24 Redemption’s title is meant to refer to Jack Bauer’s need for redemption, but after a missing season on top previous seasons that that have suffered from aimless drifting, it’s the series itself that needs redemption. Unfortunately 24 Redemption doesn’t do much to redeem the series, it does offer Jack Bauer redemption but Jack Bauer, unlike Kiefer Sutherland, doesn’t actually need it.

24 usually takes place in Los Angeles, but for 24 Redemption it instead does the trendy LA thing by heading to Africa where its title character pretends to care about the suffering of children in a fictional African country. Which is of course the ultimate trendy celebrity thing to do. Jack Bauer is at his best in full on action mode, but 24 Redemption starts slowly. Having learned nothing from failed Hollywood “White Action Hero Rescues Africa” movies such as Tears of the Sun or Blood Diamond, 24 inflicts the usual cliches on us.

Jack Bauer, as is traditional after a season, is a shattered man who has taken refuge, this time at a school run by a Special Forces buddy, the oddly Scottish, and generally wasted, Robert Carlyle. Naturally Jack bonds with a young boy. Naturally there’s a good deal of preaching about the problem of child soldiers. By the time the bad guys come on the scene, Jack crustily snaps into action mode, but winds up captured and tortured, and finally carries out a long quest to reach the US embassy with the kids, where he’s taken into custody to appear at a Senate hearing on torture.

In the background, the Hillary Clinton stand in is being sworn in as President, and oddly manages to be more irritating than the real thing. Her smug son has a junkie broker friend who’s involved in money laundering on behalf of terrorists, a plot being masterminded by the sort of disposable evil rich businessman who appears in every episode, and in this case is played by Jon Voight.

24 Redemption is mostly unnecessary, and while it has a handful of good characters and performances, notably Gil Bellows as an unsympathetic US embassy staffer, a corrupt and cowardly UN official and Tony Todd being dragged in to play General Juma, mostly it fails at doing what 24 does best, sticking Jack Bauer in the middle of a fast moving confusing crisis with a ticking clock running all the while.

Legend of the Seeker 1x04 Brennidon is very much a kids episode, not in the sense that it is for kids, at least any more than the rest of Legend of the Seeker is, but in that it deals with parents and children. First Richard stumbles into Brennidon, the town where he was born, while Zedd copes with a paternity claim from a woman he knew a long time ago. Kahlan meanwhile serving as the Confessor listens to personal disputes in another small community nearby.

Brennidon is the first episode that does a decent job of testing Richard’s ideals and skills in a real fight against tyranny, even if it reverts to the kind of Zorro setup that plays out as a little too goofy. Some scenes are well done, beginning with Richard’s arrival at a cemetery featuring the tombstones of the children killed by Darken Rahl in order to slay the Seeker. Even the discover of his “mother” is handled well enough, but his “brother” is a painfully predictable character we’ve seen before in endless novels and movies and TV shows, whose every switch back and forth is loudly telegraphed.

By the time Richard hatches a plan to stop the D’Harans and get the people of Brennidon to rise up, silly season is well underway. But the real silliness comes in the entire Zedd’s paternity storyline, and by the time a serious overdramatic payoff comes in the final scene, it’s much too late. It’s clear that the producers of Legend of the Seeker have a comedy quota to fill every episode, so that the series plays out a little more like Hercules, and Zedd winds up filling that quota more often than not. Which is a shame since he is the one character on the show you can still take seriously.

The Brennidon solution begins well but ends in cliche, and it would be interesting for Richard to come back a few episodes later, and see that his well meaning attempts to free Brennidon, only resulted in the massacre of everyone who lived there.

To no one’s great surprise, despite being reviled by just about everyone, Four Christmases does its part for the Christmas Creep, and I do mean creep, by topping the box office with a horrifying 46 million dollars. Bolt meanwhile crawled out from under the shadow of Twilight and Madagascar to roll into second place, up from 3rd, with 26 million for a 66 million dollar total, putting a little more fire in Disney’s hopes of ending its subjection to Steve Jobs.

In 3rd, some of the screaming teenage girls still lingered to see Twilight, which takes home the sappy 26 million dollar cake for a 119 million dollars. Go female director! Quantum of Solace, last week’s number 2, had a sharper drop with a fourth place finish of 19.5 million for a 142 million dollar total. What this means is that James Bond is being outdone by a teenage girl and her secretly gay vampire boyfriend. Not good for old double seven ought.

In 5th, despite all of Oprah’s promotion, Australia comes out in 5th place with only 20 million dollars. Though to be fair to Nicole Kidman’s creepy plastic face, Australia is the only movie in the top 5 playing in less than 3000 theaters.

Madagascar: Escape 2 Africa took a tumble to 6th but still pulled in 14 million more in its 4th week of release to score a total of 159 million dollars. Transporter 3 debuted in 7th place with 18 million, solid numbers for this pointless franchise in any other weekend.

Role Models drops sharply from 5th to 8th with 5 million for a 57 million dollar total, terminating Role Models briefly if unlikely ride. The Boy in the Striped Pajamas goes up to 8th place from 9th with 1.6 for a 5 mil total. Not bad numbers if you consider that it’s playing in 20 percent of the theaters that Role Models is. But Milk proves that dead gay pols trump little dead Holocaust boys for number 10 pulling in over a million despite playing in only a few dozen theaters. Someone please explain those box office numbers to me, because I’m picturing one of those 50’s telephone booths deals here.

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If the two episodes that formed Legend of the Seeker’s pilot avoided the inevitable Hercules comparisons that Sam Raimi’s name would bring up, Legend of the Seeker 1x03 Bounty delivers a heaping bounty of those with a guest starring appearance by Ted Raimi, hopefully the last one, as a wacky mapmaker who makes maps of the Seeker’s location and sells them to different bounty hunters, resulting in more wacky antics.

Meanwhile Richard gets involved in helping a young girl free her brother from a mythical monster, only to discover that the girl is really another bounty hunter, albeit amateur, who shoves Kahlan into a monster’s pit and tries to hand over Richard to the D’Harans. When captured though she admits that she was simply trying to make a deal with the D’Harans to free her brother who was being held for stealing food. Naturally Richard selflessly agrees to rescue him anyway, and the gang manage to imprison and disarm numerous guards without actually killing them, while Zedd traps the rest with the monster, leading to a happy ending all around. Toward the end Zedd even says the words, Addictive Magic.

Now I’m not Richard Goodkind’s biggest fan, but he had to be kicking things right around the time that Richard begins preaching selfless altruism to Kahlan. Goodkind’s writing is hardly consistent in that regard and his potluck dinner of Ayn Rand meets World of Time isn’t all that well thought out, but his Richard might make sacrifices, but neither was he this relentlessly stupid or senselessly altruistic. By keeping Richard immature and giving him generic hero ideals, the show is throwing away whatever uniqueness it might have taken from the novels for a completely generic fantasy fare.

There’s one word that sums up the Batman RIP Conclusion written by Grant Morrison. Actually there’s a bunch of words and most of them only have four letters. But speaking of words and reasons, the only real reason DC has readers is because the idiots who run it have inherited some amazing and historic characters, including Batman and Superman. Batman RIP however is a reminder of why DC should not have readers, why it should instead have every person who bought issue after issue of Batman RIP standing outside their building with arms full of rotten tomatoes.

It’s not that Batman RIP is that bad, it’s actually almost coherent compared to the rambling insanity that came before it. It’s as if a drunken Grant Morrison scripted issue after issue in a drunken stupor and then suddenly snapped out of it, took a long break and brought in your average mediocre replacement writer to finish it for him. The mediocre replacement writer read over the whole thing, banged his or her head on a table a couple of times and tried to make it work.

Oh there are elements that sort of work, Batman’s inner narration, the monk’s flashback, Jezebel Jet’s betrayal, Batman being ultimately aware of everything going on. But that doesn’t even begin to sweep up the mess that came before. The Black Glove meanwhile might be Thomas Wayne, except he sort of isn’t, and there is someone else he must be, except we aren’t told who. And naturally he dies in a burning helicopter crash, exactly the way that Hush just died. How original. Meanwhile Batman has vanished, except it seems he hasn’t, and the Joker is hunting down the members of the Black Glove in horrific ways, except we aren’t shown that either. So to sum up, Grant, thanks for wasting our time and money. Good luck in your future endeavors.

After a long break Buffy Season 8 Issue 19 Time of Your Life Part 4 stumbles in out of the rain and boy is it a mess. It’s appropriate that Time of Your Life wraps up on the same day that Grant Morrison’s Batman RIP wraps up, because they have something big in common, they’re both fumbled messes. Buffy specifically is big on the action but bad on the making sense. Time of Your Life had that problem from the convoluted flashback ridden launch in Time of Your Life Part 1,but elements were brought in that made it interesting.

The return of Fray to the Buffy universe was high on the list, but Fray seemed oddly willing to listen to evil future Willow, despite knowing that she was tied to Harth and his army of Lurks, and knock out and tie up Buffy. Meanwhile evil future Willow’s plan seemed to come down to getting Buffy to kill her, and while that is a powerful moment, as Buffy kills Willow in the future only to be rescued by Willow in the past, it seemed like that needed much more of a reason to tie it together, especially since future Willow unrolled a complex plan when all she needed to do was hurt some innocent bystanders enough to make the case for her own termination.

Meanwhile over on the home front, centaur Dawn and Xander and a bunch of forest creatures battle the incorporeal and then corporeal demon army sent by Warren and Amy at the behest of the mysterious masked guy known only as Twilight, apparently with the help of Angel, which really makes this old home week, though if Angel is evil now, that is really playing a bit too much havoc with the Buffyverse.

So far we’ve had two sets of four issues based on gimmicks, Buffy goes to Japan, Buffy goes to the future, in which the basic storytelling has been neglected, in favor of Dawn fighting a giant robot in Tokyo (ha ha because that’s just like a Japanese monster movie), Dawn as a centaur, the return of more old characters, Buffy in a lesbian storyline as a not too subtly calculate attempt to get attention (which succeeded) and Buffy killing future Willow. And meanwhile the thread of Buffy Season 8 that was actually interesting has slipped away, this time on Joss Whedon’s watch. What a surprise.

Terminator the Sarah Connor Chronicles 2x10 Strange Things Happen at the One Two Point should have been the episode to redeem the series’ recent slump. For one thing it was written by the writing team of Zack Stentz and Ashley Edward Miller, who have a fairly good track record on the show. For another it actually offers some big events. Unfortunately though it’s rooted in Sarah’s bizarre obsession with three dots, set up in the previous episode, which lead her to investigate an AI company without funding, and then bizarrely enough fund it, only to realize that the whole thing is a scam.

On the Ellison vs Scottish Terminator front, not only are the gratuitous biblical references and metaphors back, but Skynet actually gets two names, Babylon and John Henry, while the Scottish Terminatrix seems determined to have people teach the poor kicked around AI some morals and ethics, which is a bit on the inexplicable side.

Meanwhile it turns out that Riley comes from the future and has been working with Jessie as part of some operation aimed at John. Her story is that he’s gotten fixated on Cameron and is making bad decisions, this sort of pays out considering that John’s behavior took a turn for the wacky after Samson and Delilah when Cameron told him she loved him, while in evil killer mode. This is a marginally better explanation than the ridiculous “John is all shook up after killing a man who tried to murder him and needs therapy” story we’ve gotten so far this season. The likelier story though is that she’s a Gray.

The bulk of the episode though involves Sarah getting to know and getting involved with the head of the AI firm, who’s also the father of the firm’s chief and only researcher, who plays her easily, followed by Sarah bursting in and beating the crap out of him. Now I’m all for a tough Sarah Connor, but I don’t think anyone buys Lena Heady beating the hell out of a man her own size, let alone shoving him around the room like he’s a rag doll. Linda Hamilton maybe. Lena Heady, certainly not. But the real issue is that the series’ Sarah is a weaker more diffuse character, not the tough mother who stuck to her guns above all else. She crumbles when the CEO begins his pathetic hammy routine about doing it all for his son and his dead mother. Just as she crumbled back in the bowling alley bathroom and when faced with the snitch and so many times before.

In the first two Terminator movies, the humans survived in no small part because they were as willing to fight for their lives as the Terminators were to kill them. In the series that is increasingly no longer the case.

Angel’s extremely prolonged death finally comes to a close in Angel After the Fall Issue 14. I think Superman took less time to die than Angel did. But the climax of everything is at hand. Gunn has Illyria in Fred’s form and is ready to fulfill what he thinks is the final plan, to bring out Illyria’s form. Meanwhile Spike tries to save Angel with a dose of vampirism by turning him again, which would have made Spike, Angel’s sire, after already being sired by Angel for a truly confusing relationship. Also it would have brought Angelus back for some truly epic ugliness.

Spike however is stopped in his plan by Connor, and everyone is stopped in their tracks by the arrival of some of Wolfram and Hart’s very demonic senior partners, who are pretty much who we thought they would be, arriving on razor clawed jet planes and plotting real estate purchases in Cleveland and the restoration of Angel, who cannot be allowed to die since he is meant to bring on the apocalypse. With scenes like that and after 6 years and all the effort that Wolfram and Hart has invested in Angel, it almost seems as if he would really have been better off defeating them by staying dead.

Gunn meanwhile does his best to manipulate Illyria, only to realize that what Angel had been telling him all along was true, and he was the one being manipulated by the Senior Partners who positioned the whole thing to play out for Angel’s benefit. Angel does return to life, but Illyria gets tired of living, returns to her original gigantic demon queen form and decides to collapse time and end all of existence. Like I said, the problem just got a lot bigger.

To no one’s surprise whatsoever, Twilight topped the box office with a 70 million dollar opening, even though the movie and the series seem to be despised even by the lead actors. It’s not quite Titanic figures, but the movie has tapped into the same kind of audience to beat Quantum of Solace, which sticks to second place with 27 million for a 109 million dollar total.

Obviously there isn’t much demographic overlap between the two movies, so Quantum of Solace probably didn’t take too much of a beating on it. It’s Bolt however which lost out, since it does have some crossover demographics with Twilight, and certainly with any family viewing audiences, opening in 3rd with 27 million, right behind Quantum of Solace. 27 million isn’t bad, but it’s not a major opening weekend for an animated movie.

Meanwhile Madagascar: Escape 2 Africa which overlaps demographically with Bolt in a big way, added to its take in 4th place with another 16 million for a 137 million dollar total. The fault here is clearly Disney’s for its poorly scheduled release of Bolt.

Role Models meanwhile slipped down to 5th with 7 million for a handy 48 million dollar total. Changeling slips to 6th where it weeps and wails at a mere 2.4 million for a pathetic 31 million dollar total. High School Musical 3: Senior Year meanwhile serves as the last demographic battleground against Twilight in 7th with 2 million for an 86 million dollar total. Zack and Miri Make a Porno leaves the Weinsteins luckless in 8th with 1.7 million for a 29 million dollar total, still struggling to cross the 30 million finish line before dropping out of the top 10 entirely.

Last week it was Eternal Sunshine of the Spotless Mind, this week it’s Cloverfield which is the movie to rip off as Smallville 8x10 Bride kicks off with a fairly obviously Cloverfield lifted video opening and then closes with it too, much like the movie. In Smallville’s defense, the Cloverfield imitation is put to good use and makes the cliffhanger episode darker and more epic, but blatant imitation is still blatant imitation, and Smallville really needs to cut it out.

Besides plagiarism, Doomsday comes to town, or rather he’s been around all along in the form of the evil medic with a last name as his first name, Davis Bloome. Since the show is Chloe centered now, he arrives just in time to ruin Chloe’s wedding reception and kidnap her over to the Braniac controlled Fortress of Solitude. Of course this requires some tinkering with Doomsday’s origin, Smallville’s Doomsday is a lot younger than the DC comics version, and he’s the product of General Zod’s efforts and I would imagine he’s a lot weaker. Still it’s a half-decent way to introduce a worthy adversary for Superman.

And besides Doomsday, Bride also features the return of Lex Luthor and Lana Lang, possibly working together, along with more of Lois’ cloying love for Clark, which completely cuts against the grain of the story, is out of character and has been plopped in with no development at all. Naturally quickly after coming home, Lana finds herself in the hospital again. Because no episode with Lana would be complete that did not find her in her own hospital wing. But overall Bride is a well done episode, despite all these problems, and a decent setup for the entry of a real enemy. Let’s hope Smallville doesn’t blow the landing.

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Since half the cast of The Office are also its producers, nobody leaves the show for very long, at least nobody who’s a producer. So Ryan left briefly only to return again and Toby is back too, with Holly’s departure in The Office 5x08 Frame Toby. Naturally Michael reacts much as you would expect and tries to get rid of Toby in just about every way possible. With a premise like that you would think that The Office 5x08 Frame Toby would actually be a much funnier episode than it is.

Of course The Office 5x08 Frame Toby has its moments, from Dwight identifying himself as a volunteer sheriff’s deputy to the arriving police officers to Michael trying to purchase weed from some of Bob Vance’s employees, but it never really delivers the kind of comedy you would expect. A sizable part of the problem is that the Jim and Pam storyline is now a serious drag on episode after episode, that mires it in mundane and unfunny material. This week Jim shows Pam the house he bought for her, it’s got shag carpeting and a clown picture on the wall he can’t remove, she loves it anyway. The end. That kind of thing makes you wonder when The Office became 7th Heaven or Providence.

Dwight also continues to be underused for several episodes now, the actor may be less available because he’s doing more movies, but the lack of screen time is taking a toll. The Office does not have that many basically funny characters, subtract Dwight and you’re left with Creed and Michael, and since Creed is best taken in small doses, that means we’re left with Michael. The Office worked best when it dynamically balanced its cast. When half the episode is Jim and Pam’s happy untroubled relationship and the other half is Michael flailing on his own, it just does not work out.

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Like Pushing Daisies, this one is not exactly a surprise. Except unlike Pushing Daisies I don’t regret Eli Stone’s departure one bit. Probably the most annoying of the Bad Robot entries, Eli Stone was an odd cross of Touched by an Angel and Ally McBeal and it really didn’t work. Starring the guy who you really can’t believe used to date Angelina Jolie, Eli Stone was many things but watchable was not one of them, smug, irritating, bland all make the list however. The odd thing about Eli Stone is that it actually managed to reach a second season, despite its forgettable and mediocre footprint back in Season 1 when it first thanklessly rolled itself out. Like The Nine, this was an attempt at magical realism, that like Pushing Daisies, was neither magical nor realistic. But where Pushing Daisies had its oddball charm, Eli Stone was determinedly generic, generically inspirational, generically soulless and generically canceled.

It seems that you just can’t kill Scrubs, though truth be told you probably should. I’ll admit to watching plenty of the series in small doses, mainly because once you’ve seen a few episodes of Scrubs, you realize that every episode is basically the same, follows the same identical dynamic and has the same interactions and conclusion. There might be a few exceptions, but for the most part Scrubs is a carefully packaged formula, unfortunately the packaging consists of annoying obnoxious characters whom the show repeatedly insist we pretend are human beings whose personal problems call on our empathy. And that is Scrubs’ unforgivable mistake. That said NBC’s treatment of Scrubs was unforgivable too and as Scrubs moves to ABC, it’s clear that Bill Lawrence will be having the last laugh, especially with NBC canceling all the crap it had ordered and being left with a bare cupboard, schedulewise.

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It wasn’t exactly unexpected, what was unexpected was that Pushing Daisies had actually managed to last two seasons despite being an oddball show that few people really got. Pushing Daisies had everything working against it, from Barry Sonnnefeld as its executive producer, this would be his one TV project which actually made it past a season, Chi McBride’s show killing mojo and a premise that required detailed explanations. So what’s really impressive is that Pushing Daisies managed to live long enough to be canceled at the end of 2008. Bryan Fuller is now free to head over to Heroes and an intriguing if uneven TV series goes off the air. Another one of those that is. I was never much of a fan of Pushing Daisies, it was just a bit too slow for my taste and its sensibility rubbed me the wrong way. But that doesn’t mean that I’m not sorry that it’s gone (is that a double negative? probably, let’s push on anyway).

Well UPN and the WB had their marriage of desperation, a one night stand that produced the CW, an ugly duckling that is neither fish nor fowl, nor workable network. And without Josh Schwartz, the CW would probably not even exist at this point. But unfortunately or fortunately the CW isn’t quite dead yet, but it has beat a direct retreat from Sunday programming. The old WB was able to fumble around unsuccessfully with Sunday night programming for years, UPN wisely avoided the whole deal, but the CW went MRC and now it’s going straight up rerun. The usual program of course is that the eyeballs aren’t there, and on top of that the CW actually lags behind the major networks as far as putting their shows online goes. Which means that there’s not much keeping the CW afloat except the inability of the remaining survivors of the Smallville cast to move on and Josh Schwartz.

After the collections of elaborate names and references, Terminator the Sarah Connor Chronicles 2x09 Complications has a refreshingly simple name, but not a particularly refreshing plot. Instead what might pass as the main story involves Sarah Connor on a return trip to Mexico taking ill with a fever and having a series of hallucinatory dreams full of all sorts of wacky symbolism. That sort of plot is usually a terrible idea and Terminator the Sarah Connor Chronicles 2x09 Complications isn’t much of an exception to the rule.

By the time the episode drags Sarah Connor back to a shrink, I couldn’t help missing Linda Hamilton’s Sarah Connor who would have put three bullets through any shrink who came near her. Naturally the writers of Terminator the Sarah Connor Chronicles have already forgotten that Sarah Connor spent years locked up, drugged and tortured in a psychiatric hospital. So naturally the first place she goes for answers is to a shrink.

The far more interesting second story involves Derek getting dragged into Jessie’s kidnapping of a man she claims is one of the Grays from the future, who is collaborating with Skynet. Issues of alternate futures come up, as does Jessie’s agenda, as she clearly knows a good deal more than she’s telling, while Derek can’t seem to remember anything at all. When Fischer’s younger self is dragged in and put in the same room, it’s a great Science Fiction moment that reminds you of what Terminator the Sarah Connor Chronicles could be if it let go of all the Battlestar Galactica angst and tried telling great stories instead.

Meanwhile John and Cameron go off on a fool’s errand looking for Cromartie’s body, which has been stolen by Agent Ellison. But despite that, Cameron still steals major chunks of the episode, as Glau plays her with disturbing alien awareness, that is most pronounced when she inhumanly discusses her sensations or asks about the tortoise and then turns Ellison right side up after beating him nearly senseless. It’s a nice adaptation of Blade Runner’s famous tortoise empathy test and a chilling moment all in one.