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• Mistresses Review: A Summer Full of Consequences (6/6/2013)

  Watched the first one --- in the end, I felt -- this is nothing more than "Desperate Housewives" go to work. Same kind of thing -- women, with interesting jobs, end up in desperate situations . . . to carry over from one week to another. Also, as I try and remember -- (almost) all of the scenes have people from 25 - 35 years old. Even the walk on or through or sitting to the side --- that is not reality. Producers wake up.
  

• The Americans Season Finale Review: Friend and Enemy Paradox (5/3/2013)

  Let me add, I like some of the small, little things that add a great deal to the breath of this series. Example: early on --- Philip takes his daughter shopping at the mall. She is on one side of the aisle and holds up what she want, he nods yes. Then he holds up some boots, she reject them. Next, he has the boots on, and the background music gets louder (country sound) and he does a little jig. The camera shows the boots as he is dancing, people around that part of the store are watching. Really nice take. Then at the register, Philip sees this guy with a very young girl, and feels he wants any "young girl" as he made gestures to his daughter. Later, Philip, with his wig on, goes to this guys house (he had seen the guy's credit card / name) and beats him up in the backyard and tells him to stay way from . . . That is good writing. I like those kinds of inserts, in broadens the scrip and character development.
  

• NCIS Review: The Steel Bonds of Blood (1/15/2013)

  This might sound silly -- but maybe the writers and the producer -- knew where Homeland (Showtime) led us in Season Two, and especially the action in the last episode there --- --- that they felt NCIS needed to kick it up a bit. Not just another case of a dead Navy person, and spend 45 minutes solving that case where the landlord did it. But -- taking us on a ride to the past with Eli, then Jackie -- then the estrangement of Eli and his daughter -- dinner and terrorism. This was/is a risk, because of characters that leave the story line, but the writers now need to move this story line in creative ways . . .