I have very little and very much to say about this beautiful season four premiere. Let’s see whether my talky or taciturn side wins, shall we?

When we left Dillon, Coach had been screwed out of his position by Joe McCoy’s machinations,¹ banished to the newly reopened East Dillon High as both consolation and punishment. Despite promises of large state grants to both schools, the best talent and lion’s share of the money have been diverted to Dillon.

With reduced income, reduced status, inadequate facilities, and a dearth of assistants, Eric finds himself in a position he hasn’t faced in a very long time. Remember: he was the JV coach at Dillon before he was elevated to the head coaching job. He isn’t accustomed to fighting with and for scraps. And they are scraps.

His team, such as it is, consists of those unskilled and unidentified athletes Dillon was willing to draw district lines around. Of course there’s a strong racial and economic split between the two squads as well. With the East Dillon players coming from the poor side of town, black and Latino students make up a large percentage of its population which is reflected in the composition of the team. Hearkening back to season one’s “Blinders”, there’s a strong but so far unmentioned problem with race on the team. Following Eric’s rant, only black players walk out and Eric specifically checks with Vince Howard² to see if he’s going to stay.

In fact, race is a thread through much of the episode despite never being mentioned. In the scene with the bloc of angry parents shouting at Tami about their children being moved, the first two parents to speak are black. Then a white woman whose “parents went to this school before Tami ever heard of Dillon High” wants to know why her daughter is being “sent to that hellhole with that element.” In the context of the scene, her rant is overlooked but we can’t ignore it. Especially not given the question asked of Tami numerous times about whether she thinks the two schools are equal. It would be impolitic of Tami to say, “separate but equal is inherently unequal,” but that is the clear implication.

Give all this context, Eric’s emotional explosion against his new team and the subsequent racial divide is far more worrisome.

On other fronts:

• JD has gone full Vader, embracing daddy and daddy’s ways even if he’s letting himself be a bit wild on the side. I remember last season how excited I was to see what Jeremy Sumpter would bring to the table but now I fear he’s been turned into a caricature. I realize he was dejected at State but the mustache twirling is a bit much.
• Matt is back in town – we don’t know why yet – and finding that Dillon Tech isn’t quite the same as the Art Institute of Chicago. Then again, perhaps he’s finally come across a truly insightful teacher (his sketches do have a bit of that “art student” feel to them and I can’t disagree with her sentiments) who will help him find his own unique vision.
• Julie is going to run to East Dillon to be with her few friends who’ve not graduated yet, further challenging Tami’s public proclamations that the two schools are equal.
• Tami and the coaching staff at Dillon are dancing to two vastly different pieces of music. Whether she can keep from being stomped by them will be one of the key story lines this season.
• Related, Buddy realizes he’s not only been marginalized but has in fact thrown his lot in with bad folk. With so little power thanks to Joe’s money, I expected him to stand by Coach Taylor at East Dillon this season. After seeing him tonight, I’m further convinced he’ll make that jump, as difficult as it may be.
• And Tim. Ah, Tim Riggins. Thank you for one great scene after another. The books flying, the young girl’s shredding of a former star, and every moment with Billy and Mindy. That first scene at dinner with Billy and Mindy, where Billy says nothing, that was gold. I’ve said it before and I’ll keep repeating it until the end of time: Derek Phillips is a remarkable actor whose talents made Billy Riggins so much more than the joke he was intended to be.

I’m thrilled to see FNL back at full power. I would stack this season premiere next to most of the episodes in that first, perfect season. Last year was good; this year promises to be great.

What did everyone else think?

1. I’m sure in his eyes, Coach hoisted himself on his own petard by ignoring precious, perfect JD.
2. Welcome to Dillon, Wallace.

Roday does triple duty for this episode, starring and helming from a screenplay he co-wrote. Filled with subtle and not-so subtle homages to Hitchcock, this is the prettiest and most ambitious episode of Psych to date. It also has one of the most touching and peculiar scenes I expect to see on TV this year, something that would feel at home in a Wes Anderson film. And yet it retains its sense of fun throughout.

Psych has grown on me. I’ve been a fan since the pilot but have really appreciated how much the creators have let the show and characters grow into something more than the cheap entertainment it originally appeared to be. This isn’t high drama, but Steve Franks and his writing staff have found a good balance, where rich characterization adds depth and humanity to what would in lesser hands be cardboard stereotypes.

I know a lot of critics find Roday too grating for regular viewing but it’s only through watching the full run of the series that I’ve come to see his Shawn as more than a wisecracking, juvenile attention whore. In these few episodes where Shawn faces challenges and risks to himself and those he cares about, the obnoxious facade slips enough to show the scared kid beneath. The scared kid who jokes and jibes and demands to be the center of attention because that way no one will know he is scared.¹ And in tonight’s season finale, that scared kid is forced to choose between saving O’Hara and saving Abigail by the devious and deadly Mr. Yin.

The season finale of Psych is on USA Network, tonight at 10/9C.

1. And he won’t be alone, when he’s forced to confront his fears.

While I find White Collar to be a decent diversion and continue to watch it each week, it’s failed to make the leap narratively. I’m sticking around because I think Matt Bomer’s got a lot of charm, I love Willy Garson, and I’m a long-time fan of Tim DeKay’s.¹ Story-wise, they aren’t treading ground that I haven’t seen on dozens of other shows over the years.

I just don’t care if Neal ever gets back with Kate.² I’m not sure how much I care about Project Mentor and Fowler and I haven’t found him threatening in the least. Noah Emmerich is a fine actor who can certainly be an intimidating presence and he’s doing what he can with what he’s been given, but there’s just no heat there.

And of course I’m still stinging from the cheap feint over the mid-season cliffhanger.

I want this show to be more than it is and I think part of why I’m still watching is the hope that a little of Matt Nix will rub off on Jeff Eastin. I want Neal to do something truly bad to someone who deserves it. I want him to have a dark secret he must keep from Peter bigger than the uninteresting, plain vanilla machinations to steal the music box for Fowler. I want Peter’s threats to send Neal back to prison to be real, to feel like more than the equivalent of Ralph Kramden’s “to the moon, Alice.”

All of White Collar’s sister shows have embraced the dark to some degree. Even the lightest of light weights, Royal Pains, has demonstrated a willingness to rough up its characters and challenge our assumptions about them. Not so with our mismatched buddies here. Peter is (mostly) a by-the-book guy who grudgingly lets Neal bend the rules a little bit. Neal is a thief with a heart of gold. Mozzie, who at least expresses great antipathy for suits, is nonetheless a pussycat. Where are their edges?

I guess I shouldn’t be surprised Fowler and the criminals-of-the-week aren’t very intimidating. With such toothless protagonists, it would be terribly unbalanced to have actual bad guys as the bad guys.

But there is still hope.

The season finale inches toward the edge of the abyss, keeping its light heart while letting Fowler be a touch more intimidating. Revelations about Mentor and its relationship to Neal add a little spice. And maybe this time, the final shot won’t be a cheap trick to be explained away with a wave of the hand. If the events of Tuesday’s finale hold, it’s just possible that I’ll be watching White Collar next year for more than the charm of its leads.

If you’re hopeful like me, go ahead and give the season finale a chance this Tuesday at 10/9C on USA.

1. Plus, I keep hoping Natalie Morales is going to get a bigger role.
2. The fact that Alexandra Daddario is a blank as Kate doesn’t help the character’s cause. Why the hell is Neal smitten with such a non-entity?

Over the last three years, Michael Westen has faced his demons, ghosts from his past, and – in Victor – a cautionary tale of his own future. In tonight’s season finale he meets something far worse: himself.

The monster whose crimes fill Michael’s burn notice has been locked in a dark hole, stripped of his freedom and the credit for his evil acts while Michael has roamed Miami. Simon’s life’s work is Michael’s burden. And Simon wants it all back. To that end he spent millions, double-crossed Gilroy, and broke into the bright light of South Florida to force Michael’s hand.

Guest star Garret Dillahunt brings his usual creepiness to Simon, and by moving with dancer’s grace and standing straight as a statue of Lenin, he imbues Simon with a definite Michael Westen-ness. This monster, more than Victor or Dead Larry or Brennan, is what much of the world sees when it sees Michael.

Of course not everyone is fooled by the burn notice. Maddie knows her son. Sam and Fi know Michael. And for the most part, Michael still knows himself. There are a few moments, brief instants, in tonight’s episode where Jeffrey Donovan’s face contorts and his eyes glint and we can see bits of himself leaking away. Michael’s salvation has always been his makeshift family which is why they fight so hard to keep him from going off alone. This season¹ has seen him forced to push his friends away to work with (and against) Gilroy but their bonds have been strong enough to hold. Any hope Michael has of avoiding the fate of becoming what the pages of his burn notice say he is rests with Maddie and Nate and Sam and Fi.

But are they enough?

Earlier in the season, it seemed Michael was beginning to accept his new life. When Gilroy came to town, he wasn’t fighting to work with him to clear his name but because Gilroy was a bad chappie. With his makeshift family keeping him attached to the world and his drive to be freed from under his burn notice diminishing, it seemed Michael might find some peace. Simon’s entrance on the scene, and his burning desire to get his life back, complicates that. Simon needs intervention from Management to get back his life. At what cost to Michael?

Watch tonight’s very explosive² season finale at 10/9C on USA.

1. All seasons, in fact. The central theme of Burn Notice is that Michael’s ties to his friends and family are the only thing keeping him human. His desire to escape into his job is tempered by his attachment to those he cares about who care about him. A nice allegory for many of us, I’d say.
2. They love to bring out the pyrotechnics in the season finales. I for one love them more for that.

KICKS OFF FIRST EVER U.S. TOUR

YO GABBA GABBA! LIVE: THERE’S A PARTY IN MY CITY

ON SATURDAY, NOVEMBER 14 IN LOS ANGELES

SPECIAL GUESTS WILL JOIN THE PARTY ON STAGE, ROCKING THEIR FAVORITE ‘DANCEY DANCE’ MOVES

ADVANCE TICKETS FOR AMERICAN EXPRESS® CARDMEMBERS

BEGINNING WEDNESDAY, SEPTEMBER 30

PUBLIC ON-SALE BEGINS FRIDAY, OCTOBER 9

BEVERLY HILLS, CA & MIAMI, FL — (September 24, 2009) –W!LDBRAIN, the award-winning animation and entertainment company and S2BN Entertainment are proud to announce the launch of YO GABBA GABBA! LIVE:  THERE’S A PARTY IN MY CITY, the first live U.S. touring show for the hit children’s program Yo Gabba Gabba!. The show will feature DJ Lance Rock, and everyone’s favorite cast of characters– Brobee (the little green one), Foofa (the pink flower bubble), Muno (the red Cyclops), Plex (the magic robot), and Toodee (the blue cat-dragon) as well as lots of surprise guests.  The tour comes on the heels of the first YO GABBA GABBA! CD release YO GABBA GABBA! MUSIC IS AWESOME, hitting the shelves nationwide on October 20.

The tour will kick off in Los Angeles on Saturday, November 14, at the Shrine Expo Hall. YO GABBA GABBA! LIVE: THERE’S A PARTY IN MY CITY will also appear at the Beacon Theatre in New York City on Saturday, November 21, and the Rosemont Theatre outside of Chicago on Saturday, December 5.  There will be two shows in each city — in LA and Chicago they will be held at 11 AM and 3 PM and in NY 11 AM and 2PM.

Tickets will be available to American Express Cardmembers from Wednesday, September 30, at 9 AM through Thursday October 8 at 9PM.  There will also be a special pre-sale for Gabba Mail members on Tuesday, October 6^th at 10AM EDT.  The public on-sale will begin October 9 at 10AM.  Tickets will be available via Ticketmaster.com and YoGabbaGabba.com.

A one-of-a-kind live event, YO GABBA GABBA! LIVE: THERE’S A PARTY IN MY CITY will feature music, animation, games, singing, dancing, and special musical guests.  Favorites such as “Party in My Tummy” “Hold Still” and “Get the Sillies Out” will be featured in the show. Special guests will also join the party on stage rocking their favorite ‘Dancey Dance’ moves.  Presented using state of the art production elements, YO GABBA GABBA! LIVE: THERE’S A PARTY IN MY CITY will offer audience members of all ages an unparalleled experience.

YO GABBA GABBA! LIVE: THERE’S A PARTY IN MY CITY

Los Angeles, CA

Shrine Expo Hall               Saturday, November 14, 2009 11AM and 3PM

New York, NY

Beacon Theatre Saturday, November 21, 2009 11AM and 2PM

Chicago, IL

Rosemont Theatre Saturday, December 5, 2009 11AM and 3PM

YO GABBA GABBA! premiered on Nick Jr. in August, 2007. Since its debut it has garnered extensive critical acclaim including being hailed as one of the best new television series of 2007 by TIME magazine, winning the BAFTA for International Children’s Programming in 2008 and in 2009 it won the award for best children’s programming from the Television Critics Association.  Currently the number one show in its time period among kids 2-5, YO GABBA GABBA! has also captured a broad appeal among parents, teens and adults who love the program with its contemporary musical appeal and retro feel. The hit show has featured a variety guest stars like Jack Black, Rachel Dratch, Jimmy Eat World, Melora Hardin, Jack McBrayer, Andy Samberg, Amy Sedaris, Amare Stoudemire, Tony Hawk, Elijah Wood and popular bands Sugarland, The Ting Tings, The Shins, MGMT and The Roots.

YO GABBA GABBA! toys, apparel and other merchandise are sold in stores nationwide in the U.S. and have skyrocketed in popularity.  The series is currently shooting its third season in the U.S. and airs in several major international territories, including Australia, Canada, Israel, Latin America, New Zealand, South Africa and the U.K.

Visit www.yogabbagabba.com

I hope to get back on track in the next week or so, catching up on the summer shows I review and prepping us for the fall schedule. I’ll even try backfilling the reviews I’ve skipped but I make no promises about that.

And if you don’t hear from me before Monday with a preview of Greek…suffice it to say TheWife and I have become huge fans, always should have been fans, and have inhaled the first two seasons. The premiere is this coming Monday on ABC Family: don’t miss it.

Good news to fans of the con! More crime-y goodness. More below.

Summer Finale, Guest-Starring Jeri Ryan (Star Trek: Voyager),
Scheduled for Wednesday, Sept. 9, at 9 p.m. (ET/PT)

TNT has added two episodes to the summer run of its hit series LEVERAGE, starring Academy Award® winner Timothy Hutton (Ordinary People), Gina Bellman (Coupling), Christian Kane (TNT’s Into the West), Beth Riesgraf (Alvin and the Chipmunks) and Aldis Hodge (Friday Night Lights). The summer finale, guest-starring Star Trek: Voyager’s Jeri Ryan in a new recurring role as Tara, a grifter who helps the team out, will air Wednesday, Sept. 9.

The following is the schedule for the two episodes added to LEVERAGE’s summer lineup:

“The Ice Man Job” – Wednesday, Sept. 2, at 9 p.m. (ET/PT)

Summer Finale: “The Lost Heir Job” – Wednesday, Sept. 9, at 9 p.m. (ET/PT).

In LEVERAGE, Hutton stars as Nate Ford, a former insurance investigator determined to bring down the kind of corrupt bigwigs whose neglect led to the death of his son. His highly skilled team includes Sophie Devereaux (Bellman), a grifter who uses her acting skills to corner her marks; Eliot Spencer (Kane), a “retrieval specialist” with bone-crunching fighting skills; Alec Hardison (Hodge), a gadget and technology wizard who keeps the team connected and informed; and Parker (Riesgraf), a slightly off-center thief adept at rappelling off buildings or squeezing into tight places.

LEVERAGE is executive-produced by Dean Devlin (Independence Day, TNT’s The Librarian) and creators John Rogers (Transformers) and Chris Downey (The King of Queens). It comes to the network from Devlin’s Electric Entertainment.

TNT, one of cable’s top-rated networks, is television’s destination for drama and home to such original series as the acclaimed and highly popular detective drama The Closer, starring Kyra Sedgwick; Saving Grace, starring Holly Hunter; Raising the Bar, with Mark-Paul Gosselaar, Gloria Reuben and Jane Kaczmarek; Leverage, starring Timothy Hutton; HawthoRNe, with Jada Pinkett Smith; and Dark Blue, starring Dylan McDermott. TNT also presents such powerful dramas as Bones, CSI: NY, Cold Case, Law & Order, Without a Trace, ER and Charmed; broadcast premiere movies; compelling primetime specials, such as the Screen Actors Guild Awards®; and championship sports coverage, including NASCAR and the NBA. TNT is available in high-definition.

Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.

First, let’s get the big mystery out of the way…based on the way Betty’s belly looks I’d say we’ve jumped forward about eight months from the end of season two. Enough time for Don and Betty to have come to yet another in their long string of accommodations, for things at Sterling-Cooper to still be in flux, for Harry¹ to be much more important, and for Bert to have acquired a lovely piece of tentacle porn to keep his Rothko company. But just little enough time that we can watch as the new world order begins to emerge.

I will assume Don’s visions in the opening segment were a reflection of his anxiety over being a father again. Notions of belonging, family, parentage, and especially fatherhood are constantly aswirl within him. We’ve seen facets of this confusion before – his fear of being recognized as Dick Whitman and the time he told Bobby how he had been treated by his father in trying to explain he would never treat his own son that way are the two that come immediately to mind – and this scene shows us they are at the forefront of his mind. At least when he’s at home.

Because Don is a man of as many aspects as of suits. The inner strife that roils beneath the surface at home disappears the moment he removes himself from the heat. Each facet of his life seems to get its own, segregated psyche. He is always living in the moment with little comprehension of the consequences of his actions from one realm to another. Don is a master of compartmentalization.

More than Sal, anyway. Poor Sal. The guy can’t cut a break. A man in uniform takes all the pressure off him and…fire alarm. Which interruption is the problem with poor Sal, he who has a burning fire within that can’t be quenched and he won’t let burn free.

As I see it, the episode’s title refers less to the short trip to Baltimore than it does to the Brits out of water. They’re trying to establish control over Sterling-Cooper from afar with a small colonizing force, but simply fail to understand the reality of the situation. Pitting Pete and Ken against each other will only go so far; pushing everyone around with the gracelessness of a dying empire will eventually fail. Note how easily Joan maneuvers Moneypenny into a visitors’ office, knowing full well he’ll be pushed outside to the secretary’s desk once Lane Pryce sees him there. She understands how things work at Sterling-Cooper, and how things work in America. The Brits don’t²

Unlike Joan (and one suspects, Don,) most of the American staff are in thrall to the romanticism the Brits represent. Hence Bert’s insistence that the fog of London must exist, and barring that, that the name is still apropos. See also the secretaries swooning over Moneypenny’s accent. It will be the clear thinking of Joan and others like her that will keep the essential character of Sterling-Cooper; otherwise, the rebirth we witness this year will be massive in its scope.

One other point about the Americans vs. the Brits: have we ever seen a bald man at Sterling-Cooper before? A bald man in advertising at all? There have been almost no bald men on the show in its two-year run. But tonight we have a loud, brash, ballsy and bald American who speaks truth to power as he’s being forced out the door. A man who rightfully is upset by the manner in which his new corporate masters are rigging the system. A man who, I propose, is Matt Weiner’s avatar. His time at AMC has been (as far as we can tell, and barring the contract dispute last year) relatively calm but he’s been in the business long enough to have had his share of empty suits get in his way. Maybe I’m reaching. You decide.

On the Draper homefront, Betty is completing the distancing from both her children. Bobby’s the little liar and now Sally is (she jokes) the little lesbian. As they remain close to Don, closer than in the past with his softened demeanor, it seems, Betty will be focusing more of her attention on the baby she carries. Assuming no birthing catastrophes befall her, this can only lead to her further infantilization as she spends all of her time and emotional capital on her baby, ignoring her two older children.

Finally: Pete. Oy. He got the inferior client list³ and has the inferiority complex. Instead of accepting the situation as it is and doing his best to make it work – the approach Ken seems anxious to take – Pete wants to bitch and moan about it. His self-righteous sense of entitlement makes this a difficult pill to swallow. Add to that his constant sense of inferiority to Ken and he is practically choking in the gall. Ken is more confident. Ken is better looking. Ken is taller. Ken is a better writer. Ken is, Ken is, Ken is.

All in all, a great start to the season.

What did everyone else think?

1. !
2. Not yet, at least.
3. What hapened with Utz that caused Ken to lose them? Am I forgetting something from last season involving Ken, or is this a missing puzzle piece?

TNT will conclude the fascinating journey of Oklahoma City Police Det. Grace Hanadarko in 2010, when the network’s groundbreaking original series SAVING GRACE will come to an end. SAVING GRACE will wrap up with a nine-episode run planned for next summer. The provocative drama stars Oscar® winner Holly Hunter (The Piano), who this year received the second of two consecutive Emmy® nominations for her no-holds-barred performance. Hunter also serves as executive producer of SAVING GRACE, along with show creator Nancy Miller (Any Day Now), Gary A. Randall (Any Day Now, Leaving L.A.) and Artie Mandelberg (Leaving L.A., Mr. & Mrs. Smith). For its current summer run, which ends Tuesday, Aug. 18, at 10 p.m. (ET/PT), the show has averaged more than 3.5 million viewers and ranks first in its time period among viewers, households, adults 25-54 and women 25-54.

“Since SAVING GRACE began in 2007, the series has both challenged and entertained viewers in ways few other shows on television ever dare,” said Michael Wright, executive vice president, head of programming for TNT, TBS and Turner Classic Movies (TCM). “The show’s continued success is thanks to the amazing talents of Holly Hunter and Nancy Miller, along with a tremendous ensemble cast and a highly skilled production team. They have taken us on a unique journey, and we look forward to seeing where it will ultimately lead.”

In SAVING GRACE, which comes to TNT from Fox Television Studios, Hunter’s Grace Hanadarko is a high-spirited detective who holds nothing back, whether on the job or in her personal life. The series follows as she investigates brutal crimes while also trying to find balance in her conflicted relationship with her partner, Ham (Kenneth Johnson – The Shield), whose grief she helped soothe after the death of his brother in Afghanistan. Grace also has to deal with her unconventional last-chance angel, Earl (Leon Rippy – Deadwood), whose interaction and occasional interference in her life is, according to him, all part of some master plan that even he doesn’t fully understand.

In this summer’s episodes, Earl has worked to create a connection between Grace and a young addict named Neely (Yaani King – The Prince & Me), whose life may eventually be in Grace’s hands. While trying to figure out Earl’s plans, Grace has also provided firm support for her best friend, criminalist Rhetta Rodriguez (Laura San Giacomo – Just Shoot Me), who is emotionally despondent over losing her family home and catching her husband in an affair.

Grace’s circle also includes her admiring nephew, Clay (Dylan Minnette – Prison Break); her boss and friend, Kate Perry (Lorraine Toussaint – Any Day Now); and her fellow detectives, Butch Ada (Bailey Chase – Las Vegas) and Bobby Stillwater (Gregory Cruz – Criminal Minds).

For its first season in 2007, SAVING GRACE ranked as ad-supported cable’s #1 new series of the year in delivery of viewers and households. Over its three seasons to date, the show has averaged 4.1 million viewers. This summer, SAVING GRACE has performed well among DVR users, scoring 33% growth among viewers and 34% growth among adults 25-54 when comparing Live to Live + 7 deliveries.

SAVING GRACE is one of six high-profile original dramas that have populated TNT’s Monday-Wednesday lineup this summer. The six dramas – which include Monday’s The Closer and Raising the Bar, Tuesday’s HawthoRNe and Wednesday’s Leverage and Dark Blue – are part of an aggressive TNT strategy to build a slate of quality original programming in primetime.

TNT, one of cable’s top-rated networks, is television’s destination for drama and home to such original series as the acclaimed and highly popular detective drama The Closer, starring Kyra Sedgwick; Saving Grace, starring Holly Hunter; Raising the Bar, with Mark-Paul Gosselaar, Gloria Reuben and Jane Kaczmarek; Leverage, starring Timothy Hutton; HawthoRNe, with Jada Pinkett Smith; and Dark Blue, starring Dylan McDermott. TNT also presents such powerful dramas as Bones, CSI: NY, Cold Case, Law & Order, Without a Trace, ER and Charmed; broadcast premiere movies; compelling primetime specials, such as the Screen Actors Guild Awards®; and championship sports coverage, including NASCAR and the NBA. TNT is available in high-definition.

Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.

This episode was all kinds of wonderful. From Hardison’s wig to Parker’s awkward interactions with people to the tongue-in-cheek homages to the great thrillers of the ’70s, from start to finish: fun. By switching up roles in an effort to allow Sophie to seek some comfort and excitement after her breakup, everyone got a chance to use some of the skills they’ve been developing in their ongoing effort to become more well rounded thieves and grifters. We’ve seen more of this, extending back to the latter episodes of the first season, and each time the writers have found a way to make it interesting. Sophie isn’t a master planner and never will be; it would be far more boring if she slipped into Nate’s role without some trouble. Likewise Parker scamming and Eliot playing computer geek.

If I were to complain about anything it would be that Eliot didn’t struggle enough finding information on Hardison’s interrogator and that Nate seems too comfortable in the midst of a grift. The weight rests on Beth Riesgraf’s shoulders to be the awkward, uncomfortable one when playing a role; I’d like to see a little more of that from everyone but Sophie.

That small grumble aside, this was good.

Edit: I wrote my review off the screener. I should have waited. During the episode, TNT had cross-promotion of Raising the Bar with *Nancy Grace*. An hour in which Leverage bashes her loosely fictionalized stand-in and they put her smug face right there in the middle of it!

In what I can only surmise is Time Warner’s blindness, the team took down Nancy Grace tonight. A shrill, idiotic, fear-mongering harridan whom no one takes seriously as a journalist.¹ After viciously twisting the truth, lying, and slandering an innocent man in order to secure ratings, the exonerated bus driver finally tried to kill himself. His good name had been muddied by Hunter – would have been muddied just to be uttered aloud by so despicable a person² – until he finally tried suicide. Fortunately his daughter found him in time and then found her way to Leverage’s door.

It’s probably good for her that Sophie is looking for something to fill the emptiness she’s now feeling; Nate appeared ready to walk away from this job restoring a man’s name. But Sophie thinks they can do it by tainting Monica Hunter and forcing the network to issue a complete apology. And if they taint her enough, all her victims will be rehabilitated in the public’s eye.

The team chose a straightforward con but failed to take into account the extreme pettiness of Hunter. Handing her a story about secret prisons peppering America, she opted not to run with it when she realized her fans wouldn’t be interested. They’d be happy to know such prisons exist in their midst.

Unlike most of the setbacks on Leverage, this wasn’t a failure of the mission or the result of a clever mark seeing through their machinations. This was, plain and simple, an idiot. No sensible person would think a respect- and power-mad “journalist” would pass on a story of that magnitude and import for short-term ratings. I believe Hunter would pass; it’s just so shocking to encounter someone that stupid in real life or fiction.

As opposed to many of the team’s cons, the conflict was not a result of Hunter resisting for any rational reasons. The biggest obstacles they faced were the result of her bad choices. Jumping the fence at the military base was “Lucy trying to get into the show at the Copa” stupid. And while it did lead to some difficulties in getting her and Hardison back out, it ultimately helped seal her fate.

As much as I enjoyed this one, I’m not sure what to say about it. We’re all aware of the problems of cable news and cable “news” but fear mongering isn’t a new thing. As long as there have been crowds there have been demagogues ready to excite and yoke them for their own nefarious purposes. Historically, those have been about military power and political and religious control but even petty capitalists have capitalized on fear before. Hell, even Henry Hill used fear to whip up the good citizens of River City into a band uniform-and-instrument buying frenzy.

On the personal front, it was nice to see Nate acknowledgment that Sophie “carried his drunk ass for over a year.” Their relationship has evolved into something much greater than the passionate banter and battling of the past into a true friendship. The spiritual void she’s feeling right now will presumably test her convictions about who she is and what she does; having a true friend in Nate will make that much simpler.

What did everyone else think?

1. Had Hunter been a man, I’d have assumed it was a Glenn Beck stand-in.
2. Seriously: Nancy, Glenn…what I’m writing here applies to you.