News from FX …

FX has ordered a drama pilot from Ryan Murphy, the Golden Globe winning creator of nip/tuck, it was announced today by John Landgraf, President and General Manager of FX Networks. The pilot for the Untitled Ryan Murphy Project, which was written by Murphy and nip/tuck supervising producer Brad Falchuk, is scheduled to begin production later this year and will be produced by 20th Century Fox Television. Murphy will direct the pilot.

This is the first pilot greenlit by FX since it ordered the legal thriller Damages, starring Glenn Close and Ted Danson. Launched in July, the series has attracted the largest cumulative audience of any series premiering in 2007 on cable television. (end announcement excerpt)

As "nip/tuck" fans know, this is not the first time Murphy has dealt with a transgender character.

The casting news first: Kristen Bell of Veronica Mars is joining the show. Full announcement after the jump…

Here's the "Heroes" announcement:

Award-winning, critically acclaimed actress Kristen Bell ("Veronica Mars") joins NBC's Emmy Award-nominated ensemble drama "Heroes" for a special multiple episode arc as "Elle," a sexy, intriguing, mysterious young lady who has ties to Peter's apparent death, H.R.G.'s past, and Claire's future. When fans first meet Elle in October, she will commit a terrible crime, but as always with "Heroes," it will be unclear whose side she is really on.

Originally from Detroit, Michigan, Bell attended New York University's Tisch School of the Arts. She currently lives in Los Angeles.

And here are my notes on my first-season dip, which I posted earlier:

As I mentioned in the weekend post, the family has been catching up with "Heroes" via the upcoming DVD release. (Early advisory: Be sure to check out the deleted scenes.) Since we have eight episodes to go, any comments I post here will be like reading a review of a book that the reviewer hasn't yet finished. Still, a few thoughts:

– Good show. I knew that from my brief sampling of it at the beginning of the season, but watching it in this great quantity makes that even more evident. Although there are times when it struggles a bit — as is inevitable with any show trying to tell a story across 22 episodes — the struggles seem less than on most series.

– Mixed characters. Ali Larter's Niki/Jessica didn't do much for me at the beginning of the show, and she still doesn't. Hiro, as the world knows, is a breakout character and consistently appealing, especially as he discovers the limitations of his power. I'm not sure that cheerleader Claire has held up, especially now that the cheerleader has been saved, but Mr. Bennet and Nathan Petrelli are walking question marks, which I like a great deal.

– Mixed performances. Good points for Masi Oka, Jack Coleman, Adrian Pasdar. But Milo Ventimiglia (Peter) does too much acting with one eyebrow. And part of my concern about Claire may stem from Hayden Panettiere struggling in the scenes calling for heavier dramatic lifting.

– Great popcorn entertainment at times but not a great show. It is possible to grow weary of the repeated references to heroes in different contexts. And the show doesn't have the emotional resonance of, say, "Friday Night Lights," which in its first season ranked among the finest shows ever. (And I'll concede right now that I might have a different opinion of "Heroes" once I get through the remaining telecasts.)

Well, a hum-along, anyway, since the world is better off when I do not put voice to tune. Still, I've been giggling through a preview disc of "The Simpsons: Testify: A Whole Lot More Original Music From the Television Series," which collects songs from the last nine seasons. It's due in stores on Sept. 18.

We're talking "O Pruny Night." "Homer and Marge." Shawn Colvin singing "He's the Man." "Everybody Hates Ned Flanders." Ricky Gervais's tongue-twisting "Lady." And many, many others. Announcement and song list after the jump.

The word from Shout! Factory:

A soundtrack so highly anticipated that even Homer would get off the couch to celebrate its arrival, THE SIMPSONS: TESTIFY is finally here! Set for release on September 18, 2007 from Shout! Factory, THE SIMPSONS: TESTIFY music CD spotlights material culled from award-winning composer Alf Clausen and features the unmistakable voices of America’s most beloved TV family: Homer (Dan Castellaneta), Marge (Julie Kavner), Bart (Nancy Cartwright), Lisa (Yeardley Smith), and Springfield's various townsfolk (Hank Azaria and Harry Shearer). The soundtrack kicks off with Danny Elfman's unforgettable main title theme, and continues with a collection of the best songs from the last nine seasons of the longest running primetime comedy on TV today. The album arrives just in time to accompany the premiere of Season 19 of THE SIMPSONS on FOX.

Now entering its nineteenth season, THE SIMPSONS, a modern cult classic created by Matt Groening, remains one of TV’s most popular programs – in all demographics. The show premiered on FOX as a half-hour comedy series January 14, 1990, and received numerous Emmy awards for Outstanding Animated Program. Nearly all of the music for this weekly animated half-hour series is composed or arranged by composer Alf Clausen, who has received 2 Emmy awards and 20 Emmy nominations for his Simpsons music.

The song list: Simpsons Main Title Theme, Testify, The Very Reason That I Live, He's the Man, Stretch Dude and Clobber Girl, Simpsons End Credit Theme Performed by Los Lobos, Ode to Branson, Sold Separately, Island of Sirens, They'll Never Stop the Simpsons, You're a Bunch of Stuff, What Do I Think of the Pie, Baby Stink Breath, Tastes Like Liberty, Jellyfish, Homer & Marge, Everybody Hates Ned Flanders Medley, I Love to Walk, Marjorie, The President Wore Pearls Medley, Glove Slap, O Pruny Night, America (I Love This Country), America Rules, Welcome to Moe's, We Are the Jockeys, Song of Shelbyville, A Star Is Torn Medley, Who Wants a Haircut?, My Fair Laddy Medley, Springfield Blows, King of Cats Itchy & Scratchy Medley, Lady, You Make Me Laugh, Lady Riff, Poppa Can You Hear Me?, Yokel Chords Medley … and four unaired bonus tracks: Hullaba Lula, Song of the Wild Beasts, Dancing Workers' Song, Oldies and Nudies.

Tom Snyder is leaning back in his heavenly chair, a cigarette in hand, a big laugh ready to explode when God finishes a funny story …

The newsman and talk-show host, who worked for a few months in Cleveland in 1965 before becoming a star, has died. (See a report here.) He's a fond memory for those of us who had trouble sleeping at night in the '70s, when Snyder and his "Tomorrow" show were a cheerful way to pass the late-night hours.

Although he made later forays into TV, that's the place I remember him best from. Oh, he could ramble on about himself, and his verbal tics were so numerous that he was ripe for parody (as Dan Aykroyd demonstrated). And, as some recent DVD releases from his show have demonstrated, he wasn't always comfortable with his wide range of guests.

But that wasn't always a bad thing. As I said when reviewing a DVD of music performers from the show:

(John "Johnny Rotten") Lydon's vulgar, combative dialogue with Snyder is electrifying TV; You keep waiting for someone to throw a punch, and Snyder appears as ready as Lydon.

Overall, too, these telecasts capture a moment in musical history when fans of rock 'n' roll and even hard rock were confronted by something they did not understand. Impresario Bill Graham, appearing in a discussion of the new music, seems nonplussed by where the music has gone. Snyder himself, not exactly a rocker, struggles to understand, say, the difference between New Wave and arena rock. And (guest host Kelly) Lange's mocking remarks about the Ramones' look are astoundingly offensive — an '80s variation on a crewcut newsman interrogating the Beatles around 1964.

And Snyder was never afraid to have an opinion. Even when he was diagnosed with leukemia, he was talking about it on his Web site (later shut down, alas). And not just about that. Here's a sample I put on the blog on April 2005:

Early morning network television is not news anymore–its a joke. I miss Dan Rather. And Tom Brokaw. And I pray in my own stupid way for Peter Jennings to get well soon. David Letterman's son is a very cute kid. But I'd like Dave to introduce us to his Mom. "Saturday Night Live" is not funny. HBO exists because people must have a place to say (bleep) on television as many times as they can. GM and Ford have lost the way when it comes to designing and building sexy cars that make us wanna buy them. There is no Iraqi oil money to pay for reconstruction. Bush, Cheney, Rumsfeld and Rice don't have a clue as to what is going on there. The worst Italian reastaurant in New York (if there is such a thing) is better than the best Italian restaurant in most other American cities. Books by celebrities about themselves bore me to tears.

Wouldn't you chat with this guy?

Covering just about any entertainment medium these days can involve some tap-dances, but I really don't like the steps that I'm having to take for "The Simpsons Movie." …

To be sure, I have spent most of my recent years covering television, where the rules about reviewing TV shows and interviewing stars are generally pretty simple. Review copies will arrive with requests not to give away spoilers, for one thing. And when the pilots for new shows are sent out in the late spring (basically to provide more information for show-related interviews on the summer press tour), the networks ask that they not be reviewed since things could change before the shows actually air. Of course, my colleagues and I still write about the shows — but take some pains to note that the comments are not a review of what you'll see in the fall. (And things really do change, especially in casting.)

Interviews, as well, can be subject to negotiation. I've been offered some interviews only if I agree to write a story only about the star in question, not packaged with other interviews. (I've usually said that I may write only about that person, but I won't guarantee it, since another interview may come along that fits with it, and the interviews haven't happened.)

Sometimes publicists will ask that certain topics not be brought up, and I've been in situations where publicists cut off lines of questioning they deemed inappropriate. (I've also seen ground rules set, and then ignored by the actor being interviewed, when a tactfully phrased question eased the pre-interview resistance.) One of the nice things about talking to Kellie Pickler, mentioned in a previous post, is that there were no ground rules beforehand, and she fielded my questions. Contrast that to Star Jones's ridiculous recent attempt to fend off questions about her makeover.

I blame the movie biz for such behavior, since control freaks have tried to run the movie media for years. When Victoria Beckham wanted written control of some interview comments, it was reasonable to think that the Beckhams are claiming chumminess with Tom Cruise, whose rep for controlling behavior is well known.

Then there's the nonsense I've been going through regarding "The Simpsons Movie." It's going to be available for preview a few days before its premiere, and I expect to see it and write about it. But before I go to the preview, I've been told that I have to hold my print review until the day the movie opens locally.

I wasn't pleased to be told when a review could run, but printing it on opening day is consistent with what we do with most reviews, so I can live with that. Then, today, I got an e-mail wanting "written confirmation" that I wouldn't post notes about the movie in this blog before opening day.

As you know, I routinely post comments here shortly after seeing movies, as I did recently with "Hairspray" and "Talk to Me." They're not reviews, but, I'm told, would be considered reviews by the "Simpsons" folks — and they're working hard to control the news about their movie, as this Los Angeles Times story indicates.

Once again, I don't like the idea that I'm being told when I can write about something by the people I'm writing about. Beyond that, though, what "The Simpsons Movie" wants to do seems practically impossible. If, as the Times story says, it's opening July 24 in LA, then there will be plenty of buzz on the Internet that same day, if not sooner. (I have to think some blogger is going to get into the Springfield, Vt., premiere — part of a "Simpsons" promotional contest — reportedly scheduled for July 21.)

Holding back a review in Akron does not stop the flow of information for people here. I am sure that by the time I write more about "Talk To Me" for its Northeast Ohio opening date, plenty of people will know all they want about the movie because it has already opened in other cities and been widely reviewed.

Even the understanding about the print review is looking more absurd, since some theaters in Ohio and elsewhere will begin showing "The Simpsons Movie" at the stroke of midnight on July 27 — and "The Simpsons" strikes me as real midnight-movie material — so some people will see the print review later that morning, after they've seen the movie.

The wisest course for "The Simpsons Movie" was, and is, to make it available to reviewers with a simple "Have at it," and let the judgments fall where they may. If nothing else, then I wouldn't feel so cranky about the movie before seeing it.

The smart, scene-stealing actor has died. Obit here, although "Petticoat Junction" fans know that his character's name was actually Homer Bedloe. Nice photo here.

Lane was one of those guys who would pop up in a movie, and I would nod happily, knowing that he was about to deliver the goods. He was especially fine at playing people who were cynical but not blind, capable of good even as they were aware of all the bad in the world.

Let's remember his moment in "It's a Wonderful Life." He tells Potter about the growth of Bailey Park, "and are the local yokels making with the David and Goliath wisecracks." The Baileys, Lane notes, were chumps, with each home worth twice what it cost the savings and loan to build. He tries to offer Potter advice. Potter brushes him off.

"No skin off my nose," Lane says. "But one of these days, this bright young man is going to be asking George Bailey for a job."

As I said, cynical — referring to chumps — but not blind. And sure, the lines make the point. But Lane knew how to deliver them.

Over the weekend I took a look at the first three episodes of the eight-part ESPN miniseries about the '77 Yankees, which premieres tonight — and, if nothing else, was pleased to see "Rescue Me's" Daniel Sunjata get a chance to show how very good an actor he is …

To be sure, as the womanizing Franco, he's been impressive enough. But his Reggie Jackson in "Bronx" is a model of delusion, constantly perplexed by others' misunderstanding of him — when others in fact understand him all too well. (Canton's Thurman Munson, played by Eric Jensen, is all too clear-eyed about Reggie and his ways.

(And let me pause here for a moment to note the ways that this saga resonates in Northeast Ohio. Not only do you have Munson, but native Clevelander George Steinbrenner, played by Oliver Platt, and former Indians exec Gabe Paul, played by Kevin Conway.)

Sunjata has to be on his game, considering that he is working often opposite John Turturro as Billy Martin, and Turturro takes no prisoners. There's one shot of Turturro/Martin in a bar, about to lose his temper, that might as well be the real Martin, so precisely is that much-photographed scowl replicated.

But what about the production as a whole? Well, as fun as it is to watch the main actors in action (and Platt gives a full measure of a performance, too), the piece itself is awkward, trying to balance the Yankees' turmoil with the larger chaos in New York at that time, especially from the Son of Sam serial killer. So between baseball battles, we are taken off to see how the police are investigating that case, and how Jimmy Breslin covered the case. (Breslin, played with eerily perfect intonations by Michael Rispoli, is also one of the advisors on the series.)

If this is to make the point that New York had more serious concerns than the Yankees soap opera, then it could have been made more briefly. If the idea is to offer a more textured look at New York in 1977 (as the book that inspired the miniseries apparently does), then it's not successful.

Still, there are many things that recommend "The Bronx Is Burning" besides the Martin/Steinbrenner/Jackson saga. It's keen on showing how baseball decisions get made, for good or ill, whether it's Steinbrenner's ridiculous pep talks to the team or Martin, frustrated with the boss's interference, having his lineup chosen at random. It's the marvel that is Mickey Rivers (Leonard Robinson), and the tight-lipped but ever-present Yogi Berra (Joe Grifasi).

I don't know if I'll be back for more. But I'll probably pause if I happen upon it.

The explanation, with spoilers, after the jump …

I haven't watched all of tonight's telecast, since I was keeping track of a local contestant on Grease: You're the One That I Want. (Ashley Spencer is her name, and she's hanging in there.) But for a column tomorrow I did check the results. Dave and Mary are out. That's not the problem. Rob and Amber finished first AGAIN.

My problems with this are so huge. It's not just that Rob is a snotty player and a big whiner. (On last week's show, he complained about another player's tactic — when he would have done the same thing — and then claimed he was just playing mind games. Bull. He's a bad winner and a sore loser.) It's that he and Amber are professional reality-show contestants now, and that damages the game.

I know, I've said that R&A damaged the game the last time they were on, bringing a nasty, Survivor-honed sensibility to a game that always felt more honorable to me. But their lives now are spent going from TV game to TV game, sharpening their skills along the way, and never seeming to have a life that involves something other than talking trash and playing for cash. Other Amazing Race competitors worry about things in the real world, then have to compete against a couple with no other concerns.

Yes, R&A are very, very good players. I will give them that much. And they came into the race determined not merely to win but to dominate, and so far they are doing that. But it is still possible to see someone very good at a task — and hate them nonetheless. Think New York Yankees — a proper parallel not only because of the swagger involved, but because "Boston Rob" would hate it so much.

I may still check into the race, just to see if R&A finally lose. But that seems unlikely right now. I may end up recording the shows, then watching again if they are eliminated. Only the way they are playing, that may mean waiting until next season.

Live blogging from tonight's "Idol," after the jump …

Ryan says "the guys threw it down last night" so the competition is "wide open once more." Uh-huh. Gina Glocksen leads the line, Sabrina Sloan ends it. Then to the judges. Paula eerily demure. Ryan pushes the boys-were-better line, and Randy concurs. Paula says the women "look gorgeous." Ryan claps for the guys. Hey, it was a good show Tuesday but the praise is overkill.

Gina dedicates her song to her boyfriend. Heart's "Alone." Unfortunate dress. Remember all that crap about the contest being wide open? Uh-uh. She's a little screechy but gets the show off to a good start. B minus. Randy impressed. Paula brings up that Carrie sang it and still calls it excellent. Simon says "good choice of song" but the vocals felt forced at the end. He says she'll never outsing some of the big singers in the competition — and says he thought she should be more edgy. Ryan says it's "time for the ring" from her boyfriend. Commercials.

And we're back. Ryan's in the red room with Alaina and LaKisha. He admires LaKisha's "showing off some leg." Ryan brings up the good buzz she has been getting. She does not pay attention to the buzz. Need we mention again that most of the "Idol" buzz has been about Antonella?

Alaina dedicates to her mom. She should also apologize to Chrissie Hynde, considering what she did to "Brass in Pocket" last week. But no. Song in jeopardy this week: Dixie Chicks' "Not Ready To Make Nice." And why is that for her mom? Not to mention that she has no idea what the song is about; apology now owed to Natalie Maines. The squinty finger-pointing is weak, too. C minus. Randy thought it started all right and then became a mess. Paula says it's a hard song to sing and the pitch was a little bit off — but not nearly as bad as Randy said. Simon goes for "plain English": that it's like Randy in a 100-meter race, running out of steam. Paula insists on saying she's adorable and Randy says she looks amazing. Alaina asks for advice. Ryan offers his usual protective defense.

LaKisha dedicates to her grandmother. "Midnight Train to Georgia." She's getting more help than she needs from the backup vocals, but she's also not as formidable as last week. Good but not knock-the-socks-off great. B. Randy likes her showing spirit and says "that was hot." Paula loved it and "I love you." Simon calls her a phenomenally good singer but not as good as last week. Still thinks she'll do "really really well." Some pointless discussion of her outfit and the judges'.

Commercials. Fox 8 tries to scare me into watching their news — and not drinking milk.

Ryan says the girls "are owning the stage tonight." Melinda, dedicating to two of her closest friends — the "Gails" to her Oprah. Apparently they also pick out her clothes. Song: "My Funny Valentine." A little over-polished. (Will Simon bring up cabaret?) But very assured. No goosebumps but a B plus. Paula gives her one of those irrelevant standing O's. Randy, though, says she came out to win. Paula calls it astounding. Simon declares it "incredible … without question the best vocal we've had through the competition." Again brings up her modesty — "you don't know how good you are."

More commercials. Ryan promos Antonella singing Celine. Break. Ryan asks if she's nervous. She says less than last week. Ryan mentions the judges being tough on her. No mention of the Scandal. Antonella dedicates to her brother. "Because You Loved Me." She still stinks. Hits one decent note and gets relieved applause. D. Randy calls it "complete the wrong song … pitch was all over the place." Paula says she made "leaps and bounds" from last week. Simon thinks she was worse than a week ago. Ryan sets up Antonella to bash Simon for mistreatment of Jennifer Hudson. (Feels like Scott Savol mouthing off when he was on shaky ground.) Simon notes that America voted her off.

Stunning denial all around, by the way. At the least, I expected Paula to bring up that Antonella had had a rough week. Instead, no acknowledgment of the troubles at all. Maybe they think she's already so popular, they don't need to help her out. And that too much help would keep her around longer than she deserves. But her swipe at Simon was unnecessary, especially when the show played nice about the photos — while noting her obvious vocal limitations. Although Randy and Paula's clowning undercut even that.

Jordin, dedicating to her brother. Big tears on tape. "Reflection" from "Mulan." Wobbly start. Improves as it goes, except for some screech in the finish. B. She's crying at the end. Randy impressed aside from some pitchy moments. Paula of course adores her, "one brilliant, talented girl." Simon agrees that it wasn't her best but still better than some. Ryan introduces her father in the audience.

Stephanie in the red room. Ryan hypes tomorrow's appearance by Kellie "Sal-mon" Pickler. Asks Stephanie about the vibe. Stephanie says it's friendly. Simon doesn't buy it, and even Paula seems a little skeptical. Stephanie dedicates to parents. "Dangerously in Love." She seems dangerously out of synch with the band. Eventually recovers, but overall it's a C plus. Randy says so much better than last week — but it was a little "Beyonce Lite." Paula thinks she was "fantastic, brilliant." Simon agrees with Paula, says she was "putting your mark down." Ryan goes at Randy for his criticism. Who's a bigger kiss-up, Ryan or Paula?

Ryan chats with Leslie and Haley, Haley first. Leslie says she has learned from watching her video last week that "less is more." Leslie dedicates to her dead grandfather. "Feeling Good." I am way, way, way tired of this song. Understated beginning followed by a "Hey Big Spender"-ish approach. "Less is more" is translating into "less is less." And a lame vocal riff. C minus. Randy likes her returning to her "jazzy, scatty" thing but is displeased by the pitchiness. Paula loved her. (Duh.) Simon says Paula loved her because the scat sounded like Paula talking. Mean but apt. Simon then says Leslie was whacked by several big voices preceding her. Paula begins offering food metaphors. Ryan jokes with Leslie about the scatty lyrics. Oh hum.

Haley dedicates to her fiance. Whitney's "Queen of the Night." But rocking enough to duck comparisons. Still lacks authority though. C plus. Randy complains the song has more backing parts than lead parts. (Simon says that's why she chose it.) Randy not sold. Paula, of course, focuses on the positive, especially improvement over last week. Simon gives A for effort but calls it "manic, verging on insane" at one point — and makes the comparison to Whitney. Considers her one of the vulnerable ones tonight. Ryan says he knows her fiance is proud of her.

Sabrina closes the show. Dedication to her grandmother, who has been "in and out of the hospital." Song: More Whitney, "He Fills Me Up."* Good, and I'd like her to stay in the competition. But still feels like a B, especially considering it's supposed to be the big finish. Randy says very nice overall but with pitchy spots. Paula just loves her and calls her "a big contender in the competition." Simon again leery of Whitney songs and worries that Sabrina is on the line between singing and shouting.

And let's say goodnight before the recap.

*Should have written "All the Man That I Need."

Vincent Pastore of The Sopranos has dropped out of Dancing With the Stars. Here's the official word from ABC:

In the first of what promise to be many surprises in the fourth season of "Dancing with the Stars," actor Vincent Pastore, sixty years of age, has withdrawn from the competition after one week of training. Pastore came to the decision that the physical demands of a ten-week season would be too difficult for him to undertake.

"When I initially committed to joining 'Dancing with the Stars,' I didn't realize just how physically demanding it would be for me. Unable to put forth my best effort, I felt it appropriate to step aside and give someone else the opportunity," said Pastore. "I'd like to thank ABC and the show's producers for inviting me to participate. I wish my partner, Edyta, and the other dancers the best of luck."

The bad-hair theory of crime, with spoilers if you didn't watch Tuesday, after the jump …

Sometimes even really good shows hit a bump. Last week's "The Office," for example, was far from the show's best work, not even as good as that night's "30 Rock," which was very assured and funny.

"Veronica Mars," as well, finished off its current mystery in a way that felt far from satisfying. If there's a twist at the end, the audience shouldn't see it coming. But I didn't by the stripper alibi, for one thing, and the bad-hair theory kept me suspicious up to the final conclusion. Which was way too "Perry Mason"/"Matlock" for a show that can be as fine as "Veronica." (Also, since Dean O'Dell's wife didn't kill anyone, shouldn't there have been more remorse about that?)

The bad-hair theory says that, if the hair of a key character looks really bad, then we should be all the more suspicious. I haven't tested the theory to any great extent. But it kept lingering in the back of my mind during "Veronica" because Tim's hair was so, well, suspicious. It always felt as if he was in disguise — that at any moment he would be revealed as, I don't know, Edward Kimberly.

Among the things I liked: The way Keith is loving being sheriff. Not just the insistence on "Sheriff Mars," but the whole way he is carrying himself. You can tell how much he wanted to have this job again, and how much tension he's probably carrying because he doesn't want to lose it again.

A few notes about tonight's "Lost," with possible spoilers, after the jump …

For a long time, "Lost" had no need to send preview episodes about to TV critics. The audience was large and loyal, and there was no sense in risking spoilers getting out from blabbermouth recipients of previews. But these are not the good old days of "Lost." Many viewers have become disenchanted, and it's clear the show is struggling to get them back. And to get them, "Lost" has become far more willing to send out preview discs, including one of tonight's telecast.

And it's a good one. Not only are we back with the original core of survivors, the episode focuses on Hurley, a favorite of many viewers, including me. Without getting into too much detail, the flashbacks provide us a little more insight into Hurley's life and attitiudes, and the stuff on the island reminds us of his importance to the community as a whole — that Hurley is, above all else, the morale officer.

The episode is not without flaws. (When you watch, think what the jungle damp would have done to a set of tires.) But after weeks of crying and moaning and the Others, it was a great comfort to see "Lost" back where it belonged. (Good grief, I sound like an "American Idol" judge.) Tonight's show reminds us how engaging and touching the characters can be, and how we don't need a big mystery to keep watching them.

Live blogging during "American Idol," after the jump ….

Ryan says it's good to be back and sends out "a huge congratulations" to Jennifer Hudson. The show obviously wants her to pay a visit this season — the kissing up has been quite detailed.

Introducing the guys. Phil first, Sundance last. Did Sundance learn to sing well enough to close?

Ryan says hi to the ladies. Antonella is with them. Then the judges. Randy is sure they will be better than a week ago. Paula says they should have fun and "own the song." Ryan teases Simon about his fame, Simon decides neither to banter nor elaborate.

Tonight's theme: Songs dedicated to people who inspire the singers. Phil's singing for his Navy mates. John Waite's "I Ain't Missing You." Very respectable. B. Good marks from Randy and Paula. Simon's "not jumping out of my chair. … completely unoriginal voice. … still not hearing anything unique." But says Phil will be back next week. Randy shouts in Phil's favor.

Significant camera time for Jeff Foxworthy, host of the "5th Grader" show premiering tonight. Gee, you think they might chat with him later? Commercials.

We're back, guys on the couch. Ryan checking the buzz. Asks Sundance first. He doesn't mention Antonella. Asks A.J. He doesn't mention Antonella. Introduces Jared.

He's dedicating his performance to his mother and father. Marvin Gaye, "Let's Get It On." Umm, for his parents? The show is either double-tracking him or using an accompanying backing vocal to make him sound better. Not helping. The longer the song goes, the more trouble he has. Interesting gesture with hand across his face. Can't hit those Marvin-y notes. C minus. Randy found it pitchy but "kind of liked it," especially the "face move." Paula says he doesn't have to push the song — and is thinking of something else; she liiiiiiiikes him. Simon respects his trying but brings up the "Love Boat/corny" parallel. Jared says, "That would have been a great 'Love Boat,' man." Ryan notes "the things we've done" to the song. Which again, JARED DEDICATED TO HIS PARENTS.

A.J. also plays the parent card. What's he going to sing, "Super Freak"? No, it's "Feeling Good." Decent start. He's selling it. He gets — dare I say it? — pitchy in spots, but still not bad. C plus. The guys are definitely trying harder than they did last week. Randy notes how much better he was than a week ago. Paula gives him "props." Simon calls it "nearly very good."

Another break.

Sanjaya. Dedicates to his grandfather, who died when he was 5. Wears grandfather's wedding ring when he performs. "Stepping Out With My Baby." With a hat. Boring. He never picks it up and seems to run out of steam. Almost like a recitation until he tries for a big finish. Which is not big. D. Randy calls him "a nice kid" but says it "was like a bad high-school talent show. … really weak." Paula says he wasn't pitchy, calls him "an old soul" — and Simon presses whether she liked the song or not. "I don't like you," she says to Simon, but doesn't really pass judgment on Sanjaya. Simon agrees with Randy, only rougher — "very weak, a little weird." Paula gives him a chance to explain his performance. He brings up grandpa, forcing applause. He's got that meek-Melinda thing, only Melinda can sing.

After a break, Chris Sligh. Dedicated to his wife. "Trouble" ("Saved by a Woman"). His attitude troubles me some, but I like his singing. And he's kicking it tonight. B plus. Judges positive.

Another break or, as Ryan puts it, Fox has to take care of the Benjamins. He is so street.

Nick. Dedicating to his girlfriend. He wasn't with her on Valentine's Day so singing for her is "the ultimate valentine." And the song is … "Fever." Very lame sing-songy start. Peggy Lee and Little Willie John are hard to top, though. Maybe if he had done Springsteen's "The Fever" instead. … C minus. Randy insists everyone is better than last week, liked Nick getting back to "the Nick that we loved," even if he was pitchy. Paula also praises the "throwback" but wants him to "go for it." Simon thought it was good but that Nick lacked charisma. Questions Nick's wardrobe. Ryan asks Simon what he'd choose. "I'm not a stylist," Simon says. The discussion continues downhill, but Simon stops it.

Since we're in a commercial, let's pause to meditate on a Robbie Robertson lyric: "Take a picture of this/The fields are empty, abandoned '59 Chevy/Laying in the back seat listening to Little Willie John/Yea, that's when time stood still/You know, I think I'm gonna go down to Madame X/And let her read my mind." That's from "Somewhere Down the Crazy River," and we're back …

Blake. Ryan asks him about the "girls." Blake says their performances told him he should step up his game. Dedication: His parents. Song: "Virtual Insanity." With some scatting, and a bad hat. I like his singing about half the time, but the other half can be painful. B minus. Randy tries to educate people about Jamiroquai while praising Blake. Paula calls him "unique." Simon disagrees. "I like you … I thought the first part was completely copycat .. the second part was great" and in the third part "the tuning went." Interruptions, boos. Ryan argues with Simon that Blake wasn't copycatting. Randy chimes in. Simon finally says "I will bow to the god of Paula Abdul. I won't have an opinion." Blake tries to exit, Ryan makes him talk about the scatting.

And then we're in another break. I will spend it bowing to the god of Paula Abdul.

Brandon. Dedicated to his grandmother. "Time After Time." Interesting start. Struggles at the chorus — too slow. Doesn't sell the big part. C minus. Randy calls it "kind of boring." Brandon says he was trying to put his heart in the song and it didn't need a lot of extra. Paula stays on Brandon's message. Simon agrees with Randy. Paula takes issue. Ryan boosts Brandon, who also mentions that it's his father's birthday (as if the grandma thing isn't going to get enough votes). Simon snarks about the birthday — "and I love puppies." But come on, Simon, this isn't just a singing competition — never was.

Chris Richardson. Another grandma dedication. Song: Jason Mraz's "Geek in the Pink." Must be some interesting grandma. I like his style, but he's not sending me until near the end. Still, a decent B. Randy says, "Chris is in it to win it." Paula asks if grandma knows the song. Chris admits she wanted a country song. Simon calls it best performance of the night "by a mile."

Another break. I'm being a curbside prophet. (Hi, Kris!) The break includes more kiss-kiss for Jennifer Hudson.

Sundance. Dedicated to his son. Gets teary during the video. Then sings "Mustang Sally." Going for the soul thing. He's not Wilson. He's not even Small Paul and Drivin' Wheel playing in a biker bar in Phoenix. C. Paula goes standing-O. Randy says, "Wow wow wow. … You dropped the bomb on it." Paula says "I didn't know you had range like that." Simon says this is the Sundance "that we really really liked" — but "I still think you can do better." Ryan plays up the dedication to his son. But it's a singing competition, right?

Recap. I am thinking that they're being nicer to Sundance because he had a lot of votes last week — he's obviously playing to the Taylor Hicks constituency. Ryan says "the guys are back." Paula exults in agreement. Pressed by Ryan, Simon agrees it was better.

No chat with Foxworthy? I guess the umpteen promos were seen as sufficient. No, wait, Ryan closes the show with a plug, an introduction of Foxworthy, some chatting and a sample question. (A trapezoid, by the way, has four sides.) And we're done.

DISASTER. Something ate almost all my first 3 hours of blogging, and now I have to file. I'll try to reconstruct some notes later.

The red carpet, currently on E!, is not so interesting to me — although I did chuckle at Ryan Seacrest's trying to talk fashion with Rachel Weisz and noting that "there's a lot of Wang here … a couple of Wangs so far."
And the bride is having an excellent time looking at the outfits and saying "No, no, no …"

And Ryan Seacrest just flashed his underwear while Helen Mirren waited to be interviewed. Is this classy or what? And bless Mirren for augmenting Seacrest's movie fawning with the reminder that she did some good TV, too.

Loved Alan Arkin being Mr. Crankypants with Seacrest. (It's even better considering that he won later.)

Ryan drops Ricky Gervais's name to Kate Winslet. And mispronounces it. And is corrected by Winslet.

Here's the info on the latest podcast:

Listen: http://www.ohiomm.com/podcasts/american_idol/070222.mp3

Subscribe: http://www.ohiomm.com/podcasts/RSS/idol.xml

As for the show, spoilers after the jump …

It's that time again: About a minute of news wrapped in an hour's worth of filler. I'm already feeling a little queasy about what could lie ahead. DialIdol.com projects that LaKisha Jones, Antonella Barba, Melinda Doolittle, Sundance Head, Sanjaya Malakar and Chris Richardson will not be kicked off. Assuming that's correct, Sundance and Antonella will probably keep spots that should go to more deserving singers.

Anyway, show's on. Celeb coaches announcement: Diana Ross, Jon Bon Jovi, Jennifer Lopez, Gwen Stefani, Tony Bennett, Martina McBride, Lulu, Peter Noone, Barry Gibb.

Recap of the last two nights. Group sing: "Sowing the Seeds of Love." Guys begin it, and it's sad. The women work harder, but it's not something I want to hear again. And so to the break.

We're back. Ryan with the guys. Asks Nick if he's nervous. Says to Chris Sligh, "never nervous," and Sligh admits concern that he had seemed disrespectful of Simon. He's not , he says.

Lining up a row of guys: Brandon Rogers, safe. Sundance Head, safe. Argh. Chris Richardson, safe. Nick Pedro, safe. So far, no one in the row is going home. Blake Lewis, safe.

Paul Kim is out. He was at the bottom of my men's rankings, but so was Sundance. Usual advice and comfort from judges, followed by the Sing-The-Song-That-Ruined-You moment. And he's really bad again on "Careless Whisper."

Back from a break. Now we're going to check on some of the women. Again, a row is summoned.

Jordin Sparks, safe. Stephanie Edwards, safe. Sabrina Sloan, safe. Leslie Hunt, safe. Melinda Doolittle, safe. Antonella Barba, safe. Argh on the last one.

Amy Krebs gets the boot. I had her around the middle of the pack. though well behind the big three. (And I just noticed that I left a couple of names out of my end-of-night women's ranking. Will revise later.) Told to do her farewell song, she asks if she can do something different. No such luck. "I Can't Make You Love Me." Sounds worse than last night.

Announcement of American Idol challenge, trivia contest. Easy question. Will we also get a discussion of the new Idol camp for kids? Not yet. Fantasia appears in an ill-fitting dress. Ryan obligingly plugs her album and eases into her announcement that she's going to be in The Color Purple on Broadway. Ryan turns to Quincy Jones for comment — then cuts off Q before he can finish. Fantasia sings. Very pop, in a Dreamgirls way. This is how we pad an hour.

Back with the women. Haley Scarnato, safe. LaKisha Jones, safe. Gina Glocksen, safe.

Nicole Tranquillo is going home. Alaina Alexander, my worst of the night, is safe. Nicole's sing-off on "Stay" is so terrible, it reminds me of Alaina on Wednesday. Paula is up and dancing as she sings. Here's my new theory for her slurring voice: She has lost most of her hearing. That would also explain a lot of her judgment of vocals.

The guys. Ryan's worried about time being short. Chris Sligh, safe. Phil Stacey, safe. Jared Cotter, safe. A.J. Tabaldo, safe.

Rudy Cardenas is out. Sanjaya Malakar stays. Rudy was near the top of my list, but it was a list full of ordinariness. Paula speaks up for him. "People didn't get who you were," she says, adding that his falsetto is "amazing." I'm not so impressed but would have kept him around and dumped some others.

More later. And keep an eye out for a link to a podcast with me and Malcolm X Abram.

The women kick in the men's teeth, after the jump …

Starting a little late but will catch up in the commercial breaks. So far, I've seen the recap of last night's men's performances, which I would just as soon forget. And the first introduction of the women. Looks as if LaKisha Jones will close the show. Introduction of the judges. Ryan busts Randy for saying to take a risk, then saying singers were too risky. Randy disagrees. Paula struggles once again to be the Thumper of the judges. Simon pleasant. Ryan brings up the Chris Sligh argument; Simon says he likes it when a contestant shows a bit of spirit. Ryan presses the point, with a picture. Simon calls him obnoxious.

Recaps of the women leading into the break.

And we're back, feeling almost as smart as a 5th grader.

First up, Stephanie Edwards. Going old-school, which is the way the judges liked her. "How Come You Don't Call Me," almost jazzy. Shaky voice at first. Gets much stronger as she goes. Double-knee drop. C plus, although the last half was more like a B, and it feels better than last night already. Judges rave.

Another break, then we're on the couch. Ryan asks how the guys did. Discussion does not include criticism. Ryan presses, but no luck.

Amy Krebs. Makeover in progress — better makeup/skin now than in the audition footage. "I Can't Make You Love Me." So-so at the beginning. Closeups in HD show there's still a skin problem. She's picking up but not kicking it out. Too slow. C. Randy calls it "kind of a medium, middle-of-the-road performance." Paula agrees at some length. Simon asks for a translation. Randy provides it. Simon then says she "has the personality of a candle … there's nothing to remember." Paula acts offended. Didn't she just agree that she wasn't that good? Amy admits the judges have a point. Simon piles on more criticism. Ryan calls Simon "the fashion disaster."

Leslie Hunt. I think we're seeing more of her than we did through all the previous telecasts. Oh, no, she's going Aretha: "Natural Woman." Uh, oh, she's good. Well, not that good. Well, maybe. She works the camera like mad. C plus, and she could be very dangerous in this competition. Randy thought the song was a little big for her. Paula thought she did a great job but warned her about song choice. Simon says it wasn't great; thinks she looked embarrassed and ungainly. Snarking among the judges about Simon's dog-walker imagery. Ryan translates. Can no one speak clearly? Randy brings up the Dawg Pound — meaning the guys. Who in the real Dawg Pound would be chewed up, the marrow sucked from their bones, and the remains thrown onto a pile of empty beer cups.

And the recording has caught up with real time. No more fast-forwarding, alas.

Sabrina Sloan. Relishing a standing O from Paula in Hollywood. Has she not seen how many standing-O's Paula gives? More Aretha: "I Never Loved A Man the Way I Loved You." Holy crap. For the first time this week, I'm hearing someone I really really want to hear again. B plus. Randy says we finally have a season six competition; "yo, that's the one to beat right there." Paula gives her another standing O. Simon says she proved the point between taking part and genuinely having a desire to win, calls it the best performance so far.

Antonella Barba. Shouldn't be here. She was not as good as the woman she was paired with for the final pick. "I Don't Want To Miss a Thing." Another wobbly start. Bad on the chorus, too, but getting cover from backup singers and the band. After Sloan, she sounds even worse. Some improvement in the later stages but not enough. And yet, still better than the worst of the guys. C minus. Randy is suffering but has "to keep it real." Says it wasn't good. But Paula insists "it wasn't bad" and calls her "an amazingly beautiful girl." But the one she aced out in Hollywood wasn't bad looking. Simon says the song was "way way way too big for you." With Ryan's urging, she asks for advice. They say pick a better song. Simon says the performance was "like Ryan doing the news." Ryan says she was better than him doing the news.

Break, including another promo for the "O.C." series finale. Gee, remember when it was a good show? First season. But in the second, it was no longer DVR-worthy.

Oh, show's back. Jordin Sparks. They're working Simon's saying she was too sweet. "Give Me One Reason." Let me say it this way: THE GUYS ARE SO SCREWED. Grade: A. Could I order her CD now, please? Randy positive but tells her to challenge herself. "I don't know if there's any song too big for you." Paula says great song selection. Simon notes a big change, brings up the "sweet" thing.

Into the second hour. Nicole Tranquillo. Chaka's "Stay." Not good. Attitude is not supported by the voice. Good attitude, though. And the voice gets better. C veering toward a C plus late. Randy says "it wasn't really working for me." Paula asks the guys what they think. "What you expect them to say, that that was bad?" Randy asks. Paula praises the notes she hit. Does not acknowledge the ones she missed. Says it was "out of this world." Simon tweaks Paula, calls the performance "indulgent … aggressive" and fake. Randy adds "wrong kind of vibe." Randy later adds "too urban." Ryan tries to use her to pick a fight. Nicole's not playing, but Ryan still wants one.

Haley Scarnato. She's going for a ballad plus cleavage. "It's All Coming Back To Me Now." She's impressive, but this is a tough night. B minus. Randy labors again, then says it was just all right — nothing special with it. Paula thinks "you did a nice job" but hoped for a different song. Simon says she sounded 40. "A bit like being at a reasonably good hotel and that's the last song of the evening." He's forgetting that a lot of people over 40 watch the show — and vote often. Haley says she'll be true to herself.

Coming: Melinda Doolittle, backup singer. Third Aretha of the night, after the break.

And here we are. Ryan touts the Fantasia Barrino performance tomorrow. Doolittle recap. "Since You've Been Gone." Good start but she begins to lose me. Very capable, only there's a charisma gap here, I think. It's one of those things where Aretha transcends the song, and Doolittle is just singing it. C plus. Judges love it. Simon brings up that she has a good story — and that may sell her as much or more as her singing.

Alaina Alexander; Ryan reminds everyone that she's the crying one. Recap underscores that. "Brass in Pocket." HORRIBLE start. She is degrading Akron's sacred Chrissie Hynde. Send her home now. Worst woman of the night. She'd have to sing with the guys to seem good. D. Randy not pleased. Paula tries to soften the blow in translating Randy, but is also unthrilled. Simon notes the song is very difficult to make your own. BECAUSE IT BELONGS TO CHRISSIE HYNDE. Ryan brings up her passion; Simon says she can go to "Passion Idol." Ryan keeps trying to rescue her; Simon asks if he's trying to date her.

Gina Glocksen. "All By Myself." Good presence. Not overwhelmed by the voice yet. OK, there it is. I'm not entirely sold, but she ends OK. C plus. Randy loves it. Paula calls it "right song." Simon didn't think she hit the big note — especially in comparison to Celine Dion. Could we get some love for Cleveland's Eric Carmen, please?

LaKisha Jones — being touted in local news promos as having a Cleveland connection — and going with "And I Am Telling You I'm Not Going." Talk about raising the bar. Could I have that "holy crap" with cheese? It's not Hudson or Holliday, but she doesn't get to do the whole song, either. A. Judges exult. Simon says he's tempted to tell the other 23 singers to book their plane tickets home.

I said the guys are screwed. I was wrong. Unless they change the elimination rules, some really good women may go home while sub-mediocre guys get by.

Hey, Ryan brings up the quotas. Randy says he'd keep four guys and eight women. Could we hope even a little for a rules twist? Simon says three or four tonight were in a different league from the rest, and Jones has thrown down the gauntlet.

Final ranking: Sparks/Jones, Sloan (and I'd happily give them all a bye to the finals right now), Scarnato, Glocksen, Krebs, Hunt, Tranquillo, Barba, Alexander.

Here's the official word: Cable television’s critically acclaimed series The Closer returns to DVD when Warner Home Video (WHV) releases The Closer: The Complete Second Season on May 29, 2007. The four disc collection features all 14 episodes from the series’ second season, along with bonus material, and will retail for $39.98 SRP. …
In the show’s second season, challenges both personal and professional await Brenda as her relationship with Fritz (Jon Tenney) elevates to a whole new level, her mom (Frances Sternhagen, ER, Sex and the City) comes to visit and Kyra Sedgwick’s real-life husband Kevin Bacon directs her in the season finale. …
Bonus features on the DVD set include the featurette, Breaking Down the Closer, a gag reel and deleted scenes.

Ian Ziering gets a big advantage, Heather Mills moves on after Macca, and more, after the jump …

Although some of this has already leaked, here are the names and the bios direct from ABC:

LAILA ALI – Ali, an undefeated world champion female boxer and youngest daughter of sports legend Muhammad Ali, takes her footwork to the ballroom dance floor on “Dancing with the Stars.” Outside the ring, Ali has graced countless international magazine covers such as Glamour and Italian Vogue, and authored the inspiring autobiography Reach! She joins MAKSIM CHMERKOVSKIY, who returns for his third season.

BILLY RAY CYRUS – Singer/songwriter/actor and star of Disney Channel’s hit series “Hannah Montana,” Cyrus will partner with Season Three’s finalist, KARINA SMIRNOFF, who returns for her second season. Cyrus first entered the public spotlight with his hit song “Achy Breaky Heart.” His other acting credits include the feature film “Mulholland Drive” and the starring role in the series “Doc.”

CLYDE DREXLER – Named One of the 50 Greatest Players in NBA History, “Clyde the Glide” was a member of the 1992 U.S. Olympic Dream Team. He began his career in 1983 with the Portland Trailblazers and retired in 1998 with the Houston Rockets, a team he led to the 1995 NBA Championship. ELENA GRINENKO, who returns for her second season, will be his partner.

JOEY FATONE – The musician/actor/star of Broadway was a member of one of the most popular singing groups of all time, *NSYNC, which holds the records for the most albums sold in a single day and week. He has since starred in the movies “My Big Fat Greek Wedding” and "The Cooler, and in the Broadway musicals “Rent" and "Little Shop of Horrors.” Fatone joins partner KYM JOHNSON, who returns for her second season.

SHANDI FINNESSEY – During the most watched Miss USA® competition in six years, Shandi Finnessey was crowned Miss USA in 2004. She is the host of two game shows on the Game Show Network – “Lingo” with Chuck Woolery and “Playmania.” Newcomer BRIAN FORTUNA will be her professional dance partner.

LEEZA GIBBONS – Former host of “Entertainment Tonight, “Extra” and her self-titled daytime talk-show, “Leeza,” the TV/radio personality currently hosts the nationally syndicated radio program, “Hollywood Confidential." Leeza is also the founder of the Leeza Gibbons Memory Foundation, a nonprofit organization offering empowerment and education to caregivers and their loved ones diagnosed with any memory disorder. She teams up with TONY DOVOLANI, who returns for his third season.

HEATHER MILLS – United Nations Goodwill Ambassador, activist for Adopt-a-Minefield and advocate for animal rights Heather Mills will be the first contestant to compete with an artificial limb. She will be partnered with JONATHAN ROBERTS, who returns for his third season.

APOLO ANTON OHNO – Two-time Olympic gold medal winner Apolo Anton Ohno sets his sights on another trophy to add to his collection, the “Dancing with the Stars” Mirror Ball. As a short-track speed skater, Ohno has a total of five Olympic medals, tying him with Eric Heiden for the most medals of any U.S. Male Winter Olympian. JULIANNE HOUGH teams with Ohno in her first appearance.

VINCENT PASTORE – Known for his standout role in “The Sopranos,” actor Vincent Pastore has also appeared in several movies, including “Revolver,” directed by Guy Ritchie, “Gotti” and “Goodfellas.” He was also the voice of Luca in the animated feature “Shark Tale.” Pastore teams with EDYTA SLIWINSKA, the only professional dancer to participate in all four seasons.

PAULINA PORIZKOVA – As the former face of Estee Lauder, Porizkova was once the highest paid supermodel in the world of fashion. She was featured on the cover of several magazines, including the “Sports Illustrated: Swimsuit Issue” for two consecutive years. This Spring Porizkova releases her first work of fiction, A Model Summer. Season One champ ALEC MAZO returns for his second appearance.

IAN ZIERING – One of the stars of the hit TV series “Beverly Hills 90210,” actor Ian Ziering also played a supporting role in the movie “Domino,” and wrote, produced, directed and starred in the short film “Man vs. Monday.” He teams with two-time defending champion CHERYL BURKE, who returns for her third season.

In an exclusive first televised interview with a member of the Season Four cast, late-night talk-show host Jimmy Kimmel welcomes LEEZA GIBBONS tonight on ABC’s “Jimmy Kimmel Live” (12:05-1:05 a.m., ET).

“Dancing with the Stars’” fourth season will premiere Monday, March 19 with a two-hour premiere (8:00-10:00 p.m., ET). To offer viewers two weeks to see the performers in action before the first elimination, the first results show will air on Week Two. The second performance show, airing Monday, March 26, will also be two hours in length (8:00-10:00 p.m.), and the first results show will air Tuesday, March 27 (9:00-10:00 p.m., ET).

Hosted by Tom Bergeron (“America’s Funniest Home Videos”) and Samantha Harris (“E! Entertainment”), the celebrities will perform choreographed dance routines which will be judged by renowned Ballroom judge Len Goodman and dancer/choreographers Bruno Tonioli and Carrie Ann Inaba.

What was that cackle from Paula, Simon makes a bad fat joke and other notes, after the jump …

I had a church meeting tonight, so I'm about two hours behind on "American Idol" (and neglected to record "Veronica Mars" but that's another post). Fortunately, the early hype, the recaps and what-not will give me some quick catching up. Glad I didn't speed through Paula's weird cackle, though. There's a loop to be made of that. …

Audition vignettes. Hollywood vignettes. The Stones' "I'm Free" as background. Commercials. Way to zoom 10 minutes.

First up: Rudy Cardenas. More audition recap. Zooming to his song. "Free Ride." He's energetic, charming but a little tinny — not a lot of texture to his voice. The women contestants are clapping along but I don't feel a lot of enthusiasm. C plus. Randy thinks he could hear it any bar in America. Paula thinks he was fantastic. (What a surprise.) Simon does not find anything unique. Paula grumps. Randy says Simon is right. Paula insists his voice is fantastic. Ryan is already trying to pick fights between contestants and judges.

Commercial. Guys in the couch room. Ryan wants Chris Sligh to describe the buzz. He obliges. Filler filler filler.

Brandon Rogers, backup singer. Recap. I'm grabbing a soda.

Actually enough time for a soda and a tuna sandwich. Brandon does "Rock With You." I've liked this guy before but he's not sending me tonight. Poor on the high parts. And the beat — the band's fault — is sluggish. Disappointing, and nothing save it at the end. C minus. Randy's bringing out the "pitchy. … a little weird here and there." Paula says he did a great job — then tries to agree with Randy. Simon says he's a very good singer but "a safe and predictable song." He admits to Ryan that he wanted a song he was comfortable with.

Time for Sundance Head. The song is "Nights in White Satin." Oh, he's bad. What has happened to this guy since the auditions? He has a big voice but not much control of it. D. Randy says he has abandoned his bluesy vibe — and that's not good. Paula thinks he picked the wrong song. Simon calls him "dad at a wedding."

Paul Kim. "Careless Whisper." Almost spoken at the beginning and it doesn't get much better. Another D. Could we change the rules — maybe pick four guys and eight women? Randy feels it was weird at the beginning, but sees a lot of promise in him. Paula said he "kind of oversang the song" and he "didn't find your center." She seems disoriented. Simon says Paul should have his shoes on. "Who cares? It's a singing competition." Paula makes a stinky-feet swipe at Simon. Simon calls it "a third-rate version" of the song. Scattered boos. Ryan enters with his shoes off. "Way to be solid," Randy says.

Chris Richardson. Likes the Justin comparisons, and goes with a Justin-ish suit. "I Don't Want To Be Anything Other Than Me." (I had to look it up.) So-so, not great, but on this night at least a C plus. Randy says the show just started. "You made it kind of work." Randy misidentifies who did the song; Simon corrects him. Paula almost forms a sentence in praising "great arrangement, great flavor." Simon thought it a bad vocal but likes Chris. Randy disagrees. Paula snaps, "Oh, whatever."

Nick Pedro. Ryan tries to make him nervous before the performance. "Now and Forever." Pleasant. C-ish. (Hey, I'm tired.) Randy is giving him an "I don't know" and "it wasn't good for me. … I feel like I lost Nick." Paula thought it "kind of fell flat." Simon "didn't think it was that bad, actually."

Rounded the turn into the second hour. Blake Lewis, the beat box. Going ballad-y ith "Somewhere Only We Know." A little trouble on the high notes, but not unpleasant. C. Randy missed the beat-box but also liked it. Paula thought his vocals were "spot on." She may not be able to hear through … that hair. Simon calls him the first person who has sounded like someone in 2007. "By far the best performance we've had tonight."

By the way, Ryan is annoying me again. He loses a lot between auditions and the real competition.

Sanjaya Malakar goes Stevie Wonder, "Knocks Me Off My Feet." Very raw through much of it; a little more authority at the end, but still not there. D plus. Randy is not pleased. Paula thinks he's "a sweet soul" but wants more personality. Simon notes that the song says "I don't want to bore you with this" and says half the band was asleep. Paula takes umbrage. Randy says "it was bad but it wasn't that bad."

Chris Sligh. "Typical." Reminds me of Chris Daughtry in the I-know-what-I-am way, good command of voice and the stage. C plus/B minus. The judges-plus-Ryan hit a new level of bickering. Chris mouths off at Simon by saying "just because I don't sing Il Divo or Teletubbies …" Simon, who has been pretty good this season about staying away from the fat jokes, says Chris could do "the latter." Eek. Simon is very ticked. Ryan won't let the Teletubbies thing go.

Back to the couch. Ryan wonders if Jared Cotter is ready to face the judges "after all the fireworks" (which Ryan kept burning, by the way). He's cute but he is having big problems with the vocal on Brian McKnight's "Back at One." Another D, maybe a D plus for finally hitting a high note. Randy admits "it's a tough song" but it was all right. Paula wants more up-tempo songs. Simon thought he was nasal-y.

A.J. Tabaldo. We're getting near the end of the performances, so there should be some good stuff to send us home with. He's doing "Never Too Much." This is not just a Luther song, this is one of my favorite Luther songs. He's got personality but in the parts where he should kick, he comes up short. C. Randy approves. Paula thought he did a great job — but "go for it more." Simon thought it was good, "nothing great, nothing terrible. … kind of a theme park performance." Wants more daring.

Phil Stacey, sailor and new dad. Terrible start on "I Could Not Ask for More." Much better when he picks up the mike and tries to sell the song. C/C plus overall. Randy thinks it was the best performance of the night. (So does my bride.) Paula's in love. Simon calls the beginning "absolutely monstrous" but says it got better. Ryan says Phil has "the Britney Spears haircut" — but the show was probably taped before her return to rehab, which Ryan was hyping on E! earlier today.

So where am I? Still not going crazy over any of the guys. My ranking works out to, in descending order, Chris S, Rudy/Chris R, Phil, Blake, A.J., Nick, Brandon, Sanjaya, Jared, Sundance/Paul. Definitely time for Sundance to go home, but voters are tricky.

And that's it for tonight.

It's time for the elevator ride, after the jump …

The gang of 40 has gathered, knowing a bunch of them will be going home. As is traditional, they have to go from a waiting room up a camera-bearing elevator.

Sanjaya Malakar first. Bit of him singing "Some Kind of Wonderful." Sister didn't make it to the 40. He is one of the 24.

Anna Kearns next. Sang "Respect" in Seattle. The "giraffe" as Simon called her. She calls him on the comment. He apologizes. But she doesn't go to the 24.

Bernard Williams. Birmingham auditions. No go.

Eric Davis, Tami Gosnell, also out.

Melinda Doolittle. Background singer. Was very good in Hollywood. Simon says her being a backup means someone is usually better — but she is good enough for the round of 24.

Back to back background singers. Brandon Rogers. He's a 24.

I've been watching a lot of TV in real time lately. And reminded how much more fun it is to be able to fast-forward through commercials. Especially ones I have seen about a hundred times before.

We're back for what Ryan is calling the "final judgment." Seems to me "Idol" has that in May.

Gina Glocksen. Paula is showing empathy — then says she's in the 24. "Shut up!" Gina says. Tears of joy in the elevator.

Jimmy McNeal, Errick Johnson, no go.

Haley Scarnato is in the 24. Philip Stacy, had Simon and Paula swaying with his song in Hollywood; had missed his daughter's birth for the auditions. Is also in the 24.

Back from the break. Plug for "The Simpsons" movie (which was screened for the Hollywood group). Includes premiere date. A visit to the "Simpsons" studio. And then Chris Sligh (big-curly-hair guy).

Simon says he's one of the most popular contestants but not one of the better singers. Still, he's in the 24.

Beat-box boy, Blake Lewis, is in the 24.

Thomas Lowe does not. Rudy Cardenas, last of the group with Sligh, Lowe and Beat-Box, is in. About halfway through the show, I think we've seen nine of the 24.

Paul Kim relaxes during the wait by going barefoot — and with lucky underwear. In the 24, although Paula says it's a "split decision."

Jordin Sparks. Randy says she was good in audition, nervous in Hollywood. She's in 24.

Quick run of three women who were rejected'; will fill in names later. A.J. Tabaldo, trying to get through for the fifth time, gets through.

Stephanie Edwards. In 24.

Leslie Hunt, also in, even though she didn't sound as good as Edwards or Tabaldo on Stevie Wonder's "Until You Come Back to Me."

Nicholas Pedro, dropout in Hollywood before, gets through to the 24 this time. They've jammed through a bunch since the last break.

Alaina Alexander, a constant crier. Looks as if she's going to cry even before they tell her the news. "I don't want to go home," she says. Really bad clip of her singing in Hollywood. "We thought about this a lot," Randy says. She's in. Starts asking for advice. "Probably blow your nose," Simon says.

Chris Richardson, in. Sabrina Sloan, in. Jerome Chism, out. Joelle James, out. Matt Buckstein, out. Princess Johnson, out. She asks the judges one more time before she leaves. Answer's the same.

Strong-voiced single mom Lakisha Jones. Simon asks if she thinks she's done well. She does. If you don't make it through, what will you do? Simon asks. No regrets? he adds. And then, she's in. And Simon, near as I can recall, hasn't made a snarky comment about her size. Is enlightenment possible?

I'm scribbling desperately as I go, and have 10 guys picked and nine women so far. At least this makes for a fast-paced hour, commercials for "The Wedding Bells" notwithstanding.

Seven contestants left. Nicole Tranquillo, in. Jared Cotter, in. One guy spot left. Amy Krebs, in. One woman's spot left.
It's time for the two-chairs, one winner ritual.

Antonella Barba and Marisa Rhodes are the last women. "It's time to keep it real and bring down the truth," Randy intones. Antonella makes the 24, Marisa does not. I am thinking of the end of "For Your Consideration," when actors have to deal with being described as nearly getting an Oscar nomination. Marisa is sobbing in the elevator.

The guys. Sundance Head, who was not good in what we saw of Hollywood, and Thomas Daniels. They shake hands in the elevator. Thomas is jumping up and down. Sundance gets the spot. Paula tells Thomas he's "brilliant." Then what does that make Sundance? Thomas bleeps in the elevator. Sundance says that, if he makes it, he'll hire Thomas as his bodyguard. This does not appear to strike Thomas as a great offer.

Dancing recap of the 24, women first, then men. Credits roll as men dance. Next week, the real deal.

The piles are above the ankle, more is coming and the snowblower has already given up. But we're inside watching "Idol." Immediate shocker, after the jump …

Well, the first group of six women sing, 30 individual seconds each, and the judges send them all home, presumably because the Hollywood mob is loaded with women. Goodbye to Jory Steinberg of Santa Monica, Geri Guyer of Altoona, Pa., Kelly Caruso of Pittstown, NJ, Lisa Morrison of Selden, NY, Christen Itam of Fredericksburg, VA, and Jeromisha Lemar of Philadelphia. "None of you are any good," says Simon. "Absolutely terrible start."

Commercial congratulating Carrie Underwood on her Grammy success. Of course, she made sure to thank "Idol" during her Grammy acceptance.

Next group: Perla Meneses of Margate, FL; Rachel Jenkins, the Army reservist (with husband in Iraq) from Minnesota; four unidentified others. Perla and one other go on, although Simon calls Perla "personality over talent." Jenkins is among the four sent home.

Texan Baylie Brown gets a sizable bit of singing time on the air. And she's good. She moves on with what looks like two others. (The show is not identifying many contenders.) Other ousters: Sarah Burgess of East Palestine, Ohio; Ashlyn Carr and Porcelana Patino.

Is there a twist coming? Ryan wonders if they cut too many on the first day. Final woman, Nicole Turner of Richmond, CA., argues with her mom about what to sing, finally agrees to Aretha's "Ain't No Way" to make mom and aunt happy. She gets sent home along with an "Ashley." Nicole tearful, mom goes to the judges to ask for another chance. Simon says it wasn't the song. Nicole says "I didn't feel the darn song." Arguing. Paula calls Simon obnoxious. Paula is, as so often the case, wrong.

Quick caps of more women let through. 114 women went to Hollywood, 56 were dumped the first day.The guys sing after the break.

First guy we see: Sundance Head, but no judging. Then former Hollywood guy Brian Miller of Placentia, CA; we hear him sing. "The boys are starting way ahead of the girls," says Randy. Next: Navy guy Jarrod Fowler of Arizona. Then Matt Sato from Minnesota. Michael Lawson, Sato, Chris (the big-curly-haired guy) and a fourth guy get through. Fowler doesn't. Sato makes another happy-tearful phone call home.

34 guys get through, more than half.

After the break, the 92 contestants are told, in Ryan's words, "it's time for the infamous group round." They can team up with anyone, and choose a song from a list of nine. One woman has no group. Matt Sato has no group, then gets invited into one. Matt Buckstein, a Hollywood retread, puts a group together quickly. Chris Sligh, the big-hair guy, struggles with choreography.

The usual drama of not all groups in synch; Baylie Brown's is one with arguments. Another group bickers at the hotel. Now Baylie's group is struggling with lyrics. Been here, seen this. Amanda (from Baylie's group) goes to ogle guys. Other bickering hotel crowd bickers more. And so to the break.

And back. 8 a.m. on group day. Ryan: "Some groups have gelled … but elsewhere cracks have formed." At the judging, Simon warns the contestants to know the words. Clip of singer ousted for botched lyrics. Matt Sato botches lyrics, and sings badly. He's out. A last phone call home.

Back to the Bickerettes. Gina Glocksen, Perla Meneses (who botches the words and sings badly), Marisa Rhodes. fourth unknown. Perla is bounced, the others kept for the final round.

Chris Sligh, Rudy Cardenas, Blake Lewis, Thomas Lowe all shine as soloists; bad harmony, but all four go through. Back to Sundance Head. Rocky on his first day, but got through. Second day, he's with L'Paige Bedford and Robyn Troup. They're unimpressive. He's worse. Lots of yelling. But he still gets through, although he says, "I am not an example for anyone trying out for this show." Simon says they were gentle to let him through.

The Return of Baylie's Bunch: Antonella Barba (bad), Brown (who forgets the words), Amanda Coluccio, who seizes the moment. Brown's out. The other two survive. Baylie says she worked harder and confronts the others. No matter.

All told, 36 people sent home on the second day. 56 remain. A teaser about a final decision. The usual putting individuals into three rooms in groups. Twenty people in the first room, including Chris Sligh; they all get to stay. Second room (another 20) also gets through. Third room: Bye-bye. Antonella makes it but not Amanda. Sanjaya gets through but not his sister. Credits roll. Tomorrow night: Forty becomes 24.

Tomorrow: 40 goes to 24 — 12 men, 12 women. Is it just me, or does it feel as if the show is moving very fast?

Night of the nonstop nicknames and other stuff, after the jump …

Haven't gotten through all the Thursday night shows I wanted yet, but here's a start:

Boo, Rocky, Dreamz — "Survivor" was indeed the night of the nonstop nicknames. Reasonably diverting episode, especially for the premiere, but I'm still trying to sort out characters. It was better, though, to have put aside the deliberate racial baggage from last go-round, since the issue will arise anyway just from the people interacting. I'll be back for more.

"Grey's" felt off. Probably the burden of coming up with a big, multi-part sweeps story. Didn't buy Izzie spending so much time with one patient. Meredith's end-of-episode plunge was silly. There was a real lack of urgency in the way everyone approached the disaster, at the scene and at the hospital, and a distinct absence of organization at the scene. Bailey when written properly doesn't allow that level of chaos. And, while it may have been partly because I was so tired when I started watching, the whole episode felt slow — dragged out, again probably a function of having to keep the story going for at least another week.

"The Office" was one of those make-you-squirm episodes more than a make-you-laugh, as Michael longed to be the center of attention at Phyllis's wedding. My buddy Alan Sepinwall mentioned this morning that the cake scene at the end felt out of place, and it is — Michael should have been kicked out of the reception by that point. My guess is that it was a deleted scene they decided to tack on before the credits, knowing that it gives them an easy cut for syndication.

In case you're wondering if I had anything to say about Anna Nicole Smith, you can find today's column here.

Malcolm X Abram and I talked about the last of this season's audition shows — and about what could lie down the road.

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Last night I was at a screening of "Music and Lyrics." More about that in a later post. For now, let's take a look at "American Idol," after the jump …

Last shot before Hollywood and 172 contestants sent there. Scandals and ousters already being reported as the field has narrowed and the investigative focus sharpened.

Framework is lessons in auditioning. "Lesson 1: The Look." "That snappy little outfit might be just what you need," intones Ryan as we see distinctly not snappy garb. Focus on woman in checked shorts, red pumps, hat with veil and stuff I can't begin to describe. Singing not worth describing. "I don't know what that is," says Paula, probably not for the first time in her life. Tension with Simon, who refers to the singer's dancing, prompting a Paula snap that "that wasn't dancing." Singer asks if she can do something else. "Juggle," says Simon. Paula looks short on sleep and long on crabby. Singer cries. Judges vote again. Still a no.

Memphis audition. No fancy clothes on Tami Gosnell, 29, of Colorado, but a lip ring. She does "Whipping Post." Not bad, although I miss the Allman Brothers. Simon's nodding. "I really really like you," he says. Big three votes for Hollywood. I'm ready to hear her again.

Fast-forwarding through teaser and commercial break. "Lesson 2: Seek Inspiration." Singers mention ones who inspired them, including Paul Kim, 25, of California, inspired by William Hung because he wants the world to know that not all Asians are bad singers. Does "If I Ever Fall in Love." Has studied his smooth R&B. Yes from the judges, including Olivia Newton-John. Paula offers an extended compliment, Simon keeps rushing her. Hollllllllllllywood.

Singer inspired by Bo's acappella. Apparently took inspiration instead of singing lessons. Simon calls him "deluded." "I apologize," singer says.

"Lesson 3: Never Give Up." More repeat auditioners than ever, Ryan says. Woman who loves Simon, trying for third time. Oh, for pete's sake, could we put a stop to "Black Velvet" auditions? Gina Glocksen, 22, Naperville, Ill., replicates the recording, but that's about it. Still gets three votes for Hollywood.

Back from a break. Sequence of contestants talking about how much they like Simon. Snarling at Randy. Props for Paula. Leading into a Paula fan so excited that she gives him a hug. Too bad he can't sing. Simon cracks wise, then makes Paula comment first. She struggles, praising his coming down, says he has a lot of heart and "it was a pleasure meeting you." But no vote for Hollywood. The guy is still happy for meeting Paula. And somewhere singers are screaming because they didn't get to the judges just so this guy could get mushy on camera.

"Lesson 4: Audition on Your Own." Three roller-skating California carhops, in the tradition of Kellie Pickler. First one can't handle "God Bless the Broken Road." Second, Ashley Cleland, 17, decent on Sarah Mac's "Angel." Simon cuts her off. Third, Ebony Jointer, 23, goes for Whitney's "I Believe in You and Me." Breathy but a lot of presence. Best of the lot, IMHO. "You can sing the phone book and it wouldn't matter," Simon says. "You're in a different league." First one not voted through. Ashley next; Paula criticizes her makeup — and blanches when Ashley calls it "motherly advice." Ashley still gets enough for Hollywood. Ebony, too, with no argument.

Long "Shrek" promo. Sequence of bad, or at least misguided, singers. Focus on one composer-singer. Olivia Newton-John seems in shock. I could actually see this song turned into some kind of arena-rock anthem — if done by a much better singer and good band with more foot-stomping. But he's not getting Hollywood.

"Lesson 5: Shake Your Moneymaker?" Sequence of auditions involving dance. Sadly. Much obviously shot apart from the auditions. Leads into 28-year-old from Nashville who picked up moves from Paula's dances. Squeaky falsetto, though. Simons says he'll never be a good singer — but Paula tries to ease the pain, calls him a "good person," hugs. Randy shakes his hand. But no one wans him in Hollywood.

"Lesson 6: Clarity." Leading into "Name That Song" bit, with singers butchering the likes of "Let's Stay Together." Salvation, hinted at in promos, is Lakisha Jones, 26, of Fort Meade, Md., who rips into Aretha's "Think." "Love this girl," says Simon, calling her "a good old-fashioned belter." Paula says "brilliant." Easy Hollywood.

Commercial, then video recap. Banter, dancing, Big Bird woman, endearing old guy, Castro-looking guy and so on. Promo for Hollywood. "The guys vs. the girls in our most ruthless competition yet." "I'm going to go back to being nobody," laments one performer. It won't be the first time.

San Antonio, and some guy who thinks he sounds like Billy Idol and Ozzy, after the jump …

Idol/Ozzy guy in fact shouts more than he sings, and is a quick reject. Ryan asks him to sing "Beauty & The Beast" outside. No better.

(Since I joined here a bit late, I haven't yet mentioned that the crowd song was the theme from "Rawhide." Does no one know "San Antonio Rose" anymore?)

Next: Haley Scarnato, 24, of San Antonio. Good-looking and not the worst singer on "I Can't Make You Love Me." Seems a Hollywood shoo-in. Simon thinks she's OK but "a bit cabaret," and gives her Hollywood. Ditto Paula and Randy.

Commercial, so this warning: Online seems a bit balky tonight. So if I vanish, it's technical difficulties.

Another commercial, so let me mention the attempt to find a naughty incident in Prince's halftime show at the Super Bowl — and say that the people trying to create it are looking for things where there aren't any. Some folks just want to find trouble in the post-Janet era. But Janet's action was unambiguous and … oh, the show is back!

Singer in what looks like a hand-lettered "Peace/Pure Love" shirt. She supposedly sings in a choir, but it must be the way Barney Fife soloed in that show on "Andy Griffith." The judges are saying no, the singer calls them rude. Randy says "it wasn't good." She says she's never heard of Randy before "AI." Tears outside. More trashing of the judges. Ryan: "Those are my friends. Two of them."

Small-town girl with a mom who looks young enough to be a contestant herself. Bailey Brown, 16, of Krum, Texas, doing Faith Hill's "Stronger." I like her tone. And very "Idol"-moldable, I suspect. She also gets stronger as she goes along. Simon says she's "born to be a pop star." Hello, Hollywood.

Another commercial: So … Janet was unambiguous and the reaction immediate, while there's a lobbying effort to declare Prince inappropriate. Waste of time and energy, and I don't care how many freeze-frames and blogs try to proclaim otherwise.

Back to the show. A very slow bit about trouble with the doors to the audition room. Didn't we see this before? In fact, its a blend, since we're seeing different doors. It was sort of amusing earlier in the season. Now, filler.

Two cousins, roommates, one who considers himself Bruce Banner, the other the Incredible Hulk. The Hulk does an "Amazing Grace" that has Paula and Randy laughing. Gee, Paula, isn't he beautiful in his own way? No Hollywood. Fakes an angry reaction for the crowd outside.

The other cousin, Akron Watson, 23, of Dallas. "A Change Is Gonna Come." Not very good either. Simon was bored. Paula urges him not to bore Simon. He tries "Let's Get It On." He gets Hollywood. Must make a note to ask the bosses if being named Akron counts as a local connection. (UPDATE: TMZ.com reports that Watson has been dumped. See the full story.)

Commercial: Hey, it's the talking Taco Bell lions!

Sequence of spectacularly bad singers. Extra air time for one singing "Vogue." More extended bit on one who does an incomprehensible "Black Velvet." Cries when rejected. Leads into Ryan's reference to "San An-Tone-Deaf."

Relief comes from Ashlyn Carr, 18, Sugarland, Texas. Beaten up in high school by "this big girl." Knows the work of Nina Simone and Michael Buble. Great smile, even if it doesn't go with the song. I'd send her to Hollywood. Randy is "a little confused." Paula says she needs to watch herself perform. Randy says no. Paula likewise. Simon says he would have said yes. Lots o'tears.

Simon says they made a mistake. Randy says bring her back, and they do. And it's a cliffhanger — her second try held until AFTER THE BREAK. Simon says choose a song the judges know. She picks "Inseparable." To me, not as good as the first time. Simon says she has some bad habits but that "there's something about you … too good to pass up." Randy says yes this time. Paula ditto. Simon likewise. She gets Hollywood.

Time for a semi-scary guy. Not Hollywood. Bleep-fest. Another ad break, then Jimmy McNeal, 23, of Waxahachie, who says he's singing "Cupid" — then gets to it via "Another Saturday Night." They must love Sam Cooke in San Antonio. And why not? Simon calls him "a little fun Ruben." Paula offers a little hand jive. Hollywood is on McNeal's itinerary.

End of San Antonio. Tomorrow: A roundup of stray auditions, "best of the rest" and "worst of the worst."

Colts. Bears. Talking lions. K-Fed. Katie. Dave and Oprah. Rainy night in Florida (and on CBS camera lenses). Prince rules. More after the jump ...