BY JUDITH WOODS

What a pleasure it has been to invite the doctors and nurses of “ER“’s fictional County General Hospital into my living room every Thursday night for more than a decade. I have watched the characters grow, learn and struggle through the daily challenges of working in a busy urban hospital while still maintaining the demands of their personal lives, at times unsuccessfully. Yet, part of the appeal of “ER” has always been the beautifully scripted storylines and the incredible ability of the actors, directors and writers to deliver dramatically gripping shows week after week. As the fifteenth and final season of “ER” sputters to a definitive close, I am happy to report that the latest episode does not disappoint.

The sweet and impeccably skilled, Dr. Rasgotra (Parminder Nagra) or Neela as fans know her, must say goodbye to her friends at County as she starts a new chapter in her career and her personal life. The talent of this episode’s writers comes through even in the title of this particular show. Aptly labeled “Shifting Equilibrium,” it relates to the name of the medical center where Neela arrives at the end of the show – LeChatelier Medical Center. In chemistry, LeChatelier’s Principle states “if a system at equilibrium is disturbed, the system will, if possible, shift to partially counteract the change.” Neela’s “shifting” definitely lends itself to what has been an emotional and nostalgic ending to one of television’s highest-rated dramas for the past fourteen seasons. How appropriate, too, that the show’s producers would bring back more of the old cast so that fans might have one last farewell before the series finale. As I sometimes do, I completely failed to pick up on who was being billed in the opening credits to give myself a spoiler as to what familiar faces I might encounter later in the show. However, I must admit that I was a little happy that I didn’t ruin the surprise. Fans of the show, and those who have followed Neela’s career, will be happy to see that only those people who were most important in impacting Neela’s character came back to help her say “goodbye.”

Having watched many a show come to an end, I must say that I have been particularly impressed at the loyalty of “ER”’s old headlining cast mates, in that, anywhere an old cast member was needed, that cast member DID return. There is something to be said about an actor who leaves a top-billing movie career, even if only for a short while, to return to his roots and pay a little respect to the place that gave him his start. Who would have thought we would ever again see the likes of Greene, Corday, Ross or Hathaway – and, my all-time favorite, Carter. Yet, over the past several weeks the show’s favorites have all come home to roost.

Neela’s exit on the latest episode seemed to bring her character full circle. We see the program begin with a touching scene between Neela and her mentor and teacher, Dr. Lucien Dubenko (Leland Orser), as they finally resolve the ongoing conflict that has been brewing between the two of them. Though it had been touched on in earlier seasons, there was no evidence of the secret attraction that Lucien once felt for Neela. I was glad to see that they left that part out. This scene was a pure, sweet and honest moment in which we see a beautiful revolution as the student becomes the master and finally gets the “way to go” nod from the man that taught her how to be a great surgeon. However, the most poignant moment comes when Neela places her name on the same wall that carries the tags of all those beloved doctors who have gone before her. The use of flashbacks in this scene gives it depth and a powerfully emotional look at some of Neela’s important milestones during her time at County. Indeed, it is yet another reminder as to why I fell in love with this show so many years ago.

Between this episode and the last, airing April 2nd, I am certain that the cast, producers, writers and directors will continue to surprise us with new storylines and wonderful “old” friends. It pains me to say it, but I eagerly anticipate the show’s finale. I’m sure it will make for a tearful evening – I’ll have my box of tissues on standby.

BY MEREDITH ROBERTS

The Gosselin family: the symbol of what-if? What if things go too well with fertilization methods and you end up with eight kids instead of three? What if you have to quit your job as a nurse to take care of your children? The TLC hit “Jon and Kate Plus 8” allows readers to escape from their own families to watch another one – one that is undoubtedly more hectic, more crowded and (with Kate’s anal planning) probably more organized than our own.

But the Season 4 finale, which debuted Monday, March 23 on the show’s home network TLC, marked a distinct turning point in the show’s content: no longer are we watching the family of retired-nurse wife and working IT analyst husband trying to make it while serving all-organic and local food on their huge dining table for 10. No, in the finale, the children get new outfits and haircuts for a via-satellite Oprah appearance, courtside seats and a meet-and-greet with the Harlem Globetrotters, and showcase life in their new million-dollar home. It is clear this family has made it: discussing speaking appearances, Kate’s shopping sprees at Ann Taylor Loft, and their second appearance on Oprah. Now the adorable one-quarter-Korean kids yell “Hi, Oprah!” like they are yelling hi to grandma. Now there are no more struggles: this show is the stand-in for the Gosselin paycheck.

So it is with a moral struggle that viewers may now approach the show – part of what we loved about the family, what we could relate to, has gone away. Kate’s shopping spree for the children has turned from one that viewers can be sympathetic with (buying five sets of girls’ outfits and three sets of boys’ seems to break the bank) but now she is picking out more than she needs: including bikinis for the four year olds and one-pieces for Mady and Cara, despite announcing it is still winter in Pennsylvania. And in some ways the kids seem more gimmicky: as the kids get their hair cut, Hannah is denied to cut her hair (she has never had more than a trim), because Kate likes Hannah’s hair long, Alexis’ hair medium, and Leah’s hair short. What happened to the Kate who was so busy with 8 kids that she was happy they even had hair?

While in the past four seasons’ producers have taken special care to show us only the cutest and cuddliest moments, such as Aaden’s daily announcement of what animal he is going to be that day, they did some trickery with previews for the finale. Playing off of recent rumors printed in US Weekly and on the internet that Jon has had enough of Kate’s nagging him and the pair are finally splitting (quotes have pointed to Jon shuddering at the thought of the size of his child-support payment), the producers act like this is the episode to end them all. Viewers fear that the newly tanned and perfectly groomed Jon and Kate – a transformation from the pale, normal and disheveled parents we first saw, are announcing their break up. Of course it turns out to be Jon’s proclamation that the show has become too much for him – the lack of privacy, that he can’t just be Jon (without the and Kate plus 8), leads to skepticism about Season 5. But of course, Kate is loving it all

The finale also showcases the kids going to paint canvases for Jon while he is away taking care of his mother, going to a touch-it-all museum and taking part in what Kate calls as “culturing your kids.” While viewers may be happy that the sextuplets get to experience things despite their massive numbers, its hard to grapple with the notion that many families are too busy working to partake in days of culture, fun and education – all accompanied by publicity and a paycheck.

Eventually, viewers will be upset to see the family they have become close to leave the screen, but we should predict a Season 5 – another chance to watch the kids grow and finally form coherent sentences. It is also with a little heartbreak we watch the babies grow older: as if you see the children you used to baby-sit suddenly able to take care of themselves. In the meantime, perhaps the Gosselin parents should consider one of the family’s mantras when wondering what to do about their overwhelming fame and lack of privacy: “You get what you get, and you don’t get upset.”

BY CASEY CHILDERS

A fugitive in Mexico, managing a damaged governor’s race, and mysterious circumstances surrounding the suicide of a mistress were all covered before the first commercial break on ABC’s “Brothers and Sisters” on Sunday, March 22nd.

To anyone who hasn’t seen “Brothers and Sisters” before, I would describe it as a soap opera on crack. While watching the show, the plot doesn’t seem outrageous. However, when explaining what happened in one episode to my sister who missed it, it sounds perhaps a little far-fetched.

That’s the beauty of good writers and beautifully-flawed characters. The writers for this episode, titled “Missing” were Jason Wilborn and Nancy Won and the show was directed by Michael Schultz. Wilborn and Won have co-written several previous episodes. In an interview about writing the previous episode “Unfinished Business,” on www.abc.com, Won said, “And with all the characters, it’s great that they have such strong voices, and in that way it makes our job supposedly easier. But at the same time, because of that, it becomes very easy to slip into a caricatured version of that. You have to make it feel like it’s authentic, and not just taking the first, top soil layer of this character.” The seamless stitching of unlikely events is done by foreshadowing and by the implied.

However, this week’s episode seemed to be a roller coaster ride with a fairy tale ending. The moral of this week’s episode: loyalty to the Walker family is above marriages, relationships, legal matters, political duties, and established careers. This was so close to a Godfather movie I almost expected to see a guest appearance by Marlon Brando.

To even understand the episode, there has to be a short history lesson. Ojai Foods, the Walker family fruit business founded by the deceased William Walker, was until recently, run by William’s son Tommy (Balthazar Getty) and William’s long-time mistress, Harper Holly (Patricia Wettig). It was discovered that Tommy participated in illegal business practices to steal Holly’s interest in the company and he is still running in Mexico.

Nora (Sally Fields), William’s widow and head of the family, tries to convince  the Ojai Foods board members to drop the charges against her son at a charity event. While at this event, California Sen. Robert McCallister, (Rob Lowe), Nora’s son-in-law and California governor hopeful, uses the event to campaign, while hoping the news of Tommy’s disappearance in Mexico doesn’t leak out.

As one might expect, this causes marital problems for McCallister and his wife, Kitty (Calista Flockhart). Justin (Dave Annable), another Walker son, and Rebecca (Emily VanCamp), his once half-sister-turned-lover-after-Holly-the-mistress-revealed-William-wasn’t-the-father also break up during this episode. Then there’s Kevin (Matthew Rhys), the other Walker son, openly gay former lawyer turned communications director for the conservative McCallister, who is trying to keep his brother’s escape under wraps without losing his license or having the whole family go to jail.

However, that’s not even the unbelievable part of the whole episode. The scene features Nora speaking to her brother Saul (Ron Rifkin) in the Walker family home stating, “There’s more than one way to lose a child,” in reference to her son on the run. Sarah (Rachel Griffiths), not missing a beat, enters on a white horse to save the day. Sarah, who used to run Ojai and now has her own successful business called Greenatopia, decides she is replacing Tommy and will take her “rightful” place at the impending board meeting. This magically happens after a successful phone call to the director of the board.

The next day, Sarah and Holly are sitting at opposite ends of the table at the board meeting. The board votes to drop the charges after Holly surprisingly withdraws her cooperation in the investigation after having her claws out the last couple of episodes while making a stirring speech about “the family.” Again, I was looking for Brando to enter stage left. Perhaps the usually talented writers concocted such an outrageous plot this time that there was no way to end it.

Did I mention another one of William’s love children has popped up? He suspects the deceased William had something to do with his mother’s suicide, but I’m sure we’ll find out what he’s uncovered in the first five minutes of the next episode.

Will I be watching? Of course. I never watched the show because I believe the plot. It’s because I believe the endearing, damaged individuals of the Walker family.

BY NATHALIE ESPINOL

It’s been a bad day in the kingdom, which—naturally—makes for some good TV on NBC’s newest epic drama “Kings” (Sunday 8 p.m.). The series’ second episode, “Prosperity,” amps up the court intrigue revealing some tantalizing plot points that could help the show become the new Sunday night addiction.

For those who missed the premiere (and there were plenty who did, according to the dismal ratings), “Kings” is a compelling modern-day retelling of the biblical David, Goliath and King Saul story, set in the urban capital of Shiloh. In this alternate history where monarchies still rule, King Silas Benjamin (played by the incomparable Ian McShane) is brokering peace, maneuvering his country, Gilboa, out of an unpopular war with the military laden Gath.

His efforts are suddenly overshadowed when military upstart David Shepherd (Australian actor Chris Egan) becomes a reluctant war hero after he defeats Goliath (reworked here as a formidable tank) and rescues the King’s son, Jack (Sebastian Stan). David quickly becomes embroiled in the politics and scandals of the kingdom, and although he seems like a mere political pawn, the young soldier is clearly destined for bigger things, all of course to the chagrin of the King.

This week’s episode opens with David’s ominous dream where King Silas, atop a ledge overlooking Shiloh, yells, “Don’t go”, a significant phrase that echoes throughout the episode. Meanwhile, Queen Rose (played with perfect iciness by Susanna Thompson) and King Silas prepare for the arrival of Gath’s leaders, visiting to negotiate a peace treaty with Gilboa. Before the leaders arrive, King Silas—fearful of David’s power—orders his general to murder David once the treaty is signed. But, when Gath’s Premiere demands to meet David, the war hero once again becomes entangled in the politicking of the monarchy, particularly when Gath refuses to sign the treaty.

All the while, the King’s devious brother-in-law, William Cross (Dylan Baker), an underhanded investor in the Halliburton-esque CrossGen, makes good on his threat, pulling out all of the gold in the kingdom’s treasury to make the King’s “bad day worse.” With a bankrupt nation still locked in war, what is the King to do? And will David be murdered? Well, probably not. But the second half of the hour-long show proves riveting as intrigue upon intrigue is revealed, building a foundation for what should prove an interesting season.

Creator/executive producer Michael Green (“Everwood”, “Heroes”) delivers a complex and layered program that is simultaneously grand in scope (its apparently pulling a hefty budget), and grounded in good dialogue and flawed characters.

Particularly compelling is McShane’s King Silas, a beloved ruler who climbed through the ranks to earn his throne, although (as this episode reveals) he may have stepped on a few people to get there. McShane, best known for his Golden Globe winning Al Swearengen on HBO’s “Deadwood,” deftly maneuvers from a ruthless power-monger to an idealistic, moral leader, a paradox that makes Silas interesting to watch. But this isn’t a one-man show. Other notable standouts include Thompson’s pristine Queen Rose and Stan’s closeted homosexual “party prince” Jack Benjamin. Egen and Allison Miller (Princess Michelle Benjamin) have some promising chemistry in their budding romance, although their acting is not quite up to par with the rest of the cast.

All in all, on the “worst day the King has ever had,” NBC’s newest drama is actually having a pretty good one, showing some promising potential that should draw viewers in if given the chance. “Kings” is undeniably ambitious— a trait that can sometimes be a death sentence if the show can’t live up to its aspirations. But in this case, ambition is what makes the drama stand out. “Kings” doesn’t shy away from its religious overtones or its political parallels (King Silas unabashedly blurs the lines between church and state—sound familiar?), rather it relishes in them, even placing a reverend as a key political player. For all its ambition, this show actually has the chops to back it up, with a strong cast and intricate script that will hopefully assure that this king doesn’t get dethroned.

BY JULIE LEUNG

After five wishy-washy episodes, “Dollhouse” creator Joss Whedon finally did what he should have done from the beginning with sci-fi thriller series – keep the camera off Eliza Dushku.

It’s hard to do, I know, especially considering the title credits are just a montage of Dushku-glorifying close-ups.

Premiering in February on the dreaded Friday night time-slot, “Dollhouse” follows a covert organization that wipes the personalities from voluntary, beautiful people and imprints new ones into them. Now known as “dolls” or “actives,” they are then hired out to rich clients with either a high-stakes adventure on the line or a sexual fantasy on the mind.

The premise calls for a group dynamic, similar to Whedon’s previous sci-fi show “Firefly,” in which nine characters enjoyed nearly equal screen time. But as the story goes, “Firefly” was canceled after 14 near-perfect episodes — a crime Fox has yet to be forgiven for by fans. Perhaps that’s why this time around, Whedon is hesitant to spread the wealth around. Rather, the show centers on Echo (Dushku), an active who beginning to retain memories and develop self-awareness. She’s “compositing,” as snarky neurologist Topher (Fran Kranz) would say. The last time an active composited, a bloodbath ensued. The show frequently alludes to this rogue active (called Alpha) who operates on the fringes of the plot, more than likely building up for a major showdown.

From the onset, “Dollhouse” looked to be little more than a vanity project for the unexceptional actress who first garnered fame as Faith on Whedon’s runaway hit, “Buffy, the Vampire Slayer.” Dushku was decent as a slayer-gone-bad, but did that mean she was ready to play lead in her own show? Did you see “Tru Calling”?

The series called for a stronger lead actress. But since that seems unlikely to change, the key to its salvation is to re-focus the spotlight on the more interesting dolls, namely Sierra (Dichen Lachmen), Victor (Enver Gjokaj) and Mellie (Miracle Laurie).
Too bad it took Whedon five whole episodes to realize that. The first batch mostly featured Echo galavanting from one “engagement” to the next, barely stringing together a cohesive bigger picture. That is until last Friday’s “Man on the Street” rocketed the show from mediocre to mesmerizing.

**SPOILER ALERT**

In this game-changing episode, we see the organization shaken to its core by an apparent rape of an active while she is in her blank state. As the fingers start pointing, Ballard (Tahmoh Penikett of “Battlestar Galactica”), the FBI agent tirelessly on the Dollhouse’s body-trafficking trail, catches up with Echo during her engagement with a Dotcom billionaire (played by comedian Patton Oswalt). Oswalt’s character had been using Echo as a surrogate for his wife, who had been killed before he could tell her about his fortune. The story fills in a much-needed moral gray. At once, viewers feel sorry for the client but also understand Ballard’s disgust with the business.

In terms of the bigger picture, the episode also reveals an inside man working in the Dollhouse and the existence of 20 more Dollhouses around the world. We learn that there’s a more sinister motive driving the organization. “The Dollhouse deals in fantasy. That is their business, but it’s not their purpose,” says Echo to Ballard via a corrupted personality imprint. And finally, the crucial mind-blowing twist comes courtesy of Ballard’s shy and adoring neighbor, Mellie, who turns out to be a sleeper cell. Kudos to Miracle Laurie for proving that so-called “plus-sized” women can in many ways out-act and out-schlock their toothpick counterparts.

**SPOILER ALERT ENDED**

With razor-sharp humor and jaw-dropping revelations, “Man on the Street” should have been the rule not the exception. Fox had little faith to begin with, shunting the show to Friday nights, where it had little to no chance of gaining an audience. Cancellation seems all but certain at this point.

At last, “Dollhouse” looks to become the complex, thrilling mind-game it should be. Too bad it regained consciousness too late.

BY KARLA MISJAN

Let’s be honest. We don’t watch them for the medicine. It’s a different kind of fix we’re after– the one that involves the oh-so-juicy drama (that I can never get enough of).

“Private Practice” is a watered-down, daytime soap opera version of “ER“—with extra romantic frivolousness. The episode “What Women Want” does not disappoint. Writer Shonda Rhimes sure knows how to keep you coming back for more.

Medicine completely falls by the wayside in the sexually charged episode “What Women Want”. While the sex may not be so in-your-face, it is, in fact, waving a lipstick-red flag at you every few seconds. Here, these doctors’ professional lives are getting in the way of their personal lives.

This week gave viewers an unholy mess of relationships to dissect. So, let us take it from the top, shall we?

The episode begins with Addison (Kate Walsh) and her best friend, Naomi (Audra McDonald) sitting on some bleachers like middle-school girls, watching their colleagues and Naomi’s ex-husband, Sam, play basketball. Naomi is on a mission to scout out the men and “sew her oats”. Translation: get laid. Luckily, Addison redeems the lameness of it all by saying, “At least at a bar there’d be cocktails.” To which Naomi deigns a reply, “But the oats wouldn’t be wearing shorts.” From this brief encounter, we can clearly see where this episode is headed.

First, the dichotomy of Naomi and Sam’s (Taye Diggs) relationship gets a little stranger every week. After the basketball spiel, Naomi begs Sam to set her up with one of his opponents. What does Sam have to say about it? “I’m pimping for my ex-wife.” Ha! How weirdly perfect. Last week, Naomi was all “Whoa is me, I’m the sulky- single-gal” and suddenly the tables have turned. Rightfully so, Sam is hesitant to fix his ex-wife up. Throughout the episode we see his internal struggle to move on while she steadfastly carries out her oat-sewing mission.

Next up is Cooper, who is arguably the most relatable character on the show and morally near-perfect in my eyes. Luckily, he defines his relationship debacle for me: “I’m living with one with no sexual benefits and sleeping with one who is way too complicated.” He has his lady in the streets, Violet, and his freak in the bed, Charlotte, who oddly embark on a budding friendship of their own based on their mutual love of Cooper. He takes care of them both…but in very different ways.

This brings me to pregnant Violet…who platonically lives with Cooper…who is not her baby’s daddy. Later in the episode she is scheduled for an ultrasound with her colleague Pete (Tim Daly), who is one of two men that could potentially be her baby’s daddy.

Confused yet?

Pete then, in an existential crisis, is “suddenly after anything that moves.” Could he be Naomi’s slut-counterpart?

While I do think it is mildly hilarious that Naomi rolls into the practice (that she owns) hungover because she stayed out until 4am, I can’t help but hope my own physicians would never be so irresponsible. Isn’t that what college is for after all?

Moving right along to Addison, seemingly the angel among a slew of libidinous devils (quite a role reversal from her Grey’s Anatomy days), who is faced with the plaguing question: to be or not to be an adulteress. After heavy flirtation with an unknown (and not to mention gorgeous) cardiologist last week, the writers dropped a bombshell. Aforementioned gorgeous cardiologist is married….to one of Addison’s patients!

With the ‘out of sight, out of mind’ mentality, Addison tries to “breakup” with her patient, but alas, is unsuccessful. Mr. Gorgeous Cardiologist begs her back because she is the best neonatal surgeon around…definitely not because he is “in love” with her. Right?

Now, I’m thinking I wouldn’t mind Mr. Gorgeous Cardiologist sticking around for a few episodes for the sake of new eye-candy. I mean, aren’t the McDreamy glory days so over? Plus, I’m sure Shonda can finagle another way for his character to leave viewers in the midst of yet another a moral conundrum.

Oh, wait. You mean to tell me that among all these ridiculous relationships, there is actually a plot that ensues to tie it all together?! You don’t say…

Well, on the medical wayside: a previous patient of Cooper’s receives news that he has an aggressive-growing cancer and has to have a portion of his jaw removed due to his girlfriend’s prior contraction of HPV. Meanwhile, a delusional lady miscarries a baby that she is certain is still alive, and which the doctors are trying to ‘steal’ from her. Yes, read: truly delusional.

But, none of that medical mambo jambo really matters, right? We’re just in it to see whether or not Addison cheats again. Duh.

While every fiber of my moral being is screaming, “DON’T DO IT, ADDISON!”, my inner Monica Lewinsky (released solely via aweseomely trashy television) can’t help but keep my fingers crossed for a steamy hookup next week.

BY ROBIN NEVETRAL

While “Here Kitty” of “House” was not extraordinary, it also did not disappoint devoted fans of the show and succeeded at delivering the drama and humor that audiences have come to know and love. The episode, which aired Monday, March 16th, featured the characteristic grumpy and pessimistic Dr. Gregory House whose offensive remarks and behavior causes fans to constantly question their love of him.

The drama, which airs on Fox, is currently in its fifth season. The show follows an intelligent, arrogant, quick-witted doctor, House (Hugh Laurie) who heads a team of other doctors at Princeton-Plainsboro Teaching Hospital (PPTH). Dr. House and his team’s objective is to diagnosis some of the most unusual cases they can get their hands on. House’s team consists of three intelligent doctors who work hard to help their patients as well as to figure out the motives and thoughts of often confusing and contradictory Dr. House. The show centers on these cases and the bizarre, and often rude, manner in which House handles them.

In this week’s episode, “Here Kitty,” while Dr. House is yet again unwillingly working in the clinic, a female patient, Morgan (a role played very well by guest star Judy Greer), walks in and asks House to run several tests on her. She then has a seizure and collapses. As Dr. Lisa Cuddy (Lisa Edelstein), House’s boss with whom he often butts heads, rushes to Morgan’s side to help her, House looks bored and begins to walk away. But he immediately becomes interested in the patient again as soon as Dr. Cuddy announces that she has urinated on herself and that her urine is green.

Dr. House then meets with his team of doctors to attempt to diagnosis his newest patient. In his characteristically foul manner, he stands at his whiteboard and shoots down suggestion after suggestion from his team. Finding ways to not only prove them wrong but to also insult them while doing so, House provides the show with much of its humor. During this particular episode, his insults seemed focused on Dr. Chris Taub (Peter Jacobson), the former plastic surgeon who joined Dr. House’s team in a past season. “Here Kitty” gave us more insight in Taub’s personal life, his past and current struggles, and the chance to see his development was refreshing.

Eventually the team discovers that Morgan is faking her illness in order to gain the help of Dr. House. Morgan works in a nursing home where a cat predicts the deaths of residents with surprising accuracy by sleeping with them. Morgan becomes immediately concerned once the cat sleeps with her, and by doing so, predicting her imminent death. House desperately seeks to prove Morgan’s cat-predicts-death theory wrong; however, this is made more difficult when Morgan begins to display legitimate symptoms.

The episode features House’s characteristic abrasiveness and stubbornness that has made fans fall in love with the show. In a conversation later in the episode, audiences are able to get a glimpse into the philosophy of House as he enters into yet another debate about the human condition with his patient.

This episode reminds fans of why they hate to love House, as he pokes fun at the weaknesses and anxieties of his team. These moments provide the show with much comic relief and give fans some lightheartedness in an otherwise serious medical drama.

The story line of a death-predicting cat was new and unusual which made the show all that more fascinating. The cat also provided a great amount of humor for the episode since House and his team used the cat’s presence to play several practical jokes on one another. The episode succeeded in keeping my interest and attention with several twists and turns that are usual as the team attempts to diagnosis a patient. I was hooked as Dr. House and his team attempt treatment after treatment in an attempt to determine the cause of Morgan’s symptoms before it is too late.

“Here Kitty” featured the usual humor and sarcasm the show has become known for as well as interesting medical cases that provide the show with drama.

BY GAGE HENRY

Jack Bauer’s rogue persona has never been so alight as in season seven (aka Day Seven) of Fox’s real-time thriller, “24”, a chronicle of America’s baddest bad ass fighting through the longest days of his life. Technically, we’ve only watched this guy for about a week– seven seasons and all– but this is plenty of time to conclude that Bauer is the most underpaid man in the country.

Continuing the story introduced by the TV movie, “24 Redemption,” season seven is set four years after six and already is juiced up by more car crashing, face smashing and bullet cracking sequences than the FCC knows to do with. The season begins with Bauer subpoenaed back from Africa to his trial under Senator Blaine Mayer– an intelligent and fashionable Red Foreman– for his questionable interrogation methods during his Counter Terrorist Unit (CTU) operations.

The proceeding is interrupted within the first hour as Bauer is needed for yet another national security breach involving U.S. troops posted in the fictional, African country of Sangala. Recently inaugurated President Allison Taylor is pinned between saving Sangalan citizens or American lives by the threat of a domestic terrorist attack from Colonel Dubaku of Sangala.

By the latest episode, “9:00 P.M.-10:00 P.M.,” the day is already halfway through and the U.S. has endured two terrorist attacks (one hit and one miss), a handful of moles are dug up in the FBI and presidential administration, the First Gentleman is shot, the White House is stormed by General Juma of Sangala and two head honchos responsible for America’s plight are taken down while the real mastermind behind the operation remains at large. The number of people who trust Jack Bauer can be counted on one hand, maybe two– they’ll figure it out eventually.

As if Bauer’s mission to sustain America wasn’t impeded enough by a nefarious public image and the absence of CTU, his record is further tainted when he is framed by a mercenary counterpart for murdering a valuable source, and his strongest foothold in the FBI, Agent Renee Walker, is suspended by her superior, Larry Moss, for her heroic antics.

These two FBI agents share a sexual tension reminiscent of Mulder and Scully of “The X-Files,” a likely factor in Walker’s suspension and Moss’ cynicism towards Bauer. The result is another incompetent government agency that spins its wheels trying to catch the one man that can save the nation.

The character pool isn’t as lively as previous seasons, but the show has upped the ante in casting silver screen actors, one being Janeane Garofalo as the neurotic and tech savvy Janis Gold, the FBI’s version of Chloe O’Brian. Jon Voight also joined the cast as the nemesis puppeteer to this season’s chaos, and is potentially the show’s coolest bad guy yet.

“24”’s large viewership was never just wrapped up in its tangled narrative threads or budget to blow things up. Plot twists eventually turn predictable and the cheesy synthesized score can drain a scene of its suspense, and season seven hasn’t been immune to this. But the episodes continue to ripen, riding on the fact that audiences haven’t grown tired of Jack Bauer. Writers can still develop his weathered character, and demonstrate that his body is virtually bulletproof, but his mind will always wander the roads not taken, where his wife was not killed and his daughter not estranged.

During a candid moment between Bauer and Senator Mayer in the latest episode, the ex-CTU agent confesses: “Everyday I regret looking into the eyes of men, women and children, knowing that any moment their lives might be deemed expendable in an effort to protect the greater good.”

The irony in Bauer’s calling, an irony that reaches back to the first season, is his oppression by the same country he’s sacrificed his life and family for, a misunderstanding that may never be appeased, nor melt his iron will.

It is comforting to know that when the writers run out of ideas, Jack Bauer certainly won’t. He is deadlier than ever in the seventh season, equipped with the driving prowess of Jason Bourne and bulldozing dexterity of Daniel Craig’s James Bond.

So what does Jack Bauer do on his day off? At this rate, it could be a while before we find out.

BY KELLI HILDERBRAND

Once again, the creators of “Lost” continue to amaze audiences with the radical events that occur on this mysterious Pacific island. This episode “LaFleur,” which aired March 4, left viewers bewildered, while uncovering secrets and leaving unanswered questions of the island’s past.

ABC’s television show “Lost” has entertained and bedazzled audiences for five seasons. The adventure began when Oceanic flight 815 crashed on a Pacific island leaving the survivors to discover the island’s grave past and startling future while also trying to figure out a way home.

As the first scene unfolds, we see Sawyer (Josh Holloway) wearing a Dharma initiative jumpsuit with the name “LaFleur” written on the chest. He’s the same rugged, blonde-haired Sawyer the audiences fell in love with, but he is strangely going by the name Jim LaFleur. Avid “Lost” fans will recall from the first episode of the fifth season that the island has a specific energy power that makes it possible for time travel. The Oceanic six (Sun, Kate, Hurley, Sayid, Jack, and Desmond) who left the island are the main cause of the time travel because they were never supposed to leave.

The introduction of time travel this season is not surprising considering the smoke monsters and polar bears that lurked around in previous seasons. The time travel element fits in well this season and it is interesting how it affects the people who remain on the island. However, in this episode it is revealed that time travel has ultimately stopped and now Sawyer, Juliet, Jin, Faraday and Miles are stuck in the 1970s on the island during the Dharma initiative (group of scientists who studied the island throughout the seventies and we are still learning about them). A shock to many fans, time travel is a surprising twist in the story leaving the viewer wondering what will happen to the remaining five characters and how they will fit in with the scientists.

In a flashback to three years earlier, Sawyer and Juliet rescue a woman named Amy from two hostiles (other people who dwell on the island). The two hostiles shot her husband, Paul, while Juliet and Sawyer then are forced to kill the two hostiles. They tell Amy that they are not going to hurt her, and they set out for her camp. They come to the electrifying tall fences that surround the Dharma initiative. She leads the others to believe she turns the fences off, but does not, and everyone except Amy is knocked unconscious.

We are then thrown back to three years later on the island and discover that an intoxicated Horace (Doug Hutchison), the leader of the Dharma camp, is blowing up trees on the Dharma property. Sawyer, who is the leader of security, and Miles pick up Horace and drop him off with his new wife Amy (Paul’s widow, Horace’s new wife).

The dramatic story line of this episode encompasses numerous twists and turns, leaving viewers with an itch to figure out the latest piece of the unsolved puzzle. This episode is intriguing but difficult to follow when “Lost” writers switch from the 1970s to what seems to be present day. They try to let the viewer know when the switch from past and present is made throughout the episode, but ultimately it is still confusing. What if a person took that phone call from their grandma during this episode and missed the introduction and explanation of what time frame we are in? That will leave most viewers confused and quite frankly, “lost”.

The actors in this episode are as convincing as they are in the previous five seasons, especially as they try to convey such a complicated script. Holloway is particularly memorable in this episode with the wide versatility he shows in each of the different personas he is forced to play.

The ending of the episode shines light on remaining unanswered questions about the island and its mysterious powers. Additionally, it answers the emotional question about what three years apart does to lingering romantic feelings. Even though it is a rough and rocky ride, this half-way point through the fifth season leaves fans intrigued and geared up for the remainder of the season.

BY JULIE LEUNG

Not since Alice’s fall down the rabbit hole has a young girl’s curiosity resulted in such bizarre consequences as Neil Gaiman’s acclaimed children’s novel, “Coraline.” And not since 1996′s “James and the Giant Peach” have we seen a Henry Selick directorial piece as visually spectacular as his adaptation of Gaiman’s 2002 classic. That being said, two rights don’t necessarily make another right. If the novel was a DVD player and the film was the TV set, Selick didn’t plug in the audio cable correctly. The outcome is a dark tale, majestically shot in painstaking stop-action animation, but an emotional plateau in terms of dialogue and character relations.

It’s a shame. Short of Tim Burton, no one was more up to the task of adapting this cautionary confection than Selick.

Coraline Jones (voiced by perennial child star Dakota Fanning) is an adventurous, blue-haired girl who believes she could do with a few improved adults in her life. For one thing, her workaholic parents pay no mind to her quirky whims and needs, and her eccentric neighbors try to feed her hundred-year-old candy.Coraline’s wishes come true when she discovers a parallel reality where her ideal “other” parents (Teri Hatcher and John Hodgman) exist, ready to appease her every desire for attention and sumptuous feasts. Lively “other” neighbors put on absurdly dazzling shows just for her. Free from any boredom, Coraline is willing to overlook everyone’s creepy button eyes.

Sumptuous, creepy and absurdly dazzling also describe Selick’s signature aesthetic featured in this film. A true credit to his mastery of color and abstract proportions, the film was shot entirely in 3-D. If at all possible, aim for a theater showing it as so. At an hour and forty minute running time (the longest stop-action animation to date), the film brims with carnival-esque visual motifs. The three-dimensional effect renders the kooky spectacles all the more tactile and visionary. One couldn’t help but squeeze the theater seat a little tighter as the portal to the “other” side yawned forward in a vertigo-inducing manner. True to the novel’s “be careful what you wish for” mantra, Coraline soon discovers a sinister underbelly to this dream alternate world. Her “other” mother is actually a monster determined to keep Coraline a prisoner by sewing buttons into her eyes.

Unfortunately for Gaiman purists, Selick — who doubled as the screenwriter — diverts from the novel in troublesome ways. Saddled with an extra key character (a hunched kid named Wybie who is absent from the book) and empty elaborative dialogue, the film falls short of its potential profoundness. Wybie’s (Robert Bailey Jr.) humorous attempt at explaining the reasoning behind his name (“Why born, ha ha, get it?”) falls flatter than unleaven bread. It’s furthermore hindered by an intrusive soundtrack composed mostly of a child-like vocal humming eerie tunes a la the introduction to “Pan’s Labyrinth.” It worked in Guillermo del Toro’s adult fairy tale because it hearkened to the heavy meaning underlying the film’s fantastical premise. However in Selick’s piece, the ominous music is overused and lacks the quirkiness needed for a children’s film. In contrast, Teri Hatcher, who voices both Coraline’s real and “other” mother, lacks the menacing touch to fully flesh out the latter.

It takes quick-witted thinking for our young heroine to save herself from her “other” mother’s spider-like clutches. It will take a personal re-write from Neil Gaiman and a re-scoring from composer Bruno Coulais for this critic to be completely satisfied with the film.