Fox burns off ghastly police drama Gang Related

'Gang Related' premieres tonight on Fox.

Terry O’Quinn and Ramon Rodriguez (foreground, from left) head the cast of ‘Gang Related,’ premiering tonight on Fox.


After letting it sit on the shelf for a year or so, Fox appears to be burning off Gang Related, a new police drama premiering tonight. The bigger mystery is why they didn’t just torch the pilot script as soon as they read it.
Jam-packed with stereotypes and clichés, Gang Related was created and written by Chris Morgan (Fast Five), so we know in advance it’s probably going to look and sound a lot like a videogame, only not as interesting or sophisticated. Ramon Rodriguez (Battle Los Angeles) stars as Ryan Lopez, a promising member of the Los Angeles Police Department’s elite Gang Task Force. What none of his police colleagues know, however, is that Ryan harbors a Dark Secret: When he was a child, Ryan was informally adopted by Javier Acosta (Cliff Curtis, Training Day), the ruthless leader of a Latino gang called Los Angelicos, after Ryan’s father was killed.
Recognizing that Ryan was unusually bright and highly motivated by gratitude, Javier started grooming the boy for an important role in the Acosta crime family, much to the delight of Javier’s own straight-arrow son, Daniel (Jay Hernandez, Last Resort), Ryan’s best friend. Daniel’s older brother, the thuggish Carlos (Rey Gallegos, Sons of Anarchy), hates Ryan, however, seeing him as a threat to his birthright.
It was, in fact, Javier who pulled some strings and got Ryan assigned to his current unit, where Ryan has proven invaluable when it comes to “losing” evidence and tipping off Los Angelicos to police strategy.
After Ryan’s affable police partner is senselessly gunned down by a gang member, however, Ryan’s internal conflict starts to go into overdrive, partly because his mentor, Task Force leader Sam Chapel (Emmy winner Terry O’Quinn, Lost) ALSO has become a surrogate father to Ryan. Chapel’s newly launched hardline attack on Los Angelicos forces Ryan to decide whether he’s ready to stop playing at police work and turn on his childhood friends and family members.
The viewer is left to decide whether life is just too short to watch truly bad television like Gang Related. The dialogue thuds on the ear (“We did good today, partner.” “We do good every day, brother!”), and it’s just painful to watch seasoned pros like O’Quinn and Curtis struggling manfully to make their lines sound vaguely like something a human being might actually say. Loud, violent and ugly, Gang Related is such a mess that it took me three attempts before I could make it through the one-hour pilot.
For the record, I’m glad I finally got to the end, because the climactic shootout is so clumsily choreographed that I found myself laughing helplessly. Or maybe I was just relieved to know I was never going to have to watch Gang Related again.

Showtime’s Penny Dreadful a lively monster mash

'Penny Dreadful'

Josh Harnett, Eva Green, Danny Sapani and Timothy Dalton (from left) star in ‘Penny Dreadful,’ premiering tonight on Showtime.


Penny Dreadful, the hugely entertaining new eight-episode Showtime series premiering tonight, takes its title from the lurid serialized horror stories that sold for a penny at Victorian newsstands (the Stephen Sondheim musical Sweeney Todd is based on one such yarn). Happily, there’s nothing either cheap or dreadful about this lavish and completely unpredictable new period drama.
John Logan, the Chicago-born Tony-winning playwright and Oscar-nominated screenwriter (Skyfall), strives to capture the spooky, often gory spirit of those vintage chillers by weaving together recognizable figures from literature, such as ageless lothario Dorian Gray and obsessed Dr. Victor Frankenstein, with original characters of his own, whom he brings together and sends off on a delightfully macabre mission.
Penny Dreadful opens in 1891 London, in the aftermath of the unsolved Jack the Ripper murders. As the police turn their attention to a new spate of gruesome crimes, celebrated explorer Sir Malcolm Murray (Timothy Dalton) comes to enigmatic spiritualist Vanessa Ives (Eva Green) with a plea for help: His daughter, Mina (the name is a tip-of-the-hat to Dracula), has gone missing. Both Malcolm and Vanessa suspect that supernatural forces are afoot, so they enlist the assistance of American Wild West sharpshooter Ethan Chandler (Josh Hartnett) and, sure enough, soon stumble into a nest of feral vampires.
As their quest takes one unexpected turn after another, their party is joined by Dr. Frankenstein (Harry Treadaway), whose own studies into the thin veil between life and death dovetail nicely with Malcolm’s mission. Not long after that, the group encounters Dorian Gray (Reeve Carney from Broadway’s Spider-Man: Turn Off the Dark) and Brona Croft (Billie Piper, Doctor Who), a consumptive Irish beauty. Other distinguished guest stars include a hilarious Simon Russell Beale as Ferdinand Lyle, a flamboyant Egyptologist, and Helen McCrory as Madame Kali, a (probably fake) clairvoyant.
Beyond that, I won’t spoil any of the surprises awaiting Penny Dreadful viewers – partly because, two episodes in, I honestly don’t know where the hell Logan is going with this nutty narrative. Suffice it to say that both episodes I’ve seen feature absolutely top-tier special effects and, much like those old horror tales snapped up by titillation-hungry Victorians, each episode ends with a jaw-dropping twist that will leave you jonesing for the next installment.
Harry Treadaway

Harry Treadaway stars as Victor Frankenstein in ‘Penny Dreadful.’

NBC delivers a glossy remake of classic Rosemary’s Baby

'Rosemary's Baby'

Patrick J. Adams and Zoe Saldana star as Guy and Rosemary Woodhouse in NBC’s two-part remake of ‘Rosemary’s Baby,’ premiering tonight.


Nearly 50 years after its 1968 release, Roman Polanski’s big-screen adaptation of Ira Levin’s 1967 bestselling horror novel Rosemary’s Baby still stands as a brilliantly constructed milestone in film horror. The director scored an Academy Award nomination for his taut screenplay, which leavened the suspense with Polanski’s typically mordant wit, and supporting actress Ruth Gordon won an Oscar for her unforgettable performance as Minnie Castevet, the sweet little old neighbor who was harboring a big secret.
In contrast, NBC’s two-part remake, which begins tonight and concludes this coming Thursday, feels more like the work of international corporate deal-makers, not artists, with a cast and production that seems to be designed primarily to appeal to as wide a global audience as possible. In fact, arguably the most audacious thing NBC has done with its Rosemary’s Baby is programming it to start on Mother’s Day.
That’s not to say that it’s a train wreck, though. Although this new version incorporates most of the broad tropes of Levin’s book, it transplants the main action from New York to Paris, where American couple Rosemary and Guy Woodhouse (Zoe Saldana of Avatar and Patrick J. Adams of Suits) are currently living, following her recent miscarriage. Guy’s an aspiring novelist who is teaching at the Sorbonne for a puny salary while struggling with massive writer’s block. Their lifestyle is changed dramatically one day when Rosemary comes to the rescue of chic Parisienne Margaux Castevet (Carole Bouquet, For Your Eyes Only) during a “chance” encounter.
Warm and effusively maternal, Margaux and her handsome husband, Roman (British actor Jason Isaacs from the Harry Potter films), almost immediately adopt the Woodhouses as their latest project, insisting that the couple move into a newly vacant apartment in their impossibly grand building. What Guy and Rosemary don’t know is that their flat is vacant because the previous tenant, a young pregnant woman, leapt to her death from its balcony.
At a party hosted by Roman and Margaux, Rosemary witnesses, or hallucinates, a handsome stranger having sex with some of the other guests. The man begins to turn up elsewhere in Rosemary’s life, chiefly in her dreams, which carry a new erotic charge.
You know what’s coming, at least in broad strokes. Rosemary becomes pregnant following a hallucinatory dream/nightmare in which the mystery man appears to take Guy’s place in her bed. Not long after that, Guy’s fortunes mysteriously begin to improve. As Rosemary feels a mounting sense that something is terribly wrong, she begins to fret that Guy has made some sort of Faustian bargain with occultists who want to use her baby in their obscene rites.
Close, but no cigar, Rosemary.
The four main performances (you won’t recognize most of the rest of the cast) are all quite good. Saldana, often cast in films as an action babe, gives Rosemary a strength and a quiet resolve that’s a marked contrast to Mia Farrow’s most aggressively neurotic performance in Polanski’s original, and Adams’ Guy very clearly loves his wife, which was somewhat in doubt while watching the more feral John Cassavetes on the big screen.
Making the Castevets younger and sexier also makes dramatic sense. After all, if you’re going to be two of Satan’s most powerful earthly minions, you’re going to want to look the part.
Under the direction of Agnieska Holland (Europa, Europa), the TV movie looks very expensive and captures the feel of a very old and jaded city in which Rosemary and Guy are natural-born outsiders. Unfortunately, the pacing is seriously off, mainly because of the very uneven screenplay by Scott Abbott and James Wong. While some scenes still carry a jolt, others seem to drag on forever, undercutting the tension. Polanski’s Rosemary’s Baby clocked in at a fairly efficient two hours and 15 minutes. The NBC remake, if you subtract commercial breaks, comes in at about three hours. I watched the two parts back to back, and still my attention began to wander in several spots. I can’t imagine how much worse it will be for most viewers, who have a four-day intermission inserted due to NBC’s scheduling.
Ultimately, the scariest thing about this new Rosemary’s Baby is that it’s just not all that scary.
Carole Bouquet and Jason Isaacs.

Carole Bouquet and Jason Isaacs star in NBC’s remake of ‘Rosemary’s Baby.’

Zombie drama In the Flesh shambles back for Season 2

'In the Flesh' star Luke Newberry.

Luke Newberry returns as Partially Deceased Syndrome sufferer Kieren Walker as ‘In the Flesh’ returns tonight for a new season on BBC America.


Zombie-centric films and TV shows are hot commodities these days, but BBC America scored a cult hit last season with the premiere of In the Flesh, a decidedly offbeat miniseries that, like The Walking Dead, took place in the aftermath of a zombie resurrection. Unlike AMC’s super-hit, however, the inexplicably resurrected departed of In the Flesh are able to live somewhat normal lives, thanks to medical research that has developed a serum that, if administered on a regular basis, disables the homicidal rage to which Partially Deceased Syndrome (PDS) sufferers otherwise succumb.
The series takes place primarily in Roarton, Lancashire, a rural British community where teenage central character Kieren Walker (Luke Newberry) initially struggled to reconnect with the family he left via suicide. His hometown was sharply divided between tolerant residents who were happy to have their loved ones back for any reason and a virulent anti-zombie faction led by the unhinged Vicar Oddie (Kenneth Cranham), who believed the resurrected PDS patients were godless abominations who needed to be put down.
Last season, Kieren found welcome support from his “best dead friend forever,” Amy (Emily Bevan), an improbably sunny soul who, sadly, was last seen catching a train out of Roarton after being assaulted by thugs.
Tonight, Season 2 of In the Flesh opens nine months later. In many respects, things have improved for Kieren, especially within his own family. As locals start to adjust to the presence of the PDS persons in their midst, the mad vicar’s flock has dwindled to a mere handful, but nevertheless Kieren yearns to leave Roarton for Paris, where he hopes to make a new start as an art student. He knows that the peace between the living and semi-dead is a tenuous one, especially as reports emerge of a PDS splinter group, the Undead Liberation Army, a radical faction opposed to mainstreaming. Most horrifyingly, some ULA terrorists have begun to wilfully take a drug that causes them to revert to their slavering psychotic zombie state.
Kieren’s resolve to leave is shaken somewhat by the unexpected return of Amy, who has fallen in love. What Kieren doesn’t know is that her charismatic beau, Simon (Emmett J. Scanlan), is a ULA radical himself.
Also joining this new six-part season is Wunmi Mosaku (Philomena) as Maxine Martin, Roarton’s new right-wing Member of Parliament, who sees the zombies as a useful wedge issue she can exploit for political gain.
BBC America only made the first new episode of In the Flesh available for preview, but it suggests that this new season ups the horror quotient significantly over last season. That doesn’t mean that the series has lost its offbeat identity, however. Creator Dominic Mitchell scored a BAFTA nomination for his writing in Season 1, and In the Flesh still resonates with political, social and religious allegory. Check it out if you’re in the mood for something unconventional, but if you missed Season 1, try to catch that via one of several on-demand platforms before diving into these new episodes.
Wunmi Mosaku of 'In the Flesh.'

Wunmi Mosaku joins ‘In the Flesh’ this season as a newly minted Member of Parliament with a sinister personal agenda.

HBO’s All About Ann recalls a Texas firebrand

'All About Ann: Governor Richards of the Lone Star State' premieres tonight on HBO.

The HBO documentary ‘All About Ann’ revisits highlights from the life and career of Ann Richards, including her unforgettable keynote address at the 1988 Democratic National Convention in Atlanta.

.
Premiering tonight on HBO, All About Ann: Governor Richards of the Lone Star State opens exactly where you might expect it to open: at the 1988 Democratic National Convention in Atlanta.
The second term of President Ronald Reagan and his vice president, George H.W. Bush, was nearing its end, and the Democratic National Committee had been looking for someone to light a fire under delegates for its Michael Dukakis-Lloyd Bentsen ticket. To deliver the keynote speech, they turned to Texas State Treasurer Ann Richards, who was not especially well known at the time outside of her home state.
If Richards arrived in Atlanta a relative unknown, however, she left a political superstar, having delivered a caustically funny, career-defining speech in which, among other things, she remarked that Bush, the Republican candidate to succeed Reagan, “was born with a silver foot in his mouth.”
“Unfortunately, I screwed up the final campaign,” Dukakis reflects now in this 82-minute documentary. “I always say that I peaked in Atlanta, and one of the reasons is that Ann did such a fantastic job. Everybody knew who Ann Richards was when that convention was over.”
Born in 1933 in Lakeview, Texas, Ann Willis grew up with poor but progressive parents, including a father who constantly assured her that she could become anything she set her mind to, as long as she was willing to work for it. In high school, she excelled in speech and debate and attended college on a debate-team scholarship. After marrying her high school sweetheart, attorney David Richards, she moved with him to Austin, where she taught classes at a junior high school and raised four children.
Especially compared to Dallas, Austin was a hotbed of progressive politics, a cause both David and Ann embraced enthusiastically. She worked tirelessly in support of liberal Democrats and eventually David talked her into running for office herself. Ann initially resisted the notion, fearing it would take a toll on their marriage. She was right: As her political career began to take off, the couple eventually divorced but remained cordial. Around this time, Richards also sought treatment for what she recognized to be a growing addiction to alcohol.
Her quick wit and Texas charm made Richards a hot commodity on the fund-raising circuit, where candidates frequently booked her to make appearances.
“She was a traveling late-night show, but she did not have an entourage of comedy writers,” notes former Texas Lt. Gov. Ben Barnes. “Some of Ann’s greatest lines were written at the head table while she was sitting there waiting to speak.”
After her term as state treasurer, Richards entered and, against all odds, won a bitter 1990 Texas gubernatorial race in which she was hammered relentlessly by male opponents from her own party as well as her Republican opponent, cowboy millionaire Clayton Williams, who committed the twin sins of being publicly rude to Richards and blurting out a series of unfortunate gaffes, including the admission that he paid no income tax one year.
As governor, Richards moved swiftly and decisively to take power away from special-interest groups and eliminate cronyism, but as her first term neared its close, with Richards at a 60-plus percent approval rating, those interests lashed back, supporting novice opponent George W. Bush. Bush may have lacked experience, but he had a secret weapon in Karl Rove, a campaign strategist who understood that if you repeat a lie often enough, it becomes the “truth.” Although the crime rate was dropping in Texas for the first time in decades, Bush kept repeating assertions that Richards was soft on crime. Behind the scenes, Rove unleashed a “whisper campaign” insisting that Richards was a lesbian.
When the dust settled, she lost re-election by eight percentage points. Disappointed yet undaunted, Richards reckoned that she had another good 20 years ahead of her and took on a heavy schedule of appearances supporting progressive candidates and women’s rights issues. This time, however, her prediction was off the mark: What she thought was chronic attacks of heartburn turned out to be esophageal cancer, which claimed her life in 2006 at age 73.
All About Ann filmmakers Keith Patterson and Phillip Schopper drew heavily on interviews with close friends, family members and admirers of Richards, including ex-husband David Richards and their children Cecile and Dan; politicians Bill Clinton, Nancy Pelosi and former Texas mayors Ronald Kirk and Henry Cisneros; newsman Tom Brokaw, and longtime close friend and columnist Liz Smith.
It’s no surprise, though, that the most memorable moments in All About Ann come from archival footage of Richards herself, a rose of Texas who was anything but yellow. As the country swings into what promises to be some very ugly mid-term politicking, the integrity and passion for equality that Richards embodied are starting to seem, regrettably, like fondly remembered antiques.
Ann Richards

Texas Gov. Ann Richards in 1992.

A new Sleeping Beauty in the manner Bourne

Hannah Vassallo and Dominic North star as Princess Aurora and her selfless lover, Leo, in 'Matthew Bourne's Sleeping Beauty.'

Aurora (Hannah Vassallo) is awakened from her long sleep by Leo (Dominic North), who has given up his mortality to be with her, in ‘Matthew Bourne’s Sleeping Beauty,’ a ‘Great Performances’ presentation premiering tonight on many PBS affiliates.


The genius hailed by The New Yorker as “the most popular choreographer of theatrical dance in the Western World” wakes up a ballet classic in Matthew Bourne’s Sleeping Beauty, a Great Performances presentation airing tonight on many PBS affiliates (be sure to check listings in your area).
Bourne explains during the two brief but illuminating interview segments that bookend this Sleeping Beauty that his family didn’t listen to much classical music when he was growing up. As in his earlier productions of the two other Tchaikovsky dance masterworks – The Nutcracker, which Bourne set in a grim Dickensian orphanage, and Swan Lake, which featured an all-male corps de ballet of swans – Bourne’s principal focus is on telling a story that is dramatically arresting while still satisfying fans of the piece in its traditional form.
When he sized up the Sleeping Beauty fairy tale, which dates from the 14th century, Bourne immediately noticed that, in terms of its love story, the yarn was a resounding flop.
“This prince kisses her and wakes her up, she looks at him, and next thing you know, they’re getting married, someone she’s never even met,” Bourne says. “You don’t really feel anything at all.”
Instead of using the traditional fairy-tale period setting, Bourne opens his production of Sleeping Beauty in London’s Victorian era, circa 1890 (the year of the ballet’s premiere). In the first act, we encounter the rambunctious baby Princess Aurora in the form of an intricately designed marionette that causes the palace staff endless headaches. In the next act, when we meet the 21-year-old Aurora (Hannah Vassallo), she’s a spirited, almost tomboyish young woman who has flouted convention and fallen in love with Leo (Dominic North), the royal gardener. Obviously, that enhances the love-story element in the ballet, but it presented Bourne with another conundrum: If Aurora has to sleep for 100 years, what happens to poor Leo?
“Aurora has fallen in love with someone who then has the problem of trying to stay alive for her when she wakes up,” Bourne says of his and Leo’s dilemma.
Happily, as it turns out, the production’s setting roughly coincided with London’s obsession with Gothic literature (Bram Stoker’s Dracula, for example, was written in 1897), and Bourne found his audacious solution while watching HBO’s True Blood. Instead of pretty ladies in pastel tutus, the good fairies of Sleeping Beauty would be a family of benign vampires in elegant yet slightly moldering garments, led by the powerful Count Lilac (Christopher Marney). That concept also gave Leo a poignant way to demonstrate his love for Aurora, by surrendering his very mortality in order to stay by her side.
Like all of his other productions, Bourne’s Sleeping Beauty is jam-packed with fantastic stage images, such as the stormy entrance of the dark fairy Carabosse (Adam Maskell) and her minions, who look like one of the Furies crossed with a satyr. When she pronounces her curse on the baby Aurora, her dark prophecy is mimed by an Aurora double with a blank, mannequin-like face. It’s chillingly effective, as is the moment in the second act when Carabosse’s vengeful son, Caradoc (Maskell again), activates the curse not with the tainted spindle of a spinning wheel, but via a thorn on a black rose that was his late mother’s favored calling card.
In traditional productions of Sleeping Beauty, once the prince has awakened his sleeping beauty, the story effectively is over, apart from another half hour or so of celebratory dances at the royal wedding. Bourne, however, interjects yet another plot twist that sends the narrative in a totally unexpected direction and keeps the suspense going almost until the very end of the ballet.
A press release from Great Performances describes Matthew Bourne’s Sleeping Beauty as “a gothic fairy tale for all ages,” and that’s largely true. Bourne’s earlier productions of, say, The Car Man (adapted from Bizet’s opera Carmen) and Swan Lake may have raised some eyebrows with their unmistakable currents of homoeroticism, but there’s nothing in this Sleeping Beauty to frighten the horses or, more pertinently, parents of youngsters. Very small fry who know and love the traditional Sleeping Beauty fairy tale, however, probably will be very confused by many of Bourne’s somewhat eccentric narrative changes.
There’s no denying, though, that Bourne has given one of Tchaikovsky’s most popular ballets a welcome dose of creative caffeine. I won’t point out all the ingenious little character touches this master choreographer comes up with, but I have to mention a moment that occurs early in Act Three, set in contemporary (2011) London. The massive, locked iron gates surrounding Aurora’s palace have become a tourist destination, and as guidebook-toting visitors take selfies for their Instagram pages, a young woman tenderly sticks a commemorative rose into the metal bars. As she does so, she pricks her finger and fairly swoons, overcome by the cosmic romantic significance of the accident. It’s a tiny moment that’s both funny and touching.
I can’t imagine what it must be like to live in Matthew Bourne’s head, which apparently is the scene of constant and boundless creativity. I’m just glad that every now and then I get to visit there.
Count Lilac and Caradoc

Count Lilac (Christopher Marney, left) tries to vanquish the evil Caradoc (Adam Maskell) at the climax of ‘Matthew Bourne’s Sleeping Beauty.’

Moone Boy continues to shine in Season 2

David Rawle and Chris O'Dowd star in 'Moone Boy' on Hulu Plus.

Martin Moone (David Rawle, left) and his imaginary companion, Sean Murphy (Chris O’Dowd), attempt to escape a dreary family vacation in the Season 2 premiere of ‘Moone Boy,’ now streaming on Hulu Plus.


Moone Boy, actor Chris O’Dowd’s funny and whimsical family comedy series based in part on his own childhood in Ireland, was one of the most delightful surprises of last season when it premiered Stateside on Hulu Plus. Those first six episodes introduced us to the title character, Martin Moone (David Rawle), a pre-teen daydreamer who escapes from his large and dysfunctional family by palling around with Sean Murphy (O’Dowd), Martin’s grown-up and completely imaginary friend.
Now Hulu Plus has begun streaming the second season of Moone Boy, and these new episodes are, by and large, every bit as enjoyable as the first batch. If that comment sounds a little qualified, that’s only because the Season 2 premiere, about a 1990 Moone family road trip from their tiny village of Boyle to Donegal, is unusually heavy in Irish-specific references and personalities as it deals with issues of national pride and cultural identity – or “flag-ism,” as two characters call it.
The problem is, many of these jokes will go over the heads of U.S. viewers (at least, they did in my case), although there are still a few funny bits that don’t get lost in translation.
Starting with episode two, however, we’re back on far more universal footing as we pick up one of this season’s main storylines: Martin is starting his village’s equivalent of high school, with its far more challenging social hurdles. Also, Martin’s adolescent hormones are starting to kick in, especially once he meets his bohemian new art teacher, Miss Tivnan (Amy Huberman) (“She smells like glue and chardonnay,” Sean Murphy sighs in Martin’s ear). In the episodes that follow, Martin also will land his first girlfriend in the form of Majella (Jessica Barrett), a pretty new classmate who is part of a band of travelers now squatting in the empty field adjacent to the Moone home.
The other ongoing Moone Boy story line for the new season involves Martin’s oldest sister, Fidelma (Clare Monnelly), now pregnant by her boyfriend Desmond “Dessie” Joseph Mary Dolan (Ronan Raftery), and that couple’s bumpy road to the altar, climaxing with a nuptial ceremony that inadvertently turns into an episode of My Big Fat Gypsy Wedding.
It’s all perfectly charming and heartwarming, without turning sappy, thanks in no small part to the very fine writing (some of it by O’Dowd, who also is an executive producer on Moone Boy).
From this season's second episode of 'Moone Boy.'

With ill-advised confidence, Martin tries to recreate a classic move from ‘Dirty Dancing’ with Sean Murphy — who is invisible to everyone else — at a high-school dance in ‘Moone Boy.’


For fans who can’t get enough of this endearing Irish actor, Hulu Plus also has begun streaming the series finale of one of his earlier Britcom hits, The I.T. Crowd, which wrapped up its U.K. run last fall. This very funny comedy stars O’Dowd and Richard Ayoade as, respectively, Roy Trenneman and Maurice Moss, a pair of gifted but socially inept computer geeks who slave away in the basement of a London corporation. Their boss is Jen Barber (Katherine Parkinson), who is constantly bluffing her way through her job since, well, she knows absolutely nothing about computers. In fact, in one fan-favorite episode of The I.T. Crowd, Roy and Moss convince Jen that a small metal box they give her is, in fact, the Internet. The entire Internet. All of it.
That’s one of the many jokes during the run of The I.T. Crowd that gets a callback in the hour-long finale, which also finds both Roy and Jen plagued by a series of personal image disasters that turns them into social pariahs.
If you don’t know The I.T. Crowd but would like to, happily Hulu Plus currently is streaming the entire series. Frankly, if you don’t watch those earlier episodes before tuning into the newly available series finale, you’re going to miss nearly all of the very funny jokes that reference past moments in the show.
In any case, both Moone Boy and The I.T. Crowd make it abundantly clear why O’Dowd, currently starring on Broadway with James Franco in Of Mice and Men, is one of the busiest actors in the world today.
The series finale of "The I.T. Crowd."

Roy (Chris O’Dowd) and Jen (Katherine Parkinson) grimly watch online as a couple of misinterpreted viral videos turn them into social pariahs in the series finale of “The I.T. Crowd.”