And congrats to NBC’s The Office for pulling off a hallmark sentimental episode without losing a sliver of edginess or those trademark awkward moments.

The show, an Americanized version of a British series of the same name, is in the midst of its 6^th season.  The series has evolved, and characters have come and gone since its inception; but the heart of this primetime sitcom remains.  Dry, witty and awesomely uncomfortable, the mockumentary style show has risen from cult classic to international smash hit.

And perhaps at the height of the show’s popularity, the marriage of two of the main characters, Jim and Pam, was the perfect excuse to pull out all the stops for an hour-long event.  This potential ratings monster strikes a chord with longtime sentimental fans – while minding the low-brow comedy quota of males ages 18-34.

Some may fear an uncharacteristically emotional episode as Pam and Jim open by asking their co-workers to make certain ‘adjustments’ due to Pam’s pregnancy.  However, Dwight’s refusal to eat his hard-boiled egg away from his desk leads to an office-wide puke rally, assuring viewers that success has not diminished the show’s willingness to be downright juvenile.

While the primary characters are typically showcased, this platform presents an opportunity to let many of the auxiliary characters offer their own pieces to the story.  The trip from Scranton (where most of the characters work and live) to the wedding in Niagara is presented beautifully.  The viewer travels from car to car seeing everything from a heartfelt conversation between the bride and groom, to the ridiculously immature scheming of Michael Scott and Dwight Schrute – and everything in between.

A majority of the episode takes place outside the customary setting of the Scranton branch of Dunder Mifflin.  However, this cast of characters can make any situation awkward – regardless of location.  Never is this more evident than during Michael’s wonderfully inappropriate toast – before it is mercifully terminated by Jim.  And just as you start to think you may be watching a real dramatic series, reality hits you where it counts, and hilarity ensues.

But this ‘documentation’ of a genuine romance has its share of truly emotional moments.  Not since Monica and Chandler in Friends (also an NBC hit) has the union of two fictional characters seemed so important. As out of place as this romance is amidst an outrageous array of personalities, the writers present a believable climax to a love story six years in the making.

Barely-believable fringe characters, outrageously awkward situations and delightfully witty dialogue have made The Office one of the most unique and successful “spin-offs” in television history.  While childish toilet humor and lines like “That’s what she said” have inspired much of its success, a connection to show’s characters is a primary reason for viewers to tune-in on a weekly basis. The writers took both sides into account when making this episode. The balance between simple sarcastic humor and an authentic attachment to the characters has gotten the show to where it is – and suggests that this wildly successful series has no plans of slowing down anytime soon.

-Derrick Thomas

Season four picks up with much of the cast in new places, most notably Betty.  Formerly assistant to the editor-in-chief of fashion powerhouse Mode magazine, Betty now boasts the title of associate features editor. But when she finally lands the role she’s been waiting for, the eternally scandal-ensued world of Mode may thrust her dream head-first into reality.  Writers for this episode, Sheila Lawrence and Henry Alonso Myers, thankfully stayed in true Betty form. The drama remains intense (though fairly tame by Mode standards), as does the comedic factor. The Mode crew delivers sinfully delightful humor and sets up the show for a 24-episode ride guaranteed to be scandalous.

The first episode finds Betty getting ready for her first day as a features editor. Along with her, teenage nephew Justin heads off to his first day of school at Queens Borough High. Neither is prepared for the battlefield awaiting them. As Wilhelmina, Mode’s power-hungry co-editor, so callously warns Betty, “Being an assistant is boot camp. Being an editor is war.” And at war she is when she finds that her Mode colleagues are far from helpful with easing the transition. Matt Hartley, Betty’s ex-boyfriend, is now managing editor, making for the most awkward of work environments. He uses his professional persona as a mask, letting his guard down all too frequently to attack Betty from the bottom of his broken heart. Daniel Eric Gold is scathing as the ex from hell Matt, once lovestruck, now lovelorn. But Betty has to make peace with Matt and win her new colleagues over – including Megan, Betty’s new officemate who responds to suspicions of favorable treatment with a cold front. She has to keep editor friend Daniel at bay to prove herself as a competent and deserving associate editor, which proves difficult to do.

In the meantime, Justin waltzes onto campus, proud in his new pink Gucci shirt. At his inner-city high school, where he’s prone to setting off the metal detector with his clinking bangle bracelets, his peers mock him for his feminine ways. Mark Indelicato is glorious in this role – he’s hot as the feisty Justin, but will wrench the heart as the high school underdog. When he seeks refuge at the Mode office where gay fashionisto Marc bends an ear, his mom, Hilda, is tipped off about his social troubles and starts asking questions.

Marc, though bitter from losing the associate editor promotion to Betty, tries to do his best as Wilhemina’s personal assistant. And by “doing his best,” that means snooping into Wilhemina’s new secret.  Since Marc is literally her partner in crime (they once even stole a dead man’s sperm together to impregnate Wilhemina with an heir), he’s suspicious that he’s not part of this new development. But Wilhelmina has a bigger problem to face. An unexpected guest from the season three finale brings her a new mess to clean up in season four. With Betty’s writers, it’ll surely play out with twists, turns, and enjoyably inappropriate humor.

The opener for this season promises that the shifts in Mode’s editorial staff will not make for lax plotlines. The heat is turned up as major characters Betty, newly widowed Daniel and the fabulously vicious Wilhelmina each struggle to shake off new and old baggage. Formerly on the fringe, Justin’s drama with bullies and sexuality is becoming adult enough for airtime on the show. Audiences are about to see this adorable child grow up fast. Mix in the antics of Mode low-ballers Marc and Amanda, comedic comfort from the Suarez home-front, Ugly Betty’s season four makes the perfect recipe to spice up Friday nights at home.

-Brittney Haynes

Heroes follows the lives of several people who possess supernatural powers, which are used to save the world or destroy it, depending on the characters’ good or evil intentions. By now, the show’s main characters are aware of their gifted abilities, but newcomers still enter the show each season, unaware of how to use their abilities.

In this episode, Emma Coolidge, a deaf woman who works as a file clerk at a hospital, is being drawn into her ability to see colors when she hears music, known as synesthesia. Emma is a very likeable character, played convincingly by Deanne Bray, an actress who was born with severe hearing loss. Peter Petrelli, the most adaptable character on Heroes, who is able to absorb other people’s supernatural gifts, saves Emma’s life on the street before a bus hits her. Emma clearly does not want to deal with Petrelli and rushes away without a thank you. Later, however, they share a cozy scene, playing the piano and watching the colors lift from the keys. I suspect that viewers have a future romance to look forward to between these two characters. Petrelli’s caring nature should open Emma up to him in the future. For now, she is very closed off from other people. Both characters are easy for viewers to identify with and like, so the chemistry I see forming between them is sure to satisfy viewers if they become a couple.

At Arlington University, Claire Bennet, played by Hayden Panettiere, is finally feeling like a normal college student, although she is far from normal. Claire was a cheerleader in high school who never worried about injuries during practice because her body had the supernatural ability to heal itself. Panettiere constantly overacts in this role, which makes her scenes annoying to watch. Instead of becoming more comfortable with her character over time, Panettiere continues to give a stiff performance. She is disconnected from her character’s growth as a young adult. It is clear she is acting her character, instead of inhabiting the role, by the dramatic facial expression she uses, which might be seen on a theater stage to show the audience members in the back row what the actor is feeling. She should pick up a few tips from the actress playing her roommate, Gretchen, who gives a natural performance as a sarcastic, down-to-earth college student, who does not want to accompany Claire to a sorority rush. She reluctantly agrees to attend, but after a sequence of odd events, Claire accuses Gretchen of stalking her. The truth will leave viewers staring wide-eyed and open-mouthed at the screen. After the initial shock wears off, I realized this unoriginal idea will probably not be pursued with any depth by the show’s writers. I will be surprised if Gretchen remains on the show much longer.

The writers are doing a good job dealing with Sylar’s memory loss. Although Sylar started out as the show’s most evil character, he has grown into one of its most intricate characters with the most interesting storyline. It is time for Sylar’s memory to return. It will be interesting to see if he returns to his old ways, after running into people who may be more evil than he is.

Heroes continues to entertain viewers with its dramatic stories and special visual effects of the characters’ supernatural abilities. As long as the characters show personal and interpersonal growth in their performances, viewers will keep tuning in. This episode is definitely worth watching.

-Shanessa Fakour

I should have seen it as a sign that there were only three other people in the theater, including one who was there much against his will. What was expected to be a romantic comedy with the always-lovable Jennifer Aniston and the charming Aaron Eckhart turned out to be anything but romantic or comedic. Actually, Love Happens was quite the opposite. Love barely occurred.

Burke, played by Aaron Eckhart is the author of a self-help book and travels around the country as an inspirational speaker to those who have lost loved ones and attempts to make them feel “A-Okay!”  Lane, Burke’s manager, played by Dan Folger, is scheming yet supportive and seems to be cashing in on Burke’s success.  Lane has big plans for Burke’s career, making Burke the face of books, exercise equipment, diet drinks, and a television show.  Burke’s desire to help others was inspired by the death of his wife in a car accident.

As he visits rainy Seattle for a coping workshop, the city in which the accident took place about three years prior, he meets Elouise, (Aniston) the quirky owner of a flower shop that has recently become available to the dating scene. One might think — as I did — they fall in love and live happily ever after. Well, they do. I think. However, the awkward relationship between the two is only a small slice of the story.

The meat of the story lies in Burke’s not-so A-okay reality. Burke is sitting on a lie about the death of his wife, which haunts him until the end of the film. (Don’t worry, no spoilers here.) At one point, in Elouise’s effort to help Burke cope, she convinces him to confront his wife’s parents and free her bird, an agreement made between the two if anything were to ever happen to her. May I please add, the bird happened to be a parrot and was released in the cold forest of Seattle.  How will it survive? I am not convinced.

Though the rest of the story may not have been so convincing, there was a moment with the deceased wife’s very intimidating, ex-Marine father, played by Martin Sheen that could have brought a few tears to the eye. Sheen sees his daughter’s death as a quick buck for Burke. But, when he witnesses Burke’s epiphany of coming to terms with his wife’s death, the sinister in-law turns into an understanding, loving and forgiving father figure to Burke.

I expected a lot more out of this film. Whoever thought putting Aniston and Eckhart on screen together was a genius. However, I do not think this was the film for them. Their chemistry would have worked had the dialogue been more natural. Writers Brandon Camp, and Mike Thompson did not do their script any justice. This movie was anything but convincing for me. I did not believe any of the characters, especially Burke and his outrageous, somewhat bi-polar personality.

Besides the title itself, I did not find love happening in this movie. Aniston and Eckhart: strike one.

- Candice Phillips

The problem with Jennifer’s Body isn’t its lack of clever writing, thought-provoking storylines, or deeper meaning. The problem is that it tries to incorporate these.

If the film stayed true to its roots — those gory, cheesy, meaningless slashers that are so bad they make you laugh but are still entertaining — it would have been fine. Jeepers Creepers, Texas Chainsaw Massacre, and The Hills Have Eyes come to mind. In trying to be something that it’s not, Jennifer’s Body comes up short.

Don’t get me wrong. The cheap puns, double entendres, and sexual innuendos are pure gold and almost make the movie worth watching. For instance, when Megan Fox‘s character Jennifer finally decides to start vampire-feasting on girls instead of boys, she quips, “I go both ways.” Yes! Director Karyn Kusama would have done well to stick to this easy but funny exploitation of Megan Fox’s sex appeal. Although Kusama does so with hilarious and provocative effect a couple times, she eventually outsmarts herself.

The film somehow tries to tackle issues like sexuality and virginity, friendship, high school popularity, and giving into pressures to succeed while also providing mindless entertainment to hormone-crazed teenage boys who came with hopes of seeing Megan Fox naked (they went home disappointed).

Jennifer is the gorgeous, stuck-up, and sexually promiscuous cliché of a vampire seductress. While an Oscar is a long shot, Fox succeeds in playing this bratty babe — probably by being herself.

Amanda Seyfried plays her best friend Anita, aka “Needy.” Occasionally Seyfriend’s acting brings the movie out of the mud, but never completely. Needy provides the quiet, simple-girl contrast to Jennifer, constantly being bossed around by her more attractive and more popular BFF (best friend forever, if you’re not in the know). The film lets its viewers know that Needy needs to stick up for herself, which would be alright if it didn’t do so every ten or twenty seconds.

Jennifer forces Needy to blow off her boyfriend for the night to go to a concert. OK. Jennifer blows off Needy to hang out in the band’s van, leaving Needy stranded. Alright. Needy gets in trouble during class for something Jennifer does. Ugh. Needy’s first sexual encounter with her boyfriend is interrupted by visions of the following: Jennifer’s blood dripping from the ceiling onto her face, one of Jennifer’s devoured victims sprawled on the couch next to the bed, and fang-toothed vampire Jennifer crouched on a nearby table. It’s my turn for a cheap pun, so I’ll call this overkill.

Now is when I should tell you the name of the town where all this happens is “Devil’s Kettle.” The name fits well for the kind of film this should have been. But when Kusama overextends her story, something is taken away from the movie’s deliciously terrible potential.

As you might have guessed, Jennifer uses her sex appeal to lure in boys for a good meal. This is a go-to plot for a vampire movie, especially when the vampire is a vixen like Megan Fox. Yet somehow the film tries to squeeze in a moral to this story about vampires, sex, and murder. Let’s just say when one of Jennifer’s victims is able to resist her sexual advances, Jennifer’s “body” of work is almost over. Of course, Needy finally stands up to Jennifer in the end as well.

Maybe I should focus on Megan Fox’s beauty, the bloody way she devours her victims, and the way her sexy evil is defeated. Maybe I should focus on how the aforementioned band’s name is “Low Shoulder” and a road sign near a hitchhiker planning revenge on the evil band reads “Low Shoulder.” Maybe I should focus on the fact that Jennifer’s science teacher has a hook for a hand.

But I can’t. Even if it is unintentional, the other, apparently “deeper” stuff is still there. And it hurts what should have been an awesomely bad movie.

- Martin Minschwaner

My new favorite show mixes sarcasm, awkward moments, witty remarks and an uneasy but entertaining combination of people who seem to be real and fake. It’s also an NBC primetime show. But it’s not The Office—it’s Football Night in America, the football-slash-comedy show that is supposed to be the former but inevitably becomes the latter.

The show, which runs Sundays from 7:00-8:15 p.m., is part highlight show of the day’s finished games and part preview show for NBC’s night game.

The show’s cast offers a little something for everybody. Former Indianapolis Colts head coach Tony Dungy and recently retired New England Patriot Rodney Harrison—both Super Bowl champions—satisfy football enthusiasts with an X’s and O’s breakdown. Accomplished journalists Dan Patrick, Keith Olbermann and Bob Costas satisfy casual fans with humor, relatively intelligent discussion and feature stories.

Football Night starts with highlights of completed games, done by Patrick and Olbermann. In my opinion the duo was the best to ever anchor ESPN’s Sportscenter. While they can’t quite recreate their 1990’s magic, their sarcasm, their energy and their chemistry are still delightful.

After a particularly good Olbermann highlight, Patrick says of his co-anchor, “You can’t stop him, you can only hope to contain him.” Patrick, who usually reserves the line for athletes, infuses humor into the all-too-often vanilla world of sports highlights. And it’s a nice break to see Olbermann discussing hard hits and Hail Mary’s instead of healthcare and housing reform.

After these highlights, Dungy and Harrison discuss specific games, followed by Costas’ feature stories and interviews from the site of the night game. Finally, Dungy and Harrison preview the same.

Patrick and Olbermann are sports broadcasting legends. Costas, NBC’s frontman for the Olympics, is a legend as well and continues his good work here. Harrison worked for NBC in 2008 after his retirement from the Patriots and his straightforward analysis is refreshing. Tonight Harrison calls out his former teammate Tom Brady when breaking down the Patriots’ game, saying Brady needs to “take his skirt off” in order for his offense to succeed.

On the other hand, Dungy is completely new to television. It shows.

Dungy’s success in the game and his charitable work outside of it are well-known. It is this impressive resumé that allows Dungy to be as awkward and robotic as he is on the show and get away with it.

Dungy does one of two things at all times. He either stares directly at the camera, trying to steal the soul of viewers at home, or stares directly at another member of the crew, trying too hard to make the conversation feel authentic.

The man looks so nervous he could be wearing a wire for police, trying not to be exposed as an impostor among drug lords. But he is an impostor. He is an impostor among those who know how to be on television.

E.T., or, um, Dungy, tells viewers that he is going to share with them “the things that make (Atlanta Falcons quarterback) Matt Ryan an elite quarterback.” He enlightens them about “the first thing,” Ryan’s intelligence, “the second thing,” his poise under pressure, and “the third thing,” his accuracy. When the segment mercifully ends, he pontificates, “The final great thing about Ryan is his great touch.” Shakespeare, step aside!

While Dungy’s analysis is spot-on and insightful, his struggles to appear human are honestly more enjoyable. Dungy resembles those aliens in Men in Black who take on human bodies but are still pretty easy to point out due to their bizarre demeanor and speech.

Perhaps the most enjoyable part about watching Mr. Roboto, or, um, Dungy, is how Patrick and Olbermann have to nod and smile as the coach babbles, or, um, speaks. While the two are notorious for mocking each other, a respect for Dungy apparently prevents them from laying into this wordsmith. Their inability to say what they want is another of the show’s guilty pleasures.

The awkward moments and unintentional humor blend with insightful analysis and reporting in a strange but surprisingly successful way. For football’s version of The Office, check out the extraterrestrial and his friends on Football Night in America.

-Martin Minschwaner

The excessively damaged Kitty McCallister (Calista Flockhart) starts off the new season as the main focus of her overly doting family. With four nosy siblings and an overbearing mother, Kitty reveals her recent lymphoma diagnosis.

In this season’s fourth episode, Kitty starts her chemo treatment with her sister Sarah at her side. Sarah’s usually obsessive and neurotic nature is pushed aside as she tries to comfort Kitty with tales of a love interest from her recent trip to France, showing viewers the softer, more tranquil side of her character.

While Kitty and Sarah brave their first chemotherapy session, Nora (Sally Field), their incessantly prying mother, is forced into distraction by shopping around for wedding venues with her soon-to-be daughter-in-law, Rebecca, and Rebecca’s mother, Holly. After a brief encounter with a venetian poolside porn set, it’s obvious that there’s an overwhelming amount of tension between Rebecca and her busybody mother, who can’t seem to go five minutes without answering her cell phone. This furthers the ongoing conflict between Rebecca and Holly that’s been in motion since the second season. Their on-again-off-again mother-daughter relationship is hostile at times and very telling of Holly’s deceptive and selfish motives, the antithesis of Nora’s demeanor, bringing a dualistic element to the show.

With his fiancé out searching for their wedding site, Justin (Dave Annable) focuses on his new addiction: med school. His boy-genius lab partner is giving him problems and after the news of Kitty’s cancer, he begs for an internship with an oncologist. The problem-ridden but lovable Walker brother is juggling everything life’s throwing his way. Viewers wonder if he can handle such a heavy load not so long after his battle with drug abuse and alcoholism.

The question that’s still unanswered this season: where is Tommy Walker? On the run from the law, Tommy (Balthazar Getty) fled the country to escape some legal issues last season, leaving his wife and daughter to fend for themselves. Right now, he’s definitely the black sheep of the family.

Four episodes into this season, it seems Kitty’s battle with cancer is pushing this show along. However, with four episodes dedicated to making it the main focus of the show, there better be some more drama soon.

Brothers & Sisters seems to be the watered-down version of HBO’s former family drama, Six Feet Under, following the lives of adult siblings and their recently widowed mother. Rachel Griffiths stars in both of these series, bringing along with her a cast of nearly certifiably crazy family members. Though Brothers & Sisters doesn’t go into as much detail surrounding drugs, homosexuality and sex, the show does touch on these subjects, treading them a bit lighter, diluting the topics for an ABC audience.

The writing for this show is rich. The situations the family is in are believable and easy to relate to. Starting off the season with a character fighting off cancer resonates with a large crowd, as many people have experience with it, either personally or through family members or friends. This family is one you almost want to be a part of, at least until all the siblings start intruding in personal matters, driving one another crazy. The dynamic between the five Walker siblings keeps viewers intrigued, whether they have a handful of brothers and sisters or not.

This ABC drama is for the bleeding hearts of the world, with its serious subject matter and emotional storylines, but has enough of a sound and stable plot to appeal to the masses. Brothers & Sisters will continue to entertain its loyal watchers, especially with its powerful and capable cast.

-Tahni Seagers

This two-hour season four opener conveniently titled “The Butterfly Effect” shows our favorite caterpillar, Betty, slowly begin to transform into a beautiful butterfly.

Betty Suarez is no longer under the direction of the handsome and charming (and as of recent, a widower) co-editor-in-chief, Daniel Meade (Eric Mabius). Betty now has to take orders from her bitter ex-boyfriend Matt Hartley (Daniel Eric Gold).

Betty is forced to make do in this cutthroat industry, trying to prove to everyone that she deserves this promotion while continuing to put other’s needs (Daniel’s in particular) before her own. Daniel, only looking out for his loyal ex-assistant Betty, shows some “preferential treatment,” which angers her co-workers making the office even more unpleasant than usual.

Meanwhile, due to some snooping by Wilhelmina Slater’s (Vanessa Williams) personal assistant, Marc (Michael Urie), we are introduced to her surprise guest that the end of season three teased us with.  This guest is sure to stir up some trouble for this often-scheming co-editor-in-chief.

And let’s not forget the loving and supportive Suarez family. Betty’s nephew Justin (Mark Indelicato) faces the beginning of his own cutthroat world, high school. A struggle in this new environment brings mother, Hilda (Ana Ortiz) and son, Justin, a little closer. Although not a vital part in this episode, Ignacio (Tony Plana) plays his usual role of supportive father to Betty, Hilda and grandson Justin.

Judging by the premier episode of the season, I am looking forward to seeing how Betty handles the apparent challenges of moving up and adapting to her new position as an associate editor. I am also anxious to see how her usually colorful, and at times tacky, wardrobe begins to improve. We start to see signs of this metamorphosis towards the end of episode one.

I would recommend this quirky, lovable young professional to those looking for a laugh and a chance to root for the underdog. Even though it has changed from Thursday nights to Friday nights, it is definitely worth checking out.

-Candice J. Phillips

After hitting the big screen in 1980, the original Fame spawned a generation of wannabe dancers and singers. In the wake of its success, the movie inspired a television series spin-off, romanticizing the nitty gritty of what it takes to be a performing artist. For those of us who find ourselves born without a single drop of performance talent, Fame 2009 may convince us to jump on the stage anyway and steal a bit of spotlight, even if only for a moment. As soon as the music passes or the dancing stops, sadly, we’re returned to reality and reminded that we’re only watching a film – and a mediocre one at that.

From audition to graduation day, we follow a talented group of high schoolers as they develop their crafts. You find yourself amidst a collision of the performing arts. They’ve mastered musical instruments. They sing. They dance. They are actors who give powerful monologues, invoking the art of slam poetry. They direct short films. They even rap and create beats, a nice contemporary update to the original movie. The songs are a mixture of classically infused instrumentation layered over thumping bass and electric techno.

Seasoned actors Charles Dutton, Megan Mullally, Kelsey Grammer, and Bebe Neuwirth lend their names to the film of relative unknowns. Yet their scenes are so minimal they never appear to truly convey the essence of their characters– if there is any. The one exception is Mullally, playing the same typecast funny-girl role she does in every other movie.

Naturi Naughton, arguably the breakout star of the film, has us hooked on her solo performance of the piano ballad Out Here on My Own and the Fame theme song, both originally sung by Irene Cara in 1980. But when you realize that the singing is all she’s got to offer, you find yourself disappointed that Naughton isn’t one of the brilliant actor-singer types you thought she was. Kudos to the fluid cinematography that went into making her newly acquired Bach-skills appear to be those of a piano prodigy.

Debbie Allen reprises her original role as Angela, only this time instead of being a teacher she’s been promoted to the principal of the school. Yeah, she’s in the movie, but then not really. Instead, we spend the entire time watching Kay Panabaker (CSI: Crime Scene Investigators, Disney’s Phil of the Future), Kherington Payne (So You Think You Can Dance?), Asher Book and Collins Pennie, all incredibly talented – minus the acting skills. The only noteworthy role is Paul Iacono as the off-beat teen film director.

Other than singing or playing instruments, what else are the teens (or in the case of Naughton and Pennie, adults playing teens) doing throughout the movie? In no specific order some of the highlights include a breakup, a dropout, a couple of love stories, another breakup, another dropout, and a suicide attempt. Let’s not forget about the underage drinking or the Pussycat Dolls-esque performance passed off as modern dance. PG, you say? Maybe director Kevin Tancharoen learned a little too much on the set of his previous gig, The Pussycat Dolls Present: The Search for the Next Doll.

The kids are gifted, alright. Who knows, maybe Fame 2009 would have made it live as a Broadway musical, with fewer breaks for acting and storyline. But as a movie, Fame 2009 just doesn’t make the cut.

The verdict? No. Fame 2009 won’t live forever.

- Marona Graham-Bailey

Its name is Top Chef and it’s sort of taking over my life.

The show is basically like every other reality show (except it’s good) in that a group of real-world chefs square off in a series of culinary showdowns.  While the cuisine is elegant and sophisticated, the show does a great job of not letting the first-class jargon go over the viewer’s head.  I actually feel smarter for watching.  Do you know what an avocado froth looks like?  Did I also mention it’s an Emmy and James Beard Award-winning series?  Let that marinate.

This week’s episode, Restaurant Wars, is a trademark of every Top Chef season.  The premise is that the remaining “cheftestants” are divided into two teams and charged with running a restaurant.  This includes the restaurant and menu concept, the food execution, and the diner’s experience; it’s all in the hands of the chefs.

The episode aired on Wednesday, October 21, and started with a Quickfire Challenge.  The guest judge was Rick Moonan, the chef and owner of RM Seafood. The idea of the challenge was innovative and a first for the Top Chef series; each team would cook a dish in forty minutes, however each chef will only cook for ten.  While cooking, the chefs were not allowed to talk to their teammates and the chefs waiting their turn have to wear blindfolds.  Basically, it’s a test of teamwork.

Both sides seemed to be confident in what they made, even though the frustration with not being able to communicate was obvious.

Moonan ultimately chooses the blue team, though he agrees that both dishes were impressive.

The blue team gets a chip—remember, this is Vegas—for $10,000 to be split between the four of them.  However, they decide to “let it ride” and possibly win $10,000 each if they win the elimination challenge.  Risky business.

The red and blue teams decide on the names Revolt and Mission, respectively, for their restaurants.  Revolt groups the Voltaggio brothers—known for their bickering back and forth, Robin, and Eli. Even though Robin is easily the weakest cook on the team, Eli decides to take the responsibility of the hosting.  “I’m a good shit talker,” he explains.  Mission is comprised of Jen, Kevin, Mike, and Laurine.

Revolt is reviewed first.  Judges Moonan and the notorious British food critic Toby Young accompany the usual show judges Padma Lakshmi and “Chef Tom” Colicchio.

While Tom scrutinizes the name, he and Padma both enjoy Michael’s chicken.  Eli’s plate is an Arctic char, and the judges agree that it’s a little too one-dimensional.  Michael’s cod goes over well—“delicious”—while Bryan’s meat and potatoes were respectable but a little cold.  Robin produces a dessert that creates controversy in the kitchen, but is ultimately praised by the judges, as is Bryan’s ganache.

Restaurant number two: Mission.  The first plate, Mike’s, doesn’t have enough salt according to Chef Tom.  Laurine then fails to explain the dishes after giving them to the judges.  Padma has to ask Laurine to come back and tell the judges about the plates.  Jen, consistently among the top contestants every week, produces two fish plates that were unimpressive and very uncharacteristic of her cooking. The butter sauce broke, according to the judges, and the only taste you can get is grease.  Kevin’s pork plate is good; however, the plate that Laurine came up with, the lamb, cooked by Kevin, comes out looking like jell-o rather than medium rare.

A frustrating part of reality TV is the producer’s effect on the final cut.  It seems like Revolt definitely has a leg up during the dinner.  The commentary from Mission’s chefs is less than hopeful, while Revolt seems to keep a positive attitude.  While it may seem one team has the advantage over the other, the viewer can never really be sure until the judges cast their final vote.

So reality TV is here to stay.  It’s cheap and usually a sure bet to grab the die-hard reality demographic.  I won’t give away the ending, but Sin City strikes again, leaving one more poor soul in its wake.  I’ll be tuning in next week, trying to expand my cooking prowess via watching way-better-than-me chefs do way-out-of-my-league things.  But at least I’ll know, just in case I ever need to whip up a quick batch of coconut-lime tuna ceviche with Haitian mojitos for a Monday Night Football get together.  Cheers.

-Drew Dixon