Premiere date announced for "Mad Men" season three

So, in case you haven't heard by now, AMC finally announced a premiere date for the third season of its great, Emmy-award-winning drama "Mad Men." It'll be back at 10 p.m. EST on Sunday, Aug. 16. Also, if you missed any of the second season, AMC will run a marathon of all 13 episodes on Monday, Aug. 10, beginning at 7 a.m. To get you revved up for the new season, here's the commercial AMC's running for season three...which, as far as I can tell, contains absolutely no scenes from the new season.
Grrr.

In other scheduling news, Showtime has already renewed its brand new series, "Nurse Jackie," starring Edie Falco, for a second season. They work quick over at Showtime.

"Weeds," "Breaking Bad," and gender on TV

This weekend, I was watching some preview episodes from the fifth season of "Weeds," which begins at 10 p.m. today on Showtime.
The series focuses on suburban mom Nancy Botwin (Mary Louise Parker) who turns to pot dealing after the death of her husband. Over the course of the past several seasons, Nancy's greed and ambition has driven her deeper and deeper into the drug biz. At the end of last season, she just narrowly escaped getting murdered by her Mexican drug lord boyfriend. The new season finds her still in hot water with the Mexican mafia, while also juggling her two sons and array of wacky associates. The episodes are typical "Weeds," -- solid and entertaining, but occasionally too far over the top and a little too condescending to the supporting characters.
However, throughout the episodes, my mind kept drifting to another series about drug dealing, AMC's drama "Breaking Bad," which just concluded its amazing second season. Like Nancy, "Bad" protagonist Walter White is a suburbanite who tells himself that the drug trade is the only way to support his family (he has terminal cancer). Walter manufactures crystal meth, a drug far less justifiable than pot. He's also gotten increasingly sucked into the drug world in the show's short life.
But there are some distinct differences between the two characters. Most of those have to do with the fact that "Weeds" is a comedy and "Breaking Bad" is a drama (Nancy makes more jokes, for one thing). But I think the core differences between them have to do with the fact that Walt is a man and Nancy is a woman.
The show gives them entirely different sets of strengths that are obviously gender-related. Walt, the man, is a brilliant former chemist who manages to survive in the drug trade, despite his inexperience, due mainly to his intelligence and resourcefulness. His skill at manufacturing drugs has saved his life more than once, as has his ability to think fast in a crisis.
Nancy, the woman, is a former housewife who manages to survive in the drug trade, despite her inexperience, due mainly to her charm and sexuality -- what used to be called "feminine wiles." The whole reason the Mexican mafia hasn't killed her is that she's pregnant by the drug lord, who believes she might be able to deliver him a son. Clearly, this isn't a tactic Walt can use.
I'm not going to make some knee-jerk claim of sexism, accusing "Weeds" of making Nancy dumb (or, at least, non-intellectual) because she's a woman. First off, "Weeds" and "Breaking Bad" were created completely independently of each other at different times. I don't think the two shows were meant to be a commentary on each other at all. Secondly, "Weeds" was created by a woman, Jenji Kohan. Plus, Nancy has a lot of positive attributes that Walt doesn't have. We've never seen her let an innocent person die, for example. In fact, she got in trouble with the Mexican mafia because she couldn't stomach their human trafficking business. Nancy is also much more family-minded. Yes, she's engaged in a trade that endangers her two young sons, but she's always aware of that, and is constantly making arrangements for them in case of her death (the start of this season has her packing off her young son to go live with her sister, played by Jennifer Jason Leigh).
But the contrast between the two characters provides an interesting picture of our different ideas of men and women, particularly men and women in business (whatever that business might be). Nancy isn't the only TV business woman who plays up her sexuality. The female investigators on the "CSI" series, for example, are almost always in low-cut tops and high heels -- clothing that few real investigators would consider practical. And, on these same shows, the men are often wonky intellectuals (or, in the case of David Caruso's character on "CSI: Miami," seem capable of solving a crime by simply whipping off their sunglasses and staring directly into the camera).
Why does this dichotomy exist? Why can't we have a brilliant female cop or drug dealer (or doctor or lawyer or fill-in-the-blank) who wears slacks and turtle necks and can start an RV engine with spare change? Some such characters do exist, including Brenda Leigh Johnson on "The Closer," but they're still too rare. We live in a world where real women can succeed in business without wearing mini-dresses and batting their eyes. TV needs to catch up.

"The Closer" returns

TNT's crime drama "The Closer," isn't a show I write about much, mainly because there's not all that much to say. It's pretty straightforward: quirky police interrogator Brenda Leigh Johnson (Kyra Sedgwick) fights crime with the help of a mostly male staff. She's expert on the job, but lacks people skills and other social niceties. It's not really a show that lends itself to being discussed and dissected like, say, "Lost" or "Dollhouse."
But I still like it. I've always liked it, mainly because I think it's one of the most purely entertaining hours on TV. I also love the character of Brenda, and the way that she's allowed to be frumpy and disagreeable, but is never portrayed as less than competent. The show's new season starts tonight at 9 p.m. and, like most "Closer" episodes, focuses on a terrible crime that must be solved by Brenda and her gang. Also, Brenda's cat is sick, and she tries to deal with that, in the kind of tender yet slightly goofy subplot we've come to expect from the series.
The first episode is light on the show's usually reliable supporting characters, focusing mainly on Brenda and the crime at hand (though there is a nice emotional arc for Raymond Cruz's still-waters-run-deep Detective Sanchez).
That's OK. In a TV world where "entertainment" is usually a synonym for "dumb and mindless," "The Closer" is the rare show that's both fun to watch and not insulting to the brain.
Maybe I can't analyze it, but I can sit back and enjoy it. And that's enough.
The new season of "The Closer" starts tonight at 9 p.m.

"Nurse Jackie" provides a heroine both sainted and tainted

Does anyone play denial better than Edie Falco? For all those years on "The Sopranos," on which she played mafia wife Carmela Soprano, she gave us a woman who constantly suppressed her knowledge of her husband's criminal activities (and her complicity in same). With her tight-lipped smile, set jaw and studiedly calm eyes, Falco's Carmela was a woman who tucked her misgivings and guilt about her life into a place deep inside.
On Showtime's excellent new dramedy "Nurse Jackie," which premieres at 10:30 p.m. Monday, Falco takes another character whose survival hinges on keeping certain secrets. This time, she's nurse Jackie Peyton, a smart, compassionate, resourceful voice of reason in a hospital where most of the other employees are either hopelessly callous or eye-rollingly goofy. She offers not just care, but sympathy (and, if needed, a firm dressing down). Jackie is undeniably good at her job. She's also incredibly flawed. The first time we see her, she's laid out on the bathroom floor, preparing to snort painkillers to ease her aching back. Jackie tells herself, and us, that this is necessary ("What do you call a nurse with a bad back?" Jackie asks in a voiceover. "Unemployed! Ba-dum-bump!").
In addition to her drug use, Jackie is guilty of other sins. Though other critics have disclosed these, I won't. But, suffice it to say, her life requires a lot of juggling and secrecy. And hypocrisy. Jackie doesn't bat an eye when admonishing a patient for her prescription drug addiction.
Carmela Soprano might not have liked Jackie's short hairdo or ragged nails, but she probably would have related to her plight. So do we. Unlike a lot of TV anti-heroes and anti-heroines, Jackie seems fundamentally good. She does help a lot of people through her work, and offers mostly good, sane advice to her co-workers. She has a good heart, even though she lies, abuses drugs, and flushes the occasional ear down the toilet (don't ask).
In fact, I like "Nurse Jackie" the show mainly because I like Nurse Jackie the character. We might not always agree with what she does. But we understand her. And we know, in many cases, the good balances out the bad. In many ways, she reminded me of a sweeter version of Tommy Gavin, the angry firefighter played by Denis Leary on "Rescue Me." Both have substance abuse problems and difficulty with relationships, but are hyper-competent on the job. And they both have dark, nasty senses of humor. However, I'd never want to hang out with Tommy Gavin. I could probably do lunch with Nurse Jackie.
Falco, of course, is a perfect fit for the part. She gives Jackie the appropriate gravitas and a nice deadpan wit, and her expressive face is perfect for a character who does most of her talking with her eyes.
The rest of the characters, however, are hit or miss. Eve Best is properly aloof as Jackie's glamorous and sardonic doctor buddy, and Merrit Wever is adorable as a naive (but surprisingly perceptive) nursing student. And it's fun to see Paul Schulze, who played Father Phil on "The Sopranos," as a pharmacist with whom Jackie has a special relationship. But I'm not quite sure how I feel about Peter Facinelli, who plays obnoxious frat-boy Dr. Fitch "Coop" Cooper. His bombast masks his insecurity about his abilities as a doctor (and about his various personal problems, about which we learn slowly). Facinelli doesn't quite have the depth as an actor to play this complicated character. However, he can be very funny at times, particularly when geeking out about the hospital getting a new, automated pill dispenser. I have hopes that Facinelli will grow into the role.
At least he's given a character to work with. Poor Anna Deavere Smith, as a stern hospital administrator, has little to do other than hover and look imperious. Smith is a good actress, capable of much more. Let's hope the script provides her with meatier material.
Overall, though, this is Falco's show and, as such, it's worth watching. Her Jackie is someone you can enjoy spending a half hour a week with.
"Nurse Jackie" premieres at 10:30 p.m. Monday. The first episode is also available to view online. Click here to watch.

A show I won't be writing about

Another show premiering on Thursday is NBC's new drama "The Listener." But I've been so swamped with my vacation, series finales, and new cable shows that I didn't even have time to request a screener, let alone watch the show. So, you won't see a review here. But I would like to take a quick minute to talk about a trend that "The Listener" seems to be continuing: the "The ___" trend. You know, as in "The Mentalist," "The Locator," "The Cleaner," "The Closer," "The Beast" and, coming soon from the network that brought you "The Listener," "The Philanthropist." Lots of people seem to be noticing this trend. Amy Antangelo, aka TV Gal, mentioned it in her latest blog posting. And SNL did this hilarious send-up on the "The" trend. By the way, I happen to like "The Closer," but my husband hates it and, thus, adores Kristen Wiig's spot-on Kyra Sedgwick imitation. Even I must admit it's pretty funny ("CON-FAYYYYSSSS!!!")
So, in summary, I have no review of "The Listener." But I give the "The" trend a thumbs-down.

"Burn Notice" is hot, but "Pains" hurts to watch

When USA debuted the TV show "Monk" in 2002, it was a turning point for the network. Sure, USA had aired original series before (most notably the popular cheesefest "Silk Stalkings"), but "Monk" was arguably the first show to employ USA's now-popular recipe for creating a successful show: Take one likable, semi-recognizable actor (in this case, Tony Shalhoub). Then, put him/her in a simply plotted, high-concept show who premise can, preferably, be described in one sentence. Add in colorful supporting characters. Mix well. Serve.
USA has since employed this formula to create several shows, including "Psych," "In Plain Sight" and, most successfully, "Burn Notice." That last series, stars Jeffrey Donovan as blacklisted spy Michael Westen, who lives in Miami and uses his spy know-how both to fight his enemies and help the disenfranchised. The show, which returns for its third season at 9 p.m. tonight, contains all the basic USA elements. It's quick, slick, and not overly complicated. But underneath all the cool spy gimmicks, Miami sunshine and one-liners is a real emotional core. Over the show's past two seasons, we've come to care about Michael and his two partners, on-again-off-again girlfriend Fiona (Gabrielle Anwar) and schlubby tough guy Sam Axe (the great Bruce Campbell).
At the end of last season, Michael finally cut himself off from the people who burned him -- a moment punctuated by a spectacular jump from a helicopter. This season finds him facing the consequences of his actions, which (spoiler alert) haven't made his life any easier.
The season premiere is a bit of a come-down after last season's emotional, action-packed finale, but it still contains a lot of action, some good character development moments, and just the right amount of scenes in which Campbell's Sam sucks down a beer like it's mother's milk. The second episode, airing next week, is even stronger, as the gang fights to retrieve a kidnapped child. "Burn Notice" isn't just typical USA escapism. It's the real deal: a show that entertains, but doesn't insult your intelligence.
If "Burn Notice" represents the high end of USA's programming, the new series "Royal Pains" is definitely the low end. The show debuts 10 p.m. Thursday, right after the season premiere of "Burn Notice," but shares none of its lead-in's depth and cleverness. The show centers around Hank (the likable Mark Feuerstein of "Good Morning Miami" and the movie "In Her Shoes"), a brilliant ER doc who finds himself blacklisted following a principled (but politically un-savvy) decision. After dropping out of life totally, he's lured back to the land of the living by his goofy accountant brother (Paulo Costanzo), who invites him to crash a party in the Hamptons. Of course, while at the party, Hank saves a guest, and all the richies want to adopt him as their own personal concierge doctor. The show isn't terrible, and Feuerstein is quite charming in the lead. But it's flat, predictable and unexceptional. The few zesty moments are provided by Costanzo, who is a lively, quick-talking presence, and by the always-welcome Campbell Scott, seen all too briefly as the powerful host of that fateful party.
I might be being a bit hard on "Royal Pains." It could get better. Most USA shows do improve as they go along. But, frankly, I wasn't moved enough by the pilot (which, by the way, is a butt-numbing 90 minutes long) to give it a second chance.
I realize that USA's goal isn't to provide ground-breaking television. It's to provide pleasant, watchable television. But it's possible to do that and also engage the minds and hearts of your audience. Hopefully, the network's next originally offering will be more "Burn," less "Pain."

"Breaking Bad" season finale recap: "ABQ"

The second season of AMC's "Breaking Bad" wrapped up last night and, I must say, this show is evolving into one of TV's great dramas. When it debuted last year amid the writers' strike, it showed a lot of promise, but ended its first season before its ideas were really given a chance to flourish.
But this season, the saga of chemistry teacher turned drug dealer Walter White (the brilliant Bryan Cranston) and his junkie sidekick Jesse Pinkman (an equally amazing Aaron Paul) came full flower. Last season we saw Walt, diagnosed with terminal lung cancer, become a crystal meth manufacturer to help provide money for his family after his death. This season, Walt became more and more invested in his new "career" -- and increasingly ruthless. His relationship with the loyal but dense Jesse also became increasingly charged, leading up to the moment in last week's episode when Walt let Jesse's troublesome junkie girlfriend Jane (Krysten Ritter) die of an overdose. The moment has drawn a lot of comparisons to Tony Soprano's murder of his nephew Christopher in the famous "Kennedy and Heidi" episode of "The Sopranos" (though Walt's is mainly a murder of inaction). However, the episode -- and the Walt/Jesse dynamic -- reminded me in a way of another dark, departed drama, "The Shield." The relationship between Jesse and Walt is a lot like that between Vic Mackey and Shane Vendrell. Walt, like Vic, is convinced that what he is doing is for the best, and finds creative ways to keep his criminal activity hidden -- particularly from his wife. Jesse, like Shane, is more of loose cannon. Just as Shane told his wife Mara everything about his business, Jesse spills all his drug-dealing secrets to Jane. These are two men who, as Shane put it in his suicide note, "made each other into something worse than our individual selves."
At any rate, not only has "Breaking Bad" become a program that bears comparison to "The Sopranos," and "The Shield," it's also become a strong, must-see offering in its own right. Last night's finale episode, "ABQ," showed several turning points for its characters. Skylar finally bucked up and left Walt, after his "which cell phone?" slip lead her to investigate a bit deeper into her husband's activities. Jesse is finally getting clean (for now). Walt's cancer is officially on the run (though not gone for good). And, of course, we learned exactly what caused that charred teddy bear to be floating in Walt's swimming pool: a plane crash inadvertently caused by Jane's heart-broken air traffic controller dad.
Here are a few more of my thoughts on "ABQ."
* Let's start with the revelation about the source of the Great White Swimming Pool Massacre. I just don't know how I feel about it. On the one hand, I get that it's something of a sign; that this crash is evidence that Walt's drug-dealing business is costing the lives of more and more innocent people. I know that, without Walt and Jesse, Jane wouldn't have died and her dad wouldn't have been distracted and grief-stricken enough to let the plane crash happen. On the other hand, it just seems a little too poetic and coincidental to me. I mean, really: of all the places the planes could have collided, they crash over Walt's yard? It's a little much. And I felt a little ripped off that this was the payoff we'd been leading to all season. I expected something more directly related to Walt's business. I mean, I get what they were trying to do here. I'm just not sure how I feel about it. Thoughts?
* That said, the rest of the episode was full of spectacular moments. The scene with Walt venturing into the junkie flophouse to find Jesse was probably the most powerful one of the whole episode, if not the whole season. It's also the first time in a long time we've seen Walt behave somewhat admirably. Saul's fixer offers to go in for him, but Walt insists on doing it himself. He knows that he's the reason Jesse's in the flophouse, and he feels a responsibility to get him out. The horror, sadness and revulsion on Walt's face as he walks among the house's many junkies is just perfect. And the moment when he finds his partner is simply devastating. Cranston has been (deservedly) praised up and down for his genius work as Walter, but this scene proved yet again that Paul is more than a match for him. He plays so many notes, here -- guilt, shame, pain, drug-induced disorientation -- and doesn't miss a beat.
* By the way, the fixer who takes Walt to the flophouse (and covers up Walt and Jesse's involvement in Jane's overdose) was played by the great Jonathan Banks, who, to me, will always be the surly yet lovable Frank McPike from the classic crime drama "Wiseguy." I'm sure he'll be another great addition to the show's ever-expanding gallery of supporting characters.
* Speaking of which, how priceless was it that Gus the drug distributor was one of the local businessmen participating in the DEA fun run? I'm hoping we see more of Gus (and of Giancarlo Esposito's marvelous, restrained performance) next season. I'm dying to know what he thinks of the fact that Walt is the brother-in-law of a DEA agent.
* As previously mentioned, Cranston has been lauded so much for his work as Walt that there doesn't seem to be much more to say on the subject. But I have to mention his performance during the scene when Walt Jr./Flynn praises him effusively to the TV journalist reporting on the web site donations. Despite his praise, Walt knows he doesn't deserve to be commended as "decent" and a "good guy." He looks guilty, pained and miserable. Nice touch: a chipper Marie in the background, feverishly urging Walt to smile for the camera.
* The departure of Skylar and the family officially sets Walt up as a man with nothing to lose. The death of Jane essentially does the same for Jesse. So what are they going to do now?