Gimmicks get clan in the door, but they can't repress them there. So I'm propitious to discharge that tonight's experience of "Chuck" (8 p.m., Ch. 4) not only features gigantic use of 3-D effects, but is so bouncy and festivity -- in a road the notice comedy has been all period -- that you won't dearth special glasses to enjoy it.
In fact, I tossed my paramount specs aside about 15 minutes into the episode, since the 3-D technique didn't metamorphose very well on the fleecy DVD screener I was watching. I could confer with a cut flying entirely at the screen when the clumsy title personality (Zachary Levi) was running from a mate of assassins, or a series of eye-popping images whenever Chuck would "flash" on a uniquely interest of intelligence based on the computer files he has stuck in his head, but most of the hour looked go for any other incident of "Chuck." And that's more than enough for me. "Chuck" this ripen has become one of the most enjoyable shows on television, a incoherent blend of comedy, love and action, and tonight's "Chuck vs. the Third Dimension" is no exception.
Chuck, still stuck working at an electronics cache when he isn't involve economizing the world, realizes that someone's taxing to assassinate a rattle star doing a promotional illusion at the store. Ordered by his government handlers, beefy Casey (Adam Baldwin) and superb Sarah (Yvonne Strahovski) to sustenance an perspicacity on the rocker, Chuck winds up playing cautious wingman ("I'm in the final analysis more of an ironic dancer," he tells a mademoiselle who wants to cavort with him to get to the singer), then dangling from the outside of a glass-enclosed elevator in his boxer shorts while Casey and Sarah struggle the irritable guys. The chanteuse is played by Dominic Monaghan, who's the modern development prototype of how "Chuck" has so deftly used its caller stars this season.
Where shows in the mood for "Will & Grace" immediately grew overwhelmed by all their stunt-casting, "Chuck" cleverly uses its recognizable faces as shorthand to block in nutter traits there aren't tempo to begin in an hour. You see Monaghan (who played a one-hit curiosity on "Lost") as a self-absorbed musician, or ex-Pittsburgh Steeler Jerome Bettis as an intimidating restored Buy More staff member (who gets preoccupied in a humiliating, mirthful argument to win a backstage out of date to the singer's concert), and you can omission over the exposition and get straight to the jokes. Stunt-casting, take a shine to 3-D, can be a gimmick that series use in lieu of existent quality. Tonight's "Chuck" has both. 'Heroes' starts over Other than that ABC medical stage play where the poison started having shagging with a ghost, no show on tube has been beat up on more this age than "Heroes" (9 p.m., Ch. 4). And every hold out basic and fan barb directed at the series' go the distance story arc -- which had characters changing allegiance at the smidgin of a hat to please the needs of the increasingly weak plot -- has been deserved.
As the show begins its up-to-date arc, "Fugitives," I puzzle if it's on to repair all the damage created by the carry on arc, or by all of season two, or the mature one finale. "Fugitives," in which the government begins hunting down nation with powers on the advice of flying senator Nathan Petrelli (Adrian Pasdar), addresses several long-running "Heroes" complaints -- most of the essential characters are brought together by episode's end, Nathan's brother, Peter (Milo Ventimiglia), is far more emphatic and less unwary than he reach-me-down to be, Hiro (Masi Oka) can't make a trip through occasion to connect everything, etc. -- but it feels derive too much expense has been done already. Peter's been a patsy for far too extensive for his spine to be believable now.
Characters amass changing as randomly as their loyalties employed to. (Nathan sarcastically asks Peter, "Just out of curiosity, what can you do these days?") And the storytelling is still too silent by half. There's a incident near the episode's end where Peter is desperately irksome to escape falling out of an airplane -- even though he reminded us earlier in the occurrence that he can still fly. 'Medium' returns The closing deception in NBC's lineup tonight is "Medium" (10 p.m., Ch. 4), which the network traditionally uses as a utility sportswoman off the bench.
Now starting its fifth season, "Medium" can be one of the most poetic shows on video (the launch credits, with a montage of colorful Rorschach ink blots and an black Hitchcock-ish score, are still a blow-out for the eyes and ears), but is always in risk of being one of the most convoluted. Because sibyl lead Allison DuBois (Patricia Arquette) can't shape out whodunit within the initially five minutes of an episode, her visions always have to be more symbolic than express -- and the stories are about her vexing to depend on out whether that cigar was just a cigar. In an affair with next week's, in which Allison spots the shadow of a recently deceased fellow watching a murder, the twistiness works; in one have a fondness tonight's, featuring a compound cobweb of affairs, betrayals and practical reincarnations, things become so tangled that the falsehood and Arquette can't victual up. Alan Sepinwall may be reached at , or by chirography him at 1 Star-Ledger Plaza, Newark, N.J. 07102-1200.
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