The Boondocks - Season 3 Premiere Review: "It's A Black President, Huey Freeman."

I’m not entirely sure how I got into watching The Boondocks. Indeed, there must have been some moment that compelled me to become an avid viewer, desperately waiting for my fix of Robert, Ruckus and even A Pimp Named Slickback. And what a long wait it was. See, before Sunday’s premiere, I had never seen an episode of The Boondocks on TV. No, it must have been because I jumped in on the craze quite late, sometime after the second season had finished airing, I think. Regardless, I opted to purchase the first two seasons on DVD, and watch the episodes back-to-back in maybe three sittings. It was, like most good shows, addicting. Funny, smart, and, most importantly, bold, I had increased respect for not only its creator, Aaron McGruder, but also the whole crew behind it.

And then I saw the series’ degree of inconsistency. Some episodes were fantastic, toying with ironic humor in ways that few cartoons could. Aaron McGruder had, at these moments, almost perfectly evolved the show from its comic book beginnings into a spectacular television show that, in many ways, was autobiographical in nature. But, at other times, the episodes simply fell flat, unfunny and uninspired, leading many to wrongly assess The Boondocks as nothing more than a patchwork of crude stereotypes. That couldn’t be further from the truth.

Regardless of some its strong outside-perceptions, The Boondocks was still a hit with both critics and viewers, spawning several a YouTube phenomenon. And thus, as its second season drew to a close, fans were eager for more. Unfortunately, “more” took quite a long time to come – over two years, in fact. Even with Mr. McGruder’s 140-character “explanations” on Twitter, I’m still not entirely sure what took so damn long. But, finally, The Boondocks is back, but is it, as the clichéd term goes, better than ever? No, not exactly, but, if the premiere was any indication, it’s still is the same show we know and love, minor problems included.

Upon hearing that The Boondocks’ third season would premier with an episode centered on the election of Barack Obama, I was kind of skeptical. On one hand, I realized the potential the show had with such subject matter. In fact, throughout much of the 2008 election season, I had wondered what The Boondocks’ take on the event would be. But then, as the gap between seasons two and three became even larger, the opportunity to place a relevant spin on the election was quickly slipping away.

My concerns need not have been so strong, though. Irony alone saved the show from appearing late to the party. In the end, I rather enjoyed the show’s take on 2008’s historic election season and, to be honest, they handled its presentation even better than I had expected.

The story, in essence, is told through a German-produced documentary, recounting the election of Barack Obama and those of Woodcrest’s attempts to either help or hinder his chances of reaching office. While not the most original method of exposition, the show handles the format fairly well, even if the narrator is a bit of an annoyance. The film-style allows for large gaps of time in between segments, and, as such, the show jumps from one date to the next rather freely, pushing closer and closer to Inauguration Day. Along the way, some of the show’s characters demonstrate their role in Woodcrest’s rather far-fetched connection to the Obama campaign by way of short interviews. Each, save for perhaps Huey, express the stereotypical views of some of 2008's stranger members, albeit it in a humorous and (mostly) exaggerated manner. There’s Riley, who seems to think that a black president will translate to zero homework and give him the liberty to “act the fool” (see: those who thought they would be exempt from taxes with Obama as commander in chief). There’s Robert, an alleged civil rights activist who claims that he paved the way for Obama’s election, even if he knows little of his actual policies. There’s Tom Dubois, an active campaigner almost in love with him, and his wife, who practically is in love with him (even though her husband is somewhat like Obama). Thugnificent has a pretty large role in the premiere as well, even though, five minutes into the episode, he didn’t even know who Obama was. Upon research, however, Thugnificent decides that, since Obama is popular, his acceptance of the candidate into his image will only make him even more popular. Thus, by the end of the episode, not only does the rapper don tighter clothes and a new tagline, but also a false appearance based merely on hopes of furthering his fame as a celebrity (he even joins will.i.am in the hilarious song “Dick Riding Obama”). There’s also Uncle Ruckus, who, predictably enough, is an extreme right-winger and absolutely livid at the thought of a black man and his “monkey family” in the same building that Truman called home.

And finally, there’s Huey, unable to fit into any of these peg holes. In more ways than one, Huey is Aaron McGruder, or at least the bearer of his political tendencies. When asked his views on Obama, Huey responds with an impartial “eh.” That’s after, of course, he takes the time to admit he’s no longer a domestic terrorist. “I’m retired.”

Huey doesn’t see Obama as a problem, but neither does he consider the man a solution to the ills of the United States. The fact that an African-American made it to the Oval office does nothing to excite him, and Huey’s not going to celebrate Obama simply because he can identify with his skin color. He’s merely another politician with an agenda and a couple of policies. Whereas all others understand Obama as a revolutionary, Huey knows that, in the end, these thoughts are simply irrational. And, because of his feelings, Huey is labeled and discriminated, and, resultantly, he feels even more out of place. To onlookers, he’s the same as Uncle Ruckus: a hater.

Towards the end of the episode, things shifts gears to the current day, and nearly all views on Barack have changed; people are disappointed that, really, everything’s still the same. Huey, as it seems, had the foresight, and was willing to accept that Obama may not be all that he was hyped up to be. Change, in Huey’s eyes, is not something that can come instantly, and is rather the result of a conscious and consistent effort, not one man. And, as predicted, life went on virtually unchanged with Obama in power.

So, with all that analysis, the season three premiere must have been fantastic, right? Well, not entirely. Sure, while the documentary lens granted some advantages and creative freedom, the character interactions didn’t seem personal enough, especially considering we’ve been without them for two years now. And, as well, some plot devices came off a bit silly, though these quips didn’t dramatically hurt the premiere. At the heart of almost every episode of The Boondocks, there’s a lesson to learn, and, though some are more pointed than others, each teaching finds subtle ways to reveal itself. Season three’s debut, on the other hand, was a little more deliberate with its meaning, though, in some ways, that was perhaps its biggest asset. 

RATING FOR THE BOONDOCKS-SEASON 3: It's a Black President, Huey Freeman (OUT OF 10)

The State of Television

Note: This week’s post will be shorter than the last 1,000 word+ epistle. Granted, it wasn’t that long, but I do want to write content that people will actually read. And, on the Internet, what people read is usually in a concise format. Anyway, without further introduction…

Contrary to what you may assume by my post title, television is not in ruins. Rather, it is entering a state of transition. Indeed, come May, mid-season shows will end. It’s just a matter of which ones are ending for good and those that are merely taking a break, only to return in 2011 with another season. Right now, however, let’s forget those shows that have been renewed; they will be discussed later. Really, what’s important, are the programs that will conclude indefinitely, a few marking the end of an era for TV.

If you follow me on Twitter (and *sarcasm,* who doesn’t?), you may have an idea of which series I’m talking about. Yes, 24 is one of them, and Lost is the other. Two phenomenal dramas that have had excellent runs and hoards of critical praise, and, save for notable exceptions from each series, both were consistent in quality throughout their eight- and six-season timespan. And, for any show, regardless of its genre, that’s an impressive amount of time to be on television. With such highly-competitive slots these days, most series will be lucky to move beyond eight episodes, let alone eight-seasons.

But it’s what these two shows brought to the television medium that was so significant; not just their substantial (and well-earned) airtime. They, in effect, raised standards for network television, demonstrating that channels other than HBO could sustain deep, story driven shows. The stale “case-of-the-week” format was scrapped in favor of a more engrossing story pattern that welcomed episodes that served solely to develop characters rather than the plot. And thus, greater connections were formed between the figures on-screen, and the families watching at home.  These characters mattered more because they were imperfect and, much like we do, had a history. A lesson wasn’t learned one week and then quickly forgotten in subsequent outings. Instead, choices mattered, and one had to deal with their action’s outcomes in future episodes of the season or series. In effect, a reward/punishment scenario could be created, one that thanked long-time viewers for tuning in each week, or scolded skippers with plot confusion. There was simply more incentive to start from the series’ beginning rather than jumping in on a work in progress. With more and more shows following in these early 2000’s debuts, serialized dramas flourished, and demonstrated their success in captivating audiences.

Other elements were reinvented, too, namely the impact of cliffhangers and how they came to be expected from gritty dramas. 24, in 2001, found itself pioneering these final moments on network TV, shockers that begged you to tune in next week, eager to see the implications of one single event. Granted, after a few episodes, viewers soon knew that after the final split-screen was shown, the scenes that followed could very well be the most significant event of the entire 43-minute show. But, especially in the earlier seasons, they never ceased to shock and leave an audience longing for continuation. As expected, viewers would speculate, whether alone or with friends, the possibilities for next week, strengthening the impact of the show even as it was off-air.

And these shows, film-like in the budget and scale, soon became made-for-DVD, sometimes surpassing sales of their studio-made counterparts. Audiences, unnervingly opposed to commercials and week-long waits to progress in the show's timeline, would simply (and ironically) look for the show to finish its run and then pick it up on DVD, watching it in its entirety in a couple of sittings. Some, including myself, still claim this to be the single best way to watch a serialized show. 

Now that two of the decade’s greatest shows have come to a close, what does that exactly mean for TV? Well, not as much as you’d think. Fandom aside, Lost and 24’s departure is not detrimental to the landscape of late-night dramas. In fact, they more than served their purpose, laying the much-needed groundwork for future shows to follow. Their contributions to the entertainment world are wholly visible, and, as such, never will be forgotten. Just as Lost and 24 did, new shows will come along and rework the formula, spawning intricate, innovative and complex devices that will beg for attention and acclaim.

And I just can’t wait. 

24 - Day 8: 11:00 PM - 12:00 AM Review (plus, recaps and mini-reviews from hours before)

- FOX

Yes, yes, I know, I know... I missed two hours. I get it. Anyway, to mildly compensate for my "slacking off" (if that's what you want to call it), before the actual review of hour eight I have two mini-reviews of the hours preceding it. Aren't I nice?

RECAP & REVIEW: 9:00 PM - 10:00 PM

Dana Walsh: Dana the dipstick keeps making stupid decisions, burying herself into even deeper trouble on her own part. Seriously, the side story, already heavy on the cheese and unbelievability, did not get any better. Thankfully, however, we didn't see much of a it. A few short scenes were all that were necessary to only slightly push this terrible plot forward. At the beginning of the hour, Dana, rather than thinking even somewhat rationally, gives her redneck 'friends' a call, informing them of a location where they can cop an evidence container worth over $100,000. The two, obviously, are happy with her findings, and give each other an honorary high five (if that's what it was...). And... that's pretty much it. Nothing else about this story is worth mentioning. Not impressed. Moving on.

President Hassan: Not too much went on at the United Nations this episode... save for Mr. Hassan getting more paranoid of the people around him by the second, ordering arrests for almost everyone he knows or suspects has dealings with the people wishing to impeach him. The ones who once trusted them, obviously, are bewildered by his actions and demand him to calm down and revise his ways. Hassan is adamant that his cause will not be obstructed, and proceeds with his antagonistic manner, demanding that a man from within his own party is arrested and questioned at length. While the plotline isn't necessarily badly written or illogical, it's not particularly compelling. Something major needs to happen down the line for the pace of this these slow moments to quicken, because, right now, it's just wasting time.

David Anders and Company: In the episode before, Sergei's son, Josef, arrived at doctor's office requesting, no, demanding that his suffering brother be treated for radiation poisoning. In time, daddy calls, wondering why they have not yet reached the cottage, where they were supposed to be. OF course, Sergei becomes suspicious of the two and sends several of his men to investigate, following Josef and his brother's trail. Later in the episode they show up, killing everyone in the office and exfiltrating the two. Upon their return to their father's restaurant, they find an unhappy Sergei, furious that his son had defied him. Maddened and aware that Oleg, his sick son would not survive, he shoots the boy with Josef looking on in fear. Apparently, Sergei is a man who will do anything to meet his goals, even if that means murdering his son to ensure a smooth operation.

Jack, Renee and the Russians: Ah... finally, the main storyline; the most compelling one of all. Jack, apparently, is fluent in German, and, as part of the undercover coup must pose as a German wishing to deal in nuclear arms. The scene where Jack meets with a member from Vladimir's group is wonderfully scripted, with the Lugo chatting in German to test Jack's proficiency. The tasteful piece concludes with Lugo pulling a gun out on Jack and Cole swiftly taking down three of the four Russians with a sniper rifle, sparing Lugo. Jack, thankfully, is still good at what he does. On the Renee side of things, little occurs plotwise, yet her character development continues to be strong. All of Wersching's scenes in the episode are with Vladimir, a suave yet compulsive and demeaning Russian mob leader played by Battlestar's Callum Kieth Rennie. The chemistry between the two on-screen is phenomenal; the range of emotions palpable and each and every moment is a joy to watch.

SCORE: 7.4

RECAP & REVIEW: 10:00 PM - 11:00 PM

Dana Walsh: Well, Dana’s new roommates sure didn’t waste too much time getting to the evidence lockup and, just five minutes into hour seven, they arrive in their van and get to searching the building. Initially, it’s a number game, with Dana on the phone giving the two security codes for each obstruction they run into. It gets old and repetitive fast, and, as Kevin and his friend sure aren’t the sharpest ones, they screw up more than a few times in finding their prize. But, lo and behold… here it is, the shocker of the episode; no wait, the season: the police show up as soon as they are about to leave. Instead of finding a way to smartly maneuver around the cop, the clumsy couple delivers a serious beat down to the officer and then flee the scene. Things just keep getting worse for Dana and, as Arlo and Chloe continue to become more suspicious about her activities outside of work, it seems as if she’ll have a hell of a lot of explaining to do when (not if) she’s caught.

President Hassan: And he keeps getting crazier. As the day progresses into the later hours, Hassan begins to make his own transition. He’s legitimately paranoid, and no one can go against him. Last week he had ordered for a man with him at the UN to be interrogated, yet apparently he knew nothing; he had no connection to the political outrage back in Kamistan. But Hassan can never be wrong. He needs answers, and he knows that someone is holding information from him. He pushes on, calling for the family of his confined party member to be held captive and even tortured. He is a determined man, and, though this side plot isn’t as absorbing as it could be, it’s always interesting to see someone spiral further into insanity.

David Anders and Company: Segei Bazhaev had quite some trouble with his sons last hour, ending with him killing the radiation-poisoned Oleg, and, for part of hour 7, he has to tie up those loose ends. A prayer service is called before Oleg is buried and Bazhaev has a heartfelt discussion with Josef, explaining that that every act he had committed in the last hour had been for his family. Admittedly, such a talk would have been more timely perhaps before he had shot his other son. But, finally, after much exposition, the two mob stories meet, with Vladimir giving Sergei a call. Unsurprisingly, it’s about the nuclear materials, and Renee is closely by Vlad’s side for the conversation, hopeful that things will play out accordingly. In a slight twist, things don’t, with Sergei declining (and lying) to possession of any nuclear materials. Apparently, as he says, “No one deals in [that].” As the call ends, however, Sergei gets worried, making a call to a truck travelling through New York with the uranium rods and ordering him to pull over and stop. In short, Sergei isn’t naïve, and he’s not going to confirm criminal dealings such as these over the phone.

Jack and Renee: Yet again, the main plot continues to shine, with Vladimir’s life brought to a satisfying conclusion. More on that later. At the beginning of the episode, Jack arrives at the Russian hideout and, from there, character interactions begin to get really interesting, save for the little talk Bauer has with Renee early on. Not even worth mentioning. Anyway, as Renee and Vlad attempt to find a seller of nuclear materials, things get more and more uncomfortable for the two, and their dark past becomes more and more evident as the hour progresses. When Vlad can’t find anyone, she begins to plead for him to call everyone he knows again, determined to be successful and demonstrate that she can handle herself in the field. Vlad erupts, hitting her hard across the face and knocking her on the ground. Renee snaps, grabbing a knife and stabbing him repeatedly in the eye. It was a shocking moment that only got better, with Jack running into the room after hearing trouble and approaching Renee. Instinctively expecting someone else, she turns around and stabs Jack clean in the stomach, who, after a quick recovery pulls out the knife and throws it sharply at Lugo in the neck. And for the icing on the cake, he then proceeds to gun down the last of Vlad’s crew. The highlight of the night for sure, such a moment more than made up for some disappointing moments early on, ending things on a memorable note.

SCORE: 7.6

REVIEW: 11:00 PM - 12:00 AM

Pacing. Honestly, how important is it that a television show (or, for that matter, any form of entertainment or performance) be well-paced? The answer: more important than you’d think. You can’t barrage a viewer with non-stop action with little to no substance making up the story. That just doesn’t make compelling TV. And, in addition, the audience would soon suffer from something known as ‘combat fatigue’. They need something other than just over the top battles and fighting. Therefore, you gotta mix things up. Throw in some character development every now and again, a funny scene here, a suspenseful one there. The only goal, really, is to create something that feels balanced, equal, and, most importantly, complete. However, such a formula will only work if every element is of top quality; each aspect has to be interesting to watch or the other parts will ultimately fall apart as well. I’ll give 24 credit for almost always nailing its pace. Even with episodes that contain a lot of action, the writers still allot time to other scenes that aren’t as combat-oriented. And, for the most part they work well. Not as much with this episode, unfortunately.

Here’s why. Remember last episode, where Jack handed himself over to the Sergei’s mob of Russians solely for the cause of his mission? Well, they’re convinced he’s a cop, and, unless he talks and tells them who’s his superior, one of Bazhaev’s men is gonna put the hurt on in the form of electrocution. And, as Jack’s all so used to it, he doesn’t even bat an eyelid (well, for the most part at least). Jack’s warden is obviously oblivious to that: “Everybody has limit, don’t worry.” For heaven’s sake, he spent years held in captivity by the Chinese and never talked once, so, honestly, does anyone expect him to even wince at the torture of one lone henchman? Anyway, it doesn’t take long for Jack to initiate bad-ass mode and knock the guy the out with his own torture devices. And then, with Jack struggling to find a way out of his shackles, we’re sent to commercial break. Cool… I though, we can create some suspense of the commercial break and reconnect with Jack after a few short minutes. Oh, was I wrong. Instead, we’re given a rather dry scene of Hassan and his daughter arguing. Boo. What this did, rather than increasing tension, was dampen the episode’s tempo. It was progressing along nicely, and, rather than letting the set-piece take its course, it was broken up a little too often. With moments like these, I could understand why 24 works better on DVD without commercials (thankfully, I’m watching the episodes on iTunes).

But the writers made that feeling all the much better when they finally reconvened with Jack. I’ll get to the that later, though. We’ve gotta touch on Dana’s story for a bit, the one where predictability and stupidity reigns supreme. Okay, Dana. Let me ask you something. Did you honestly expect these goons to give up now? They’ve already shown that they can manipulate and get the better of you; what’s to make them think that they can’t do the same thing once again? Stupid, stupid, stupid, Dana. She’s useless at CTU and apparently useless at having any sort of foresight. But she proceeds on, making one bad decision after the other and very rarely will she get back to her damn job, shut the hell up and do something worthwhile!

But, believe it or not, there’s a shimmer of hope in this awful side plot: its days are numbered. Dana is looking finally to take matters into her own hands, and, if next week’s episode is any indication, she’ll end her past for herself by taking out some rednecks. After that, Dana, will you please get back to work?

And then there’s Jack. Once he finally releases himself from his cuffs, it’s evident that he has a plan in mind. And boy, he doesn’t waste one bit of time after that, taking out every one of Sergei’s men through an assortment of creative ways and then securing a shotgun-wielding Bazhaev by throwing a dinner table on him. Quite a spectacular action sequence that, for me, tops last week’s.

When CTU arrives at Sergei’s restaurant to clean things up, Sergei and Jack have a little talk, and, in exchange for full immunity for both his son and he (24 fans should be used to this situation by now), attempts to hand the uranium rods over. Josef, on the other hand, complicates matters, stealing the materials for himself by raiding the vans before Cole and his team can get to them. Apparently, Josef didn’t take his father murdering Oleg lightly, and, through aligning with Farhad, wants to make his father pay.

It was a long time coming, but at last we received an episode that was almost entirely about Jack. After Renee in the spotlight for a few weeks, Mr. Bauer was more than overdo for his own share of the action, and, almost solely because of the main plot, hour eight was solid. Although the episode’s conclusion was a slight letdown, it moved quite a few elements into play, neatly concluding one segment while at the same time providing much-needed exposition for future developments. Let’s hope that includes Dana getting back to work.

RATING FOR 24 -DAY 8: 11:00 pm - 12:00 am (OUT OF 10)

24 - Day 8: 8:00 PM - 9:00 PM Review

- FOX 

SPOILER ALERT:   Significant plot details follow. 

24 has a history of inconsistency, especially in its early episodes. A story arc that lasts no less than 24 hours is long for any TV series so most of its missteps are excusable early on. Regardless, however, each episode still needs to be interesting to watch and provide ample realistic set-up. Here, in the fifth episode of season eight, the show’s plot is still unfolding and becoming more complex by the minute, even though most of it will be forgotten later on. That’s conventional with nearly all television shows, though even more so with a program such as 24. Unfortunately, season eight seems to be having a little trouble getting its footing right and not all of it is working as well as it should.  A very enjoyable, fresh and dramatic main plotline is marred by some silly and sloppily written storylines that tag along. This, of course, makes for episodes that feel very unbalanced.

Last week finished strongly and promised unique interactions between Jack and the damaged Renee. With its tense and well-acted scenes, I’m happy to report that  8:00 PM – 9:00 PM’s main plot continued this narrative in a fashion that was, for the most part, quite fun to watch.

First, however, let’s get to the things that were not fun to watch. Yes, I’m talking about Dana Walsh’s laughably useless side story. What an unfortunate position Battlestar veteran Katee Sackhoff is in. The actress who once played the brash and short-tempered Starbuck has assumed the role of a character taking orders and nearly tearing up as she’s thrown against the wall by degenerate white-trash. What’s more, she must excuse herself from her job in the middle of an undercover operation for Jack and Renee to meet up with him at her own apartment. The fact that CTU would allow her to even leave the building during a time such as this is completely unbelievable on its own. Apparently they don’t care. So, she submits to her ex and the story gets worse from there. When she arrives, Kevin has the audacity to demand that Dana steal information from CTU so he and some guy named Nick can make off big time… sigh… Please, writers, either wrap this story up, or tie it in. Hell, I’d consider the whole plot redeemed if Dana would just put a bullet in Kevin’s head next week and have her deal with things from there on. You have one last chance with this one.

Anyway, on the villain side of things, little worth mentioning occurs, despite the fact that the episode begins with Farhad Hassan on the phone in mob boss Sergei Bazhaev’s posh restaurant. While the conspiracy against President Hassan deepens and beings to spread to his country of Kamistan, the ramifications of such happenings aren’t clearly defined yet. As Farhad’s phone call progresses, a military contact is introduced, as well as potentially a new side plot that could have legs. But, the conversation is quickly silenced as Serfei enters the room inquiring about his payment in exchange for nuclear weapons. Conveniently, it’ll take five hours for Farhad’s funds to be transferred, and 24’s mid-season event will undoubtedly tie into this fitting occurrence. In an effort to pacify Farhad for a few hours, Sergei gives Farhad a private room and a couple of prostitutes to hang out with. Enjoy!

President Hassad has his own share of troubles in hour five, finally catching word of political strife in his homeland. To calm the uproar he begins efforts to penalize the conspirators and naysayers, though President Taylor has issues with his ways, and worries about the fate of her peace treaty as a result. While it makes sense in practice, Taylor will have to offer some compromise here, as Hassan must be allowed some reaction to chaos back home.

Thankfully, the meat of the episode more than made up for some disappointing side stories. Renee, fearless and tolerant, is subjected to unrelenting questioning by a Russian mob outlet to get her back undercover. Even when things get tough for her, she remains forceful in her ways, and is successful in the end. It is revealed that she has a disturbing past with a Russian contact named Vladimir, a history that could create an interesting and compelling dynamic if handled correctly. Renee’s part in the show makes the sometimes senseless sequences in the eighth season of 24 worth watching, and, just as she stared down at the barrel of the gun in the final few minutes of the episode, unsure of what would happen next, I too am uncertain of what direction the show will go in the next few episodes. It’s anyone’s guess from here.

RATING FOR 24 -DAY 8: 8:00 pm - 9:00 pm (OUT OF 10) 

24 - Day 8: 6:00 PM - 8:00 PM Review

- FOX

SPOILER ALERT:   Significant plot details follow. 

Renee, you badass, you.

The premiere of 24 is now over, and, unsurprisingly, there’s a whole lot going on. Dana’s got a shady history; uranium is a hot-topic; the Russian mob is relaxed as hell; Renee Walker is a loose cannon and Jack’s caught in the middle of everything. Yes, the eighth season of 24 has finally kicked in.

The unfortunate thing is that not all of these stories are handled well, namely Dana Walsh’s. Unimaginative and unbelievable are probably the only words I can use to describe such a lackluster side story. When the notion of a cloudy past for Dana Walsh came in from far left field in the first night, I actually saw some potential for it, provided the writers explore the many options they had for the story. Consequently, they took the ‘trailer trash’ route and things have already fallen flat. Kevin, an old “friend” of Ms. Walsh, has been released from prison and, naturally, he just wants a place to “crash” for the night. And before you even ask, yes, he lives out of a trailer with a beard and a denim jacket. Yawn. Anyway, Kevin Wade decides that his girlfriend from years past is just dying to talk to him and is still the same person he knew from before he was behind bars. He phones Dana at CTU and learns that she has completely changed; even her name is different. It turns out that Dana Walsh is not who she says she is, and her name is merely an alias she has taken on to mask her former life. Kevin calls her “Jenny” and, indeed, she responds.

But he does not get the loving reaction he was expecting, and, in hour three, Kevin makes his way to CTU to find Jenny or Dana or whatever she’s called.

WAIT A MINUTE!!!! Hold on, hold on, hold on!  Did some generic 'redneck' just find the offices of CTU NY on his own? Isn’t this place some sort of intelligence agency? Really, the CTU of Day 8 looks pretty secure, and most of it even appears to be underground, with only a few entrances poking their heads up from the tarmac. This doesn’t seem likely. At all. Anyway, Dana (Jenny?) even gives Kevin the key to her apartment, allowing an obviously perturbed man free reign of her home. Something here doesn’t add up. Hopefully we can make things a little more coherent in future episodes.

But I digress from the main plot points of the two episodes. Jack is on the move already from the get-go, searching the suburbs for the season’s first villain Davros. Within minutes he has arrived on the scene of the Russian’s handiwork, but, alas too late. The bodies of Davro’s hostages lay lifeless on the kitchen chairs, with bullets in each of their heads. Within minutes of Jack’s arrival, the cops show up at the door, and, it just so happens that one of that of Davros’ victims was an officer himself, effectively labeling Jack as a cop-killer. Enraged, one of the cops starts delivering a beat down to Jack, and his mission is unfortunately delayed, but only for a short time. With effort, Jack is able to take control of the situation, and manages to return to the UN in time to save President Hassan from an untimely death and kill Davros.

It isn’t until the fourth hour that things begin to get really interesting, introducing old though scarred friends.  Last season, we already began to see the metamorphosis of Renee Walker, as she turned from a passive employee of the FBI to a character caught in the gray, unsure of what’s wrong and what’s right. And, while she crossed boundaries from time to time in season seven, she looked her part. Oh, how a day with Jack has changed her.

After examining Davros’ dead body, a number of odd looking symbols are found, along with traces of weapons-grade uranium. Things don’t look good, and, shockingly enough, the only agent with the right knowledge (and body) on the Russian mob is Miss Renee Walker. She doesn’t like to talk much, but she sure is determined.

 Her assignment will bring her back undercover with the Russians, though it has apparently been years since Renee was in that line of work. It’s a rocky and unpredictable undertaking, and Jack isn’t sure if Renee is up to it. He forces himself along with her, and Renee is immediately resentful, claiming that he’s only there to “babysit.” She has not time for nonsense, and will apparently go to whatever lengths she needs to fulfill her duties. She’s had a rough past as is, and her character’s actions speak for themselves, delivering a shocking and gruesome ending to a plot-driven episode.

An unpredictable and battered soul, Renee alone delivers a solid hour, and what may be most interesting is seeing how she grows further. While the premiere of 24’s eighth day was inconsistent at best, a few memorable moments shined. The interactions between Jack and Renee may very well be what this season is remembered for, and, if future episodes play out as unexpectedly as the final few minutes of hour four, we may very well see an excellent season.

RATING FOR 24 -DAY 8: 6:00 pm - 8:00 pm (OUT OF 10)