Bound by tragedy and blood to a dangerous, other-worldly mission, two brothers crisscross the lonely and mysterious back roads of America, encountering creatures that most people believe only exist in folklore, superstition and nightmares.
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The venerable Superman mythos gets a 21st-century updating in the imaginative and engaging TV series Smallville. The premise of the show--Superman as a teenager--takes up just a few pages in Superman's very first comic-book appearance (in Action Comics back in 1938), but producers Alfred Gough and Miles Millar flesh out that period by portraying young Clark Kent (Tom Welling) not as the noble Superman-in-waiting, but as an average teen with some not-so-ordinary supernatural powers, including incredible strength and heat vision (Clark hasn't lifted up, up, and away as of yet). Clark's desire to fit in with his peers and make sense of his extraordinary abilities grounds him in very realistic and identifiable terms for the series' primarily under-25 audience, as does his appealing and tentative romance with Kristen Kreuk as Clark's dreamgirl Lana Lang. But Smallville also strikes gold when it takes a turn towards more comic-book territory, as evidenced by the parade of shape-shifting killers and other outlandish antagonists (many generated, in one of the series' most ingenious notions, by the same devastating meteor shower that brought the infant Clark to Earth) that Clark must harness his powers to face and defeat. Gough and Millar, along with their capable cast (which includes Michael Rosenbaum as a young and already bald-pated Lex Luthor, and Annette O'Toole and John Schneider as the Kents) manage to pull off the precarious high-wire act of combining science fiction with coming-of-age drama to create this highly watchable programme. --Paul Gaita
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Unlike another certain celebrated HBO series, Rome's end will satisfy those swept up in its lavishly mounted spectacle and invested in the human dramas of the historical figures and fictional characters. Series 2 begins in the wake of Julius Caesar's assassination, and charts the power struggle to fill his sandals between "vulgar beast" Mark Antony (James Purefoy) and "clever boy" Octavian (Simon Woods), who is surprisingly named Caesar's sole heir. The series' most compelling relationship is between fellow soldiers and unlikely friends, the honorable Lucius Vorenus (Kevin McKidd) and Titus "Violence is the only trade I know" Pullo (Ray Stevenson), who somewhat reverse roles when Vorenus is overcome with grief in the wake of his wife's suicide. Series 2 considerably ups the ante in the rivalry between Atia (an Emmy-worthy Polly Walker), who is Antony's mistress, and Servilia (Lindsay Duncan) with attempted poisonings and sickening torture. Another gripping sub plot is Vorenus's estrangement from his children, who, at the climax of the season opener are presumed slaughtered, but whose true fate may be even more devastating to the father who cursed them. Rome's second season does not scrimp on the series' sex and violence, in both cases exceedingly brutal. But in this cauldron of treachery and betrayal, words, too, are vicious, as when a defiant Atia ominously tells Octavian's new wife, Livia, "Far better women that you have sworn to [destroy me]. Go look for them now." In writing Rome's epitaph, we come to praise this series, not to bury it. Although two seasons was not enough to establish a Rome empire, it stands as one of HBO's crowning achievements. --Donald Liebenson
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Based on Alex Haley's best-selling novel about his African ancestors, the acclaimed US TV mini-series Roots garnered widespread popularity in the 1970s and to this day remains one of the most watched programmes in history, with the ratings for the series finale still the third highest-rated US program of all time, (behind the final episode of MASH and the "Who Shot JR?" episode of Dallas).
Roots follows several generations in the lives of a slave family. The story begins with Kunta Kinte (played by LeVar Burton), a West African youth captured by slave traders and shipped to America in the 1700s. Torn from his homeland, stripped of his dignity, his rights and even his name, in torment and anguish he is brought to the slave markets of the new world. He tries, but fails, to escape before accepting he can never return to Africa. The film traces his life and those of his family, depicted up until the Civil War where Kunte Kinte's grandson gains emancipation. It captures generations of love, tears, pain, strife, sacrifice and happiness, reminding us of the resilience and resource of the human spirit even under crippling injustice. But Roots was more than just a quality drama, it had a wider impact on society. It persuaded American audiences to regard their history from a black perspective, and to see how--against odds far more desperate than those the pilgrims faced--Africans laid claim to their status as free African-Americans. It triggered a craze for genealogy and changed forever the way black people were depicted on TV.
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Beginning with the death of a senator and ending with a marriage, the second season of Bones builds on the momentum created during the first season. The second season centres on the collaborations between FBI special agent Seeley Booth (David Boreanaz, Angel, Buffy the Vampire Slayer) and forensic anthropologist Dr. Temperance Brennan (Emily Deschanel), whom Booth has nicknamed "Bones." While Booth doesn't completely believe in Bones' method, he can't argue with her success rate at solving crimes. As for Bones, she is meticulous at what she does and is a borderline genius, but she has issues. Seemingly oblivious to her own good looks, she is all but socially inept. Booth may be blunt, but he's comfortable dealing with the public. Bones, on the other hand, would rather be sequestered away with the dead, trying to figure out what happened before their uncertain deaths. Of course, while viewers can see that Bones and Booth would be a perfect couple, the characters aren't quite there yet. Their friendship becomes a little more complicated this season when it turns out that Bones' new demanding boss, Dr. Camille Saroyan (Tamara Taylor), is a former girlfriend of Booth's. And the two women aren't getting along. Still, everyone is able to work together to solve a series of crimes, such as identifying the remains of an all but unidentifiable teenage boy and dealing with a serial killer who is emulating the crimes depicted in Bones' latest mystery novel. (Yes, she's not only a brilliant scientist but also an ace author.) Like many television dramas where forensic evidence is a driving force in the plots, Bones offers up the gross-out autopsies. But it also serves up a lot of humanity in the way the characters interact with one another. It is giving nothing away to reveal that Bones and Booth are not the couple getting married in the season finale. But the episode does reveal that beneath their tough exteriors, marriage and all that it implies is something they wouldn't mind... perhaps even with each other. --Jae-Ha Kim
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It’s hard to believe it’s over. Life On Mars shot out of nowhere at the beginning of 2006 to become a vital, gripping drama, and this second series more than maintains the sky high standards that the first so memorably set.
What makes it even more surprising is that all the ingredients were there for it to go so tragically wrong. The central premise, that for unknown reasons modern day police detective Sam Tyler wakes up in the 1970s, is fraught with potential potholes, yet the creators of Life On Mars twist it very much in their favour, delivering a skilful, taut comparison between policing then and policing now.
It’s this clash of approach that provides many of Life On Mars’ sparks, but nonetheless, it has much more than that going for it. It boasts, for instance, a terrific level of attention to detail, and weaves in quality narrative too, with Tyler frequently caught between unravelling his predicament, the crimes before him, and his 1970s’ colleagues with their 1970s’ tactics.
This second, and final, series wraps things up surprisingly well, and consistently delivers laughs, action and plenty of pub talk off the back of it. It’s also a delight to revisit Life On Mars, and that makes this collected boxset of the episodes of season two an absolute must for any fan of gritty, interesting and terrifically entertaining British drama. Quite, quite brilliant. --Jon Foster
The award-winning House simply gets better and better, as its third season again delivers entertainment to a consistently high standard. Powered by Hugh Laurie in the title role--and his performance is worthy of every plaudit it’s attracted--this is a medical mix of drama and highly sarcastic comedy, that’s proven to be a considerable commercial and critical success.
The thinking behind the show is simple. Laurie’s Dr House is as reluctant, snide and miserable a medical practitioner as you’re likely to find, although he happens to be a genius at solving the unsolvable cases. Along with his small team of doctors, each episode generally sees House as a medical mystery, with said team scrabbling to find the answers to devilishly complicated illnesses and diseases.
But House’s skill is its characters as well as its at-times ingenious plotlines. Hugh Laurie aside, Omar Epps, Jesse Spencer and Jennifer Morrison are terrific as House’s long-suffering staff, while Robert Sean Leonard’s Dr Wilson and Lisa Edelstein’s Dr Cuddy are equally strong as his only friend and boss respectively.
The third season of House shakes things up quite a lot though. A good chunk of it, for instance, is concerned with Laurie’s Doctor coming under investigation from a detective who takes a dislike to House’s methods. Plus there’s also a superb episode set mid-flight, and plenty of character issues to deal with too. No plot spoilers here, though!
In short, House is, and remains a triumph, by turns funny, dramatic and moving. And Laurie, surely in the role of a lifetime, is simply brilliant. Series four can’t come quickly enough. --Simon Brew
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