The Hour is the show you would get if you put Mad Men and Rubicon in a martini shaker and gave them a good blending. The series, which premieres Wednesday, August 17 on BBC America, is equal parts office period drama and conspiracy thriller, centering upon the creation of a new current affairs show on the BBC in June 1956. There are lots of men in suits with slicked-down hair, but there's also a strange conspiracy subplot that seems rather disconnected from the rest of the series, despite the presence of the main character in both storylines.

That main character is Freddie Lyon, played wonderfully by Ben Whishaw (Layer Cake). He's really a blend of James Badge Dale with Matt Smith; he's a frizzy-haired sleuth with a sharp wit and unpredictable antics. Don't be mistaken by Dominic West's prominence in promotional material; the show's pilot really centers on Freddie, with West's character Hector Madden playing a more supporting role.

There's also an easy comparison to be made between Freddie and Jon Stewart (of The Daily Show). They share a frustration with the complacency and laziness of television news. Early on in the first episode, Freddie voices his frustration with the BBC ignoring informative news pieces in favor of more entertainment, viewer-interest ones. Sounds like an allegory for our times, doesn't it?

If the show was only a look at the early years of news (the basis for the flawed newsmedia of today), I think it'd be brilliant. But it's weighed down by a tacked-on conspiracy plot that really makes no sense for the entire first hour of the program. Sure, it adds some intrigue to the story, but the subplot feels like too much too soon. Even Freddie seems fairly disinterested as the mysteries start to unfold around him.

In the end, it's not really clear what The Hour will become once it gets going. The U.K. has already seen the first four episodes of the slated six, but it's unclear to me whether it will continue walking the disjointed line between social commentary and conspiracy thriller.

Having said that, the pilot was engrossing enough for me to continue, despite my misgivings. The Hour seems like it might take a few weeks to really find its legs, and the pilot episode was enough to convince me to stick around until then.

The Hour will premiere Wednesday, August 17 at 10/9c on BBC America.

Review: BBC America's The Hour Is Mad Men Meets Rubicon

The prequel webisode to the highly anticipated Doctor Who series six opener, "The Impossible Astronaut," has finally been released on both BBC and BBC America's Doctor Who web pages.

The webisode, which runs under two minutes, features the White House and introduces the monster(s) the Doctor, Amy, and Rory will be facing when they land in America. So now courtesy of BBC/BBC America, here is the webisode for your viewing pleasure.

This webisode is the first in three planned to run throughout the season and since the clips will be made available for American audiences, U.S. Who fans do not have to worry about being left out of extra content from the series. However, it is still up in the air whether or not those the next two webisodes will air during this block of episodes or if they will carry over into the Fall block of episodes.

The BBC didn't stop there in blessing us with tidings of great Who joy. The network also released the latest 'iconic' image for the show that will most definitely be downloaded on to the computers of millions of viewers. The image displays the Doctor, Amy, and Rory's reflections on the helmet of a U.S. astronaut. We're calling now that this might be this season's DVD cover as well.

Here's the photo for your consumption:

Awesome is it not?

So are you guys just as excited as we are about Doctor Who's upcoming season? How about the prequel episode? What did you think? Sound off below!

The Sixth Series/Season of Doctor Who Will Premiere on April 23rd @9/8c on BBC America.

Source: BBC America/BBC

Doctor Who: Prequel Webisode is Available NOW, Along With New 'Iconic' Image

The Doctor is getting closer to resuming house calls though our television sets next month and after a comedic two-part webisode for Red Nose Day in the U.K., the teasing of the upcoming season continues.

Doctor Who TV has announced that BBC will roll out a prequel webisode to the two-part season premiere "soon," which will introduce the audience to the menace the Doctor, Amy, and Rory will encounter in the first episode of the sixth season. Written by the shows current showrunner Steven Moffat, the prequel will set "the scene in scary and mysterious style," according to the BBC.

The network also warns viewers to pay attention to what could be a "new monster," but whether this monster will be a recurring monster, the Big Bad of the season, or just a one off character has yet to be reported. But we do know that these prequels, especially the first one, will be integral to the plot points for the upcoming series.

"The first prequel stars Stuart Milligan and introduces us to story strands that will bind the Doctor – and enthral his audience – throughout the weeks ahead. We’ll bring you more details soon, but be warned, it’s a scary one…" the BBC advised.

No word has been given if these prequels will also be available for American audiences since the BBC media player blocks some content from American viewers. We will keep you posted if we find out more about that little tidbit.

Prequel/spin-off webisodes have been used a lot lately for a couple of other British genre shows of late. Primeval aired a six-part prequel webisode series that properly introduced the new characters, bridged the gap between the third and fourth series, and also set in motion an integral plot point for series four. The original Being Human also did a webisode spin-off titled, Becoming Human, which followed a character named Adam, who was introduced in the third episode of the third series of Being Human. The full 8 webisodes were aired as a 50 minute special this past weekend on the BBC.

With both of those webisodes ending up being hits with viewers, it's a safe bet to assume that the Doctor Who webisodes will be equally as entertaining and popular with the shows fans. Now if we could only get webisodes leading up to this summer's Torchwood: Miracle Day event, then life would just be oh so grand.

Doctor Who Series/Season Six Premiere Airs April 23rd @9pm/8c on BBC America.

Source: Doctor Who TV

Doctor Who: Series Six Prequel Webisode To Premiere Soon

Finally!

It's been forever (...okay, a little over two months) since our universe was saved from complete annihilation by the Doctor, but thankfully enough, we'll only have to wait a little longer for him to come to the rescue again. That's because it was just announced that the Doctor (and Amy and Rory) will be making their return to television on April 23, 2011. That's a Saturday.

Here's more good news: the premiere date will be the same for the UK and the US, a la "A Christmas Carol." We won't have that annoying gaping continental gap that beleaguered American viewers with series 5. That means, among other good things, that my reviews of Doctor Who will actually be on time (hard to imagine, isn't it?).

The first episode (the first of this year's thirteen episode run in the spring and fall), still untitled, will be the first of a two-part storyline actually set in the U.S. of A. The story will apparently begin in Utah, but according to trailers for the series, it'll eventually reach the Oval Office of the White House. With the Doctor sitting down in the President's chair. Asking for jammy dodgers.

The BBC America premiere will be at 9pm ET.

Who's excited?

Premiere Set for Doctor Who Series 6

While the American incarnation of the UK teen hit Skins is under PTC scrutiny (God help us all), the original series is about to launch their fifth season (or series as it's called in the UK) with a whole new group of wild teens to raise hell at Roundview this time around. This group will be considered the Third Generation in the Skins canon and looks to have no leftovers from the Second Generation aka Effy's Clique, who dominated through Series 3 and 4. The new clique looks to have a high sense of 80s fashion, looking like a Millennial Brat Pack in the process. Is that a bad thing? In two words: Hell. No.

The new cast looks very intriguing with no one spilling over from the last group. All personalities seem fresh, but the 2nd Generation had a whole new dynamic that was different from the 1st Generation. Seems like the same will applied here this go round.

Names for the new group are Franky Fitzgerald (Dakota Blue Richards from "The Golden Compass"), Matty (Sebastian De Souza), Nick Levan (Sean Teale), Mini McGuinness (Freya Mavor), Aloysius Creevey (Will Merrick), Liv Malone (Laya Lewis),  Mini McGuinness (Freya Mavor), and  Grace Violet (Jessica Sula), and Rich Hardbeck (Alexander Arnold).

Here are two trailers for the new season:

Fantastic, is it not?

Trailer #2

If only BBC America would follow suit and air this series...

Which brings us to the question on the minds of American fans of the original Skins -  where is Series 4 for the US?

BBC America aired the first three series of the show over here as well as distributed the Region 1 releases of the show. Series 4 was released on Region 1 DVD on the 11th of this month, with no airdate in sight. We contacted BBC America, but the Head of Programming has yet to get back to us with an official statement on whether or not they will continue to air the series. In light of the controversy surrounding the American incarnation of Skins, it might be unlikely that we will ever see the further adventures of the wild Roundview teens. Unless it's on our DVD players.

What do you guys think?

Skins UK: Series 5 Premieres This Week; Where's Series 4 For USA?!

Seems like BBC America will be the place to park your tellys on during the holiday season this year.

After announcing that this year's Doctor Who Christmas Special, appropriately titled "A Christmas Carol," will air on Christmas Day, the same day as the U.K. broadcast, BBC America will give the U.S. audience the same treatment with the revival/season four premiere of Primeval, which will air on New Year's Day on both sides of the pond.

The new season of Primeval will pick up a year after the events of the third season cliffhanger that left fans in an uproar after the show was canceled. Well, thank God for second chances...

Here's a synopsis from the press release with a trailer to follow:

When rips in time called anomalies started opening across the UK, dangerous creatures from the past and future began appearing in the most unexpected places, endangering lives and putting the whole of humanity at risk. A crack team of specialists were appointed by the government to deal with these "creature incursions." This job has proven deadly for multiple team members and threats continue to escalate.

Ciaran McMenamin (Jericho, Demons), Alexander Siddig (Clash of the Titans, 24, Syriana, Star Trek: Deep Space Nine) and young Irish actress Ruth Kearney join the team at the Anomaly Research Center (ARC) after the government loses faith in Home Office official Lester's (Ben Miller) ability to run such a dangerous and expensive operation on his own. The anomaly operation is now a public/private partnership, part-owned by the government, and partly by charismatic scientist Philip Burton (Siddig).

With Connor (Andrew-Lee Potts, Alice), Abby (Hannah Spearritt) and Danny (Jason Flemyng, X-Men: First Class, Snatch) trapped in the past at the end of season three, the ARC has found new recruits to take their place: Matt (McMenamin), the new field leader, who's more than just an ex-soldier. He's a zoologist, with an uncanny ability to understand animals. A private man, Matt carefully guards the secrets of his past and the real reason he joined the team. Unconventional Jess (Kearney) now runs operations from the ARC Control Centre. She is highly efficient and her work ethic is second to none, though she is human enough tonursean unrequited crush on Captain Becker (Ben Mansfield).

The new season picks up approximately one year after the last season ended - Abby and Connor finally escape from the Cretaceous period, only to be followed by a giant Spinosaurus, the largest of all known carnivorous dinosaurs. A new ARC team springs into action, leaving Abby and Connor's place within the team in jeopardy while their former leader Danny is still missing.

Primeval will premiere on New Year's Day @9/8c on BBC America.

Before we catch a glimpse of the new dinosaurs of Primeval, American audiences can dub this upcoming Christmas as Doctor Who Day on BBC America. While we already know when Doctor Who: A Christmas Carol will premiere, BBC America is also treating us with the Doctor Who Proms earlier that day @1/12c.

The Doctor Who Proms is a live concert featuring music from the show. Matt Smith (The 11th Doctor), Karen Gillan (Amy Pond), and Arthur Davill (Rory Williams) will host the festivities.

We're excited, how about you?

BBC America Reveals Primeval Premiere Date

Can you believe we're at the end of another season of Top Gear already? Where am I going to find outlandish things like this to laugh at? (Okay, so that's from Episode 15.04, but BBC America didn't have any images from this episode. And you can't tell me that's not hilarious.) Jeremy, Richard and James sent us off tonight with some help from Law & Order: Criminal Intent's Jeff Goldblum.

The Intro

"Tonight, Richard wears a towel, James and I eat some crisps, and there's a fly in our studio." Yes, Jeremy, thank you for that typically uninformative introduction. It's still better than Episode 4's "everyone wears a hat" intro.

The Features

Jeremy tests the Ferrari 458, which has more buttons than a TV remote. He's not impressed by how you can't have the satnav and the speedometer at the same time, as they use the same monitor. He does, however, think it's pretty, comparing parts of it to Kristin Scott Thomas's cheekbones. We all know how much Jezza loves Kristin Scott Thomas. He's also thoroughly pleased by the ride, saying it makes him forget about the extravagant price tag(about $272, 837.70 in US dollars) and calling it "one of the all-time greats." I think that means he can overlook needing a manual to work the steering wheel. The Stig tests it out to the tune of "Cotton Eye Joe" and clocks in at 1:19:1.

In the News segment, Hammond brings to everyone's attention Cameron Diaz's positive words in the press about her appearance last episode. He claims that Jeremy was taking all of her attention. Jeremy accidentally says "I'm now on her to-do list" to raucous laughter from the audience, which realizes the double entendre before he does.

The Challenge

The producers of Top Gear are having another argument with our boys, this one about whether or not British sports cars are terrible. To settle this, they're given 5,000 pounds to buy one and put it through a series of challenges to be determined. Jeremy arrives in a Jensen Healey, James in a TVR S2 (hopefully it won't burst into flames), and Richard in a Lotus Elan.

The first challenge is on the Lotus factory test track, where they try to see who can post the fastest individual lap time (Richard at 2:09:00, followed by James at 2:17 and Jeremy at 2:19). They then have to compare their times to the Stig's in a Peugeot. It's not even close; the Stig does 2:22:00.

Part two involves seeing if their cars can make it on another road trip, but before they can get started, the Peugeot explodes in a fireball. At least the Stig survives. The boys brush this off and take to the road, where Hammond's Lotus quickly loses a roof clip. You know that's not the last mishap that's going to happen on their 280-mile journey.

Continued on next page...

Top Gear 15.06 "Jeff Goldblum" Review

We've seen John Luther try to take down Alice Morgan. We've seen them almost bond in a strange way. Now what will happen when Luther needs the help of one murder suspect to stop another killer?

In one of the truly creepy and disgusting opening sequences in television, a young mother is kidnapped by a razor-wielding psycho named Burgess, who likes to decorate walls with cryptic messages written in blood - the fresh blood of someone kidnapped ten years earlier. (In other words, I should not have decided to have lunch while watching this episode.) It's now a race to find both past and present victims, and it's creepier than anything I've ever seen on Dexter.

Luther and Ripley try to sort out the mess that Burgess has left. Luther deduces that since the blood found at the first victim's house was also human, there has to be an even earlier victim somewhere.  Just as he sends Ripley to check cold cases, he gets an email from Alice that has video footage of Mark enduring quite the beating. Mark has turned up at the station convinced that it has something to do with Luther - given that one of the girls who attacked him told him that "John says hello."

Not knowing any of this, Luther is interrogating the ex-cop who once went undercover trying to capture Burgess, hoping for clues to the man's modus operandi. The details are stomach-turning, so I won't reprint them. The ex-cop tells Luther about his harrowing fifteen-month experience undercover and how he snapped as a result. I can't say that I blame him one bit. He says his greatest regret is not killing Burgess when he had the chance. His and ours, as we're treated to more creepy goings-on, although thankfully it's more about implication than actually showing anything. Still, this episode always makes me a little nauseous watching it.

Continued on next page...

Luther 1.03 "Episode 3" Recap

Finding a dead body in a fireplace is not my idea of fun, but if it means I get to spend some time with my favorite Detective-Sergeants and Crown Prosecutors, I'm all for it. Thus begins "Buried," an adaptation of 1991's "...In Memory Of."

The body is that of a young boy named Tommy Keegan, who went missing twenty-five years earlier. Brooks and Devlin reopen the case to find out who murdered him. Unfortunately for them, the original investigation was more like a vendetta against the openly gay neighbor, Edward Connor. It's up to Ronnie and Matt to cut through the bias of the times and find the truth. I particularly adore Matt's verbal sparring with the original investigator while Ronnie tries to be diplomatic. Both of them can see the bigotry and aren't going to let it slide.

Their investigation leads them to Tommy's childhood friend Julia Mortimer (former Waking The Dead star Holly Aird), whose parents are among those still insistent that Connor did the deed. For his part, Connor is still bitter at the physical abuse he suffered at the hands of the previous lead investigator, even as Ronnie tries  his best to assure him that times have changed. Something is buried under all that hate, and Matt finds it: he realizes that the statement Julia gave in 1983 is practically word for word with the one she gave them in the present day. She's holding something back, and they're eventually able to persuade her to undergo regression hypnosis to see what even she doesn't want to know. It's a bombshell: she fingers her father Vernon for the crime.

As Steel points out, any court cases hinges on whether Julia will be considered as a credible witness. Taking a tack that Michael Cutter would have been proud of, he badgers her to see if she'll stick to her story, and she does. Unfortunately for him and Alesha, Julia decides to call her father and gloat about what she's done. A meeting between the CPS and Julia's parents proves to Steel that the whole Mortimer family is dysfunctional. The only good thing about this is that we're treated to the appearance of the wonderful Colin Salmon (who will always be Superintendent Johnson from Keen Eddie to me). Alesha uncovers another boy Vernon made a pass at years earlier, and Julia recalls being molested by her father. With each skeleton they dig out of Vernon's past, Steel and Alesha become more determined to prosecute him, even if Castle thinks it's not worth the trouble. I have to say that I also adore how Steel is completely fearless. He's the lawyer I'd want on my side.

It's good that Steel has that capacity, because the defense attorney tears Julia apart when she testifies. He has no choice but to try and get Vernon to confess. This is Ben Daniels at his best, launching a calculated attack without falling into the TV trap of becoming overly dramatic. His voice hardly rises, but you can hear the conviction in every word. It's no surprise that Steel gets the confession he's after, in front of all the people who have suffered for the last twenty-five years, including Edward Connor, who gets his overdue vindication. It's one of those TV moments that provokes a satisfied smile.

If I can give Law & Order: UK one compliment, it's that this show is so good, it reminds me of who I almost was. Let me explain: when the original Law & Order was on, it sparked a lifelong interest in criminal justice. I was on the verge of going to law school, ready to become an Assistant District Attorney. I settled for a degree in Administration of Justice. I've never really regretted changing careers until now. This show reminds me of how much I love the law, the investigation, the achievement of justice. It makes me wish that I was a part of it. I won't ever be, but at least I can watch these great characters and enjoy their part of it.

Law & Order: UK 1.05 "Buried" Review

If you're not sure what Top Gear is, all you need to know is that the show's official description takes pride in being "one of the most illegally downloaded shows on the Internet." The motoring show is that irreverent. It's also charming, occasionally controversial, and always wildly fun. That's why 60 Minutes featured it last night, calling it one of "the most popular television programs on the planet." I'm more than happy to fill the void in TVO coverage and bring you the vehicular mayhem.

The Features

We're treated to a review of the Bugatti Veyron Super Sport. I'm not much of a car geek, but I'll admit that the Veyron is one of my dream cars. Most of us will never be able to afford one, but watching one in action is a beautiful thing. Captain Slow himself, James May, hosts the piece, in which he tells us the Veyron was no longer the fastest car in the world (second to the Shelby Aero) so the Germans made a new Veyron. Yep, that sounds about right.

The alleged top speed of the Super Sport is 258 miles per hour, five more than the original Veyron. At 200 miles an hour, James calls wind resistance "trying to drive through a fruitcake," hence why the Super Sport needs an additional 200 horsepower. Of course, he has to test out all these new improved specs for himself, with the help of a team of Bugatti experts and a test track. It's a pretty amazing watch, as you have to wonder how much the car - and James - can take. As he says, it's "beyond the known borders of car performance." The Veyron tops out at 417.9 kilometers per hour (260 mph) under James, but gets 267 mph with a Bugatti test driver behind the wheel. If I only had an extra $1.6 million.

This, of course, begs for the appearance of The Stig. "Some say the Scottish released him a little bit too soon," Jeremy says, "and that he spent all week pushing an effigy of Rubens Barrichello through his desk fan." Even though we now know who The Stig is (not officially, but we're pretty sure he's Ben Collins), it's still great to see him, and the Veyron tops the lap board. One wonders how they'll kill off White Stig, and whom he'll be replaced by (the Stig's fat cousin? German cousin? Vegetarian Stig? Russian Stig?).

In the news, the boys discuss how women in short skirts may be the biggest driving hazard in the world (to men, anyway). "It's impossible not to look," Richard insists. Jeremy wants to know if there could be a car that runs on "cheese and onion crisps [or] corned beef salad," which leads to a piece in which we see a Porsche 911 that is covered in aluminum foil and runs on pedal power. The resulting lap of the track is so slow (18:37:00), they don't even show us the entire circuit.

The Challenge

After last week's caravan fire, the boys have decided to scale back on the challenge front this week. After a letter from "some Swedish youths," Richard gets the unenviable task of driving a customized Volkswag Tourareg to race against professional snowmobile drivers. Whether it's sticking him in a bobsled, stuffing him in a sub-zero car, or letting him race to the North Pole with a dog team, the Top Gear Powers That Be certainly do like trying to freeze the Hamster.

The race covers approximately twelve miles at a ski resort. From the start, Hammond falls into his usual habit of yelling at the car as if it will help him (remember the time he tried to race a Bowler Wildcat?). He thinks he's taking a shortcut, and ends up driving onto a ski run and trying not to kill some skiers. It's a fairly close race, but when the ice thins out, the VW is able to pass the snowmobiles. He's celebrating when one of the snowmobiles jumps over the roof of the ski shop, and he realizes he's been had (though he continues to insist he's won).

Is it as fun as watching a caravan catch fire? No, but admittedly, burning caravans are one of nature's great joys.

Star In A Reasonably Priced Car

This week we get a double dose of celebrity guests as both Tom Cruise and Cameron Diaz drop by the studio. Jeremy calls them "the genetic blueprint for the human race." I don't think he's been this happy to see someone since Kristin Scott Thomas was on.

The pair are there to discuss Knight & Day, so they talk about the cars in that film, as well as the stunt work. Having heard Cameron did a lot of her own stunts, Jeremy persuaded her to take him out for a drive on the TG track, where she proceeds to pull off some powerslides. "I was vomiting," he says. From there, they discuss Tom's motorcycle collection, including his tailored bike. Cameron makes the mistake of mentioning that she drives a Prius, causing Jeremy to pretend he suddenly loves them.

Lap time! Cameron has a fairly calm lap (except for having to be bleeped a few times). She does it in 1:45:2, which puts her on top of the entire celeb lap board for this series. Tom, however, has all the fun. Not only is he talking to himself, but at one point he nearly rolls the car. The entire left side of the car lifts up off the track. Yet he clocks in at 1:44:2 and swipes the title from her. Cameron, enjoy your one minute of victory.

I maintain that we need a campaign to have Law & Order: UK's Jamie Bamber and Bradley Walsh on in Series 16. Preferably at the same time. They'd try to one-up each other's lap times and it would be epic. Hopefully you're listening, BBC Two?

If there's one disappointing note here, it's that we are officially less than a month away from a US version of Top Gear, which is sure to pale in comparison to the original. The US has a horrible track record in adapting British television, and I can't imagine that the hosts will have the same great chemistry that Jeremy, Richard and James do. Yet I suppose it's also a great compliment when three countries (Australia, Russia and the US) want to copy your show. Long live Top Gear.

Top Gear 15.05 "Tom Cruise/Cameron Diaz" Review

Tomorrow sees the wide release of Law & Order: UK - Season One, which was previously available only as a Target exclusive. If you haven't already picked up this box set, or have been catching the recent broadcast airings on BBC America, here's a sneak peek of what you're about to be able to get your hands on.

The Show

If you've been following along with my reviews (all of which you can find here), you'll know that I'm a major Law & Order: UK supporter. It's safe to say that I've enjoyed this adaptation more than any other installment in the franchise except for my undying love of the original series. Even if you've been disillusioned with the Law & Order brand over the past few years, you'd do well to give the British incarnation a chance.

Law & Order: UK is the first British adaptation of an American series (and it's about time, considering how many shows we've adapted - and ruined - from British TV). It has an impressive pedigree: it's produced by the same studio that gave us Spooks, with a lead writer whose resume includes Torchwood and Life on Mars. Some have griped about the lack of wholly original scripts, but in all honesty, unless you're a die-hard fan of the original series, you probably wouldn't notice, considering the latest script to be adapted in this set is thirteen years old (1997's "Working Mom," which becomes "Vice"). When the adaptations are as good as if not better than the originals, I don't see a reason to complain.

It's also a treat to see a note-perfect cast. Jamie Bamber (Battlestar Galactica) perfectly plays DS Matt Devlin, who is both charming and capable. With Bamber's natural affability, Matt is impossible not to love. His partner is DS Ronnie Brooks (Bradley Walsh), who will undoubtedly be compared to Jerry Orbach's Lennie Briscoe, as Walsh is equally talented at portraying the world-weary senior detective. The two have a rapport together that makes the first half of the hour a delight to watch, with able support from their boss, DCI Natalie Chandler (Harriet Walter).

In the second half, Ben Daniels reminds me of Michael Moriarty as senior prosecutor James Steel, although he gets to show more emotion than Moriarty's Ben Stone ever did. His second chair is Alesha Phillips (Doctor Who star Freema Agyeman), who is likewise allowed to do more than sit at a table in court and look concerned. Their superior is George Castle (Bill Paterson), who's the UK's version of Steven Hill. Everyone plays their parts ably, and the cast gels together much like the early years of the original series. It makes me happy to know this cast will be sticking together for awhile (ITV has recently ordered 13 more episodes).

Though this set is labeled "Season 1," it actually contains both the first and second series (13 episodes), so if you purchase this Tuesday, you'll be able to watch part of the first series and all of the second before BBC America broadcasts them for US audiences.

The DVDs

Universal has gone fairly simple with the packaging here. The box art is the same promo shot you've seen on BBC America's homepage; nothing overly special but it gets the job done. The cardboard slipcover contains three plastic cases, each with a single disc inside. There are episode synopses and lists of special features on the back of each case, so if you're looking for a specific episode or disc, you'll be able to find it easily.

The menus are the one graphical weak point: rather than stick with the British version of the titles, they use the American version, which just looks like whomever designed the menus is trying too hard to remind you that this is still Law & Order. I'm also not a fan of the grey font or the decision to include a promotional website URL prominently at the bottom of the main menu.

Functions are minimal; there's a play all feature, and an episode selection, but no scene selection.

Video is presented in widescreen (1:78:1). You have an English Dolby Digital 2.0 audio track and English SDH subtitles, but there's no foreign language support. Technically speaking, while the content is great, the menus and tech specs make it clear that Universal is very much testing the waters with this release. I'd expect more audio options and slicker menus should they choose to continue releasing the series (which I hope they do).

The Special Features

Ah, now we get to the good stuff. Law & Order: UK comes with a good assortment of special features, though it's surprisingly missing the usual "making of" that you'd expect on a set like this.

You get deleted scenes and a tour of the Crown Prosecution Service (that's lawyers) set with Freema Agyeman. Better still are interviews with the "Law" side of the cast (Jamie Bamber, Bradley Walsh, and Harriet Walter) as well as brand head honcho Dick Wolf, series boss Chris Chibnall, and producer Richard Stokes. I can only wonder why Agyeman didn't record an interview, and where Ben Daniels was; if they're going to interview the whole first half of the show, it would've been nice to see someone representing the "Order" side as well.

There's commentaries by producers (no cast involved, sadly) on "Care," "Samaritan" and "Honour Bound." These aren't half bad, but I can't help but think they would've been even better had we been treated to the snappy observations of Jamie Bamber and/or Bradley Walsh, both of whom would be great to listen to considering they're both fairly witty in real life as well as on screen. (One of my favorite interview clips of all time is Bamber discussing his initial audition for Battlestar Galactica.)

The Bottom Line

Highly recommended. Law & Order: UK is, in my opinion, the best Law & Order currently on television, and will serve as a balm for those still mourning the cancellation of the original series. The DVDs have a good amount of special features, but mostly, you can't pass up such a well-done show.

DVD Review - Law & Order: UK - Season One

I'm kind of amused that this morning, BBC America was running the newer version of Brideshead Revisited, and tonight we get the second episode of Luther. Both feature amazing individual performances from the lead actors (Matthew Goode and Idris Elba) and both are stocked full of dysfunctional characters who do plenty of damage to themselves and others. Maybe there was a theme.

It's another bleak night as a pair of cops are shot and killed by a man pretending to be dead. This is Luther's next case, once he comes down off the roof of the building, that is - and once he's done being investigated for the scuffle he had with Zoe's new boyfriend Mark at the end of the last episode. His old partner Ian comes to get him down before he decides to take a step off the edge.

Luther and Justin visit the crime scene, which Luther declares "staged" and "an execution." Back at the office, Justin has spotted a potential suspect on nearby cameras, and Luther is sure that their man is a soldier simply by his body language. That's when he gets a phone call from a now-blonde Alice, who's signed up as a volunteer at the hospital where Henry Madsen is still in a coma. She wants to taunt him over whether Madsen really slipped or not. He warns her again not to go near Zoe. "Are you scared what I'll find out or what she will?" she says before he hangs up on her.

They finally narrow down their suspects, zeroing in on a man named Terry Lynch who has killed one police officer previously. Terry might be in prison, but his son Owen isn't, and Owen has mental health issues to boot. In other words, he's a time bomb, as evidenced by how he walks up to another police officer in a parking lot and shoots her at point blank range. By the time Luther, Justin and a horde of cops turn up on the scene, Owen appears to be gone and his victim is fighting for life - something that doesn't match with his previous kills. Luther realizes too late that it's another trap. Owen starts sniping at cops from the roof of a nearby building, killing two of them and galvanizing the detectives to find him.

Owen, however, is still one step ahead of them. He's dressing up in full military uniform, recording his manifesto to be delivered to the cops. He's still bitter about his father's prison sentence, and plans on killing cops until Terry is freed. While Luther is psychoanalzying him, Alice decides to call again for another friendly chat. He's not in the mood. "These are good cops doing good jobs being gunned down in the streets," he tells her, and when she asks if he is afraid of her, he admits that he is. She reiterates that she's going to pay another visit to his wife.

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Luther 1.02 "Episode 2" Recap

"Unsafe" is the adaptation of one of my favorite Law & Order episodes, 1993's "American Dream." That episode was not only well-done, but featured a great performance from Zeljko Ivanek (one of my favorite franchise guest stars), so I was expecting a lot from "Unsafe."

It delivers.

The uncovering of a shallow grave that contains a badly decomposed body is the starting point for Brooks and Devlin. Thankfully, they're able to identify the victim by his watch and the pin that was in his knee: David Ackroyd. There's one major hitch: Steel had already convicted Luke Slade (Lara Croft: Tomb Raider's Iain Glen) of Ackroyd's murder. Ronnie and Matt have to reopen Slade's case when they realize that where they found the body isn't where Slade's accomplice testified that it would be, and the cause of death is completely different. When this gets out and the case is scheduled for an appeal, it's up to the two of them to prove that Slade is still the guilty party, or risk him going free.

Needless to say, Steel is not a happy camper when he gets to start going through boxes of files to revisit his very first prosecution. He's even more unsettled when he finds out that Slade is representing himself in court - and wants to have a friendly chat besides. The look on Ben Daniels' face makes me believe that Steel would much rather take the man outside and hit him with something heavy. He starts to doubt himself, even as Alesha points out that she, Matt and Ronnie still believe in Slade's guilt. The conviction is overturned, and a retrial is set, setting up a rematch that has plenty of vitriol in it and Steel's reputation on the line.

Steel enlists Brooks and Devlin to start from the beginning, and it's obvious where the near-decade has paid off; Matt is able to track Slade's girlfriend's vehicle, which the original cops never could. Forensic evidence proves that car was used to move the body, which makes Slade's accomplice right about that part. (Although I have to giggle when Matt and DCI Chandler simultaneously inform Ronnie that "Forensicate is not a word.") At the same time, the accomplice goes conveniently missing. Chandler suggests they interview Slade's cellmate, and they dig up his ex-girlfriend. Awkward times are had by all, especially considering Slade was arrogant enough to write what time he'd be killing Ackroyd in his diary.

The retrial ends with a "not guilty" verdict, and Steel is obviously (and audibly) upset. Especially when he finds out Slade is trying to get him fired, adding insult to injury. Then he appears out of seemingly nowhere. The man is everywhere, like a crazed stalker. When Slade brings up Ackroyd's daughter, Steel completely loses it in a way his American counterpart never would have dared.  I love Ben Stone, but rarely did we get to see him come undone, and not with the ferocity that James Steel does.

After the confrontation, Steel understandably needs a drink. He confides in Alesha that something must have happened to the missing accomplice, and she says that after nine years in prison, there were probably plenty of friends Slade could have asked for help.  Going over Slade's prison file, she uncovers a complaint he filed on behalf of his cellmate. Steel squeezes the cellmate, who tells him who to talk to. After Law & Order: UK's first major foot pursuit, they find the body of the accomplice. This means a very gleeful Matt and Ronnie can arrest Slade for his accomplice's murder. His grand plan has unraveled. Steel tells Slade that he'd better confess to both crimes, and Slade can't believe he's been beaten.

"Unsafe" hits many of the same high notes that "American Dream" did. Like Zeljko Ivanek before him, Iain Glen is smart and smarmy, compelling the audience to root against him; as with that episode, I really wanted to punch his character. Michael Moriarty gave a great performance in the American version, but I like Ben Daniels even better; he conveys Steel's self-doubt and frustration perfectly, without being melodramatic. We even get to see more of Freema Agyeman as she tries to hold her boss together. While the first version was more focused on Stone, the UK version turns Steel's fight into a team affair. As a result, the episode almost feels more complete.

Law & Order: UK continues to put itself head and shoulders above current American crime dramas. I can't think of one that I enjoy more than this series. It's been announced that ITV has asked for 13 more episodes, and I am excited for every one. Yes, it's an adaptation of the American version, but damned if it isn't done just as well, if not better. Quality television is quality television, whatever the pieces - and Law & Order: UK has all the pieces.

Law & Order: UK 1.04 "Unsafe" Review

Even more Law & Order good news today: British broadcaster ITV has asked for thirteen more episodes of the superb UK incarnation.

They have given the green light to a fourth series of the British spinoff, which features Jamie Bamber, Bradley Walsh, Freema Agyeman and Ben Daniels (pictured). Harriet Walter and Bill Paterson also star. Law & Order: UK is currently airing its third series, with the final episode to screen tomorrow in the UK and a week from tomorrow in Canada. It began its run on BBC America on October 3.

In a press release, ITV also reveals that Juliet Stevenson and Nicola Walker, both of the hit British series Spooks, will guest star in the fourth series. The long-running Spooks is produced by Kudos Film and Television, which is also behind Law & Order: UK, alongside Dick Wolf and his Wolf Films brand.

Laura Mackie, ITV's Director of Drama, is quoted as saying: "Law & Order: UK is continuing to deliver audiences with its top flight acting and 'ripped from the headlines' storylines that captivate and entertain."

It's not yet known when American audiences will see these episodes. BBC America has only aired three episodes of the first series, and will air the second immediately thereafter, but has not made any statement regarding any episodes beyond that. Still, American fans of Law & Order: UK can now enjoy the idea that there will be thirteen more episodes of this impressive, engrossing crime drama.

For more Law & Order: UK, you can check out my review of last week's episode "Vice" and stay tuned on Friday for my review of this week's episode, "Unsafe."

Law & Order: UK airs Fridays at 9 PM ET/PT on BBC America, and recurs throughout the week.

ITV Brings More "Law & Order: UK"

My fellow critics have been raving about Luther for the past month, and I couldn't be happier, or more amused. I've been saying this is an amazing show since I caught its UK run. The acclaim doesn't surprise me. It's as if everyone suddenly remembered that Idris Elba is one of the best actors on the small screen. Pairing Elba with both the always watchable Indira Varma (Torchwood) and material written by Neil Cross, who also leads the writing staff for a little show called Spooks (or MI-5 to the American audience), was a brilliant idea. The final product is one of the best crime dramas I've seen, possibly even better than Prime Suspect. Luther has been compared to that series, and it's a worthwhile comparison; they're both quality and both worth watching over and over again. This is the third time I'm watching the series through, and I'm still having my breath taken away.

It's a familiar archetype: a brilliant detective with a miserable personal life. Yet Detective Chief Inspector (DCI) John Luther isn't one of those TV cliche workaholics who broods a lot, forgets to shave for a day, and thinks staring at things makes him look smarter. He really is obsessive, with a half-crazed look in his eye and an unmistakable intensity. There's no question that he probably has a screw loose. We meet Luther in hot pursuit of a child abductor, and when the man falls through a weak floor and is hanging on for dear life, his indifference (or was it intentional neglect?) means that the perp falls through and ends up in a coma.

Seven months later, Luther is still there, staring down the hole, wondering what if. He's separated from his wife and college sweetheart Zoe (Varma), who's making out with colleague Mark North (Paul McGann). He's also getting a new partner in Detective Sergeant Justin Ripley (Warren Brown), who's a fan of his work. Their first case together is a grisly one: Alice Morgan (Ruth Wilson) calls the police to report the death of her family (and the dog; was that really necessary?) but did she actually kill them herself? At the very least, Luther is convinced that something isn't right with the alleged home invasion.

His investigation starts with interviewing Alice, who is also obviously not right in the head. Just one look at her tells you she's a few marbles short, making it no surprise that the two understand each other on some level. It's easy for him to finger her as a "malignant narcissist" and start turning her screws. She self-identifies as a freak and admits she hated her parents, which only encourages his theory. The two engage in a battle of wits in the interrogation room; after all, they're on the same level. Alice may have slaughtered her family, and Luther is at risk of losing his, whether it's his adulterous wife or his police family - his boss's boss sees fit to remind us all that he's a loose cannon who could destroy the entire unit. Yet without evidence, Luther has no choice but to let Alice go, to the tune of some painfully obvious dramatic music that indicates they'll meet again.

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Luther 1.01 "Episode 1" Recap

Law & Order: UK just gets better every week. It's a godsend for those of us who miss the glory days of the franchise. In "Vice," which is based on 1997's "Working Mom" (which I'm always going to call 'the second Felicity Huffman episode'), a former vice cop's death leads to the uncovering of some dirty little secrets.

Two would-be car thieves find a corpse in the backseat, and the responding patrol officers recognize the deceased. He's former DS Frank McCallum. His wife's declaration that his former job "eats you from the inside" is unsettling to hear for lifelong cops Brooks and Devlin, who begin their investigation by having to probe into what little remained of McCallum's post-law enforcement life. They find some of his belongings in the possession of a prostitute (oh, the irony) who discovered his body, but she's forensically vindicated. However, it's obvious their victim has some interesting proclivities.

Asking some of McCallum's current and former coworkers brings up a company called Velvet Holdings that he was using the company credit card to make payments to. "I became a cop for the glamour," Matt complains while slogging over the corporate paperwork, which in turn leads them to a virtual office - which has to be one of the most boring things I've ever come across. It merely exists to forward mail, and the mail Brooks and Devlin find for this enigmatic company leads them to an unlikely source: a children's boutique. It does not take a genius to realize that's not what it really is. Velvet Holdings is a high-class escort service.

Brooks and Devlin haul in Emma, the woman in charge of the whole operation, on suspicion of McCallum's murder. Her DNA ends up being all over the crime scene, and her lipstick matches the sample taken from the corpse. She also has the money to hire a very expensive lawyer to do battle with Steel and Alesha.

Alesha probes deeper into the relationship between victim and suspect. She visits the hotel the two frequented, only to see camera footage of Emma there with someone else - McCallum's boss. It's not a stretch to realize McCallum had been poking around, found out about the affair, and was sexually blackmailing Emma. Emma not only confirms the blackmail, but claims that McCallum tried to rape her and she killed him in self-defense. Her husband changes his story to support her account, but Steel still isn't convinced. Armed with contradictory forensic evidence, he tears Emma to pieces when she testifies, and sees her put away. It's not easy with her having a husband and two children, but it's what's just.

The more I watch this show, the more I love the perfect cast. I'll admit that I'm nursing a bit of a crush on Jamie Bamber, who may be easy on the eyes but also has a natural wit and charm that makes him so much fun to watch. He's perfectly matched with Bradley Walsh, who delivers a great deadpan counterpoint to his younger partner's sense of humor. Freema Agyeman is well-used as the junior prosecutor, contributing to the episode instead of being the attractive ornament sitting in the courtroom. The more I watch Ben Daniels, the more he reminds me of Michael Moriarty; I know that he knows exactly what he's talking about, even if I don't. He has a confidence in himself that gives the audience confidence in Steel's prosecution. This show really could not have been cast any better. We already know they're working from successful scripts, so it's a perfect marriage of actors and material.

Especially as we watch the American Law & Order incarnations running out of steam, it's so refreshing to know that we can tune in to Law & Order: UK, a cracking and impressive piece of television.

Law & Order: UK 1.03 "Vice" Review

Indira Varma has spoken briefly with TV Guide about her two newest small-screen ventures.

She'll first be seen as Zoe Luther, an experienced attorney who is separated from her spouse, obsessive detective John Luther (Idris Elba), in the BBC's Luther. (Although I would disagree with the article saying she's "emotionally terrorized" by him.) Making its US debut on Sunday night at 10, this dark, twisty crime thriller is one of the best I've seen in years, in either country.

Varma said she's amused by the Stateside reception to the series, which has been overwhelmingly positive, as opposed to the initially cold reception it got in the UK. "Because of Idris, they were unfairly comparing it to The Wire and saying Americans do it better. By episode three, they loved it so much they were going insane!"

The Rome and Torchwood actress also had some minor dish about her new regular gig on FOX's Human Target, which returns on November 17. Varma plays Ilsa Pucci, a billonaire's widow who ends up buying the team after Chance and Co. save her life. What she had to say might induce some groaning among hardcore Human Target fans.

"It really needed a burst of estrogen. Ilsa is not some fluttery-eyed damsel in distress. These macho guys have to answer to her and they resent it." On the subject of a romantic relationship between her and Chance (Mark Valley), she added,  "They're certainly going to tease it."

Count me among the camp that disagrees with her assessment; the show certainly didn't need estrogen to continue, although her appearance hasn't been detrimental to the series. I also have to admit that the idea of a Chance and Ilsa romance only makes me cringe. It seems both cliche and unnecessary. Having Chance swoon over somebody is about the last thing I'd consider for the fast-paced, high-intensity action series.

That said, with having to add a woman to the show, they couldn't have done any better than Indira Varma, who's proven to be a reliable actress in Rome, Torchwood (she played the villainous Suzie Costello) and The Whistleblowers.

What do you think? Are you excited for Luther? Dreading the idea of romance in Human Target? Leave your thoughts below. Don't forget to check back as I will be bringing you episode-by-episode coverage of both Luther and Human Target - two shows you definitely shouldn't miss.

Indira Varma Talks "Luther," "Human Target"

This week's Law & Order: UK is an adaptation of one of my favorite Law & Order episodes, "Born Bad." As the original title suggests, it poses the question of if we're genetically predisposed to be good or evil. The subject of genetic predisposition to anything is likely to be argued for years to come, which makes seeing this plot 17 years later no less intriguing.

When the dead body of Danny Jackson is found by a local reverend, there's no shortage of suspects - whether it's his drug-addicted mother, her abusive ex-boyfriend, or local gangs. However, the investigation leads Ronnie and Matt to an even more disturbing source: one of the boy's young friends, Jonathan Blake. When the Crown Prosecutor charges the thirteen-year-old with murder, the defense attorney (an old girlfriend of Steel's played by Dervla Kirwan, whom Spooks fans may know as the better half of star Rupert Penry-Jones) argues that DNA made him do it. While it seems ludicrous, by the end even Jonathan believes he might be evil. He's motivated to plead guilty to Danny's murder, for better or for worse.

The highlight of this series for me has to be Jamie Bamber, whose Matt Devlin is equal parts ridiculously charming and believably dedicated, with subtle hints at a more complex character than the narrative will allow. Matt's let off his leash here, and it's cracking to watch. Bamber's ably partnered with the veteran Bradley Walsh, who's been compared to Jerry Orbach - a comparison that would rankle if both weren't very good in their well-worn roles. There's a marvelous scene in this episode where Ronnie must break the news of Danny's death to his mother, while Matt waits outside; there's not a word of dialogue, but the acting from Walsh and the reacting from Bamber is so good that it's greatly painful and poignant.

Ben Daniels also gets some great material to sink into, and it has little to do with his character's past affair with opposing counsel, but more Steel having to probe and struggle with the idea of genetic predisposition, not unlike the audience. He carries it well, his performance more interesting to watch than either of his current American counterparts. There's not ever going to be a Law & Order DA on the level of Linus Roache again, but Daniels is the next best thing. Kirwan turns in a great guest star performance as his opposite number, who realizes too late that her idea of a defense has broken her defendant, motivating a touching scene in which Steel visits Jonathan in prison, literally pleading for the boy to let them help him.

Law & Order: UK remains head and shoulders over its stateside counterpart, Los Angeles. It's ironic that as the American juggernaut fades (with that dismal spinoff and Criminal Intent coming to a close), the British spinoff is on the rise - and deservedly so. Law & Order: UK is must-see television, from the first frame to the last. It's Law & Order as it was meant to be.

Law & Order: UK 1.02 "Unloved" Review

On September 21, BBC Home Entertainment gave us Season 2 of Toby Whithouse's Being Human, just a short while after releasing Season 1. Season 2 comes to DVD in a three-disc version, and I have the dish for you below.

The Show

As Whithouse remarked at last year's San Diego Comic-Con, the basic premise of Being Human sounds like a bad joke: a vampire, a werewolf and a ghost are living together. However (and thankfully), this is not a sitcom. It's a spooky, creepy drama about the very abnormal characters trying desperately to live normal lives, which we all know is not going to happen.

Vampire Mitchell (Aidan Turner) finds romance with a doctor, only to see it screwed up by mayhem in the vampire community. Likewise, George (Russell Tovey, whom Doctor Who fans will know as Midshipman Frame) has a new girlfriend but his werewolf existence gets in the way of their happiness. Ghost Annie (Lenora Crichlow) finds that being a ghost is still a pain in the behind. The show plays well on our fear of the unknown, particularly death - the afterlife is seen as a terrifying thing to be considered with fear and dread. In the Season 2 finale, we get a good look at the mechanics of death and the afterlife, and it's definitely not something I ever want to see.

Being Human is a show that can be pretty dark and bleary at times, but fans of the classic horror genre will appreciate it's scariness, while the personal struggles will no doubt appeal to a younger audience. As Entertainment Weekly's Ken Tucker wrote, it's "like Twilight, with better writing." The only real downer at the end of Season 2 is that, while the BBC has commissioned a third season, the US is (yet again) trying to swipe successful British properties to remake and butcher. SyFy has greenlit a thirteen-episode American version, and one can only hope it's not like the US versions of Coupling or Ultraviolet or Life on Mars or Top Gear...

The DVDs

I didn't receive these discs in their retail packaging, so I can't comment on any packaging issues. I can say that there's a forced trailer in front of the discs which I was able to skip by hitting the "next chapter" button on my remote.

The menus here are appropriately dark and creepy, taking you through parts of the house. They do have "play all" and episode selection options.

As far as video and sound quality, you get a widescreen presentation with subtitles. I had no complaints when I played episodes back on my Blu-Ray player, though the show's dark scenes did come up a little hard to make out on my laptop at times - not enough to be a major issue, but with a show as dark as Being Human can be, it's a given that at some point you're not going to be able to make out something. In fact, I think that kind of adds to the suspense.

The Special Features

With this release, you get nothing but featurettes...but you get a lot of featurettes. There are seven of them, all a few minutes long, scattered across the last two discs, to be exact:

"Behind The Makeup" is a look at just how much work goes into transforming the actors into various otherworldly beings. If any of you are fellow theatre geeks, you'll no doubt appreciate this one. I worked in theatre for a little while and one of the things that people always stressed about was the makeup.

"Blood Bursting": An examination of one of the show's (as usual, fairly graphic) transformation scenes, which quirkily took place in an old water harvesting tank. Now that's making good use of what you have to work with!

"The Caves": Visiting the Redcliff Caves in Bristol and showing us how they came to play a part in the series. If you've ever been to the UK or you're a location buff, you'll enjoy this featurette.

"Making The New Werewolf": Focusing on how Russell Tovey becomes one big hairy, scary wrecking machine. Sort of similar to the makeup featurette, but with a specific focus on his character. I really feel for this guy having to deal with all that!

"The Swinging Sixties": Want to know how the series recreated the 1960's in its flashback sequences? This featurette will tell you.

"Train Carnage": Exactly what it says on the can. A breakdown of the scene in which an entire train car full of people gets slaughtered. I wouldn't watch this one while eating if the sight of (fake) blood turns your stomach easily.

"Unleashing The Beast": An exploration of George's story arc over the season, including his attempt at getting a job and developing his 'real life,' complete with some insightful comments from Russell Tovey.

There are also two Easter eggs hidden on the discs: "The CenSSA Story" and "Tour of the Facility." I wasn't able to locate them; however, I didn't watch every disc, so if I find out where they are at a later date, I'll update this review with that information.

The Bottom Line

Personally, Being Human wasn't my kind of series (I think I've hit overload on the paranormal with the current state of Twilight/Vampire Diaries/things ripping off or lampooning either of the above), but it is a well put-together one that deserves the fanbase it's built both in the US and UK. Fans will enjoy the featurettes, which while not huge, will shed light on parts of the production they probably haven't even thought about. I wish they'd included a commentary track or two, because from my Comic-Con experience, the three principal cast members are a delight to listen to when they're in the same room together.

However, this is still a solid release, and fans will no doubt be thrilled that it's not going to cost an arm and a leg to get it, unlike Doctor Who. As of this writing, the Blu-Ray version is actually cheaper than the DVD version at Amazon ($42.49 to $46.49).

DVD Review - Being Human: Season 2

Top Gear is possibly the best thing to come out of England. I was channel-surfing in my hotel in London when I came across three guys attempting to sail amphibious vehicles and failing miserably...and I was in love. I don't know much about cars, but Top Gear is not your traditional car show; rather, it's a show about three presenters who love cars and the various car-related shenanigans they get into (and then occasionally about cars). It's bitingly funny, at times entirely immature, and the most entertaining show on BBC America, whether you understand everything they say or not.

Thankfully, BBC Home Entertainment was wise enough to start releasing Top Gear on DVD awhile back, and today saw the release of season 13. Come along with me as I poke around the further adventures of Jeremy, Richard, James and The Stig.

The Show

Top Gear is a phenomenon in the UK, and rightfully so, because it's bursting with personality. The three presenters - Jeremy Clarkson, Richard Hammond and James May - all have their own unique character traits and an easy banter between them that can't be duplicated (and yes, sadly, we in America have tried). All of them are smart, funny and easy to like, and undoubtedly by an episode or two you'll have a favorite. Me, I'm a Hamster fan.

The best part of the series is the ambitious and sometimes absurd challenges the presenters embark on. This season, you'll see Richard and James try to race the Royal Mail in a Porsche, Jeremy and James try to come up with their own advertisement for the Volkswagon Chirocco (with disastrous results), Jeremy being chased by the British Army, and a faux reveal of the identity of the show's mysterious racing driver known only as "The Stig." The latter is painfully ironic considering that the man behind Stig's helmet, Ben Collins, elected to rain on everyone's parade and reveal himself as the Stig so he could write a book. He was subsequently let go from Top Gear, and now swears he's going to lead his own competing series. I'm not particularly impressed.

Top Gear also features a segment called "Star In A Reasonably Priced Car," where various personalities take to the show's track to see who can set the best time. In this set, those celebs include Jay Leno, sprinter Usain Bolt, Sienna Miller, comedian Michael McIntyre (in one of the most hilarious interview segments ever on this show) and AC/DC's Brian Johnson.

The DVDs

I didn't receive these discs in their retail cases, so I can't comment on the packaging, but if it's anything like the previous seasons, it should be just a simple plastic snapcase. I love it when packaging is easy.

There are two forced trailers (one for Torchwood: Children of Earth and one for BBC America) before the main menu on disc one, but you can skip those by hitting the chapter-forward button on your remote. Graphically, the main menus look great, but the episode menus leave something to be desired. The menus themselves do have a "play all" and "episode selection" option, and each episode has chapter selection - but without pictures or anything resembling episode names, so it could be difficult to locate a particular part of an episode if you don't remember it very well. At least for on-air listings, the episodes were named by whichever guest star was appearing, but here they just say "Episode 1" or "Episode 2."

Video and audio are presentable enough here, though the video isn't the crispest I've ever seen; it's not, however, any worse than if you had recorded the episodes on DVR and were watching them there. You do have widescreen presentation, which is nice. Previous volumes have elicited complaints that they've been edited from their original BBC broadcast versions, but since I watched these episodes on BBC America (which tends to be edited to begin with), I can't speak to that. If there are edits, you still get the majority of some great episodes regardless.

The Special Features

BBC Home Entertainment has finally started including special features on Top Gear DVDs, and this release is no exception. It comes with a smattering of modest special features:

• "Stig POV": A short featurette allowing us to see some of The Stig's drives from his point of view, which is interesting if you're even vaguely into the cars they feature on the show.
• "Spitfire Magic":  Almost four minutes of the guys with Spitfires.
• "Ken Block: Slow Motion": Slow-motion footage from James' day with stunt driver Ken Block. It's pretty amazing to look at, but there's only just over three minutes of it here.
• Extended interviews with Brian Johnson and racing driver Jenson Button. Both of these are just about fifteen minutes, but my interest in them waned over time. It depends on your interest in either of the personalities.
• "Lamborghini Murcielago Run In Abu Dhabi": Just over a very fast, very loud minute of the Lambo doing what the Lambo does best.
• "Train Race Sequence with Jeremy Clarkson": More footage from Jeremy's adventure on a steam train from the first episode.

It's good to see some extras on these sets, but for the most part they're rather brief. I'd still love to see the three hosts on a commentary track over one of these episodes. Heaven knows what they'd say about some of their adventures and blunders in retrospect.

The Bottom Line

Recommended. Regardless of the mixed bag of special features and any possible edits there might be, Top Gear is still too much fun to pass up. Even if you have no idea about cars, it's impossible not to enjoy this.

DVD Review - Top Gear: The Complete Season 13

The BBC has turned out top-notch crime dramas for decades, and starting October 17, U.S. viewers will get to see the next one: Luther, which stars Idris Elba (The Wire) as the titular detective working from a script by Neil Cross (Spooks/MI-5). That pedigree alone makes it worth a look, but Luther also presents a darkly engaging narrative that is sure to leave viewers wanting more.

From the release by BBC America: “Luther is a gripping psychological thriller driven by a brilliant and emotionally impulsive detective. A self-destructive near-genius, Luther might just be as dangerous as the depraved criminals he hunts. In each episode, the murderer’s identity is known from the start, focusing the drama on the psychological duel between predator and prey.” It’s a novel approach for a crime drama that should allow for great character development, the likes of which aren’t normally seen on television today.

The series will follow John Luther as he’s “drawn deeper into a series of horrific murders, and the shadow of a former case threatens to bring him down. Forced to face his own capacity for violence – he struggles with why his wife left him and what draws him to Alice. As the stakes get higher and more personal, Luther’s lonely path pulls him towards the very edge of temptation. Is he a force for good or a man hell bent on self-destruction?”

As if that wasn’t enough, the series boasts a top-flight cast. Elba has proven time and again that he’s one of Britain’s finest dramatic actors with starring roles in projects like The Wire and Ultraviolet, and appears in this month’s heist film Takers. His ex-wife Zoe is played by Indira Varma, who not only played marvelously in Rome, but is also joining the regular cast of Human Target this fall. They’re joined by Ruth Wilson (The Prisoner), Steven Mackintosh (Criminal Justice), Saskia Reeves (Bodies), Paul McGann (Withnail and I), and Warren Brown (Occupation). The high level of talent, plus scripts from a writer who’s worked on what might be the best British series in recent memory, ensures that Luther is going to be well worth watching.

The series will debut on BBC America on October 17 at 10:00 PM EST/PST. Check back here as I’ll recap and review every episode of what’s sure to go down as a cracking entry in British crime dramas.

Preview - Luther (BBC America)

Sherlock co-creator/writer/executive producer Steven Moffat and his wife/producer Sue Vertue announced today that the show will continue beyond the three episodes that aired over the last three weeks in an interview on the BBC's Breakfast programme. The interview can be viewed here.

Moffat explained that there were only three episodes in the shows initial run due to their 90-minute running time. "There will be more," said Vertue. "We're having a meeting to talk about how many and when." Moffat will obviously be very busy with Doctor Who, so when seems to be the biggest question that needs to be answered. He also confirmed that the upcoming episodes will also be 90 minutes long.

The show will air in the United States and Canada in October, and the DVD will be released in the UK August 30.

Haven't seen Sherlock yet? What are you waiting for? Check out my reviews and then check it out; the show is phenomenal and fear not, it is enjoyable and accessible to those like me who love the character/stories of Sherlock Holmes and even those who've never read a single one of them.

"There Will Be More" Sherlock

The third and final (for now, anyway) installment of the BBC's Sherlock is by far the finest. The series debuted with the fantastic "A Study in Pink" before airing the just-better-than-average second episode, "The Blind Banker." The final episode of the shows first run (and there will be a second) is titled "The Great Game," and that is exactly what transpires during the 90 minutes of screen time. Hold on tight; the tension is thick from the opening scene and never lets up, even after the credits roll.

Sherlock's nemesis Moriarty was mentioned in each of the first two episodes, and now he is taunting the great detective and forcing him to play his great game. Moriarty has strapped bombs to seemingly random people who then call Sherlock and read Moriarty's words that include a countdown to detonation. He is given hints and his powers of observation and detection are truly put to the test by the only man who is intellectually his equal. Though the cases seem to all be unrelated, they are all part of the great game and Sherlock is aware of that possibility the entire time. He puts almost everything together except for one major detail which is revealed in the end. The final act is intense, as we finally meet Jim Moriarty, played brilliantly by Andrew Scott. He comes off as a true evil mastermind madman, and he is the perfect antagonist. The last scene will leave viewers clamoring for more and although it's unknown exactly when that will be, it will be happening.

Benedict Cumberbatch and Martin Freeman continue their extremely strong work as Sherlock and Dr. Watson respectively, and their on-screen chemistry is that of actors who have worked together for years, despite their short time together. Though the show is a modern update for classic characters, creators Mark Gatiss and Steven Moffat remain very loyal to the characters and it shows. Gatiss penned the episode, and his writing plus the work put in from the main actors and the addition of Moriarty all add up to must-see television.

Grade: A

Review: Sherlock - "The Great Game"

I've always been a big fan of Sir Arthur Conan Doyle's Sherlock Holmes stories, and when I heard that the newest spin on the classic gumshoe would be a contemporary update, I was intrigued but nervous. Those fears were quelled shortly into the first 90-minute installment of this three-part British series.

There have been many Sherlock incarnations over the years, and I have always felt that Basil Rathbone played the role better than anyone else. That being said, Benedict Cumberbatch has big shoes to fill, and while I don't believe he lives up to Rathbone, he is a very steady, natural and convincing Holmes. Additionally, Martin Freeman is an excellent Dr. Watson. This version of Watson is a bit darker than we're used to, but he is also more competent and not the bumbling sidekick he's often portrayed as. The two have flawless chemistry on screen from their first meeting.

Creators Mark Gatiss and Steven Moffat have truly managed to retain the essence of the stories and the characters while giving them a modern update, which is no small task. The writing is crisp and the action is quick at times, a rarity in Sherlock stories. Moffat was quoted as saying "other detectives have cases, Sherlock Holmes has adventures, and that's what matters." That quote does well to sum up the episodes, and hopefully the series will continue beyond three episodes. Initially, it's quite odd to see the famous sleuth with a phone and a blog rather than a pipe and deerstalker, but at no point does it seem forced or unnatural. Again, that is no small task, and both Gatiss and Moffat should be praised for that.

Holmes' amazing detection skills are put on display early in the first episode ("A Study in Pink," loosely based on the first Holmes story, "A Study in Scarlet") as he amazes Watson by nailing a series of details about the doctor, his past and his family. Inspector Lestrade (played by Rupert Graves) consults Holmes after what appear to be serial suicides, and he and Watson set out to get to the bottom of it. An interesting subplot develops with Watson as he is taken and questioned by a strange man claiming to be Holmes' enemy, who offers him money in exchange for information about the detective and issues a warning about him as well. As always, Holmes' brilliance leads to the answer before the police even have any clue about what's going on, and the episode ends on an interesting note, as a name that all Holmes fans will be familiar with is mentioned.

The series' second episode ("The Blind Banker") is somewhat muddled. It starts out promising, and Holmes leads the police to a man found dead in a room that had been locked from the inside. The police immediately think they're looking at the results of a suicide, but the great detective puts on a show of pointing out all the reasons why that is only one possible explanation of some of the facts, and actually not very likely at all. The case involves a tough-to-crack Chinese cipher, a missing girl who may be able to help figure it out, a bad first date, a confused villian, a book that everyone owns and an antiques museum. Exciting? Only slightly. While the first episode was thrilling throughout, this second installment only approaches that level in places, but falls a bit flat overall. Both Cumberbatch and Freeman are again impressive in their roles, but the story does not live up to the level of the acting, the characters or the great direction. It does pick up again at the very end, and going out on that high note has me excited for the third episode.

Grades:
"A Study in Pink" - A
"The Blind Banker" - B-

Sherlock - "A Study in Pink" & "The Blind Banker" Reviews

In 2004, Lloyd Braun was fired by ABC after greenlighting Desperate Housewives, Grey's Anatomy, and LOST. Disney Executives fired him because of LOST, which he had greenlit with no actual script (only an outline). The $11.5 million pilot episode was the most expensive in television history, and it was presumed by the execs that it would be a massive failure. (Braun was later given a homage by Damon Lindelof and Carlton Cuse -- he became the "Previously on LOST" voice). So Braun got the axe and was replaced by Stephen McPherson, who in turn got to ride on the popularity of shows that Braun had begun.

McPherson (no relation to myself) had a very successful time with ABC, and that's not to say that the credit was all Braun's. McPherson helped shows like the three mentioned above expand greatly, and he introduced new shows like Dancing with the Stars and Ugly Betty to the network's roster. However, it seems, McPherson's time has passed as the head of ABC. After 2009-2010's dismal season, which contained the flop FlashForward, the cancellation of Ugly Betty, and the end of LOST, McPherson (pictured above, left) decided it was time to go. He resigned Tuesday night.

Now, ABC has replaced him with former head of ABC Family, Paul Lee, effective immediately. I really like Paul Lee. Not because of his track record with ABC Family, which includes hits like Kyle XY, Huge, Pretty Little Liars, and Secret Life of the American Teenager. No, I like the British-born exec because he launched BBC America, perhaps the greatest service to cable television ever. My hope? Paul Lee might bring in some British co-productions, much like Starz is doing with Torchwood. Personally, I'd love to see how Doctor Who would do if placed in a prime time slot on ABC.

In any case, I'm happy to see Lee (pictured above, right) as ABC's new president, and I hope he can take the network in a very interesting new direction.

Paul Lee Replaces Stephen McPherson as ABC Head

This week's TV on DVD segment is a little different than usual; this time around, I'll be reviewing a DVD set. This is a trend that will carry on until at least the immediate future (I hope to have day-of reviews of sets like Fringe and LOST posted on here as well). This week's set, however, features a show that ended a few years ago (though the set was only released on July 6). I'm talking about BBC's Life on Mars.

American audiences are probably most familiar with Life on Mars from the Harvey Keitel-starring ABC series that lasted for seventeen episodes before being cancelled. The UK series lasted for one episode shorter than that (finishing at sixteen episodes), due to the UK's shorter television seasons. That it lasted for two years and told a complete story (with an ending that makes sense) makes it infinitely more appealing than its US incarnation.

The story focuses on a police officer, Sam Tyler, who is in 2006 investigating a dangerous murderer who has just kidnapped his partner, when, out of nowhere, he is hit by a car (a fairly shocking scene rather early on in the first episode). He then inexplicably wakes up in 1973, where he is an established member of the police force, though the culture shock of three decades' difference throws him and everyone around him for a complete loop (and provides for some cheeky comedy along the way -- when Sam asks a telephone operator for a Virgin mobile phone, she thinks he's being sexual and disconnects him).

A good cast, of course, helps a lot. For most Americans, the stars are completely unknown, which is a major factor in the suspension of disbelief that is required for all television. Doctor Who fans might recall star John Simm from the science fiction series as the Doctor's deranged nemesis The Master (he first appeared in the role shortly after the series finale of Life on Mars). Simm is completely great, and it's interesting to see him out of the gleefully sociopathic guise of the Master and into the more serious and good-natured role of Sam Tyler. The other cast members are equally solid, with Philip Glenister very engrossing as officer Gene Hunt, Tyler's superior in the 1973 world.

The DVD set is nothing more than the two individual series sets packaged together in a cardboard slipcase, but the eight-disc set is still a keeper. The first series contains audio commentaries for all eight episodes, and even includes an hour-long documentary titled Take a Look at the Lawman. These are all accessible through pretty neat menu features that include visual distortion making the options appear as though they're on an old television.

I've found an affinity for British television through shows like Doctor Who and even Monty Python's Flying Circus, and on the whole I find it really well-made, with a more cohesive storyline than most American cop series. In fact, half the fun of shows like Life on Mars is that they don't talk down to their audience; they assume that the viewers are just as smart as they are, and the fact that the stories aren't afraid to maintain an overarching plot (a rarity for a police drama) means that despite the shorter seasons, we get more substance and more to chew on.

The DVD set itself is nothing terribly special, but it's solid nonetheless and the brilliance of the series more than makes up for any packaging shortcomings (for instance, the slipcase for the DVDs was damaged during shipping because it was so flimsy). It's a great show, though, and I'm glad that the US is getting it at all -- and we have Acorn Media to thank for that.

Stick around in the coming weeks for DVD set reviews of British shows Touching Evil and Prime Suspect (both are complete series collections), and later for other shows such as the aforementioned LOST and Fringe.

You can order Life On Mars: The Complete Collection through Amazon by clicking here. The set retails for $55.49, a decent price for a more than decent series.

DVD Review - Life on Mars, The Complete Collection