Ann (Rashida Jones) waits impatiently for the slew of dates Leslie (Amy Poehler) has lined up for her.

At times, “Parks and Recreation” can feel like a delightful embarrassment of riches. There are so many balls in the air that you wonder how they could possibly be juggling them all. Just as you did with the pretty, popular valedictorian in high school, you dug deep to extract that one irredeemable quality. The pivotal flaw that you could exploit to prove she doesn’t deserve the student body’s worship. Then you confront that flaw and realize that even her imperfections make her likable. Then you hate your yourself, because you aren’t pretty, popular, or smart and your flaws just repel all the attractive people.

Excluding the last sentence (I think I’m swell), this has been my relationship with “Parks” as a critic. As a fan, I have laughed my ass off, fallen in love with all the characters, and even began to prefer hanging out in Pawnee over my hometown in suburban Connecticut. As a critic, it’s counterintuitive to my very existence to unconditionally adore any TV show. That same act of extracting flaws is turned toward more productive pursuits (in my humble opinion), the analysis of what makes for effective storytelling. In the case of “Parks,” I have crammed my reviews with praise for the writers’ ability to craft and maintain multidimensional characters and how they can cultivate jokes rooted in their specific traits. Tonight’s episode, however, reminded me of Ann: quite possibly the sweetest, most charming blemish.

Leslie’s best friend and ex-girlfriend to both Chris and Andy, is largely defined by those relationships. Who she’s dating and how exemplary her friendship with Leslie is, are her major talking points. Tonight spoke to the show’s stagnation with her role, and the stagnation it can foster when she either isn’t dating someone or when Leslie’s attention is focused elsewhere: such as Ben and her campaign. But what made this episode extraordinary was that it simultaneously answered that concern with rich possibilities for self-discovery that can add to the already intricately-woven tapestry that is the Pawnee Parks Department.

It’s February 13, or as Leslie has dubbed it, Galentine’s Day: a celebration in sisterhood. The adorable concept, Leslie  takes her gal pals to brunch so that they may love themselves as women, individually and communally, but separate from the men in their lives. Obviously, this year is different. Leslie’s in love. Silly, miraculous, sickening, dreamy love. And Ann, who churns through guys like today’s teenagers do cell phones, is alone. During her “confessional” she convinces herself that she is at piece with her singlehood, and at the table she congratulates the others (Donna, Leslie’s mom, April) on their relationships. However sincere, it’s laughable how sarcastic she sounds. Immediately, Leslie swoops in to save her dearest friend like a animal caught in some netting. This is not an original plot by ANY means. Ann and Leslie have played opposite roles, but the general principle of matchmaking prevails. What makes it feel brand new are the contributions from the rest of the gang. They’re not at all obligated to, but because Leslie would “lit’rally” do anything for them, they ask Leslie “How high,” before she even requests they jump. Sure, it wasn’t the cleverest plot ever conceived, but it gave us an excuse to return to the giving, thoughtful Leslie. It would be an exaggeration to say politics has changed her, but it has forced her to be self-absorbed, and before I could recognize how much I missed her magnanimity she reappeared.

The scope of her altruism extended to her valentine as well. Though they had promised not to exchange gifts, Ben had a stuffed animal made based on her recurring dream of a playboy otter (where do these ideas COME FROM), and she gave him—a cryptex. Inspired by the first movie they watched together on Starz HD, “The Da Vinci Code,” it’s a device that stores inside instructions on how to arrive at his surprise. Of course, he must know the five-letter code first, and he is clueless. Thus, the ingenious trio of sleuths, Ben, Ron and Andy is formed (not before Ron and Andy suggest the code might be f**k and actually “break it”). Hot on the trail, Ron tries to resist the allure of riddles and clues. Once he discovers he has a knack for the game, his patented giggle is unleashed, one that is only revealed when Swanson breaks down his meat-soaked, manly exterior and simply enjoys himself. The point is illustrated superbly in one outlandish, ironic scene, Ron enters “The Bulge,” Pawnee’s premier gay bar. He confidently saunters in, inquires about Leslie’s clue, retrieves it and then walks out giggling effeminately as the aroused patrons gawk at him, bewildered. It’s a truly mesmerizing scene that renders you silent until the awes dissipates and you erupt at how splendid it is to watch Ron own that room, as if it were his old stomping grounds, despite being the antithesis of the Swanson way.

At the annual couples dance, sponsored by the Parks Department, Jerry, April and Tom try to scrounge up candidates to be Ann’s date. Jerry incidentally hires a gay male escort and Tom contributes the cowboy wanna-be, Harris. Harris is played by Emerson College alum (rep my school!) Harris Wittels, one of the most frequent writers for the show. He makes an impression as a lives-at-home Phish Phanatic (he’s been to 308 concerts). Former flame, Chris, has sunken into the polar opposite of his usual optimism, all-encompassing sadness. As DJ for the event, he constructs the most miserable playlist. Tom, often a catalyst for parties trying to break the fun barrier, tries to cheer him up pointing out how many prospects could be out there in the dance floor. Chris’ pessimistic reply is that no one compares to Millicent Gurgitch: everyone except her father Jerry. What ensued was the laugh out loud nominee for best facial expression, a longing, gentle stare from across the room. Just the idea of Chris yearning for Jerry makes me burst out.

Eventually, Ron solves Leslie’s 25-clue scavenger hunt when he suggests that the only thing she covets more than romance is being right. He asks Ben if he has recently shifted to her way of thinking on a point of disagreement recently. Ben applauds Ron’s expertise and rushes over to Lil’ Sebastian’s grave. As fans beyond this season will know, Lil’ Sebastian is the miniature horse that captured the hearts of Pawneeans, no matter their creed. Ben (even Ron got visibly choked up at the horse’s funeral) doesn’t get it. The appeal escapes him. Leslie is blissfully unaware of his true feelings though, thinking he has finally come to understand his greatness. Her reward for Ben was to treat him to dinner, but when she suspects that Ann and Chris have left for a secret date to rekindle their feelings and remedy their loneliness he suggests it would be better that they spy on them. They would, of course, be breaking the same rule they had: a personal relationship between a superior and his subordinate.

All these shenanigans lead me back to my thesis on this episode’s depictions of growth. April, despite her usual ambivalence, or even sometimes active rooting for chaos, showed last week with Chris’ grieving that she puts others before herself in order to make them happy. Is it possible Leslie’s selflessness has rubbed off? At any rate, in this episode April assists the women she swore to despise ever since she kissed the man she’d later marry. Not only has her hostility softened, but she actively seeks to support Ann by offering an unlikely solution to a lack of well-intended male attention. Tom. No, seriously. This was no sabotage by April. And she makes a salient point. Tom, when you carve off the layer of swagger-ful facade, he is at his most basic elements a sweet guy who would dote on Ann, and make her feel like the most adored and important woman in the world, even against his better judgment. April also observes that Tom is the sole man to make her laugh and smile that night.

Upon LesBen’s arrival at the restaurant they had followed Ann to, it’s revealed to us that the Tom/Ann pairing came to fruition, at least for a few drinks that night. They were the secret date Leslie had speculated about. Suggestive of her improvement in approaching healthier romantic relationships, Ann decides to allow Tom the opportunity to audition. By all accounts, he fails miserably. He makes some wisecrack about getting to know each other so they may later “snuggle up, like little bunnnnnies.” Ann says, “Ugh, this was a mistake,” and it’s over. So Tom doesn’t make significant strides like April did, and Ron only told Leslie how titillating he found her series of riddles in reverse psychological code. And that’s okay. It wouldn’t have been so authentic if everyone had resolved their imperfections. Ann remaining a “beautiful spinster” is not a blight on the tapestry’s fabric.

For me, “Operation Ann” signified progress. Alan Sepinwall, a fellow critic whom I look up to, theorizes that maybe April’s marked spike in maturity could be a precursor to her breaking away from Andy. One of his commenters suggested maybe it is his Andy himself, and his pure heart, that has galvanized her good deeds. Either way, whether April blossoms into a benevolent young lady is immaterial. It matters not that Tom thwarts his chance to woo Ann. The vital ingredient this episode added to the mixture was motivation. As mentioned above, I applaud the “Parks” staff for their commitment to the authenticity of their characters. Their voices are distinct and their ideals, their motivations, their far, their desires are clearly mapped, by now. But my stamp of approval was earned when they broke their own conventions of the characters allowing them the forward movement to fundamentally change aspects of who they are.

We want to spend time with these guys because they feel real, because they assert themselves. They make mistakes. They live. And there’s no reset button that erases the previous week’s errors in judgment. There are rules, and damn it, they break them week to week, but not without consequence. The numerous slaughter murals that adorn Pawnee’s City Hall may not be an accurate representation of the kind souls we’ve come to know inhabit that town, but they do convey an undeniable truth of their world and ours. Nothing lasts forever. When discussing the roots of his despair with Leslie, Chris tellingly poses the question, “What if I have already achieved my personal best?” Because they pushed our pals along with the winds of conflict and change, and by testing their “babies” they challenged themselves (as writers), while not sacrificing the consistency and rhythm of its rise-and-fall jokes, the “Operation” was successful… A-

L.O.L.Ls: Laugh Out Loud Lines:

- “Thank you for being here. Let’s get started.” “Wow, Ron. Great attitude!” “Sorry, I was talking to these ribs.”

- “Does Ann have a little Indian in here?” “No I don’t think so…” “Would she like some?”

- “April hates Valentine’s Day, and brunch, and outside, and smiling. Haha, she’s weird.”

- “Let this be a call a wakeup call about how you present yourself to the world.”

- “Can we change the music? It kinda sounds like the end of a movie about a monk who kills himself.”

- “…Not as beautiful as my sister, but you know, the law.”

- “Screw romantic dinners, let’s go rub it in their face!”

- “I got lucky…AND I LOVE RIDDLES!”

Leslie (Amy Poehler) looks to court a reluctant voter with bowling skills and "laid-back" demeanor.

When “Parks and Recreation” started out, it was “The Office” 2.0. Whether comparisons were fair or not (they did share producers/writers Greg Daniels and Michael Schur) it was a comedy founded upon the idea of hilarious interaction in the workplace. And once we came to know these characters and the dynamic they shared, the show was heralded by critics. It’s only natural then, that the TV critic community might would become weary of the potential for shaking up a successful formula. Leslie Knope is running for office, and as her adoring fans we would like to witness her triumph. But what would happen to the gang if she was a city councilwoman? For now, they are diligent phone operators and fundraisers, but how long can that last? Will it feel like the gang is playing second fiddle to the LesBen power couple?

This episode scoffs at that notion. Much of this episode’s charm was in the the B- and C-stories that showcased two of the most facially gifted, delivery-nailing comedic actors out there, Nick Offerman and Aubrey Plaza. Offerman’s Ron Swanson is not only my favorite character in current comedy, but he is a cult figure for his love of meat and breakfast food, his staunch libertarianism, and his intolerance for girlish men. Plaza’s April Ludgate has epitomized the ironic youth of today. She is the sarcastic observer who wants chaos to unfold so that she may mock its meaninglessness. Both not only execute their fan-favorite quirks with deadly accuracy this week, but they reach beyond themselves in moments of growth (eh, maybe baby steps) that provided payoff and pathos.

LesBen and the “Knope We Can” campaign kick off a series of focus groups in order to gauge Leslie’s appeal. Many seem to feel off-put by her perceived elitism. The snob in me would wish to defend Knope by pointing out that just because these folks have a fourth grade education does not make Leslie an elitist, but I will refrain from generalizations as I am above that. Damn, still pretentious. Well, at any rate, one comment particularly gets under Leslie’s skin: “She doesn’t seem like someone I would want to bowl with.” With a target in her sights, Leslie locks on Derek, or “Bowling Comment,” as her binder full of research describes. Ben, as boyfriend, teases her relentlessly about her obsessiveness. After multiple insistences that he can ask Ron how good she is at bowling he asks, “So I’m not sure I believe you’re good at bowling is there someone I could ask?” As campaign manger, he tries to reel her in. Strategically, the one vote doesn’t matter, and if she fixates on him she could lose votes instead. So, Leslie’s compromise is to sponsor a bowling night where she can schmooze with the voters and prove she is laid back (and a good bowler as Ron can attest too, apparently).

As Leslie tries to establish her public persona most of the gang is making calls to raise money. Jerry, for Twilight Zone-like reasons, has been put in charge  and April, Andy, Donna and Chris are under his leadership. To liven up the “phone party,” Jerry incentivizes the task by offering the winner two movie passes for who ever raises the most. Chris’ eternal perk and knack for flattery seem like assurances he will win, but once he begins to celebrate his lead in the standings, April resolves she must win to “make his happiness go away.” Her efforts include creating a down-home country-fried southern belle voice, and she appeals to the Latino voters with her fluent Spanish (she is Puerto-Rican) through shouts of “Mira, mira, mira!” The competition is interrupted, however ,when Jerry lets it slip that his daughter Millie will break up with Chris. The unflinching optimist is unaware, believing they are about to move in together. When Millie comes over to take Chris “for a walk” the gang who has grown to care for him, even though just a year ago he was an outsider and threat to the Parks department, tries to warn him of the impending heartbreak, but unassuming he laughs off their subtle forebodings.

Ann, Tom and Ron join LesBen at the bowling night, much to Ron’s delight. The restaurant inside the alley is his favorite in Pawnee. It serves only hot dogs and hamburgers, but Offerman’s glee shrouded in mustache suggests that is all Ron truly needs. In contrast, Tom (Aziz Ansari) arrives with pomp and circumstance. For all my cinephiles, he dons a black version of the satin scorpion jacket sported by Ryan Gosling in “Drive.” Ron continues to relish in his simple values, regardless (referring to Ann, as “Girl” was particularly authentic). Tom shakes that foundation to the core though when he bowls two-handed, “granny style,” and scores a strike. Ron is outraged that such an embarrassing display could result in success.

Despite Leslie’s spinning her inability to “let go” into a popular event, she hadn’t buried the hatchet. She sent Derek an invitation in the mail and when she spots him, she immediately swoops in to challenge him to a friendly game and a hot plate of wings (she creepily smiles at the camera saying she totally knew he’d loved them, pointing at her binder). She lets the man win, and even strokes his ego along the way, which in itself seems very anti-Leslie, but this guy really got under her skin. She outlines her issue with Ben saying that she can’t control being a woman, or being short, or blonde, but she can control her perception. She NEEDS Derek to perceive her as fun. Once Derek wins with only a mediocre score, Leslie springs on him the question about his vote. He still won’t vote for her. Leslie, then tries to earn his vote saying that if she can beat him fair and square he will guarantee his vote. Ben, during this whole fiasco, is extremely frustrated, wishing Leslie would take the opportunity to face-to-face with more people, but what makes him perfect for Leslie is he says his piece and then falls back, letting his love make her own mistakes.

Once she absolutely slays Derek in bowling she tries to be civil and say, “Hey, seriously it’s been fun, and I hope I can genuinely count on your vote.” Then, Derek replies, “Sure, I’ll write-in Bitch.” Outraged, Ben goes COMPLETELY out of character and punches the man in the face. He instantly apologizes, but Leslie is impressed! And who can blame her? Despite her feminism and opposition to violence, she found out her love can protect her and that’s not something she should regret, it’s something she should cherish. But in the public eye, it’s something she should apologize for. To avoid Derek pressing charges, she intends to save face (pun intended).

Here begins the laundry lists of reversals the episode elicits. Although, “Bowling for Votes” is brimming with jokes that hit upon specific beats as opposed to hitting on a level of general wit and charm, our quirky and even lovable friends in Pawnee don’t remain static. They learn from their mistakes, they feed off the emotions of their friends, and they realize that who they need to gratify first is themselves.

For Ron, “Bowling with two hands is embarrassing” Swanson, Tom’s inevitable victory is not an option, it is an aberration that should be ignored, but for posterity’s sake he must prevent it. He sabotages Tom by jamming his “fing-y” between two bowling balls. He suspects he won’t be able to bowl the last frame. When Tom perseveres and hits enough pins with just one hand, Ron is visibly distraught. In the very last scene, he takes his baby steps by showing up in sunglasses, marking his name as “Man” and bowling  Tom’s way. In hilarious, yet predictable manner, he bowls a perfect game. The manager asks for a photo to put up on the wall, but Ron assures that he was never there and walks off. Of course, he shouldn’t have been embarrassed for the tremendous achievement, but to acknowledge that another’s way might be better is like asking Ron to change his entire fabric of being. It’s progress Ron can’t possibly sustain, but memorable for his effort.

April, likely surprised the most when, in a moment of weakness, she offered condolences and a gift to Chris. In the aftermath of the breakup, Chris never came back to make calls and April won the movie tickets. Feeling as though he might need support, and perhaps feeling guilty that she wished for his happiness to go away, she approaches him reticently. Once at the office, he represses his pain. He tries to dip into his well of positive thinking, but comes out empty and dry. “But here’s why it may be the greatest thing that ever happened…” When he just stands there, she offers him the tickets out of pure kindness, suggesting maybe he use them to join her and Andy at the movies someday soon. Nobody with any sense of April would believe she didn’t care about at least some of these people, but to see her take a shine to her emotionally polar opposite (the man who loves all vs. The woman who is always “meh”) was quite a departure. Both Ron and April have these facades, these masks they wear for their own amusement and protection, but here the masks are removed and the likable, decent folk emerge.

Leslie’s reversal occurs to her in mid-apology. She shouldn’t apologize for something she’s  deemed awesome. She may admit too much in revealing how much they “made out after,” but the message is understood. She loves Ben, and when Ben stood up for Leslie by clocking a jerk who called her “her second least favorite word for a woman” she felt protected and honored. Turns out, the focus groups love that kind of gusto to stand up for what you believe in while risking that others may not stand behind you. This may seem like an all-to-easily-swayed voting population, but stranger and more arbitrary aspects have won a candidate elections before. Most importantly, Leslie gained a better understanding of the sort of candidate she wants to be, separate from what is “electable.”

Leslie’s arc can largely be viewed as a metaphor for the show. No one can ever accuse the ensemble of “Parks and Recreation” of being inauthentic. Some weeks Andy may seem too much of an idiot, Tom may be too showy, and Leslie can be too manic about a project (Ron could never be too much of anything, it’s all gold). And while moderation, range and/or subtlety are great practices in human behavior and in television, what make the Parks gang a fun group to be with is that they never disappoint. They are flawed, but they never fall shy of expectations in the terms of being themselves. If the campaign trail doesn’t change Leslie, than why should we worry the show’s essence will change. With no “wow” factor in terms of a slapstick tipping point, and without much of the electricity of of other recent episodes with joke frequency this might come off as an off-night. But for allowing Leslie to rediscover the personality and spunk that made that made her such an unstoppable public servant and a compelling candidate while shining the spotlight on Ron and April, two of the show’s more distinct contributions to the comedic canon, I can unapologetically  call this episode “awesome,” an A-.

L.O.L.Ls: Laugh Out Loud Lines:

- “Oh I don’t know Jerry. It’s Sunday night, I’m making phone calls to strangers and you’re in my house. My night couldn’t be worse.” —April

- “I choose to support Team Knope. Because they’re the best. Everyone’s the best. We’re all winners.” —Chris

- “When I eat, it is the food that is scared.” —Ron Swanson

- “Son, people can see you!” —Ron Swanson

- “You can’t eat the biscuits if you don’t pay for the flower!”

- Andy, in response to hearing Jerry say Millie is going to break up with Chris: “Wow, that’s gonna be super weird when they move in together.”

- “I’d like to introduce you to my good friend, anyone else.” —Ben

- “What Champion? You need to go out now? Oh, sorry he hates awkward situations.” —Andy

Andy (Chris Pratt) takes an eye exam as his wife, April (Aubrey Plaza), looks on dumbfounded.

I’m not suggesting that Parks and Recreation should be viewed as anything beyond a belly laugher that occasionally will endear us with acts of kindness and friendship (and this CERTAINLY is not a slight), but I felt as though this episode had a pretty visible thematic undercurrent. Besides being a relevant social satire (perhaps) of the ongoing tete a tete between Newt Gingrich and Mitt Romney-endorsing Super PACs, I saw “Campaign Ad” as a commentary on idealism vs. realism. In both subplots, we saw the extremes employed. Andy and April chose to ignore their abysmal financial situation and hope that insurance would cover an absurd amount of medical care that evidently both have been neglecting for some time. And Ron F***ING Swanson was cruel and ruthless in crushing the dreams of the Public Works Department who hoped to build a dam. Of course, both incarnations of these world outlooks were hysterical, but obviously flawed. Ron surely could have been more compassionate, and based on Chris’ offer at toward the episode’s end, if he could remain open-minded a more lucrative and influential position of assistant city manager would await him. Could you imagine a Libertarian like him with the power to cut spending in any (and just maybe all) departments? And Andy certainly sees the world through rose-colored glasses. And according to his eye test, he needs actual glasses. According to his testimony it sounds as if he has been suffering from nearsightedness for oh…his whole adult life.

What we got with the main plot was the true face-off and subsequent compromise of these perspectives. Leslie is the idealist. When an opponent, played by movie star Paul Rudd, born of the Pawnee royal family, the Newports, pops into the race with his daddy’s corporate backing she firmly believes that although Bobby Newport is charismatic and affluent her status as a lifelong bureaucrat and champion of her city will propel her to victory. But frankly, Sweetums (the Newport family business), a candy conglomerate that employs half of Pawnee’s population, carries too much political sway. Ben, the realist, immediately sees the competition as the Goliath to their David. This does not necessarily discourage Ben either. He just is willing to play dirty. Leslie, however stands atop her principles, while reluctant to undermine her boyfriend’s strategy. His fairly sound plan is to buy airtime during halftime of the Pawnee vs Eagleton high school basketball game (more popular in town than the Super Bowl) to run an attack ad against Bobby Newport. With most of the gang in support, Leslie hesitates to voice her opinion, but once Ben senses her discomfort she refuses to ever do a negative ad. Though her ambition, to win on her merits alone and not by demeaning the opposition, is admirable but Ben aptly breaks it down. She does not have room for error. She is down 70 points, and needs something, anything, that will make her stand out before she’s DOA. An attack video could be that lynchpin.

Being the reasonable and supportive boyfriend he is, Ben suggests a competition. Leslie and he will pick teams and whichever team produces the better ad wins. During Leslie’s shoot there is the sight gag of Bobby Newport’s bus with that big smiling mug of his right behind Leslie as she hands a child a hot dog (how patriotic). This pales in comparison, however, to the funniest moment of the episode as the team of Tom, Ben and Jerry try and nail the perfect voiceover for their cliché slam against Bobby. Just replaying in my head that unlikely trio taking turns, showing off their most gravelly, menacing, and authoritative versions of the condescending narrator in these commercials (we all know the type), makes me break into howling laughter. Once they screen their respective submissions the victor is clear, though Leslie is swimming in the De-nial River. Ben quickly points out that, positive or not, her ad is ineffective. It never mentions that she is running for office nor ever says the words city council. Plus, her list of “some more things she’s pro” is miles long and in painfully small typeface. Eventually, she accepts defeat and trusts her boyfriend to do what’s best. It’s curious that this strong-willed woman would stroke her boyfriend’s ego, even if he may be right, but we are soon vindicated as loyal viewers.

Despite Leslie’s claims that she’s “very zen about it all,” she tackles Ben at the TV station as he is about to hand over the DVD. Another great bit of slapstick from a comedy that has limitless range. But the award for best use of physical comedy goes to Chris “Pratfall” Pratt a.k.a Andy. Not once, but three times he was called upon to fall over in this episode and every one had me (and hopefully not him) in stitches. As stated above, Andy and April were doctor’s appointment shopping after Ann told them about the wonders of health insurance when they came to her wondering what could be causing Andy’s symptoms. He’s saddled with a headache, seeing double, a song stuck in his head, his teeth hurting and he’s hungry—to which Ann quips, “Kay, well some of those things are symptoms and some of them are just being a person.” Then once inside the Pawnee Medical Center he opens up about a number of issues ranging from allergies to broken bones, to April needing a tooth pulled. But as I mentioned it is his spills that brought the whole bit together, the most prolific being when he decides to “dine and ditch” the hospital when he realizes the insurance required a $500 deductible. His response is then to rush out of the building, and in his haste he runs into the side of an ambulance. If you don’t burst out after seeing Pratt bounce back, you are a lifeless drone or one of the dementors from Harry Potter that suck out people’s souls.

Once Leslie sabotages Ben’s marketing strategy he decides that they can combine elements of their ads together to create an appealing and sweet, yet tactfully pointed argument for why she would be a much better councilperson. In the instant Youtube sensation, we see footage of 10-year-old Leslie making fake campaign ads promising cleaner streets and a more progressive tax on residential properties. In Bobby’s ads? He promises to…figure it out when he gets there. The widely viewed viral hit causes young Newport to call LesBen (my trademarked couple name) to dinner. Here’s where the episode hit its only real snag. Paul Rudd, like most of the cast, can charm the paints off me on a consistent basis, but the writers also know exactly who these characters are to the point where nothing they say is inauthentic.

In Bobby Newport’s pleas to Leslie for her to “just quit” he comes across as a spoiled version of Andy. Now, there is nothing wrong with the lovable loser. Andy executes it flawlessly almost every week. And Homer Simpson has done it for 25 years. But when you have two dudes who are dumb as rocks and man-children in terms of their grasp of responsibility on one show, it comes across a tad lazy. I buy that Bobby would think he’d get his way every time, but he might convey that in a way douchier than “Gimme it.” I was hoping for a Bush-like baffoon, who in the media’s perception tried very hard and often succeeded in sounding smart and put-together, but would on select occasions negate his efforts with mispronunciations and vagaries when discussing foreign and domestic agendas. At this point, I will lay off though, because I have the utmost faith that Harris Wittels (Emerson alum, REPRESENT) and the rest of the staff writers will re-write the ship (see what I did there) and utilize Paul Rudd’s smarmy delivery to make him closer to spoiled douche than spoiled dimwit, or possibly an unfounded mixture.

In lieu of a mixed reaction to Paul Rudd’s introduction to Pawnee, my inclination is to downgrade from last week, but the jokes hit everywhere else, and the April/Andy hospital buffet even topped the main thread with Leslie/Ben. Although, admittedly, the re-affirming moment where Leslie tells Bobby to toughen up, as Ben told her when debating the ad’s merits, in preparing for their debate did inspire in me a Tiger Woods fist pump. I imagine, sadly, that has less acceptance as a gesture post-scandal, but I felt triumphant all the same. The Ron/Chris subplot could have easily fallen under the radar, but it exhibited more precision in character authenticity. Again, that’s what made Bobby so strangely inferior in comparison, but in fairness Ron Swanson wasn’t the epic and thoroughly manly man from day one as I recall, so slack is being cut. There was also a nice callback to Ron’s Christmas gift as he tried to shut out Chris with his remote-control door, but quick as he is he snuck in. Also getting a callback—Andy’s gold record. Turns out his gift sparked the incident that jarred his “brain helmet,” him violently sneezing into the wall as he tried to mount the frame. Chris also served the purpose of adding a bit of intrigue that could mainfest itself as the election draws closer. With Ron being offered the position of assistant city manager that leaves the Parks director position. Obviously, he hasn’t made a decision, but once again the neurotic optimist throws a wrench in the machine and Leslie’s well-earned victory may not be so inevitable.

With all that in mind, factoring in my favorite lines, deliveries, and plain silly moments, I find myself compelled to edge Parks and Rec into A range as I have done with every P&R episode I have reviewed thus far, BUT due to the cathedral scale ceiling the series has set for itself in comparison to nearly all other comedies in rotation, I must reluctantly award “Campaign Ad” with a B+.*

*Be aware of this caveat, however, that the 2/3 letter deduction is mostly for its lapse in quality establishing Rudd’s character, who will have a multi-episode arc as Leslie’s only legitimate opponent, thus far. Also, when I considerd my lofty expectations of this show’s ability to combine barrages of emotional gut-punches with waves of uncontrollable giggling, it should be noted I never really felt a kinship with Leslie’s struggle, in spite of my disdain for mudslinging. I would have buried the rich prick. Therefore, I was less moved by her empowerment in the end (thanks in large part to Ben’s patience and support) as it felt overdue. Regardless, let the record show, this does not mean “New Girl” surpassed “Parks and Recreation” in producing a higher quality episode this week since they are evaluated on different scales with “New Girl” being in its infancy. Nice try though!

L.O.L.Ls: Laugh Out Loud Lines:

- “Hey Ann, are you still a nurse or did you get fired for sleeping with all the doctors?” “Wanna try that again?”

- “This is exactly how I dreamed it would be as a kid. Except I wasn’t 70 pts. behind and my campaign manager was Mr. Belivedere.”

- “I think I got a weird rash in my knee pit area.”

- “I once ate a Twix with the wrapper on it, and I’ve never seen the wrapper come out.”

- “When I bet on the horses I never lose. Why? I bet on all the horses.”

- “Ron Swanson! I just want to thank you for being so ruthless and cruel in that meeting the other day.” “You are going to have to be more specific.”

- “I rejected his lunch offer, then he started laughing and I ended up here. Did he drug me?!”

- “Here are some more things I’m pro…” Examples on the scrolling list included: Start talking to Cuba again, Better Better Business Bureau, Memorial for those lost in “trampoline” incident, No more conflict diamonds and making it illegal to refuse a hug

- Bobby Newport: Vice President of Nougat

- “I got my ankles microwaved!” “X-rayed…”

- “You get Jerry. You wanted to go negative, you get the biggest negative in the world.”

- “My dad’s friends with John Cougar Mellencamp. That’s pretty cool.”

- Ron tries to replace himself as Chris’ new friend with city hall regular, Kyle (or as he dubs him, Dennis). Chris asks if he is a “brother Japanophile?” Kyle says to Chris ” I was eating rice, and Ron told me to come up here, but sure that sounds fun.”

- “Call an ambulance! A different one than the one I ran into!”

- No, no more doctors. They’re a bunch of scam artists! Reel you in eight the free stuff, next thing you know…BAM! You ran into an ambulance. Every time.”

The gang shuffling their candidate across the ice not-so gracefully.

One of my many media consumption resolutions for winter break/the new year was to re-watch seasons 2&3 of “Parks and Recreation,” for two reasons. One, it’s my favorite comedy currently on TV. With “Louie” on hiatus it is hard to compare, but P&R is certainly in a heated battle for #1. Two, in reading a few year-end lists of my favorite TV critics I saw that the show was consistently in the top 5. Besides feeling validated that my opinion is in accordance with the “professionals” I was immediately curious about the rationale. I have only reviewed two episodes from season four thus far, and I know why they were A-quality episodes for me, but what made season 3 (the full season aired in 2011) so A-quality that it caused Alan Sepinwall to leapfrog “Breaking Bad” and crown it the best show of the last year?

What I immediately realized about Parks and Rec’s excellence was not necessarily something you can learn workshopping scripts. P&R has harnessed the ability to cultivate friendships—with the audience. Whether you are writing a film, a short story, novel or TV pilot you learn quickly that no one will care unless you can write characters that people will want to invest in. Leslie, Ron, April, Andy, Ann, Tom, Ben, Chris and even Jerry are all my dear  friends, and I cherish any time I get to spend with them. It’s not as simple as empathy, because at times these characters can be jerks, fail miserably, or be a shell of  themselves. But despite them falling short of your expectations you will love them anyway, and root for them to return to their most promising attributes.

Tonight was one of those episodes. None of our favorite people were firing on all cylinders. In fact, Ben and Leslie both got glimpses of the bottom, but just like the rest of the team, we wanted to stick by them. In most comedies, one of our main characters running for office would merely by a long setup for some killer payoffs where shenanigans ensue. But we want Leslie to win. She is the best thing about Pawnee, Indiana’s government and she would only bring the town to new heights, but she isn’t infallible. She is going to hit rough patches. But even though this is a comedy, we don’t wanna laugh at their failures. What we want is to have a hell of time on the way down.

“The Comeback Kid” refers to Leslie’s newfound identity as she re-launches her campaign. After bringing her relationship with Ben into the light she is polling horribly and her bigshot campaign team has abandoned. In their wake, the Parks and Rec department (and Ann) have decided they will not allow her to throw in the towel (like a Jon Huntsman, but with friends). Leslie declares her bestest friend, Ann (Rashida Jones) her campaign manger despite no prior knowledge of politics. Leslie then tells her she is pretty and that she will help her anyway. Her rationale that most murders are committed by professionals was typical Leslie pontificating without thinking it through. Her positivity is ramped up when Ann lands “Pistol Pete”  Disilio, a local sports hero to endorse her. Elated, she attempts to break dance as everything seemingly falls into place.

Ben is looking to make a comeback also, into respectability. Since resigning, taking the blame for his illicit relationship with Leslie, his production level has been dangerously low. Ben, however, disagrees when Chris (Rob Lowe) comes over to lift him out of what he perceives is “massive depression.” Ben continues to deny as he shows off his new recipe for calzones (a callback to an awkward conversation with the police chief where he expressed his love for the more practical and functional pizza alternative), and his foray into Claymation, or “Claymaysh” as he so coins. This B-plot might even be stronger than the main plot simply because it allows Adam Scott to be obnoxiously pitiful, and joyfully oblivious. Later on, Ben painfully tries to convince Chris that he is fine. He outlines his plans for Lo-cal Calzone Zone. in his confessional Chris admits it is literally the worst idea he has ever heard. Undeterred, he showcases his Claymaysh piece de resistance, “Requiem for a Tuesday.” When he actually watches, he is baffled and embarrassed. In three weeks he had only filmed his clay likeness getting out of bed, he breaks down and admits his deep depression.

Leslie’s rally starts to unravel when Pistol Pete refuses to dunk for Leslie. Apparently, dredging up his past is painful for him, and he wants to endorse her as his current self and not as his 17-year old, basketball star self. Across town Ron is pulled over in a rented truck trying to transport the materials for her stage. Ron, in rare form, gets the opportunity to dispute the law with the officer claiming that there is no “real” law that he is breaking. Except like four of them. OH! And guess who is along for the ride? Well, Tom, but also Andy and April with their new three-legged dog Champion. “Because he is the World’s champion of three-legged dogs.” Leslie motors over to save them, while leaving Ann to convince Pete to pull the old routine for her. What they both find out is the situation is much worse than anticipated. Ann uncovers that Pete is traumatized by his past because of how his father treated him. Leslie discovers that because the back of the truck was opened most of the wood, and part of the banner was Jetsons-ed (as Andy does not know the word jettisoned). Therefore, she may not have her star endorsement, a big enough enough, or a banner that shows her whole face.

When they arrive at the Pawnee Sports Center, the debacle continues. Thinking she is without Pistol Pete, Leslie rallies the troops, trying to adjust. But, alas, one more hurdle. When April called she forgot to mention they would need the basketball floor, but since the hockey team used the facilities most recently she must walk across ice to her minuscule podium, thus ushering in the funniest scene of the episode. No bunch like this one can quite execute this kind of slapstick. Between Champion peeing in Ron Swanson’s arms, Andy falling on his face, and all of them hoisting Leslie onto the tiny stage while “Get On Your Feet” plays in the background, it was truly an amusing struggle. As Leslie begins to fumble over her index cards since they were jostled while she was lifted onto the platform, Pistol Pete arrives! Thankfully, in an agreeable mood, he delivers the cheesy “Voting for Leslie Knope is a slam dunk” line and even attempts to dunk. I say “attempts” because he lands square on his tailbone due to the inherently slippery quality of ice.

Bringing both Ben and Leslie’s snafus to a resolution, Leslie predictably fires Ann, hiring Ben as her campaign manager. As the clearly more knowledgeable applicant, she discards any fear that his presence would be “poison” for her image and Ben willing takes the job despite Chris’s protective refusal. He needed a task, and she needed a stable expert. All is well for this charming couple as we’d hoped but they ride was as bumpy and delightful as we’d hoped.

Despite the unsurprising grasp these writers continue to display when writing for these band of misfits, it was just shy of a knock ‘em dead episode. Don’t get me wrong, this episode ups the ante for the amount of great lines/line deliveries. The Pistol Pete uses Ann as shrink bit fell flat though. It was a clever premise with no real meat to it. Any laughs were in theory as most of the interaction was off-screen. Also, with the sugary sweetness that both “Trial of Leslie Knope” and “Citizen Knope,” added to the mix, an already flawless recipe, my expectations were mighty high. Yet the time spent was an undeniable treat with a treasure trove of cackle-inducing lines and a “Dawwww” payoff at the end that revved up much of my sentimental attachment to this season. Feel-good, yet damn witty, and at times side splitting. Just how I like it. Therefore, since P&R’s staff continues to nail the authenticity of not only each individual’s quirkiness, but the group dynamic and all its sincerity I proudly grant the new year’s re-introduction to Pawnee politics with a A-.

L.O.L.Ls (Laugh out Loud Lines):

- “Oh Ann, you beautiful tropical fish.”

- Libertarianism courtesy of Ron Swanson: “I don’t wanna pain with a broad brush here, but every single contractor in the world is a miserable incompetent thief.”

- “In 1992, Pistol Pete’s last-second slam dunk clinched a victory over Eagleton High for the Pawnee Central Drunken Savages. Team mascot was later changed.”

- “Tom, be a man and sit on the lady’s lap!”

- “What’s that in the sole of my show? Red carpet. Everywhere I walk, I’m walking on red carpet.”

- “The past is great! Jitterbug, stagecoaches, Herman Munster.”

- Where are you? My mother’s butt, yeah that’s helpful.”

- “I’m kind of tearing this Claymation thing a new one.”

- “Windows are the eyes to the house.”

- “Can’t you do anything wrong, Jerry?”

- “Together we can beat…obese children. No wait…”

- “Don’t make out it’s making Champion sad.’

The gang celebrates the holidays, and also their loving friend and boss, Leslie Knope (Amy Poehler).

Despite the holiday cheer infestation that has victimized us all (particularly in department stores where I feel assaulted by horrible Christmas songs), as a critic I feel pressure to maintain cynicism even if my impulses to give and love painfully are overwhelming me. Thankfully, this episode of “Parks and Recreation,” has allowed me to put my guard down. I can feel free to hug a reindeer and jingle some bells because for the second straight week my adoration has been earned.

We begin where last week left us with Leslie’s existential crisis. What will she do with nothing to do during her two week suspension? What will Ben do for employment? Well, in the open we see Leslie breaking in to the Parks and Rec office to snag her flashdrive. She claims it is not for work-related reasons…only so she can oversee the Parks department while she is gone. Huh? Chris doesn’t buy her excuse either. He asks nicely and she hands him nasal spray. Then they try and negotiate and exchange and Leslie runs off with the flashdrive. Chris runs after her in his ridiculous “Bumbleflex” jogging suit (made from synthetic beeswax). Ben is seeking employment in the private sector, and is initially encouraged  by his prospects. Though, Leslie pinpoints that he is more “excited” by the security of being “an accountant for an accounting firm,” than he is with the position itself.

Back at the office, our favorite co-workers are thrilled with the per usual, stellar gifts Leslie got them. All of the gifts were gems in terms of writing. These guys know their characters as if they were family. Andy got a gold record for his band, Mouserat, selling over 100 copies in Pawnee; For April, she commandeered a painting of her finally slaying The Black Eyed Peas; Donna got a zebra-print with “You Can Get It” in rhinestones on the back; Tom, in place of tickets to the “Watch the Throne” tour, (which I actually saw, and got to high-five Jay-Z as he came through the tunnel…no big deal) was given a pocket watch, hollowed out with “Baller Time” inscribed and a tiny gold throne. And the most hilarious gift of all, she had automatic doors that close with the push of a button installed in Ron’s office overnight. Typically, he is furious that she would get him something so special, and Ron’s rough exterior breaks as he holds back the tears. Oh, and not to be forgotten, because Leslie “gets him,” she gives Jerry, socks.

That sequence of gifts would have made my night. We get a memorable joke/moment from each character within five minutes of the episode. Thankfully, it only got better. Leslie, in her manic restlessness, receives the suggestion from Ben that she can work for the town as a citizen activist. For her, this means rallying some new troops to her cause and organizing PCP (Parks Committee of Pawnee). They harass Chris by calling incessantly and following him on his jogging route, and they show up to the town hall meeting run by Donna and Jerry, totally sabotaging it. Eventually, Leslie ends up back in Chris’ office with a list of demands, as well as his Christmas gift. Leslie’s unique combination of impossible work ethic and extreme selflessness has been utilized in the past, but here it feels seamless attached to not only the holiday season, but also when to her recent extraction from the biggest outlet for her “Can’t stop, won’t stop” attitude.

The gang (spearheaded by RON!) decides to show their gratitude for Leslie by putting together a thoughtful gift of their own. Ron suggests building a wooden model of the Parks department, Leslie’s favorite place in the world, and then Ann chimes in with the idea of a gingerbread house of the park department. Ron, of course, feels defeated, insisting amidst the jubilation that “wood model is better.” Being a good sport, he attempts to construct the gingerbread house and repeatedly crushing the cookie in his hands out of impatience. When Andy shows him up with his frosting skills, Ron quits. But damn, if I didn’t appreciate the effort from my favorite Pawnee man.

But oddly enough, my favorite aspect of this episode filled with love, collaboration and general merriment was when the consequences of last week’s verdict revealed themselves. Leslie’s campaign advisers foresaw a dip in in her poll numbers, but because of the perceived “sex scandal,” she saw a catastrophic decline to 1%. Or as Leslie articulates it, “last milkshake sip levels.” Leslie, expectedly, remains determined, but the veteran campaigners decided she is a lost cause, a concept lost on Leslie. Ben, however, has a epiphany about being okay without a job, realizing that he is happy in the state of uncertainty because it means he hasn’t yet found that great job he was meant for. Showing these two grow without each other, as well as together, is precisely how the show can keep this couple relevant while not obstructing the core relationship of this Parks staff that is so integral to the pathos and the humor the show has spent four seasons building.

These new stakes present themselves just long enough to cause concern, but when Chris gifts Leslie her ID a week early, effectively revoking her suspension, she walks in to her familiar workplace overwhelmed by the effort of her employees, astounded by the gingerbread replica, and then nearly floored by the most heartwarming gesture of all, announcing their commitment to running the Leslie Knope 2012 campaign. As each character, described their position on the campaign staff (Tom as “swagger coach,” Ron as “what ever else you damn well need”) my smile grew wider. It certainly isn’t a requirement for a comedy to create an entirely likable ensemble to achieve comedic success, but damn, if it doesn’t make me tune in every week, thrilled to see what this team (both the Parks and Rec characters and the show’s writing staff) accomplishes together. For, pumping some much needed Christmas spirit into my veins, through genuine caring and kindness, and not some hokey, commercialized version of what “Christmas really means” I give “Citizen Knope” the gift of credit where credit is due, an A.

LO.L.Ls (Laugh Out Loud Lines):

- “Well, I’ll calc-u-later.”

- Ben, after Leslie creates the gross blend sal-gar (salt and sugar): “You’re putting an awful lot of sal-gar on your pasta” “That’s just sugar.”

- Leslie addressing her group, PCP: “Clear Eyes, Full Hearts, Can’t Lose” GAHHHH, “Friday Night Lights” reference!

- Donna: “I spray painted the M&Ms silver.” Ann: “Oh, okay, those are poisonous now.” Andy (clearly with silver paint in his lips): “Well, yeah, duh, I didn’t eat them.” Ann: “Andy, go throw up.” Andy: “I didn’t” Ann: “Seriously, go throw up.” Andy: “Okay.”

- Leslie after giving Chris his present: “My pleasure…see you in Hell!”

- “Like Kim tells me, you gotta do what you love…then she ripped the hair from my b-hole”

- “I’m now starting a group, LSD, the Leslie Sorry Division.”

- “I cannot build a gingerbread house, and that would bother me if I was an 8 year-old girl.”

- The entire last sequence during the end credits with Jean Ralphio, Tom’s former business partner, working as a temp at the accounting firm Ben rejects was AMAZING. Seriously, that guaranteed the A for me. If I had to pick one line…

Jean-Ralphio: “You wanna talk spreadsheets, let’s talk about spreading on my sheets, because I will rock your wor—” Accountant: “You’re fired!” “Yeah, I figured, so I should just go out the way I came in?”

Leslie (Amy Poehler) and Ben (Adam Scott) have something to tell their boss (Rob Lowe).

What’s up Parks and Recreation fans! I’m your friendly neighborhood TV critic/intern Chris Peck, and I will be reviewing the best comedy on TV right now (in my humble opinion) weekly for your enjoyment. Since this show is in its 4th season, for the sake of time, I will jump right in for the loyal followers. Any who haven’t watched the show, do it! Or we cannot be friends. Evidently, my friendships are conditional.

Ron Swanson (Nick Offerman), the cutthroat libertarian with a heart of gold, is steadily creeping up the ranks to become my favorite comedic character of all time. He’s written to perfection. Anything he does makes me audibly chuckle at the screen and point admirably, “That’s so Ron Swanson.” This may seem obvious, but too often we see extraordinarily funny characters mold themselves into caricatures of themselves. Dwight, Jim and even Michael Scott from NBC Thursday night teammate, “The Office,” comes to mind. Therefore, to see Ron’s idiosyncrasies nailed through every scenario they thrust upon him must mean he’s also a writer’s favorite too.

Not only is it important you have a barometer for what my level of enjoyment for “Parks” is, but Ron persuaded me to grant “Trial” an A from the moment his computer was thrown in the dumpster. April’s deadpan delivery about the dangers of cookies, his bewilderment about how the computer could know his name, and his ultimate fear that anyone could see his house on Google Earth, all killed for me. Probably the most understated aspect of this cold open is Ron’s misguided understanding that it is this particular computer that has violated his privacy and so he must dispose of it immediately. Swanson, I love thee.

Now on to the equally delicious meat and potatoes. The message boards have been blowing up with weariness over the Leslie/Ben plot this season. Whether it was the typical nature of the will they/won’t they plot, the seemingly convoluted lengths the writers went to keep them apart, or how most promising sub-plots and additions to the Pawnee universe (Entertainment 720 among them) have been squandered in favor of the warmest and fuzziest couple of all time. Those concerns have been heard, and considered, but I believe this episode has squelched all those worries decisively. You would have to be dead inside to not adore Ben (Adam Scott) or Leslie (Amy Poehler) by the trial’s end, and dare I neglect to mention ETHEL FREAKING BEAVERS, the cutest old lady stenographer this side of TV land.

If there is any criticism to be had, (and the obnoxious cynic in me tried his damnedest and couldn’t find a thing), it might be that this episode was TOO darn sweet. Between Chris’ (Rob Lowe) supplementally aided attempts to avoid spiraling into depression (to fire Leslie would “have hurt him to the core,” and he focuses primarily on his core in his workouts), Ron’s “4th quarter” speech about what makes a person good, and the whole gang chipping in to help Leslie through what may have been her darkest hour, I was incredibly moved by this most genuine of communities. And lest I forget Ben’s epic declaration of love and sacrifice that compelled me to kneel and propose! The execution of seeing the secret meeting play out in one instance, and in the next the elderly court reporter reading the record aloud in a semi-engaged monotone was clutch material.

Every element, every character detail, all came together in what felt like one of the most significant, passionate smooches I’ve seen in a comedy. Of course the cliffhanger kiss is a trope that’s existed since man fiddled with the antennas atop the set, but this felt earned. Though more of our supporting cast is always appreciated, the collection of minor contributions worked for me. Andy read archaic legislation with no pictures, April tried to deflect the accusations on ETHEL BEAVERS (totally worthy of the caps lock), Ron gladly volunteered to “silence” any and all witnesses (though he was unwilling to divulge his home address in order to shore up Leslie’s alibi) and Tom willingly testified to kissing Leslie on the impulse of a joke, though he equated he act to kissing his sister’s elderly aunt—clearly all contributed in their own special way.

Chris sobbing violently in Ben’s lap, touched by Ben’s selflessness in taking the brunt of the blame for covering up the relationship, was an utterly hilarious visual gag. Kidding aside, my immediate feelings were a variation of the same. An almost primal reaction, impossible to suppress. I was all smiles for hours after viewing, and I still am beaming as I plug away at these keys, delighted that I got to spend this time in Pawnee. Clearly the podunk town is flawed (comically so) and it houses an assortment of basket cases, but at it’s center, sitting in support of their fallen leader in the council chambers, we found the best that people can offer us: family, love and belonging.

What does Leslie’s two-week suspension mean for her political career? Even she isn’t worried about that, despite her newly official boyfriend’s concern. Ben doesn’t seem all too preoccupied with his unemployment status either. And that’s okay. Because they have each other, and we have them. No more games, just Leslie, Ben, Ron (my ironic hero), Chris and Pawnee, Indiana. “Parks and Rec” is truly bold TV for going all in and delivering the relationship payoff only nine episodes in, and has only opened up the potential for more shakeups and hilarity. For bringing the funny and adorable like gentlest of ass-whoopings, I hereby sentence the accused episode with an A.

L.O.L.Ls (Laugh Out Loud Lines):

“You kidding? Bribing a public official to cover up a sex-capade? I like you even more!”

“Anne, text me every thirty seconds to tell me everything is gonna be okay…THANKS ANNE!”

“…You end up a frozen whore! I’m fighting.”

“Any women caught laughing is a witch.” “It’s true.”

“We got the gramps! I mean grants! Damn, it was going to be such a great moment.”

(sniffs audibly) “She’s here. Tammy 2. I can smell the sulfur from her cloven hooves.”

In response to learning Jerry’s real name is Garry. “God, they’re both horrible…I can’t get over this Jerry/Garry thing!”

Ben, while consoling Chris, “Let it out, I guess?”

Not a line, but another cute couple moment: Ben giving Leslie a Lil’ Sebastian horsey doll (CALLBACK!) and telling her he would be right behind that wall…where a portrait of a hideous monster-looking lawyer is hung. Leslie later informs us he is Marcus Everett “Stoneface” Langley. His nickname came from his steely demeanor in the courtroom. Also because when he got trapped in a rock quarry and his face was blown off by dynamite. Only LesBen, only LesBen. LesBen is officially trademarked by Christopher Peck and Blast Magazine…or I’m saying it is before the dwellers of the interwebs steal it!

After only three episodes, “The Playboy Club” on NBC  is being cancelled. The 60′s themed show, set in a club in Chicago, will not be returning to the network. It is the first cancellation of this fall season.

For the next three weeks, reruns of “Prime Suspects” will air in its place. Beginning Monday, October 31 Brian Williams’ new show “Rock Center” will fill the 10 p.m. time slot.

While “The Playboy Club” drew 5 million viewers for its premiere episode, only 3.5 million tunned in for the third show. It was competing with “Castle” on ABC and “Hawaii 5-0″ on CBS, which aired at the same time.

Source: Boston Globe

These ratings are reflected in the updated TV Renewal/Cancelation Scorecard.

The return of “Dancing with the Stars” sparked a Monday comeback for ABC, providing a much needed late season boost for the network. The 12th season of the dancing competition averaged a 5.3 in the demo over two hours, and more than 22 million viewers. That boosted “Castle” to a recent high of a 3.1 in the demo, and more than 12 million viewers.

NBC suffered the most, with all series hitting series lows. While “The Event” is virtually guaranteed for cancellation with a 1.2 in the demo, previously “Harry’s Law” and “Chuck” had been thought safe; both hit lows, drawing a 1.6 and a 1.5 respectively. While this represents some of the highest programming on NBC’s slate, what does it keep at those levels? “Chuck” a perennial bubble show, is back once more.

“The Chicago Code” fell to a series low; it’s now in danger of cancelation.

8 pm

Dancing with the Stars (2 Hours): 5.3 demo, 22.6 million viewers

House: 3.4 demo, 9.3 million viewers

How I Met Your Mother: 3.1 demo, 8 million viewers

Chuck: 1.5 demo, 4.3 million viewers

*90210: 0.3 demo, .8 million viewers

8:30

Mad Love: 2.4 demo, 6.6 million viewers

9 pm

*Two and a Half Men: 2.6 demo, 9.1 million viewers

The Chicago Code: 1.8 demo, 6.3 million viewers

The Event: 1.2 demo, 4 million viewers

*Gossip Girl: 0.2 demo, 0.5 million viewers

9:30 pm

Mike & Molly: 3.0 demo, 9.7 million viewers

10 pm

Castle: 3.1demo, 12.7 million viewers

Hawaii Five-0: 2.9 demo, 9.8 million viewers

Harry’s Law: 1.6 demo, 8.2 million viewers

Entertainment Weekly has released the first photo of Adrianne Palicki from the NBC Wonder Woman pilot. Needless to say, we’re pretty underwhelmed here at Blast. Having read through snippets of the script and David Kelley’s (from “The Practice” and “Ally McBeal”) treatment of the heroin and the hero world, this is one that we are likely going to avoid.

NBC is prepping this new take on “Wonder Woman,” (though possibly under a different title), helmed by Kelley. Palicki will play the heroin, who is a “successful modern woman” by day, while a heroic crime fighter by night. Palicki will have three identities, Diana Prince to the world and her friends, while also Diana Themyscira, CEO of Themyscira Industries, and finally as Wonder Woman.

Right now, there is only a pilot in place, though if NBC likes what they see, they may commission it to series this fall.

Fanboys, have at it.

*Our TV Renewal/Cancellation scorecard has been updated to reflect these ratings!

While not exactly a shoe-in for renewal, “The Chicago Code” was even with last week with a 2.1 in the 18-49 demo. Given Fox’s many other woes, that could be enough to earn the show a second season. House was up to a 3.8 rating, leading all shows for the night.

“The Cape” aired its season, and most certainly series finale, drawing a 1.1 in the demo. News wasn’t much better for “Harry’s Law” or “Chuck,” which drew a 1.8 and 1.7 respectively. While those would be cancellation-worthy numbers, both remain tossups for survival given NBC’s overall woes.

ABC led the evening, thanks to a potent one-two punch of “The Bachelor” and “Castle, which led the 10 pm hour.

CBS had a decent night: “How I Met Your Mother” was down, while “Mad Love’s” 2.7 demo may put it in danger. Obviously Charlie Sheen’s antics haven’t hurt the show; it drew a 3.2 in the demo for a repeat. “Mike and Molly” is the bona fide hit of the 2010-2011 season; it increased viewership from a repeat of “Two a Half Men” to a 3.4 demo.

I don’t really know what to make of the CW. If the entire lineup is equally bad, will they cancel the whole network?

* repeat

8 pm

House: 3.8 demo, 11 million viewers

How I Met Your Mother: 3.4 demo, 9.2 million viewers

The Bachelor (8-10 pm): 3.4 demo, 11.2 million viewers

Chuck: .1.7 demo, 5.3 million viewers

90210: .7 demo, 1.4 million viewers

8:30

Mad Love: 2.7 demo, 7.9 million viewers

9 pm

*Two and A Half Men: 3.2 demo, 11.5 million viewers

The Chicago Code: 2.1 demo, 8 million viewers

The Cape: 1.1 demo, 4 million viewers

Gossip Girl: .7 demo, 1.3 million viewers

9:30

Mike and Molly: 3.4 demo, 11.4 million viewers

10 pm

Castle: 2.8 demo, 10.2 million viewers

*Hawaii Five-O: 1.9 demo, 7.2 million viewers

Harry’s Law: 1.8 demo, 9.1 million viewers

ABC came in fourth place on Tuesday night, behind an increasingly weak slate of programming. “V” held steady however with a 1.9 demo. That’s in cancellation range for the network, but it outdrew the other two programs on ABC’s slate. Might ABC renew the drama? Unlikely, but if “V” can rise to a 2.0, it will make a case for a truncated third season. “No Ordinary Family” drew a 1.4 rating in the demo; it will surely be cancelled.

On CBS, “NCIS” and “NCIS: Los Anageles” both led their respective hours and were among the top programs on television. “The Good Wife” fell to second in its hour, and more importantly, drew just a 1.9 in the demo, less than half of the 3.9 demo “NCIS:LA” drew in the hour proceeding. While “The Good Wife” draws a lot of critical acclaim, its very difficult to see CBS renewing such a low rated drama. If the ratings trend continues, it will firmly move from the bubble, to likely to be cancelled.

“Glee” was up from last week with a 4.3 demo, while “Raising Hope” was about normal with a 2.5. “Traffic Light” drew a 1.7, and is sure to be cancelled.

8 pm

NCIS: 4.4 demo, 21.2 million viewers

Glee: 4.3 demo, 10.5 million viewers

Biggest Loser Couples: 2.4 demo, 6.6 million viewers

No Ordinary Family: 1.4 demo, 4.8 million viewers

9 pm

NCIS: Los Angeles: 3.9 demo, 18.6 million viewers

Biggest Loser Couples: 3.1 demo, 8.3 million viewers

Raising Hope: 2.5 demo, 6.2 million viewers

V: 1.9 demo, 5.1 million viewers

9:30

Traffic Light: 1.7 demo, 4.1 million viewers

10 pm

Parenthood: 2.1 demo, 5.5 million viewers

The Good Wife: 1.9 demo, 11.5 million viewers

What Would You Do?: 1.4 demo, 4.1 million viewers

No idea why everything last night was having trouble luring viewers (perhaps everyone was watching the Lakers/Celtics game?) but several shows hit season or series lows.

“Grey’s Anatomy” drew its lowest rating of the season with a 3.9 in the 18-49 demo. “Private Practice” was actually up a tick to a 2.7.

“American Idol” was down to a 7.2 in the demo, its lowest ratings of the season. It’s still a behemoth, but its looking like the show may dip in the high 5.0 realm before the seasons through–and that would be showing a God can bleed. “Bones” drew a 3.3, a much higher number than “Human Target” the night before, which came out of a much higher demo from American Idol; proving again why its likely “Human Target” will be cancelled.

The NBC comedies were typical of NBC. “The Office” was typically strong, “Parks and Rec” was down but continues its upward trend indicating a likely renewal, while “30 Rock” was about even with its ratings trend. After a better start in the new year, “Community” has fallen back, and its 1.8 rating isn’t quite to definite cancellation, but it doesn’t look good.

On CBS, its looking increasingly likely that “$#!* My Dad Says” won’t come back for a second season. And with “CSI” continuing to trend down, the show is likely about one season removed from cancellation–unless CBS gutsily decided to cancel it this year.

8 pm

American Idol: 7.2 demo, 21.5 million viewers

The Big Bang Theory: 3.9 demo, 12.8 million viewers

Wipeout: 2.2 demo, 6.9 million viewers

Community: 1.8 demo, 3.8 million viewers

8:30 pm

$#!* My Dad Says: 2.7 demo, 10.4 million viewers

Perfect Couples: 1.5 demo, 3 million viewers

9 pm

Grey’s Anatomy: 3.9 demo, 10.4 million viewers

The Office:3.6 demo, 7 million viewers

Bones: 3.3 demo, 10 million viewers

CSI: 2.8 demo, 12.6 million viewers

9:30 pm

Parks and Recreation: 2.6 demo, 5.1 million viewers

10 pm

The Mentalist: 2.9 demo, 14.7 million viewers

Private Practice: 2.7 demo, 7.3 million viewers

30 Rock: 2.3 demo, 4.6 million viewers

10:30 pm

Outsourced: 1.7 demo, 3.6 million viewers

“American Idol” returned Wednesday to crush the competition. The show averaged 26.1 million viewers and a 9.2 demo rating. To put that in perspective–in the demo that is more than two-times the sure-to-be-renewed “Modern Family” and “Glee” demo ratings—and more than 5 times the ratings of fellow Fox shows like “Lie to Me,” whose cancellation is now more apparent than ever.

ABC’s shows held up pretty well against the Idol monster; “Cougar Town” dropped to a 2.5 demo rating, but ABC will likely take that. Combined with “Modern Family’s” 4.6 demo, ABC averaged a 3.5 in the demo for the hour, which I imagine they will live with. “Off the Map” didn’t lose much from last week–it drew a 2.1 demo. But that’s likely not enough to earn a second season. Still, it’s not a sure-to-be-cancelled situation, such as fellow ABC drama “V.” Also, “Better with You,” the one show not renewed on ABC’s Wednesday comedy block, held up pretty well and was second in its timeslot against Idol. That bodes well.

CBS was hurt most by Idol, averaging less than a 2.0 in the demo for the night. “Live to Dance” is a bust, and “Blue Bloods” test run on Tuesday was a failure, with a 2.0 demo rating. Idol also plowed through “Criminal Minds,” which drew under a 3.0 for the first time this season, and very possibly ever.

NBC was as irrelevant as ever; in its new timeslot, “Chase” drew a 1.0.

8 pm

American Idol (8-10 pm): 9.2 demo, 26.1 million viewers

The Middle: 2.7 demo, 8.7 million viewers

Minute to Win It: 1.6 demo, 5 million viewers

Live to Dance: 1.0 demo, 5.3 million viewers

8:30 pm

Better With You: 2.2 demo, 6.8 million viewers

9 pm

Modern Family: 4.6 demo, 11.1 million viewers

Criminal Minds: 2.9 demo, 12.1 million viewers

Chase: 1.0 demo, 4.3 million viewers

9:30

Cougar Town: 2.5 demo, 6 million viewers

10 pm

Law and Order: SVU: 2.2 demo, 6.8 million viewers

Off the Map: 2.1 demo, 5.8 million viewers

Blue Bloods: 2.0 demo, 12.2 million viewers

Jennifer Aniston changed her hair and is featured in the February issue of Allure magazine. In the interview, she says that she hated “the Rachel,” hairstyle introduced by the actress as Rachel Green in season 1 of the hit show “Friends.”

She said, “Have there been disasters? I think that’s a very relative term with hair. Let’s say there have been moments I’d rather not relive, like that whole Rachel thing. I love Chris (McMillan, her hairstylist), and he’s the bane of my existence at the same time because he started that damn Rachel, which was not my best look. How do I say this? I think it was the ugliest haircut I’ve ever seen.”

She added, “What I really want to know is, how did that thing have legs? Let’s just say I’m not a fan of short, layered cuts on me personally, so I don’t love revisiting that particular era.”

Here is not-so-meaningful “who to blame” game happening right now.

Kanye West on Friday canceled a performance on NBC’s “Today” show to protest what he called a “set up” when he was interviewed on the program regarding his comment about George W. Bush.

“Runaway” rapper was supposed to perform on the morning talk show on November 26 but canceled after the awkward interview on “Today” on Wednesday..

West tweeted, “I’m not performing on the Today Show for obvious reasons. I’m so happy the world got to see just a small piece of ‘the set up.’”

An NBC spokeswoman also confirmed the performance was canceled.

Regarding the “Today”  interview, West also intensely tweeted, “HE TRIED TO FORCE MY ANSWERS. IT WAS VERY BRUTAL AND I CAME THERE WITH ONLY POSITIVE INTENT.” “Everything sounds like noise!!!!!!!!!!!!!!!!!!!!!!!!! EVERYTHING SOUNDS LIKE NOISE!!!!!!! I don’t trust anyone!” “He played clips of Bush and asked me to look at his face while I was trying to talk to him. I wish Michael Jackson had twitter!!!!!!” “…And I don’t hate Matt Lauer… We don’t promote hate. That’s the whole point!!! I promote love and truth!”

OK, so where was MJ coming from to this issue?

As someone promoting “love and truth,” was it really the best solution that the performance got cancelled?

Start the cancellation watch for “The Event.” The show dropped another 20% in the 18-49 demo, dropping to a 2.4 rating, and 7.4 million viewers. Sorry fans, this isn’t the next “Lost,” and don’t expect it to stick around very long. The rest of NBC’s Monday slate was pretty weak as well, with “Chuck” in fourth at 8, pulling a 1.9 rating and 5.8 million viewers. “Chase” looks likely to go first though, dropping to a 1.7 rating and 5.8 million viewers.

ABC won the night, led by “Dancing with the Stars.” From 8-10, the reality show averaged a 4.4 rating and 20.1 million viewers. Castle was second at 10, with a 3.0 rating and 12 million viewers.

CBS was second for the night. At 8, “How I Met Your Mother” dipped a bit to a 3.4 rating and 8.5 million viewers. “Rules of Engagement” drew 8.4 million viewers and a 3.0 rating at 8:30. “Two and a Half Men” was the top scripted show of the night, drawing 14.2 million viewers and a 4.5 rating at 9. Lead-out “Mike and Molly” is officially a hit; it held 12.2 million viewers and a 3.8 rating. “Hawaii Five-0″ is also a bonafide hit; it drew 12 million viewers and a 3.5 rating.

Fox was anchored by “House” at 8, which was typically strong with a 3.9 rating and 10.5 million viewers. “Lie to Me” dragged the network down at 9 however, drawing a 2.2 rating and 5.9 million viewers in its season premiere, replacing the now cancelled “Lone Star.” If it continues to lose more than 40% of “House’s” lead-in, “Lie to Me” looks endangered as well.

According to a report in Deadline, NBC will cancel the long-running crime drama “Law & Order.”

The drama, which was trying to become the longest running drama on television (Gunsmoke) apparently will end after its 20th season.

NBC will, however, renew “Law & Order: Special Victims Unit,” and is expected to pick up a new spinoff called “Law & Order: Los Angeles.”

“Law & Order” was a groundbreaking cop drama which paved the way for shows like “CSI” and “NCIS.”

ABC announced it was canceling “Ugly Better” after its springtime run, citing low ratings.

The show will have its 20-episode season cut short. In a statement, ABC Entertainment chairman Steve McPherson said “We’ve mutually come to the difficult decision to make this Ugly Betty’s final season, and are announcing now as we want to allow the show ample time to write a satisfying conclusion. We are extremely proud of this groundbreaking series, and felt it was important to give the fans a proper farewell.”

MTV has to premieres tonight “Randy Jackson Presents America’s Best Dance Crew” starts at 10 and “Take the Stage” is at 11. The network’s season one finale of “Teen Mom” on Tuesday earned 3.6 million total viewers.

The CW continues to prove its trying to be like USA Network circa 1989. CW picked up the pilot for “Nikita” a new look at the old sexy spy film/series “La Femme Nikita.”

A few more dramas in the works…

ABC approved an untitled crime drama pilot from writer Richard Hatem and director Gary Fleder, according to THR. The show matches a sexy female detective who works with a disgraced ex-cop to solve crimes.

NBC has a new 60-minute drama pilot in the works called “Justice” about a former Supreme Court justice who quits the high court to start his own practice.

A few cable premieres tonight. “I Shouldn’t Be Alive” is on Animal Planet at 9, and “The Singing Bee” is on CMT also at 9. The finale of “Sanctuary” is on SyFy at 10 p.m. On Saturday, the premiere of “Pit Boss” is on Animal Planet at 10 p.m. On Sunday, A&E has the finale of “The Jacksons: A Family Dynasty” at 10 p.m.

CBS approved “NCIS: Los Angeles” and “The Good Wife” for second seasons. “Los Angeles” is the highest-rated new show this season with an average of 16.8 million viewers per week. “The Good Wife” has been a winner in the Tuesday 10 p.m. slot, helped by the failed Leno show on NBC.

Speaking NBC, the network announced its post-Olympic schedule.

• Mondays: Chuck at 8; Trauma at 9; Law & Order at 10.
• Tuesdays: The Biggest Loser at 8; Parenthood at 10.
• Wednesdays: Mercy at 8; Law & Order: SVU at 9; Law & Order: SVU at 10.
• Thursdays: Community at 8; Parks and Recreation at 8:30; The Office at 9; 30 Rock at 9:30; The Marriage Ref at 10.
• Fridays: Who Do You Think You Are?; Friday Night Lights at 8; Dateline NBC at 9.
• Saturdays: The Biggest Loser at 8; Law & Order at 9; Law & Order: SVU at 10.
• Sundays: Dateline NBC at 7; Minute to Win It at 8; The Celebrity Apprentice at 9.

TNT renewed its new drama “Men of a Certain Age” with Ray Romano, Andre Braugher and Scott Bakula for a 10-episode second season.

This spring, Discovery will debut “Worst Case Scenario” putting Bear Grylls risking his life to survive the worst possible situations.

Here’s Conan O’Brien’s full statement:

People of Earth:

In the last few days, I’ve been getting a lot of sympathy calls, and I want to start by making it clear that no one should waste a second feeling sorry for me. For 17 years, I’ve been getting paid to do what I love most and, in a world with real problems, I’ve been absurdly lucky. That said, I’ve been suddenly put in a very public predicament and my bosses are demanding an immediate decision.

Six years ago, I signed a contract with NBC to take over “The Tonight Show” in June of 2009. Like a lot of us, I grew up watching Johnny Carson every night and the chance to one day sit in that chair has meant everything to me. I worked long and hard to get that opportunity, passed up far more lucrative offers, and since 2004 I have spent literally hundreds of hours thinking of ways to extend the franchise long into the future. It was my mistaken belief that, like my predecessor, I would have the benefit of some time and, just as important, some degree of ratings support from the prime-time schedule. Building a lasting audience at 11:30 is impossible without both.

But sadly, we were never given that chance. After only seven months, with my “Tonight Show” in its infancy, NBC has decided to react to their terrible difficulties in prime-time by making a change in their long-established late night schedule.

Last Thursday, NBC executives told me they intended to move the “Tonight Show” to 12:05 to accommodate the Jay Leno Show at 11:35. For 60 years the “Tonight Show” has aired immediately following the late local news. I sincerely believe that delaying the “Tonight Show” into the next day to accommodate another comedy program will seriously damage what I consider to be the greatest franchise in the history of broadcasting. “The Tonight Show” at 12:05 simply isn’t the “Tonight Show.” Also, if I accept this move I will be knocking the “Late Night” show, which I inherited from David Letterman and passed on to Jimmy Fallon, out of its long-held time slot. That would hurt the other NBC franchise that I love, and it would be unfair to Jimmy.

So it has come to this: I cannot express in words how much I enjoy hosting this program and what an enormous personal disappointment it is for me to consider losing it. My staff and I have worked unbelievably hard and we are very proud of our contribution to the legacy of “The Tonight Show.” But I cannot participate in what I honestly believe is its destruction. Some people will make the argument that with DVRs and the Internet a time slot doesn’t matter. But with the “Tonight Show,” I believe nothing could matter more.

There has been speculation about my going to another network but, to set the record straight, I currently have no other offer and honestly have no idea what happens next. My hope is that NBC and I can resolve this quickly so that my staff, crew, and I can do a show we can be proud of, for a company that values our work.

Have a great day and, for the record, I am truly sorry about my hair; it’s always been that way.

Yours,

Conan

NBC is risking losing “The Tonight Show” host Conan O’Brien to Fox following the peacock’s big scheduling foul-up, reports FOXNews.com. NBC has confirmed that they plan to pull “The Jay Leno Show” from its 10 o’clock spot and put him at 11:35, pushing Conan and Fallon into the wee hours of the morning.

But Conan’s aren’t the only feathers the peacock’s rustled recently. Fans were stunned last October when the network cancelled “Southland,” a gritty cop-drama starring Massachusetts native Tom Everett Scott. NBC claimed that the show was “too dark and gritty,” but Scott told Blast in a recent interview that “the reason why NBC let it go I don’t think anyone really knows.”

“There’s a lot going on over at NBC that doesn’t really make sense right now,” Scott said. “I’m really not sure what’s going on right now.”

NBC censored the show heavily, said Scott, which was “beautifully written” and “very engaging” but had “a lot of graphic violence” and “a whole lot of cussing and swearing that NBC was bleeping out.”

Fortunately for Southland, and for Scott, TNT picked up the show and will be airing the first 13 episodes starting Tuesday. Should the show be a success, filming may continue. The cable network will presumably create more artistic freedom for this dark cop drama.

“I think being on TNT is going to enrich the show,” said Scott. “It’s gonna make the show the fans wanna see.”

Perhaps there is a happy trade to be had for Conan as there was for Southland. Will NBC lose another valuable show so soon? Let us know what you think in the comments section.

Comcast Corp., the country’s largest cable provider, and General Electric have come to an agreement on ownership of NBC Universal.

Comcast will obtain 51 percent ownership in NBCU, and GE will retail the remaining 49 percent after the company bought back a 20 percent stake owned by Vivendi valued at almost $6 billion.

For its stake, Comcast will pay $6.5 billion in cash and $7.5 billion in assets including Comcast-owned cable networks.

The deal could take over a year to finalize.

NBC Universal, which includes the broadcast and cable networks, Universal Studios, the theme parks and several local affiliates, is valued at more than $30 billion.

The price is $5.8 billion for the 20 percent of NBC Universal held by Vivendi. GE will acquire this 20 percent and then immediately sell 51 percent majority control of NBC Universal to cable giant Comcast. The final word can come as early as Thursday. For its end, Comcast is expected to put up as much as $6 billion for control of NBCU.

On the ABC side, Charles Gibson’s last day as anchor of “World News” will be December 18. ABC will honor the storied newsman throughout his last week. Diane Sawyer will take over in January.

The third major network, CBS, confirmed what most of us knew: that its new medical drama, “Three Rivers,” was a flop. The show has been pulled off the schedule, though CBS has promised to compete production of the 13 ordered episodes. The Sunday time slot will be replaced by repeats of the previous weeks’ “Cold Case,” “Criminal Minds” and the smash new hit spin-off “NCIS: Los Angeles.”

FX, which has really come into its own lately, announced its midseason schedule. “Nip/Tick” opens its final season on January 6, and will air nine episodes over nine weeks. The final show will come March 3 — it’s also the show’s 100th. Also, the FX comedy “Archer” debuts January 14 at 10 p.m. “Justified” with TOmothy Olyphant starts in March.

The series finale of “Monk” is Friday. Last week’s episode garnered nearly 6 million viewers.

Finally this morning, we learned that ABC is working on a comedy with Nicole Richie playing a professional woman with a complex family life.

NBC has given the full season orders to three of its shows: “Community,” the medical drama “Mercy” and the second season of “Parks and Recreation.”

All three episodes are getting decent ratings. “Community” averages about 5.7 million viewers. “Mercy” has 7.8, and “Parks” has 4.8 million weekly viewers.

“Parks and Recreation” has gotten markedly better as the season has gone on. We’re glad its staying.

What do you think of the three shows? What do you think of Jay Leno?

Not much at all in terms of premieres today. Just cable stuff, really.

Lifetime has “Sherrie” at 7 p.m. and Rita Rocks at 7:30. Logo has “The Decorating Adventures of Ambrose Price” at 10 p.m., and BET has “The Mo’Nique” show at 11.

The two-hour season premiere of Ugly Betty will be pushed back a week from October 9 to October 16 on ABC. Then it will settle into every Friday at 9 p.m.

The Versus network opened its fifth season of NHL game coverage with about 830,000 total viewers total watching the Bruins vs. Capitals and Avalanche vs. Sharks. Versus is the only cable channel that airs NHL matches.

The first two-hours of the three-hour/two-week premiere of Stargate Universe did well for itself, drawing 2.35 million total viewers, beating Dollhouse on Fox, though some will argue that these numbers represent live views only and not DVR views. This argument holds that Sci-Fi nerds have nothing better to do on a Friday night than watch Stargate, while Dollhouse’s stalwart fanbase is out clubbing on going on dates.

NBC will cut back its drama “Day One” from 13 episodes to a meager four-part miniseries after budget issues.

Comcast is continually trying to take over the digital world. The company is in talks to buy NBC Universal and it’s also working with Hulu to try and get that company to charge for its online video service.

Tim Schafer, head of Double Fine Productions, the team behind the metal-infused “Brutal Legend” appearaned on Jimmy Fallon’s late-night show yesterday, and in if you were otherwise committed and had to miss it, we’ve got the interview in its entirety.

Talking points in the video include the inclusion of Jack Black, just where the hell the idea for the game came from, and some metal-history.

I love Jimmy Fallon and what he’s done to late night. From day one he’s promised to make gaming, and gaming news, a focal point of his show. And with past appearances by Project Natal devs, Tiger Woods in a‚  PGA Tour ’10 showdown, Tim Schafer’s appearance last night, and Fallon’s overall goal to “treat video games [releases] like movie openings,” we think Fallon is well on his way to snagging that new demographic..gamers!

Another big weekend of television-watching is coming up.

Tonight CBS premieres “Ghost Whisperer” at 8, “Medium” at 9 and “Numb3rs” at 10. “Smallville” starts its new season at 8 p.m. on The CW.

FOX has the series premiere of “Brothers” at 8 p.m. and the much-anticipated season 2 premiere of Joss Whedon’s “Dollhouse” at 9.

“Law and order” is still around, with another season starting up at 8 p.m. tonight on NBC.

On Saturday, NBC premiere’s “Saturday Night Live” at 11:30, and CBS has “48 Hours Mystery” at 10 p.m.

And then it really gets out of hand on Sunday, with premieres including:

• ABC: “Extreme Makeover: Home Edition” at 7p.m., “Desperate Housewives” at 9, and “Brothers & Sisters at 10.”
• CBS: “60 Minutes” at 7, “The Amazing Race” at 8 and “Cold Case” at 10.
• FOX: “The Simpsons” at 8, “The Cleveland Show at 8:30, “Family Guy” at 9 and “American Dad” at 9:30.
• Showtime: “Dexter” at 9 and “Californication” at 10.

Zachary Levi speaks at TV Guide Magazine Comic-con panel (Media credit/WireImage)

On who inspired the beard, Josh Gomez or Zach:

I think that I’ve actually inspired his [beard]. We’re both lazy. That’s really what it comes down to. I have to shave every day for work, so when I’m not having to work, I’m not shaving. I boycott shaving. I’ll trim it. I keep it clean. You’ve got to respect it. My girlfriend’s fine with it, so it’s like rock and roll. Do it.

On getting to join in the action:

It was really awesome. I’ve been sitting on the sidelines for the past two years watching Yvonne (Strahovski) and Adam (Baldwin) kick ass and I’m like, honestly, I’d really like to be a part of it at some point. I was kind of frustrated. We got to that scene and we didn’t have very much time to shoot it. I wanted it to be even more kick ass. I felt like it was good, it was cool and it was kind of half way between the comedy and the action, but I kind of wanted it to be straight action. I wanted to be awesome-born, and I was a little noodle-y. I was a little noodle-y and I wasn’t happy about that. But other than that, it was fun.

On the “Chuck” phenomenon:

I read the pilot back when I was unemployed and I was like, this is an awesome show. This is a show that I’d watch, this is a show that I’d love to be a part of, certainly not getting my hopes up too much at that point, and then I got the job and I was like, wow, hopefully the pilot will be good and we’ll get picked up and we did and then, coming down to Comic-Con the first year when we premiered the pilot, we were in one of the smaller halls, there were still a lot of people there but not anything like this. I think that it is such a blessing to be able to do what I do, but more than that, to be able to be a part of a show that people love like this. That they will come out in mass and fill an entire hall, wear Nerd Herd shirts and Jeffster shirts and all this. Some of them just make it at home, like [gestures like drawing on chest] Sharpie, you know? It’s amazing. And I just hope that we continue to do the show justice and the fans justice because we’re not a huge ratings juggernaut, but what we lack in numbers we make up for in just sheer fan passion and fervor and that’s the kind of thing I want to be a part of.

On whether a “Tron Legacy” poster will replace the “Tron” poster:

I don’t know about that. It’s kind of classic “Tron.” And Bruce was on the show, although he is going to be in the new (“Tron”).

This is the second part of a two-part interview with actress Mimi Michaels. Check out the first part where we talk about her upcoming film “Gamer” and working with Gerard Butler here.

Some people are just sweet. That’s actress Mimi Michaels: she’s sweet, she’s smart, she’s quirky, she’s cute… and she has a penchant for running around terrified in horror flicks. Recently Blast got to shoot the breeze with Mimi about her upcoming project, the TV miniseries “Meteor: Path to Destruction.” But first we had to talk scary.

BLAST: You’ve been in a lot of sci-fi and horror movies”"”Backwoods,” “Shark Swarm,” “30 Days of Night: Dust to Dust”""what do you like about working on thrillers like that?

MIMI MICHAELS: I wasn’t drawn to horror to begin with. I like working on drama and I love the dark stuff, but somehow I was booking all these dark horror genres, and I guess I just work well in horror. I like the intensity, and the psychological aspect. With “Boogeyman 3″ it was much more than just your typical horror movie. It had to do with the complexity of the human psyche. I looked deeper and didn’t just see it as a horror, one-dimensional thing. Plus, I like to run around and scream.

BLAST: Do you like getting scared? Would you go out and see a horror flick on your day off?

MM: It probably wouldn’t be my first choice. It’s tough for me to get scared, so when it does happen I’m actually quite exhilarated by it. When it can really move me like that… it’s fun.

BLAST: Have you ever been scared by a movie that you were in?

MM: We shot “Boogeyman” in Bulgaria during the wintertime. It was very dark and eerie, and there were moments where I felt a little trepidation. It wasn’t necessarily when we were on set, but I felt a little fearful… for my life!

BLAST: But you’re not just the horror movie girl. You played Aimee Semple McPherson in a biopic. Was playing an evangelical preacher anything like your experiences in horror movies?

MM: That was my first feature when I moved out to LA and it was a really incredible experience. It was a real meaty character. I played a pretty wide range in her ages, from about 15 to in her 40s. That was also difficult, and I was young too so I was still learning the ropes. She had such an interesting, compelling life, and I felt lucky that I got to just become her. It was very dramatic, kind of a roller coaster ride.

BLAST: Tell me a little about the role you play in the upcoming “Meteor: Path to Destruction.”

MM: I play Jenny Crowe, the daughter of this cop, and he has a feud going on with another good cop gone bad. Basically they have this confrontation, things get ugly, and Michael Rooker’s character Calvin Stark kidnaps me. Actually, I’ve been kidnapped several times in movie contracts. While this is happening as the subplot, meteors are beginning to shower down on earth, and it’s an apocalyptic, world-coming-to-an-end drama while there are these sort of subplot dramas going on in the midst of it. It was fun.

BLAST: We’ve all seen natural disaster movies before. What surprises can viewers expect from “Meteor” that they haven’t seen before in meteor-destroys-the-earth plots?

MM: What I like about “Meteor” is there are so many different stories going on. It feels like you’re watching several different films, but the common denominator is that the meteors are coming and the world may end as we know it. It’s about how everyone deals with this and different relationships. It’s really interesting to watch each character and their unique situation: how they cope with whatever drama is happening in their life, and how they sort of rise above it.

BLAST: So we have meteors falling from space, raining disaster on all mankind. It sounds like good quality drama and good quality sci-fi. Are you a fan of other sci-fi movies?

MM: I love sci-fi movies! In fact, I love alien movies and just “What else is out there?” But meteors are cool. My brother actually purchased a couple of asteroids. We were always into the sciences, so I definitely like sci-fi stuff.

BLAST: Here’s something I promised to ask. What’s the ideal date for Mimi Michaels?

MM: My ideal date, wow! Let me think about this one. I’d probably go the simple route: dinner, movie… maybe a walk on the beach. I know that sounds cheesy. A good first date would be a nice dinner and a movie, getting to know each other… and then maybe seeing some horror movie or sci-fi! I’m a simple gal.

Catch “Meteor: Path to Destruction” on NBC in July.

Bob Costas has officially left HBO for MLB’s fledgling network that is aptly titled, MLB Network.

The move will not affect his relationship with NBC, where he has worked since 1980.

“No, we don’t have a problem,” NBC spokesman Brian Walker said.

Costas hosted the first-ever program on MLB Network, while HBO demanded cable exclusivity.

“Bob Costas was a terrific addition when he joined HBO Sports eight years ago, providing us with a distinct and unique presence,” HBO Sports president Ross Greenburg said. “Television is about change, and we respect Bob’s decision to move to the MLB Network.”

Chuck, the hit NBC TV show that made its debut last year as a tag of Action-comedy, has become identified as the action-comedy-drama with-a-cliffhanger show after almost every episode. Obtaining rather good reception for a new show that had problems during the writers strike, the first season introduced Chuck reading an email from an old friend in Stanford. As he reads the email a bunch of random pictures jump on the screen and Chuck passes out after watching them.

It turns out that Chuck’s friend, a rouge spy, had given him a CIA computer with an “intersect” that was put in his brain. With no way of extracting it, the CIA has no chance but to keep him protected until they can make a new intersect. His handlers become hot blonde-and badass- Sarah Walker and a very sarcastic Major John Casey. They protect Chuck everywhere including in his job at the Buy More shop (a Best Buy look-alike).

Chuck was such a success that it was signed for a second season. Now, the CIA has finally found a person for the intersect Chuck was mistakenly given and will be able to put it to good use. But just as Chuck is about to go back to a normal life the brain of the person he was to be replaced with blows up and Chuck’s hopes are dashed.

Chuck is often seen being used as a “spy” despite the fact that he has had no training in any form of spy technique. This usually gets his identity compromised and Chuck is held captive time and time again.

In season one Chuck’s handler Sarah is struggling between Chuck and his ex-friend Bryce Larkin (the one who sent the intersect to Chuck). Chuck and Sarah have been on and off in the last season and its hard to tell if they really even love each other. This season will be interesting to see how their relationship develops.‚ 

Also in season two, Chuck, Sarah and John are found doing missions for the government using Chuck as a spy most of the time and getting him into life threatening danger without remorse.

The show still has a good base of fans and as long as the writers decide to take it somewhere different in the next few episodes they should gain even more viewers. For originality of story line but hoping to see new twists Chuck’s second season gets a for out of five in my scale.

Blast talked with “Chuck” co-creator Chris Fedak about what season two has in store, who will be coming to the show, and just how long it will take for the big secrets in the Chuck-iverse to be revealed:

BLAST: How is shooting for “Chuck” going?

CF: It’s going well; we’re shooting episode 2.09. So we’re nine episodes in and we’re currently writing episode 13. It’s going really, really well.

BLAST: This is the first [show] you’ve done, right? Can you maybe tell me a little bit about that?

CF: Yeah, before this I was working at the film archive for the Motion Picture Film Academy. Then I was also writing features on the side, and I had a feature in development, but by hook or by crook I couldn’t show it to anyone as a spec, but I could show it to TV people, because TV feature people don’t talk. So Josh read it and really dug it, and we went to school together so we started talking about TV shows we liked to see. That’s where “Chuck” came from.

BLAST: The first time I saw the whole Buy More parody off of Best Buy, I couldn’t get over that. I thought it was so funny. ["Chuck"] definitely has those elements, like when Chuck and Bryce are talking in Klingon. It definitely has that funny, more-comedy-than-comedy element to it.

CF: Yeah, that’s the fun of the show for us. There are those moments where the show has high concept action; in each episode we try to come up with something we haven’t seen before, or if we have seen it before, we put some sort of twist or turn on it. And then on the other side of the coin there is the Buy More story. It’s like Chuck’s story with his sister Ellie and Captain Awesome. Those stories are just as important; the heart-warming stuff at home or the high comedy at the Buy More. It’s really fun to make the show because there are so many things that just put a smile on the face as we’re doing it.

BLAST: So what part of the show is you and what part of the show is Josh, because Josh’s other projects; “The OC” and “Gossip Girl”, have a very, very different feel than “Chuck” does.

CF: It’s our work together. We co-wrote the pilot, and I think it’s very much a matching of our sensibilities. Before working on “Chuck,” I was writing what most people would consider action stuff, and Josh’s stuff shows he can write action, but he’s also been very successful with the comedy and soap opera stuff with “The OC” and “Gossip Girl.” I think that the show “Chuck” is definitely comes from the imaginings of two guys who grew up in the 80s and watched a whole lot of Spielberg movies, a lot of Joe Dante movies [...]. Sometimes when we thing about the show and the stuff that we want to include, we’ll say it’s on the cutting edge of 1984. It’s very much the product of that 80s psych, and Josh and I both think in the same TV and movies. Sometimes there’s just the ideal cop in the room, and we all know what we’re tapping into. We’re tapping into some music video that we all watched way too many times or a TV show that we were obsessed with when we were 13. Sometimes there’s an episode which is like one person’s obsession more than everybody else. We’ve got a really exciting episode coming up which is based on old Atari video games. That was very much the writer who is working on this sort of disgrace, and we all kind of dug it because it’s like “Oh, that’s half the stuff we were obsessed with as kids.” When it comes to the physical production of “Chuck,” Josh is a fantastic show runner. With all his experience from “The OC”, he knows how to run a television show, so it’s a real learning process for myself just to go from writing scripts to actually in television, it’s such an involved process. The writers are involved not only in the writing of it, but also in the casting, the producing, and then the editing of the show; you’re there all along the way. So then as a producer, I’ve learned an incredible amount in just the last two years. It’s like the best master class anyone could have. I suggest that everyone get their own television show. Josh has been a great partner in that.

BLAST: You guys kind of got cut off partway through your first season because of the strike. How many episodes are you going for this season?

CF: The expectation of probably 20 could kind of change more or less partway through the season. We’re currently working on our first 13 episodes, with the expectation that we’ll get a back nine from NBC, which is the way it usually works in television; if you make 13 episodes, then they’ll order nine more. We’ve designed the season very much around the lines of taking the 22 episodes, and then if NBC decides maybe even more, who knows. In our first season, we made 13 episodes, and we had just kind of gotten to the realization that people were really digging the show and we had found a really nice audience and we were building. It was around episode six of our first season that we really got into the “Chuck” back story and we realized that people were truly interested in the mythology of the show. They wanted to know about more about Chuck, where he comes from, why Bryce sent him the Intersect’s secrets. We were just really digging into that mystery when, unfortunately, the writers’ strike hit. Then we had to kind of close up shop. After the strike was over, NBC decided to give us a second season as opposed to nine more episodes. What we essentially did was take most of the concepts we wanted to get into in the back nine and turn that into the beginning of the second season. Of course you have to massage everything when you do that because essentially a season is kind of like a giant book with each episode being a chapter. We’ve gone back and our first episode we’re definitely re-launching the show, so that if a person didn’t watch those first 13 episodes, they can kind of get back into the show very quickly, or understand the show very quickly. We had a lot of great ideas that we were very excited about, and now we’re looking forward to getting into them. I think that when Josh and I first came up with the show, we were very much thinking about stand alone episodes, kind of like a show from the 60s, 70s, or 80s. It would be a mystery of the week or an action show of the week. And you would have a villain come in and tell a little mini action-comedy story, but we realized that people really liked the mythology, and I think that people have been primed with shows like “Lost” and “The X-Files”, expect mythology. It was exciting for us; it was like “Oh, people want to know more. They want to have recurring villains and they want to have a greater sense of the mythology and a greater sense of the mystery.” We loved to oblige them in the second season.

BLAST: Is this going to have a more direct plot? Is there going to be an actual nemesis, more so than Bryce, that’s going to be introduced?

CF: Yeah, absolutely. We began to tease out the idea that there was an organization called Fulcrum in the first season, which is essentially like in “Three Days of the Condor” in the way he describes a CIA within the CIA. This mysterious organization is something we’re playing with now in the second season. Like, who exactly are these people and what do they want? A lot of shows have gone down this road and we are looking to tell it, but what’s our original “Chuck” take on that? I mean, they have operatives and people who are looking for Bryce Larkin because they believe that Bryce is the Intersect computer. But it’s like “What makes these people tick?” In our show, it’s like there’s always intermediates, there’s a lot of villains who are working for [Fulcrum], or working for people who don’t even know. Through this season, we’d like to get the audience excited about what is actually happening and what in our bigger, overarching mystery. What is their plan? There will be more of an organization as well as Bryce Larkin will [be involved]. Fulcrum is something we look forward to getting into.

BLAST: I’m taking from that that you might get into them very quickly in the first few episodes?

CF: Yes, you could say that. You could definitely say that. The show is started with a real bang this year. Our first episode is an epic. We’ve got amazing bits of action having to do with the re-launch of the new Intersect computer, Chuck thinking that he might be let go, that the government might be done with him, and he can go back to his old life. What does that mean for him and Sarah? I would say that our first three episodes are definitely an arch unto themselves; essentially getting us back into the show and dealing with the Sarah/ Chuck romance. They’re really romantic. There’s a lot of romance in the first three episodes, as well as a lot of slam-bang action.

BLAST: What about Bryce? I heard he’s going to be coming back a couple of times this season.

CF: Yeah, Matt Bomer is fantastic; we worked with him last season. He was also the first person to work on the pilot on our first day of shooting with the Intersect vault scene. Matt brought such a great energy to the show that it’s been a real great pleasure to work with him. He will be coming back to the show this year right now. And he comes back at a very unfortunate time for poor Charles Irving Bartowski.

BLAST: I feel like there are a lot of questions left in the “Chuck” mythology, even back to the Stanford days, because we didn’t get a quite clear explanation from Bryce’s perspective why he did what he did. How long is it going to take for those to get cleared up?

CF: Some of the mysteries are things that even Bryce doesn’t know the answers to. Those things will be addressed this season. But when you see Bryce, he won’t have all the answers for you. In other parts of the show, we will go back to Stanford, but maybe they won’t deal with Bryce. We’ll definitely be going back into each of our characters’ back stories and teasing out those things that lead to who they are personally but also to the mythology of the show; the Intersect super computer, Bryce Larkin, Fulcrum, and why Chuck was sent those secrets. I think that that’s definitely what will be answered by the end of the season.

BLAST: Can you tell me a little bit about Tony Hale joining the cast?

CF: Ah, Tony Hale; he’s great. And that goes to the Buy More side of the story. A lot of the time we talk about spy stuff on the show, but such great fun is in the works for the comedy side of things, inside the Buy More. Tony Hale will be joining the cast as Emmett Milbarge, the new assistant manager inside the Buy More. Emmett is a passive aggressive character, and sometimes overtly aggressive. And when he comes into the store, it’s like he lasers in on one Charles Irving Bartowski because he realizes these are two men cut from the same cloth; leaders, college men as well. Unfortunately Chuck is public enemy number one for Emmett Milbarge. We kind of saw Emmett as someone cut from the J. Edgar Hoover cloth by way of Mussolini. His presence in the store is a new challenge for Chuck. One of the things we love about the show is that the stakes inside the Buy More are sometimes as seemingly high as the stakes out there in the real world, with the intensity. When people go to their jobs, it’s the most important thing in their life. For Morgan and Jeff and Lester and Anna, Emmett Milbarge is their Fulcrum, is their evil nemesis. Tony is fantastic; he’s come in and he’s hilarious, and we’ve been really enjoying cutting his episodes.

BLAST: Are there any surprises you can let us know about in the first episode? Anything we can look forward to?

CF: Essentially by the end of the teaser; first episode, our entire show is turned on its head. It’s an exciting, amazing episode with a twist ending that hopefully no one in their right mind will see coming, except for the people that wrote it. Also, just in the upcoming episodes, we’ve got a lot of great cast members coming on. Tony Hale. We also have Melinda Clarke from “The OC” coming as Sasha Banacheck, KGB spy. We have John Larroquette on the show playing episode two, playing Roe Montgomery, the master seducer who will train Chuck Bartowski in how to seduce women. We also have Michael Clarke Duncan in the first episode; 2.01, starring as the villain of that one. In episode 2.04 we have Nicole Richie who is really funny. So we have a lot of really great guest stars coming on this year and it’s been a lot of fun to cut these people in and introduce them to our crazy world. The show really comes to life.

LOS ANGELES — Microsoft wants to prove that the Xbox 360 can last. In doing so, it is, intentionally or unintentionally, revolutionizing the console system. Starting this fall, the 360 is no longer just a machine for gaming. It is an entertainment system.

“The same question has been asked a thousand times in a thousand different ways,” said Microsoft senior Vice President Don Mattrick. “Can we deliver to our fiercely loyal fans and at the same time continue to transform the industry by delivering for everyone? The answer is yes we can.”

In conjunction with new partners NBC, Universal, MGM International, Constantin and Netflix, the Xbox 360 now will have a library of over 10,000 on demand movies and television shows.

That’s not to mention the countless other partners Microsoft has, such as Disney, Warner, ABC and MTV.

Consumers have spent more than $48 billion this past year on videogames, Mattrick said. That is more than the amount they have spent on movies both on DVD and in the box office and in music.

While games are fast becoming the number one driver of entertainment spending, the Xbox 360 is dominating its position as the best-selling video game console as having sold more than 2.7 billion in the last year. That’s significantly more than the 1.1 billion Wiis sold or the 0.9 billion Playstation 3s sold.

This year Microsoft gives consumers even more reasons to buy their system.

“Finding the games you want and the entertainment you want when you want it means movies, TV shows and music from [our] partners,” said Mattrick.

The Xbox 360 now has the world’s largest amount of on demand movies and television shows; more than any cable or satellite provider.

Microsoft’s partnership with Netflix only intensifies that fact. Now Netflix subscribers who own 360s can access Netflix’s library of films through their gaming system and watch movies instantly at their homes. Even when they don’t have their friends over, Xbox owners can share the movie they rented with their friends using the new Live Party mode available through the 360′s new interface. This partnership more than doubles Microsoft’s current selection of movies and TV shows.

With the Xbox’s new functionalities, it seems that the only reason to actually visit a video rental store is to rent a videogame. Maybe there will come a point in time where videogames can be rented via their console as well.

When you think of “celebrity” journalists, a thorough background in covering political campaigns or working for Fortune 500 businesses does not fit the typical profile. But for Carlos Watson, not adhering to the norm has brought amazing results. Although his face is not exactly plastered on billboards across America, his interview shows have booked big names from every field, garnering rave reviews and top ratings nationwide.

Audiences get intimate chats with personalities like Heidi Klum, Barack Obama, Joss Stone, and even Rudy Giuliani in the hour-long Conversations with Carlos Watson. NBC produces the quarterly show, the latest one aired on December 18, and others are set to run in March, June and September. What makes the show different and interesting is its set up: essentially an interview show, guests are treated more like pals chatting over dinner rather than professionals answering stiff questions.

Thanks to his charismatic personality, Watson makes it even easier for guests to unwind and share things like childhood memories or business projects alike, all the while cooking a meal or testing racecars.

Watson, 37, was raised in Miami, and attended Harvard University, having graduated with a degree in government. After graduation, he worked as chief of staff and campaign manager for Florida state representative Daryl Jones, and managed Bill Clinton’s 1992 Election Day effort in Miami-Dade County. He began legal studies at Stanford Law School, where he became editor of the Stanford Law Review and president of the Stanford Law School Student Government. As he explains he has a need to explore.

"I always had a broad set of interests and while I loved politics, it wasn’t the only thing I was interested in," he explained. "The best conversations I ever had happened at a barbecue or at a coffee shop or on an airplane. You may talk about your views on world events or family and the conversations are wild ranging, unpredictable, unbinding and I wanted more of that."

Watson later ventured into a different field, having worked at McKinsey & Company, a global strategic consulting firm. He left the company to co-fund an educational company, Achieva College Prep Service, and help students reach higher education. His company did so well that it was sold to a publicly traded corporation, leaving the field wide open for Watson to finally pursue a career in media.

"I grew up loving Barbara Walters specials; I loved how she was intimate with guests but though it would be good to have a show that was broader, hipper, with writers or entrepreneurs being interviewed because viewers are interested in Barack and Heidi and everything in between," said Watson.

The idea for the show began in the late 90s, but Watson didn’t start working on it until 2003. He spent a number of years making guest appearances on Fox and Court TV as a political analyst, manned primetime specials for CNBC, and was eventually offered a position as a regular contributor with CNN.

"The shift was scary but I had to do it because it would have been worse not to do what I wanted to do,” said Watson. “The reality is that this is such an interesting world and working in politics and business before being in media helped me be more involved and creative, I think you can be a better innovator when you have more experiences.”

Being involved and creative made him co-producer of the show, but the position came with greater responsibility. With tapings in New York and press engagements across the country, Watson’s schedule now makes it hard to have an active personal life.

"It’s a challenge for sure,” he said. “In the course of seven days I’ve been in eight or nine places so it makes it tough to be completely available for anyone really; but, as my dad reminds me people have harder things to deal with than traveling so I can’t complain.”

His efforts are not only focused on managing his program and surviving travel, though. After selling his college preparatory business, Watson remained interested in helping middle and high school students continue their education.

"As a young kid I got in trouble in school, I was kicked out of kindergarten but thankfully, I got two, three, four chances. I still believe we all have promise and potential and I love the opportunity to help kids," said Watson, who currently serves on the board of directors for College Track, a program he co-founded to aid students in East Palo Alto and Oakland, Calif.

Watson’s wide-ranging interests continue expanding, but his persona remains accessible and grounded. He rarely gets star-struck; considering everyone equals who deserve respect and acknowledgment for their achievements.

“I think it is because I realize we are all fortunate to be here, there’s a fundamental humanity about all of us which means I am not ‘not’ excited about meeting celebrities but I’m not star struck,” he said. “I mean, what folk wouldn’t enjoy meeting Heidi? I’m lucky I get to see [personalities] in a personal level and I want to explore the whole picture to show audiences that their favorite celebrities or idols are human too.”

So what can an accomplished 30-something do to thrust some more excitement into his life? Playing basketball and trying to regain his cooking abilities can do the trick. One of the things Watson said he’d like to return to is cooking, saying that he enjoys trading recipes with his guests.

More specials are scheduled for production and Watson continues his involvement with College Track, hoping his efforts can prompt others to achieve and dare to try.

“The conversations I can have with people are not only fascinating but will get you thinking about the possibilities in your own life, different issues and topics in the show can prompt fresh thinking,” he said. “I would love even more if audiences enjoy the show and regard it as meaningful. I’d be honored if they did.”

Yet another award season is upon us and the first in the list is the Golden Globe Awards. The award show airs on NBC at 8 p.m., January 13. Usually seen as a prelude to the winners of the Oscars these year’s nominees will make an interesting competition as many are deserving of recognition.

Motion Pictures
Drama – American Gangster, Atonement, Eastern Promises, The Great Debaters, Michael Clayton, No Country For Old Men, There Will Be Blood

Musical or Comedy- Across The Universe, Charlie Wilson’s War, Hairspray, Juno, Sweeney Todd

Animated Film- Bee Movie, Ratatouille, The Simpsons Movie,

Actor in a Leading Role, Drama- George Clooney in Michael Clayton, Daniel Day-Lewis n There Will Be Blood, ames McAvoy in Atonement, Viggo Mortensen in Eastern Promises, Denzel Washington in American Gangster

Actor in a Leading Role, Musical or Comedy- Johnny Depp in Sweeney Todd, Ryan Gosling in Lars and the Real Girl, Tom Hanks in Charlie Wilson’s War, Philip Seymour Hoffman in The Savages, John C. Reilly in Walk Hard: The Dewey Cox Story

Actress in a Leading Role, Drama- Cate Blanchett in Elizabeth: The Golden Age, Julie Christie in Away From Her, Jodie Foster in The Brave One, Angelina Jolie in A Mighty Heart, Keira Knightley in Atonement

Actress in a Leading Role, Musical or Comedy- Amy Adams in Enchanted, Nikki Blonsky in Hairspray, Helena Bonham Carter in Sweeney Todd, arion Cotillard in La Vie en Rose, Ellen Page in Juno

Actor in a Supporting Role- Casey Affleck in The Assassination of Jesse James, avier Bardem in No Country For Old Men, Philip Seymour Hoffman in Charlie Wilson’s War, John Travolta in Hairspray, Tom Wilkinson in Michael Clayton

Actress in a Supporting Role- Cate Blanchett in I’m Not There, Julia Roberts in Charlie Wilson’s War, Saoirse Ronan in Atonement, Amy Ryan in Gone Baby Gone, Tilda Swinton in Michael Clayton

Director- Tim Burton for Sweeney Todd, Ethan Coen, Joel Coen for No Country For Old Men, Julian Schnabel for The Diving Bell And The Butterfly, Ridley Scott for American Gangster, Joe Wright for Atonement

Screenplay- Atonement, Charlie Wilson’s War, The Diving Bell And The Butterfly, Juno, No Country For Old Men

Original Score- Atonement, Eastern Promises, Grace Is Gone, Into The Wild, The Kite Runner

Original Song- “Despedida” from Love In The Time Of Cholera, “Grace Is Gone” from Grace Is Gone, “Guaranteed” from Into The Wild, “That’s How You Know” from Enchanted, “Walk Hard” from Walk Hard: The Dewey Cox Story

Foreign Film- The Diving Bell And The Butterfly from France, The United States Of America 4 Months, 3 Weeks And 2 Days from Romania, The Kite Runner from The United States, Lust, Caution from Taiwan, Persepolis from France

Television Series
Drama- Big Love, Damages, Grey’s Anatomy, House, M. D., Mad Men, The Tudors

Musical Or Comedy- Californication, Entourage, Extras, Pushing Daisies, 30 Rock

Mini-Series or Television Movie- Bury My Heart At Wounded Knee, The Company, Five Days, Longford, The State Within

Actor In A Leading Role, Drama Series- Michael C. Hall in Dexter, Hugh Laurie in House, M. D., Bill Paxton in Big Love, Jon Hamm in Mad Men, Jonathan Rhys-Meyers in The Tudors

Actor In A Leading Role, Musical or Comedy Series- Alec Baldwin in 30 Rock, Steve Carell in The Office, David Duchovny in Californication, Ricky Gervais in Extras, Lee Pace in Pushing Daisies

Actor In A Leading Role, Mini-Series or Television Movie- Adam Beach in Bury My Heart At Wounded Knee, Jim Broadbent in Longford, Ernest Borgnine in A Grandpa For Christmas, Jason Isaacs in The State Within, James Nesbitt in Jekyll

Actress In A Leading Role, Drama Series- Patricia Arquette in Medium, Glenn Close in Damages, Minnie Driver in The Riches, Edie Falco in The Sopranos, Sally Field in Brothers & Sisters, Holly Hunter in Saving Grace, Kyra Sedgwick in The Closer

Actress In A Leading Role, Musical or Comedy Series- Christina Applegate in Samantha Who?, America Ferrera in Ugly Betty, Tina Fey in 30 Rock, Anna Friel in Pushing Daisies, Mary-Louise Parker in Weeds

Actress In A Leading Role, Mini-Series or Television Movie- Bryce Dallas Howard in As You Like It, Queen Latifah in Life Support, Debra Messing in The Starter Wife, Sissy Spacek in Pictures Of Hollis Woods, Ruth Wilson in Jane Eyre

Actor In A Supporting Role, Series, Mini-Series or Television Movie- Ted Danson in Damages, Kevin Dillon in Entourage
Jeremy Piven in Entourage, Andy Serkis in Longford, William Shatner in Boston Legal, Donald Sutherland in Dirty Sexy Money

Actress In A Supporting Role, Series, Mini-Series or Television Movie- Rose Byrne in Damages, Rachel Griffiths in Brothers & Sisters, Katherine Heigl in Grey’s Anatomy, Samantha Morton in Longford, Anna Paquin in Bury My Heart At Wounded Knee, Jaime Pressly in My Name Is Earl