-registration (tables open at 7 a.m.).  Once auditioners obtain their wristbands, they will be asked to return to the stadium by 5 a.m. on Monday, June 22 to line up for their audition.

[Media] crews can begin shooting pre-registration at 6 a.m. Auditioners can sing for the camera at this time if they would like to.
 
AUDITIONS

Monday, June 22

***NO MEDIA WILL BE PERMITTED INSIDE THE VENUE DURING AUDITIONS***

Registered auditioners may begin lining up for their audition starting at 5 a.m..

Crews can begin shooting at 5 a.m. on Sunday.

NOTE: Contestants who do make it through to the next round of auditions cannot sing for the cameras after their audition.  Those contestants who do not make it through can sing for the cameras after their audition (outside the stadium) if they would like to.

When the Fox thriller returns, Sackhoff will play data analyst Dana Walsh, who works at the brand new Counter-Terrorism Unit (CTU) in New York City. According to the EW story, her character will be involved with Cole Ortiz, the field operations leader played by Freddie Prinze Jr.

Other cast members for the show's eighth season, which kicks off Jan. 17 on Fox, include Mykelti Williamson, John Boyd, Chris Diamantopoulos and Jennifer Westfeldt. Returning cast members include Cherry Jones (President Allison Taylor), Mary Lynn Rajskub (Chloe) and Annie Wersching (Renee Walker). "Slumdog Millionaire" star Anil Kapoor will make his American television debut as a Middle Eastern leader in the U.S. on a peace mission.

So those are the facts. Now for my opinions.

In this uncertain environment, it's not a bad thing for an actor to have a steady gig like this (someone on my Twitter feed joked about being happy for all of Sunday's Tony winners, but predicted we'd see most of them as supporting characters on police procedurals soon).

But I must pronounce myself a little wary of seeing Sackhoff on "24." And as a "data analyst"? And her character is involved with Freddie Prinze Jr.?

This is Starbuck we're talking about!

I hope that the role gives Sackhoff a chance to explore what she's capable of -- and that's quite a lot. Sackhoff had the role of a lifetime as the headstrong fighter pilot on "Battlestar Galactica", and of course not every role is going to be like that. But I just can't help but wonder if the "24" part will be a particularly limited role, as supporting roles so often are on shows that stick to a set formula.

Not that there haven't been memorable supporting characters on "24," but, in the final analysis, the show is mostly about Keifer Sutherland's character, Jack Bauer. And even for him, action and tension usually take priority over emotional developments.

And each season, it has been harder and harder for me to care about whatever Jack and his compadres are going through, at work or in their personal lives. "24" is a tough show to pull off, there's no question of that. It somehow has to keep topping itself and pulling off these nail-biter cliffhangers, yet give the characters and relationships some kind of emotional weight. That's a hard balance to achieve, and I'm not sure the show has readily achieved it in recent years.

A big part of the problem is sheer repetition: We've seen so many similarly "tense" situations in various seasons that these situations become less and less tense over time.

The characters certainly end up doing the same sorts of things season after season. If, in Season 8, we see Sackhoff sitting behind a computer terminal, barking out computer-related gibberish and sparring with other tech nerds like Chloe, I'll be disappointed. For all I know, they've got a brilliant, challenging, emotionally gut-wrenching arc planned for Dana Walsh. I hope so.

Because this is Starbuck we're talking about!

Fox's press release on the upcoming season of "24" is below.

KATEE SACKHOFF, FREDDIE PRINZE JR., MYKELTI WILLIAMSON,

JOHN BOYD, CHRIS DIAMANTOPOULOS AND JENNIFER WESTFELDT

JOIN THE CAST OF “24” FOR SEASON EIGHT

Series Returns with Two-Hour Premiere Event Sunday, January 17, on FOX

Katee Sackhoff, Freddie Prinze Jr., Mykelti Williamson, John Boyd, Jennifer Westfeldt and Chris Diamantopoulos have joined the cast of 24 for the series’ eighth season. The Emmy Award-winning drama starring Kiefer Sutherland returns for its next astonishing day with a two-night, four-hour premiere beginning Sunday, Jan. 17 (9:00-11:00 PM ET/PT) on FOX.

Season Eight will unfold in New York City amidst the shadows of the Statue of Liberty and the United Nations. In this new day, CTU has been upgraded and is run by MBA-schooled and razor-sharp head honcho BRIAN HASTINGS (Williamson, “Forrest Gump”). COLE ORTIZ (Prinze Jr.), an ex-Marine who wants to follow in JACK BAUER’s (Sutherland) footsteps, runs the division’s Field Operations. Expert data analyst DANA WALSH (Sackhoff, “Battlestar Galactica”) collaborates with systems analyst ARLO GLASS (Boyd, “The Notorious Bettie Page”) inside CTU. ROB WEISS (Diamantopoulos, “The Starter Wife”) serves as PRESIDENT ALLISON TAYLOR’s (Cherry Jones) new chief of staff, and MEREDITH REED (Westfeldt, “Grey’s Anatomy”) is an ambitious journalist with ties to the unfolding situation.

As previously announced, Sutherland, Jones, Mary Lynn Rajskub and Annie Wersching also return. In addition, Bollywood icon Anil Kapoor (“Slumdog Millionaire”) makes his American TV debut as OMAR HASSAN, a Middle Eastern leader who comes to the U.S. on a peacemaking mission.

24, created by Joel Surnow and Robert Cochran, is a production of 20th Century Fox Television and Imagine Television in association with Teakwood Lane Productions. Howard Gordon, Evan Katz, David Fury, Manny Coto, Brannon Braga, Brad Turner, Alex Gansa, Kiefer Sutherland and Brian Grazer are executive producers while Chip Johannessen and Patrick Harbinson serve as co-executive producers.

In the re-imagining of Lewis Carroll’s “Alice in Wonderland,” which is in production in Vancouver and airs on Sci Fi in December, Tim Curry will play Dodo, Colm Meaney (“Star Trek: Deep Space Nine”) will play the King of Hearts and Alessandro Juliani (Felix Gaeta on “Battlestar Galactica”) will be the 9 of Clubs.

Caterina Scorsone from the Starz TV adaptation of “Crash” will play Alice Hamilton, a modern-day woman caught in the strange realm ruled by the Queen of Hearts. This version of the tale uses Carroll’ “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” as “a jumping off point,” according to the network. 

“Alice” comes from the creative team responsible for Sci Fi’s 2007 miniseries “Tin Man,” which was a colorful updating of “The Wizard of Oz.” “Tin Man” writer/director Nick Willing is on board for the 4-hour “Alice” miniseries, which comes from Reunion Pictures, Studio 8 and RHI, the company owned by Robert Halmi Sr. and Robert Halmi Jr.

Among the other actors in the cast are Philip Winchester (“Crusoe”) as Jack of Hearts, Matt Frewer (“Watchmen”) as the White Knight and Andrew Lee Potts (“Primeval”) as "Hatter."

The excellent "Nurse Jackie" (9:30 p.m. Central Monday, Showtime; three and a half stars) is no "House" clone. But the two shows have a few things in common: They star spectacular actors who effortlessly convey a character's interior life, and they find humor in some very dark places.

Don't come to "Nurse Jackie" looking for a medical procedural in which a crack staff of good-looking doctors heroically save lives. The doctors here are interested in weird or complicated injuries, not in the people attached to them, and the callow and handsome Dr. Fitch Cooper (Peter Facinelli) is alarmingly likely to cause injury or death with his "care."

Physical (and sometimes emotional) care comes from the harried nurses at All Saints Hospital, where the weary Jackie has worked for years. She's adept at tossing verbal hand grenades at her clueless nursing assistant Zoey Barkow (Merritt Wever), her dragon-lady boss, at Gloria Akalitus (Anna Deavere Smith) and especially at Cooper (who cheerily insists on being called "Coop," despite the fact that All Saints isn't a cheery-nickname kind of place).

But to see Jackie carefully help a 10-year-old sort out her mother's medications is to fall a little in love with this woman, despite her faults. Now is as good a time as any to thank cable television for bringing us women who are as flawed and as fascinating as Gregory House and "Mad Men's" Don Draper. 

"Nurse Jackie" isn't perfect. The show's supporting characters, particularly Paul Schulze ("The Sopranos'" Father Phil) as Jackie's in-hospital pill supplier and Eve Best as an elegant and sardonic physician, have some outstanding moments (and more screen time for the wonderfully subtle Schulze is a must). But Zoey and Mrs. Akalitus come off as one-dimensional much of the time; the former is too dopey and the latter is too mean.

Despite those quibbles, the six episodes Showtime sent for review zipped by, for the most part. The half-hour format is perfect for this deftly directed program, which is character-based storytelling concentrated to espresso strength. The sixth episode of "Nurse Jackie," which was written by former Chicago playwright Rick Cleveland ("Six Feet Under," "Mad Men") had me in tears in less than 30 minutes -- but it also made me laugh out loud more than once. It's moving without relying on sentiment, and guest star Judith Ivey is astonishingly good.

Actually, the show that "Nurse Jackie" may resemble most is HBO's "In Treatment." True, Jackie's story is bleakly funnier than the chronicles of therapist Paul Weston (Gabriel Byrne), but the best episodes of both shows function as emotionally powerful one-act plays about smart, interesting people in crisis.

And like Byrne, Falco is a master of conveying many emotions with few words. Even in silence, she's eloquent.

A note: You can watch the entire first episode of "Nurse Jackie" here.

A reminder: Several cable shows are returning Monday, including "The Closer" (8 p.m. Central, TNT), "Weeds" (9 p.m. Central, Showtime), "Raising the Bar" (9 p.m. Central, TNT) and "Kathy Griffin: My Life on the D-List" (9 p.m. Central, Bravo).

An admission: I was unable to think up a medicine-related pun for the headline of this review. Apologies for the brain freeze. Feel free to supply a your own headline in comments.