The Middies Are Back

It's almost time for the US of A to unleash some mid-season scripted newbies on us all.

Those scoffing "Mid-season replacements are like Stargate: Universe was to the SG franchise; short-lived shows qualifying as bad fillers", should bite their tongues. A lot of programs born to be between-season fillers go on to become grown-up shows!

Buffy The Vampire Slayer was a middie, as was Grey's Anatomy. Dawson's Creek, The Black Donnellys, Third Rock From The Sun, Moonlighting and even Walker, Texas Ranger, all started their lives in the rating's grey zone.

IMAGINE THAT.

This year, I really want to watch The Cape.

A genre show aimed at a niche audience, the best it can hope for is to become the new Chuck. That is, a popular show among weird audience types; consistently walking so close to the cancellation line that fans find themselves equally relieved and exasperated each time a new allotment of episode orders are announced.

You just keep on pushing my love over the borderline.

Madonna, Borderline lyrics.

So what's The Cape about? In a very tight summary, a wronged cop is framed for a crime he did not commit. (How often have you read that line?). He then becomes a superhero. (That line, not so much).

Personally, I always find superheroes a little naff to watch in 'real life' ie film and television. Visually, what seems terribly awesome in comic form somehow never really translates to anything other than, well, terrible and kind of embarassing onscreen. (Bar the X-Men movies, but only because the costume department got smart and dressed most of the cast in sleek dark ensembles).

I'm sure many people would argue this isn't true, but my blog, my opinion. On the bright side, at least a cape is kind of subtle. The title makes no mention of fluoro undies on the outside, or Mardi Gras-friendly amounts of lycra.

The best part about The Cape is the return of Summer Glau. There's an actress who always holds my attention. Some people find her a bit blank, but that's more a reflection of casting patterns than performance. When she's played voluble characters- or moments when her crazy characters imitate the sociable- she's been equally as fascinating/riveting as when she plays a Terminator (The Sarah Connor Chronicles) or a damaged genius (Firefly). I just hope this proves a strong vehicle, because I'll cringe if Summer is reduced to Sassy Hot Chick On The Side.

The Brits offer the ex-colonials across the water a bout of help via Skins and Being Human, two popular British programs that have undergone Americanisation. Here's hoping the (conceptual) transplants take.

I quite like Being Human, which sees a vampire, a ghost and a werewolf forced to share a flat. If the show's writers want to master the melding of nitty gritty inter-personal relationship issues with supernatural themes, they should take a leaf from Supernatural. (Any opportunity to plug the Winchesters!).

The American version of Skins, shot in Canada, comes under the MTV umbrella. For some reason this gives me flashbacks to the scene from Reality Bites where Winona's raw, touching Gen X footage is mutilated by the 'hip' youth channel. De ja vu? Let's hope not.

There's another British remake hitting screens, called Shameless. Unfortunately, it seems bound to score a lot of 'Shameful' puns in review headlines. The general consensus on the net so far is leaning toward epic disappointment, and the program hasn't even screened yet. Part of the outcry, I think, is due to the fact viewers, and reviewers, generally have higher expectations from the HBO network.

On the boring front, prepare for more cop shows, because apparently there's not enough procedurals out there. Worse, an offshoot's in the mix. Yes, a new Criminal Minds. Networks just can't resist the lure of procedural franchising... sigh.

On the law front, Fairly Legal gives the impression it will be fairly entertaining. The story follows a kind of Ally McBeal lawyer girl who instead becomes a mediator? It should be slightly more watchable than painful. (That's my anti-law show bias coming through). In reality, FL will probably prove quite popular.

Portlandia looks set to be either weirdly uber-cool or weirdly uber-lame. I don't think there's any other reaction for this style of comedy, aside from the classic hit or miss scenario. Filmed on location with Saturday Night Live staffers involved, I think there might be just a hint of Flight of The Conchord's humour flavouring that there mix... maybe worth at least one viewing?

There is, of course, the obligatory Trying To Be The New Friends effort. This year it's Happy Endings, which follows a group of friends (Six, to be exact. Would you look at that?) who have to survive a disastrous non-wedding between two of their tight-knit clique. As one character describes it:

This is a classic story of boy meets girl, boy losers girl to guy on rollerblades, boy becomes greatest youtube sensation since kitten stuck in tuba.

Happy Endings, Season 1, Episode 1.

Some of the lines are quite witty; lighthearted entertainment perfect for a quiet weeknight. There's your obligatory, easy-laughs Bridget Jones kind of character in the mix, who is always SO MUCH FUNNIER in film and television than in real life. (In reality, the fact that successful, healthy women are still utterly obsessed with catching a man and getting that long-cherised wedding ring qualifies as a tragedy more than anything else).

My standout pick of the middies is Mr Sunshine, with original Friends alumni Matthew Perry and the fantastic, ever-droll Allison Janney. Perry's character Ben Donovan is turning forty and manages an event venue called The Sunshine Centre. Let's just say his life is a bit of a mess. The show also stars James Lesure, from Las Vegas, and is penned by writers from The Family Guy, which I think implies the humour won't sink to lame levels. The trailer is laugh out loud funny, so I'll be watching.

Of course, the best thing about the middies is, no matter how much you correlate the data (writer's resumes, casting choices, quality of promos) you often miss a diamond in the rough, a quiet little sleeper that goes on to explode across the cultural zeitgeist.

Fingers crossed, then, for a fresh, wild and totally unexpected (scripted) success this middie season, because who doesn't like surprises? x

The Xmas Deluge

The twelve days of Christmas equal saccharine television programming. So are you in, or are you out?

Telemovies made especially for Christmas have a weird effect on me. Mock, or not to mock? That's really the question. One part of my personality is gagging at the sterotypes and the sickly, simple narratives using Christmas 'miracles' to overcome dodgy scripting. Another part of me, maybe the inner child, is completely engaged, wholeheartedly supporting the idea Santa can fix anything and mean people do turn nice around yuletide.

Take the other nite, for example. The whole fam somehow ended up watching a tv movie about a little girl who finds an injured reindeer. Deciding it's Prancer, she hides her new friend in the back shed (as you do).

For a while we mocked some of the storyline discrepancies. "So that lady gave her fifteen dollars when it was early evening, then she apparently walked miles into town by herself in the snow and bought oats for the reindeer's dinner before walking back, when?? It's still twilight!"

Also, child services needed to look into this kid's care situation. She spent a LOT of time roaming around the forest/town by herself, talking to strangers. Sure, they turned out to be gruffly kindhearted, but still, if this wasn't a Christmas movie chances are she'd be the "uh oh" victim in a police procedural.

And yet... despite many flaws and numerous tacky moments, somehow, somehow, I still cried when the grieving dad bared his soul and the stupid reindeer did a lame CGI Santa sleigh run against the full moon backdrop.

WHAT IS THAT ABOUT?

Scripted television Christmas episodes are like the tinsel on the television tree. Like a Christmas movie, Yuletide-themed material alternates between touching and aggravating, full of mistletoe and good intentions.

Interestingly, sometimes quality shows don't write the best Christmas material, whereas every now and again a mediocre program pulls an xmas gem out of the santa sack.

Here's a dozen Christmas television viewing experiences indelibly printed on my brain, burnt into a cell next to the one marked 'Pointless Carol Storage, ie the third verse of Good King Wenceslas'.

On the First Day of Christmas, I Watch...

...Anything based on Dickens' A Christmas Carol.

Finding Scrooge on tv around Christmas is like shooting fish in a barrel. Family Ties produced a version and even the Jetson's got animated over Dickens (Get it?). There's also an endless ream of telemovies based around the idea of visiting your own past, present and potential future. An alluring Christmas concept, no matter the presentation. (Here's looking at you, Tori Spelling. Yes, she played a modern day girly Scrooge!)

On The Second Day of Christmas, I Watch...

...Friends, The One With The Holiday Armadillo.

Who can ever forget the sight of Joey dressed up as Superman, Chandler as Santa and Ross as the holiday Armadillo, all to explain Hankukah to young Ben? And of course, there's always Phoebe.

Ross: I think I want to take this year to teach him all about Hanukkah.

Phoebe: And maybe I could teach Ben about the Christmas skull and how people die.

Rachel: You may need to use this year to teach Ben about Phoebe.

On The Third Day of Christmas, I Watch...

...Buffy, Amends.

This is a great episode. The vampire Angel, recently resurrected and soul restored (long story) is being driven insane by an evil being haunting him with visions of his soulless past. He decides to commit suicide by sunlight. Buffy tries to dissuade him, but it's too late, sunrise is due... except it never happens. Miraculously for California, a sudden snowstorm fills the sky, obscuring the rays of the sun. Awww. Highly humanising.

Angel: "Look I'm weak. I've never been anything else. It's not the demon in me that needs killing Buffy. It's the man."

On The Fourth Day of Christmas, I Watch...

...The Vicar of Dibley, The Christmas Lunch Incident.

The poor vicar is invited to numerous lunches. To avoid insulting anyone, she wolfs down more food than is humanly possible at every Christmas feast. This is a gem of an episode. I like it when she drives across the road to the next meal, and eventually gets carried home on a forklift machine thing? (I think it's technically called something else- either way, HILARIOUS).

On The Fifth Day of Christmas, I Watch...

...Trashy Christmas Episodes.

Three way tie between Roseanne, My Name is Earl and Married With Children. Truly vulgar interpretation of Xmas that are full of laughs and also full of heart, too.

Darnell: Thanks Earl. It's cold outside in that manger. I don't know how Jesus did it.

On The Sixth Day of Christmas, I Watch...

...A Very Brady Christmas.

Combine a reunion movie with a Christmas telemovie, throw in an aged Brady Bunch cast on top of that dynamite combo, and what do you get? Television sooo bad it can only be good. Nostalgia combined with Christmas spirit makes me feel ill, similar to the sick feeling you get after too much Christmas pavlova. Terminally saccharine.

On The Seventh Day of Christmas, I Watch...

...3rd Rock From The Sun, Jolly Old Saint Dick.

American culture can never again look as kooky as it did through the weird lens that was the Solomon 'family'. The concept of Christmas is comedy gold in this framework. Prepare to laugh hysterically as everyone's favourite aliens stagger their way through earth's yuletide rituals.

On The Eighth Day of Christmas, I Watch...

...Supernatural, A Very Supernatural Christmas.

Appeals to the inner Christmas cynic. Strikes right at the creepy factor overly decorated homes inspire. You know, when there's just so many plastic reindeers jerking around on someone's roof it seems to hit you somewhere in the solar plexus. In this episode victims disappear up the chimney (yes, you read that right). Pagan gods who pervert the spirit of Christmas deserve the wrath of the Winchester brothers, that's all I'm saying.

Dean: So what the hell do you think we're dealing with?

Sam: Actually I have an idea.

Dean: Yeah.

Sam: It's gonna sound crazy.

Dean: What could you possibly say that's going to sound crazy to me?

Sam: Um, Evil Santa?

Dean: Yeah, that's crazy.

On The Ninth Day of Christmas, I Watch...

...The Last Leaf.

I think this is meant to be a religious Easter film, but I've always caught it at Christmas, so am including it in the list. A little girl gets sick after befriending an elderly artist. In her fever she decides she'll die when the last leaf falls off the vine on the wall opposite her bedroom window. She gets sicker with each leaf lost, but the last leaf never falls (suspicious during snowstorm weather!). The little girl gets better, only to discover her old friend went out and painted a leaf onto the wall in a snow blizzard, only to fall off the ladder and die. CUE SOBBING.

On The Tenth Day of Christmas, I Watch...

...Twilight Zone, Night of the Meek.

I saw this weird, TZ take on a Christmas special when I was really young. A show always wonderfully written, the Santa sack episode is no exception. A nice way to break up standard tv mistletoe fare.

On The Eleventh Day of Christmas, I Watch...

...King of Kings.

Ok, it's not a telemovie. It's highly religious. Whatever qualms you might have about this film, I can't get through the holiday season without it. As a child, it was indelibly burned into my psyche. When I got older, cynical uni friends would offer lofty criticism like, "It's technically impossible for Jesus to have blue eyes, you know". I didn't care then, and I dont care now. I'm fine with being unhip about this movie. In the irrational, emotive spirit of Christmas, I love this movie for its grandeur, the kindness of its hero and the tragedy of his crucifixion (oh, did I ruin the ending for anyone? Don't worry, there's more).

On The Twelfth Day of Christmas, I Watch...

...The O.C. The Best Chrismukkah Ever.

Combine Christmas and Hanukkah said Seth Cohen. Pure genius, according to anyone at the time suckered in by the latest zeitgeist. I still think it's a fun idea, but I could be seeing the concept through rose-tinted Adam Brodie glasses. (He played Seth as such a cutie).

Seth: You can't ruin Chrismukkah. It's got twice the resistance of any normal holiday.

Finally... Merry Christmas to all, and to all a good night! :)

The Walking Dead

I have some emotional and psychological problems with zombies, ie they FREAK ME OUT.

Yes, I've heard every argument pertaining to the metaphorical nature of the undead (here's looking at you, Romero). Frankly, the idea that mindless consumerism can be represented by an actor in grey body paint with bits of their face falling off, is just lame. Don't zombie fans know that shopping makes people talkative and happy, and consequently, less likely to turn cannibal?

Ask any therapist.

When it comes to freaky-deaky favourites, the truth is, I like my monsters pretty. It's an aesthetic addiction. Cunning is also a preferred character trait. I'll take multi-dimensional over mindless any day. Ergo, vampires win out over zombies, fangs down.

Not to mention the distinctive difference in menu preferences. Vampires drink blood, while zombies chow down on people. There's no denying a vampire feeding frenzy is a lot easier to watch. It's the same reason I can't stand orange juice with pulp in it. I just don't like gooshy bits!

Frankly, zombies are all-round gooshy. They look gooshy, they eat gooshy, and their heads blow up gooshy when gamers shoot them. Call me weird, but I don't like/appreciate/enjoy watching animated corpses meander clunkily across the screen.

But in the name of dedicated research, I watched a few episodes of The Walking Dead. (What a hero. Medal for one, thanks).

It's important to keep in mind everything scary scares me, and not in an entertained way. I get stressed during suspenseful infomercials. (Will the stain come out? WILL IT?!)

On a side note- I'm often asked how is it that I can praise Buffy and Supernatural so much, if spooky stuff spooks me?

Maybe it's because the characters are complex, the heroes tortured, the anti-heroes fascinating? Whatever the reasoning, my subconscious deems those shows comparatively different (at the core) from straight horror. I literally flinch at the horror genre, and loathe the living dead. Personally, I think it's the mindlessness. And the gore. AND THE FEAR.

So, speaking of this show...

It seems slightly irrelevant to comment on the scripting, since word on the web has it they've just sacked the writing team. With regards to the pilot, I did like the idea of our hero waking up after the event. Very nice way to work it. Unfortunately, that could be the end of my compliments on this production.

To be fair, from a horror perspective, I guess I can't judge. I don't really have a frame of reference, aside from a few Twilight Zone episodes that crossed the border from psychological thriller to spookfest, which, in the eyes of horror fans, qualifies me as 'LAME'. I am friends with a surprising number of zombie afficionados (a fact which occasionally worries me) and they've backed up the impression I got- that this outing is subpar.

See, people who love zombies have seen it all, read it all, gamed it all. That's your inbuilt fan base, right there. To then offer them a show about two rungs above a student effort is a tad disappointing. Personally, I think zombie fans of the world deserve better.

(There's a sentence you don't get to type every day).

The characterisation is bland, almost caricatured. I can't remember anyone's name. I'd like to think the woodenness is because the character's are suffering shock or post traumatic stress disorder, but am leaning toward dodgy scripting.

Overall, this crew is way too mellow. Am I the only one who thinks a Z-apocalypse would be slightly more harrowing? For one thing, when I think post-apocalypse, I don't really think clean hair and ironed clothes.

But maybe I'm just not up on zombie-apocalyptic etiquette. (Note to self: order handbook).

Seriously, though- in this business called survival, a lot of time seems to be spent hanging around waiting, and I feel noone's cracking up appropriately. The Amazing Race competitors are more stressed/wired/dramatic than this mob. I mean, everyone you've ever known/loved/met/hated is now dead, and worse, a lot of them are EATING EACH OTHER.

Don't even get me started on the impromptu caravan park. Note to scriptwriters: this isn't a camping trip! When a zombie apocalypse is unfolding and you've barely managed to escape the city alive, wandering casually around the woods by yourself is a NO-GO. Remember the Blair Witch Project? Not so much a movie, as a what-not-to-do training video. (The Walking Dead is a bit of a haven for BWP's missing characters, from what I can tell).

Oh, and if that grunt-y sex scene in the woods was an attempt to emulate a touch (get it?) of True Blood's skanky allure, all I can say is, EPIC FAIL.

A zombie lovin' friend who pays close attention to the finer details pointed out quite a few technical discrepancies throughout the series. That seems to happen a lot in programs with supernatural (or kind of supernatural) elements. Any tv show with creatures, and the 'rules' waver from episode to episode. Or, to be more accurate, said 'rules' are rewritten/adjusted to handle expanding plot points/narrative, leaving viewers choking on the discrepancies.

(There are courses for this, people. Google Robert McKee).

Strangely, the mediocrity of this effort makes me realise the zombie concept does have scripted television potential, in the right hands. Unfortunately, so far, The Walking Dead is a D-grade misfire.

(And yes, I know the photo above is from Love, Actually, but I can't get past the fact the actor who played the weird guy writing TOTALLY INAPPROPRIATE poster comments to his best friend's wife in that movie, is the heroic sheriff in this show. When he rode the horse through a zombie-filled city, all I could think was, where's Chuck Norris? We all know Walker Texas Ranger would thrive under the pressure of a zombie apocalypse).

The good news is, I finished my uncomfortable TWD viewing session with a dose of Sanctuary, and felt a whole lot better about my day.

The BBC Is Such A Tease

When it was announced a television series would be revisiting history's greatest fictional detective, I was among the jaded viewers who sighed at the prevalent, incessant trend for recycling classic literary protagonists.

Eventually I took the time to climb down off my high horse/get off my soapbox, watch the pilot, and eat crow. A lot of crow.

Sherlock is a candidate for the television version of Mensa; easily one of the best of 2010's new blood. So, how many episodes does the BBC offer newly seduced fans? Twelve? Twenty-four? No, make that three.

Yes, television is an expensive industry. Yes, it is easier/less risky to commit to fewer weeks of production. Still, at some point, shouldn't the people involved in the decision-making process realise they're holding a diamond, not just a piece of coal? Isn't that technically (kind of) what they're paid for?

Why set up a series and have audience numbers engage successfully with the characters, only to say, yeah, so, that's it, see you lot in a year... maybe?

Unfortunately, this teasing approach to fresh programming is beginning to look like a worrying trend for the BBC. In 2009 we were exposed to a new series called Being Human. For some reason the BBC seemed surprised a show so completely on trend (a vampire, a ghost and a werewolf become flatmates) proved successful both domestically and internationally.

Being Human aired with a first season tally of six episodes, plus the pilot. In 2010, the second season outing was upped to eight episodes (gee whiz). The third season, screening in 2011, will also be eight episodes in length. Yes, three years into the show and avid fans are left with a grand tally of twenty two episodes, plus the pilot.

LAME, MUCH?

Unlike their pushy American counterparts, the other lot over the water don't seem to understand that managing (read milking) a popular series for all it's worth requires striking when the iron's hot ie, often at the peak of the program's initial popularity.

Sherlock was a shoo-in for success. Modernising a beloved classic. Odd couple procedural with a twist. Created by a respected author/playwright and Steven Moffat, the Scottish powerhouse behind the success of the new Doctor Who. Starring Martin Freedman as the sidekick Dr Watson, a popular ordinary man actor who, thanks to The Office, Shaun Of The Dead, The Hitchhikers Guide To The Galaxy and Hot Fuzz, has more fans than you could swing a classic at.

As for the certain-to-be-beloved protagonist Sherlock... throw in a brilliant, intense-looking thespian, the kind England seems to have growing on hedges, and you're golden.*

(*Added to all of this would have been early dailies showing some of the most beautiful cinematography I've seen on television in a long while).

Sure, the Brits excel at gritty, or quirky onscreen material. However, Sherlock proves beyond a shadow of a doubt that they can create successful procedural television- ie glossy and intelligent, yet still popular contemporary viewing- even better than their American counterparts (oh, the scandal).

Aside from focusing on what I consider to be a marketing horror, ie the mismanagement of the project (yes, they say another 'season' will screen next year, but this is television! We're only three episodes in, I want more NOW), I should probably take a moment to explain some of the charm of the program.

Ironically, I have never been a fan of Sherlock Holmes. My dad gave me some of Arthur Conan Doyles books, which I dutifully read till I fell asleep, because detective novels, even such a grand classic as a Sherlock tale, never seemed to hold my attention.

He then had me sit through the black and white films from the late thirties/early forties (there's more than a dozen). Because I like old cinema, this increased my interest by, oh, let's say, about fifteen percent. However, considering that interest was sitting at around twenty percent to start with, that doesn't say much.

To be honest, I only watched the new Sherlock because it looked pretty. Um, that is, pretty interesting (!). Five minutes in, I was hooked, absolutely hooked. By the end of the first episode I was totally infatuated with the show. The second episode, while not as consistently sharp in the writing department, was incredibly beautiful to watch. The final episode was enthralling and had me definitely prepped and ready to enjoy the rest of the season... except, that was it.

The character of Sherlock is fabulously modern. Of course, I could be biased, he's everything I usually find sexy. Alternately manic-ly restless and brooding, mentally brilliant while also being socially and emotionally, shall we say, challenged? Plus, he wears a lot of relatively austere, well-cut black clothing.

YUM.

Dr Watson is fantastic as a vet recovering from duty in Afghanistan, seemingly mild-mannered, but suffering his own version of PTSD:

Mycroft: You have an intermittent tremor in your left hand. Your therapist thinks it's post-traumatic stress disorder. She thinks you're haunted by memories of your military service.
Watson: Who the hell are you? How do you know that?
Mycroft: Fire her. She's got it the wrong way around. You're under stress right now and your hand is perfectly steady. You're not haunted by the war, Dr. Watson. You miss it.

Sherlock, Season 1, Episode 1.

This character quirk is also used to bring Sherlock and Watson together in a professional capacity:

Holmes: You're a doctor. In fact, you're an army doctor.

Watson: Yes.

Holmes: Any good?

Watson: Very good.

Holmes: Seen a lot of injury, then? Violent deaths?

Watson: Hm, yes.

Holmes: Bit of trouble too, I bet?

Watson: Of course. Yes, enough for a lifetime. Far too much.

Holmes: Want to see some more?

Watson: Oh god yes.

Sherlock, Season 1 Episode 1.

At the crux of the partnership is Watson's inherent respect for Holmes' talent:

Watson: That was amazing.

Holmes: Do you think so?

Watson: Of course. It was extraordinary. It was quite- extraordinary.

Holmes: That's not what people normally say.

Watson: And what do people normally say?

Homes: Piss off.

Sherlock, Season 1, Episode 1.

Now and again, the mood is particularly British, droll and clever, full of subtle emotional innuendo rather than overdone dramatic expression.

Some of the crimes (ie puzzles) were easy to solve in a general sense, only because of the time constraints of the episode, not because I'm especially clever.

For example, the crimes in the pilot episode, a series of supposed suicides, include a scene between two bit parters pointing out they'd taken the drunk victim's car keys... then another victim returning from the airport is told to get a taxi by his lover.... am I the only person for whom this screamed CABBIE?

Likewise, in the final episode, the dead security guard's housemate mentions he had no interest in art, but liked to look at the stars through his telescope... then there's a call that takes Holmes and Watson to the planetarium... and all of this is because of a painting that's obviously fake, so I guess the glaringly obvious link would be STARS. And would you look at that. There's a night sky in the painting.

In summary, episode one is the standout effort. It's extremely well crafted. Episode two is the weakest link (keep in mind, that's grading on a curve). In episode two, the character to suffer most from the weaker narrative effort would be Watson. He was much more complex in the pilot. Luckily, he recaptures that depth, and more, in episode three.

To be fair, episode two does have the best "his powers of deduction are bedazzling" scene. Sherlock points out why the dead man in the bedroom was left-handed, based on a number of minutae no ordinary person would even have registered. GO SHERLOCK.

Sherlock, at one point, describes himself as a high functioning sociopath. I think characters like Sargeant Sally Robinson, who don't like him, infer that he is void of empathy, but I don't believe this is correct, because he does seem to react intuitively to people in distress. He might miss nuances in general everyday life, but, for example, when Watson's love interest Sarah becomes hysterical after being kidnapped by Chinese smugglers, Holmes visibly responds to her distress with instinctive reassurance.

Standout supporting cast include Una Stubbs as the dotty landlady Mrs Hudson, Mark Gatiss as Sherlock's brother Mycroft, and Rupert Graves (always a fan) as the long-suffering Detective Inspector Lestrade.

Frankly, I could go on about Sherlock for hours. (Don't worry, I won't). Instead I'll let Lestrade have the last word as to why this character re-interpretation of the world's greatest consulting detective is arrogant, aggravating and terribly compelling:

Watson: So why do you put up with him?

Lestrade: Because I'm desperate, that's why. Because Sherlock Holmes is a great man, and I think one day, if we're very, very lucky, he might even be a good one.

Sherlock, Season 1, Episode 1.

One thing the BBC did do right, is release the dvd in time for Christmas. What a stocking filler!

Let's Play Dress Ups

Halloween made me realise something odd; my favourite dress up television episodes aren't the ones celebrating Samhain. The best onscreen costuming comes straight out of left field, and has nothing at all to do with October 31st celebrations.

Maybe it's a girl thing, but there's nothing more fun than seeing the usual kind of storyline played out in, dare I say, unusual fashions? Here's a sample of standout moments when television writers managed to work in reasons for the wardrobe department to get excited:

Any (Homicidal) Excuse Award Goes To...

CASTLE

Personally, I think the creative team behind Castle love dress ups almost as much as I do. Storylines often seem to wander toward subcultures that call for extravagant costuming. Recent example? A murder victim who belonged to a New York-based 1892 Victorian England steampunk private society (as you do). Cue Castle in another crazy ensemble.

Too Cool For School Award Goes To...

VERONICA MARS

Nothing makes you feel older than realising cool kids in teen movies you grew up with are now considered fabulous retro costume opportunities for today's youth. Take the Valentine's Day dance in Veronica Mars. The mood turned hell eighties when Meg donned Molly Ringwald's ugleee triangle prom dress from Pretty In Pink and Veronica opted for Madonna-inspired Like A Virgin styling, complete with black tutu and lace.

Do Re Mi Fa So La Ti Do Award Goes To...

WILL & GRACE

The Von Trapped episode? Just golden. With more Sound of Music in-jokes than you could throw a nun at, this was a fast paced, extremely clever referential episode celebrating Julie Andrews' finest mountain moments.

Over-Achievers Award Goes To...

GILMORE GIRLS

Noone could costume like this crew. Every time the writers imagined an-y reason for dressing up, they made sure the town was wholeheartedly in on it. When Rory went to college, eccentric townsfolk were replaced with bored rich kids who oh-so-conveniently liked to dress up as much as the citizens of Stars Hollow. Over the years, Rory has costumed it as a pilgrim, manga character, sixties Mod, fifties housewife and forties swing dancer, to name a few. Oh, and she also participated in a Living Art Festival (yes, that's her in the frame).

Subculture Procedural Award Goes To...

NCIS & NCIS LOS ANGELES

Police procedurals are inherently obsessed with Goth episodes. I have no idea why, but for every serious cop show, somewhere in the series' vault you'll stumble across a few whacked out kids in black lippie somehow linked to a murder. At least NCIS and NCIS: Los Angeles have a valid tie-in, thanks to the character of Abby. The others are really stretching. (I'm aware this image isn't from a Goth-themed episode, but I was impressed by Abby's on-the-job parasol).

Flashback (Really Far Back) Award Goes To...

CHARMED

Who doesn't love a good flashback? Charmed took it to the next level, focusing on Phoebe's past life in the roaring twenties. The writers cleverly wrangled it so the rest of the cast also appeared back in the day. The sell? Human souls travel in the same circles across various lifetimes, thanks to unfinished business; hence, Phoebe's soul recognised souls familiar to her. Very smooth.

Pointless Yet Fantastic Dress Up Award Goes To...

FRIENDS

Forget margaritas- when consoling a friend, donning bridal gowns together is where it's at. Like Monica, this episode made me want to put on a wedding dress, slip on some rubber gloves and do the dishes. Or sit in a cloud of tulle on the couch, eating popcorn and watching a movie, a la Rachel. Then again, maybe I'd enjoy throwing a bunch of flowers over my head, Phoebe-style!

Costumes, Metaphors & Masks Award Goes To...

ROSWELL

The pilot for this teen show about teen aliens hiding out in Roswell concluded with an enormous dress up party celebrating the original extra-terrestial (supposed) crash landing in '47. Human kids dressed as aliens, alien kids dressed as Men In Black, and Colin Hanks dressed like a character from one of his dad's films. Too cute.

Played For Laughs/Visual Gag Award Goes To...

THE BIG BANG THEORY

All I can say is, losing a bet can be very, VERY bad when you're a comic book geek, that's for sure...

The Event Noone's Watching

While droves of audiences are avoiding sci-fi mystery The Event, those tuning in are discovering an addictive, happening little serialised drama.

Personally, I think potential audiences for The Event were lost in a marketing massacre. Even the title graphic is ugly, blocky, and so basically non-descript, I originally assumed the show was a reality program.

Then I caught a clunky commercial for the premier episode. Enticing viewers with a hint of mystery is one thing; accidentally evoking complete disinterest is a different mistake entirely. Even the pre-launch cast photos on the official website were shockingly below par.

Rumour has it American network nbc was hoping to mimic the success of Heroes and Lost. Unfortunately, so far the ratings are more reminiscent of Flash Forward; as in, fodder for early cancellation. A pity, because three or four episodes in, it's clear The Event could become must-see viewing for those of us willing to commit to longterm serialisation.

There are, of course, a few flaws. The standard characters (or should I say caricatures?) bigger American networks are addicted to (FBI agent, girl next door) all make obligatory appearances. The dialogue, too, can be somewhat stilted and formulaic:

President: Their families will never know what happened here.

Blake Sterling: Mr President, with all due respect, nothing we do or don't tell them will change the fact that their loved ones are dead. Our responsibility is to protect the American public as a whole.

President: Protect them? From the truth?

The Event, Season 1, Episode 3.

On the upside, the casting is almost impeccable, the kind of ensemble talent that could turn a McDonalds commercial into Emmy material. Every face from The Event rings a few bells in the actor memory cache, evoking a sense of constant (television) deja vu. The show's actors have a sum resume spanning regular appearances in True Blood, Sex and The City, Without A Trace, Gilmore Girls, Charmed, Joan of Arcadia and E.R.

The main complaint about the program seems to be the narrative's deliberately disjointed timeline, moving between the past and the present in a slightly disorienting way. The key to enjoying The Event? Let the story flow over you. Just appreciate each piece of the elusive puzzle on presentation, and worry about unlocking it all later.

The sci-fi aspect is actually quite gripping. Doing the big 'there are aliens' reveal so early on in the piece opens up whole other avenues of speculation: What are the extra-terrestials actually up to? Why are there obvious factions among them? Can humanity trust them? Should we lower our guard??

There's also the whole goody/baddy thing. Frankly, at this point I have no idea who's trustworthy, apart from our luckless protagonist. That guy's hunting aliens? No, wait- he is an alien?? Not to mention the alive/dead/alive saga surrounding the passengers of flight 514. (Ironically, I think my heart stopped in shock the moment their hearts started beating again).

So far, The Event qualifies as one of the best of the season's newbies.