Switched at Birth Season 2 Episode 13 Free Episode The Good Samaritan

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  Switched at Birth Season 2 Episode 13a

Genre: Drama, Family
Episode Name: The Good Samaritan
Air date: 6/24/2013
Summary: When she sees that Toby is overwhelmed by the demands of work and planning a wedding on a budget, Bay looks to lighten the mood and books his band to perform at the local carnival. Angelo is frustrated by Regina and Bay’s messiness, while Adrianna’s frequent visits has Kathryn on edge. Meanwhile, Jace introduces Daphne to geocaching.

After last week’s bombshell status quo changes (the return of Regina, the return of Ty, Bay’s intent to move out), this week’s Switched at Birth had a lot of promises to keep. The episode’s character subplots all seem to stay in separate lanes, and without the amount of time-skip catch-up of the premiere, the whole affair was much simpler to follow. Though it might just be a sign of age if I have trouble following the plot threads in an ABC Family drama!

Bay has a lot on her plate, with starting a new job, getting to know her new(ish) mom, and getting back in touch with her new (well, no, old) boyfriend. The problems conflate when Ty is hanging around Bay’s new job, and we start to learn something that was only hinted at last week; that maybe Ty isn’t dealing with his past military deployment as well as it seems. Shocker: He’s very obviously having a really bad time with PTSD. The real shocker, though, is that Bay finds out that Ty’s close friend from the Army killed himself upon returning from combat. Ty’s hulking frame and wry smile may have gotten more time on the TV this week, but his plot was left unresolved, so I expect him back next week. This show has been a good vehicle for serious issues in the past, and I’m sure that they’ll be able to handle this one with the nuance and sensitivity it deserves.

The newly-minted Senator John Kennish has been having trouble with his day job managing the Kennish Car Wash. His manager quit and he’s got to decide on a replacement. Travis and Toby both straight up ask him for the job, and the choice is unclear. On one hand, Toby (nepotism aside) is clearly more capable, and with his impending wedding getting budgeted, he needs the money. On the other hand, Travis is a hard worker who doesn’t have a good support structure and might not have another opportunity like this. John ultimately chooses Toby, citing Travis’s commitment to school in autumn.

Daphne and Kathryn have (apparently) been connecting over tennis, but they’re not any good at it. Over Daphne’s protests, Kathryn signs the pair up for a mother-daughter tennis tournament at their country club. They do… well, poorly would be putting it nicely. They totally bomb in the first round, and get into a big fight. Daphne blames Kathryn for Regina moving out, and Kathryn is frustrated with Daphne’s combativeness. They eventually reconcile over the great equalizer: food.

Angelo also has a small subplot, looking around the southern US for his new daughter, the one who was taken away for adoption last season (he doesn’t find her). His return, though, gets the family back together (the Regina-Bay-Angelo family, anyway), but it may prove to drive a further wedge into the Daphne-Regina and the John-Kathryn-Bay families. This episode focused more on the main characters than the premiere had, and while their plots were better, I can’t help but feel a little disappointed that the Emmett and Travis friendship that was just established didn’t get any screen time this week. This may be a symptom of my having watched the first two seasons on Netflix in the span of just a week, so I’ll have to learn patience. Check back here next week for my next recap!

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Teen Wolf Season 3 Episode 4a

Genre: Comedy, Drama, Horror, Romance
Episode Name: Unleashed
Air date: 6/24/2013
Summary: While Scott tries to keep Isaac from engaging in a deadly confrontation with the Twins in school, Stiles attempts to prove his theory that the killings have nothing to do with werewolves.
Tim Andrew has proven himself to be a really good television director during his time on Teen Wolf. It’s easy to look at Russell Mulcahy and praise the look and feel of his episodes, but Andrew is definitely no slouch when it comes to generating tension and creating an overall feel for an episode. Set mostly at night, Andrew creates a great deal of tension during multiple scenes in the episode, but none more so than the very opening where the two adorable moppets are menaced by a rampaging, wolfed out Boyd. It’s one of the better uses of horror on the show, matched only by the later scene of the girl in the tent hallucinating/being attacked by a horde of creepy, crawly insects. (Excuse me while I involuntarily shudder; bugs are an easy way to get my skin crawling.)

It’s interesting the way Teen Wolf has come around to the horror elements of the programme. There are a lot of possible ways for any particular scene to go, from funny to tragic, and the show is careful not to be too predictable in how certain situations play out. I like that it is sparing with horror, making it more impactful when something tension-inducing happens. This week, a pair of rampaging werewolves are on the loose while people keep turning up dead left and right, and the show takes great pains to emphasize just how dangerous the situation is, even if the body count is a little low. The fact that three werewolves, all of whom are very powerful, and the most dangerous man in Beacon Hills are afraid of two people running through the woods in a rage shows how threatening Boyd and Cora are, and it provides a good use to get Chris Argent back and integrated into the plot – as well as showing off Scott’s new-found cleverness by manipulating Argent into siding with Derek Hale.

Bringing Argent back into the show’s fold adds an element of danger, and it helps focus Allison’s upcoming storyline as well. As Argent goes through his list of werewolf goodies, telling Derek, Scott, and Isaac how best to track werewolves, how to set them up with false scents, how their body heat signature is higher than normal and can be more easily detected when they’re on the prowl in wolf form, his comments are echoed by the actions of Allison. Truly, she is her father’s daughter, and Argent’s running commentary is very clever and very well written by Lucas Sussman. Ditto the intersecting between father and daughter Argent, a good idea rendered brilliantly by all involved.

Whodunnit? Season 1 Episode 1 Free Episode High Voltage (Pilot)

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Whodunnit Season 1 Episode 1a

Genre: Reality-TV, Crime, Mystery
Episode Name: High Voltage (Pilot)
Air date: 6/23/2013
Summary: Thirteen strangers arrive at the sprawling estate called Rue Manor and are met by Butler Giles, who welcomes them to their new residence where they will play out their high stakes game of murder and intrigue. Before they can even settle in, the guests are thrown straight into the game after making a startling and gruesome discovery — one of their own, bloodied and dead on the floor of the great room. The body lies in a pool of water with a live wire sending electric currents through the corpse. Who did it? How was it done? The remaining guests must use their investigative skills and strategy in order to solve the crime — otherwise they’ll become the next victim

The classic manor house murder mystery would seem a no-brainer for reality TV, but somehow we got “Cupcake Wars” before “Whodunnit?” which premieres Sunday on ABC.

And maybe there’s a reason. As simple as all those cozy mysteries may seem, the good ones are actually complex layers of character, setting, plot and clues. And complexity is not the modus operandi of reality programming.

This one, the brainchild of “CSI” co-creator Anthony E. Zuiker, appears to have ambitions beyond its genre, and possibly its budget. Introduced in voice-over by the determinedly lugubrious butler Giles (Gildart Jackson), “Whodunnit?” summons 13 contestants to Rue Manor for what they claim to know only as some sort of mystery game with a $250,000 prize.

While they’re establishing what passes for character and clinking their Champagne flutes, Giles explains that his enigmatic employer will soon reveal all. Minutes after he sends everyone off to settle in, a loud crash brings them back to the main room, where one of the players — a former cheerleader (of course it would be the cheerleader!) — is lying “dead.” Spectacularly “dead,” as a matter of fact, twitching among the flopping goldfish and debris of a shattered fish tank, with shards of glass in her head.

This was no boating accident, this was “moider!” With Giles supplying prompts and direction, the remaining 12, who include a former member of the LAPD and a bounty hunter, as well as a nurse, a journalist and an ex-beauty queen, set off in search of clues. Not only does a murderer walk among them, those who don’t solve the crime, or at least come close, face a similar fate.

All of which sounds much better than it plays, for a variety of reasons. First off, ol’ Rue Manor is set in Beverly Hills, providing an absurd contrast to the dark ‘n’ stormy night mood music they’ve got going on, not to mention Giles, who looks and sounds like his last job was at the Haunted Mansion at Disneyland.

Also, the marble interiors and Champagne flutes conjure both endless episodes of “The Bachelor” and the reality TV house that the callow British writers were housed in on Showtime’s “Episodes.” There’s nothing wrong with setting a murder mystery under the laughing skies of Southern California, but you need to go more April Smith than Agatha Christie.


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ious Maids Season 1 Episode 1a

Genre: Drama
Episode Name: Pilot
Air date: 6/23/2013
Summary: The women turn to one another for support when their friend and fellow maid Flora is brutally murdered at the home of her employers, Evelyn and Adrian Powell, at one of the largest society events of the year. Meanwhile, newcomer Marisol is hired to clean the home of Taylor and Michael Stappord, a newlywed couple with a complicated love history. But Marisol has ulterior motives and when someone she loves becomes wrapped up in Flora’s murder, she goes undercover to learn the truth.

Gorgeous swimming pools abound on Lifetime’s sleek new drama “Devious Maids,” centered on the complicated relationships between wealthy Beverly Hills families and their hired help. Because it’s a show from Marc Cherry (the sharp, calculating creator of ABC’s “Desperate Housewives”), the pools seem to serve a symbolic purpose: The aquamarine water glitters tantalizingly in the sunlight, showing off the privilege of the entitled homeowners while reminding their employees of what they can’t have.

And, because it’s a show from Marc Cherry, within a few minutes, someone winds up stabbed, dead and floating in one of those pools.

With that, we begin “Devious Maids,” which has so many echoes of “Housewives” — visually, tonally, thematically — that it seems like a companion show. (It nearly was — the pilot was originally developed for ABC, and Eva Longoria is an executive producer.) The series focuses on five women, involves a complicated web of characters and hooks viewers immediately with a murder mystery.

Like its predecessor, the show is also obsessed with exploring the fraudulent ways that people live their lives, trying to appear perfect while everything is actually falling apart. The difference with “Maids,” however, is the underlying class warfare in every scene, which ups the ante on the typical Lifetime drama.

“You don’t have an accent,” blurts out Taylor Stappord (Brianna Brown), a trophy wife interviewing a potential maid (Ana Ortiz). “I’ve never met a maid who didn’t have an accent. . . . You sound like you went to college,” she says, accusatorially.

Still, does the campiness outweigh the social commentary? Of course — it’s still a prime-time soap, adapted from a Spanish telenovela. Among the titular characters, Ortiz stars as mysterious Marisol, who conveniently applied for the job just after the mysterious murder took place; no-nonsense Zoila (Judy Reyes) and her teen daughter (Edy Ganem) are virtual babysitters for their pill-popping employer (played by an amusingly batty Susan Lucci); aspiring singer Carmen (Roselyn Sanchez) only accepted the gig so she could slip her pop star boss her demo CD; and kindhearted Rosie (Dania Ramirez) is trying to earn money to bring her young son from Mexico to the States.

If your head is already spinning, the episodes don’t slow down, continuously jumping from house to house. The darkly comic tone sets in early, with horrific secrets lurking in beautifully furnished mansions set amid bright colors beneath the perpetually shining Southern California sun.

“I think what you people do is heroic,” crazy evil rich lady Evelyn Powell (Rebecca Wisocky) tells her maid, Flora (Paula Garcés). “You wash clothes you can’t afford. You polish silver you will never dine with . . . and you still dream of a better life.”

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Drop Dead Diva Season 5 Episode 1a

Genre: Comedy, Drama
Episode Name: Back from the Dead
Air date: 6/23/2013
Summary: The fifth season begins with Jane desperately searching for Owen, who disappeared just before their wedding. Luke tells Jane that “Old Jane” is back on Earth and could be in anyone’s body. Meanwhile, Jane takes a case involving a boy whose drug treatment is terminated by a pharmaceutical company; and Kim represents a woman whose ex-boyfriend posted nude photos of her on the Internet.

Justin Deeley, who recurred on The CW’s 90210, will be the newest face to join the Lifetime dramedy. Drop Dead Diva centers on aspiring model Deborah “Deb” Dobkins, who was killed in a car crash and brought back to life as lawyer Jane Bingum (Brooke Elliott). Deeley takes over as Jane’s guardian angel, Paul, described as a “likable free spirit” with abs of steel.

For Deeley, the casting process happened “very quickly.” With pilot season over (around mid-April), his manager gave him a heads-up on the plum series-regular role. Within two weeks of the audition, he found himself “on a plane moving to Atlanta [where Drop Dead Diva films] for the summer,” he tells

In a chat with THR, Deeley breaks down his character, what viewers can expect in the new season and the one scene he’s the most nervous about seeing.

Justin Deeley: When I got to the audition initially, I wasn’t familiar with [Drop Dead Diva] at all. I’d heard of it, but I didn’t watch and I had to learn what [it was] ’cause it’s a different world that the show lives in. I watched the first season in order to get myself comfortable with everything.

THR: How would you describe Paul?

Deeley: [Paul]’s very childish, and it’s a lot of fun to play. Because he’s an angel, he’s coming back for a second go-around at this thing called life. He comes back in a new body with these new things he never had in the first go-around. I always say it like this, if we do come back on planet Earth when it’s all said and done, and God gives me a country music voice like Garth Brooks, I’m going to be the happiest man on the planet. Paul has got this body he never had his first time; maybe in his first life he said no to a lot of opportunities, maybe he didn’t have as much luck with girls. This time, he’s in this honeymoon phase. He’s a lot of fun to play because I’ve never played a comedic character.

Deeley: I didn’t expect to like it as much as I did. It just seems to me that the overall meaning behind it and what it’s going for, it’s not really about the lawyering as it is the deeper meaning behind it: the human beings and it doesn’t take itself too seriously as a lot of shows at times can. It’s a feel-good show and that’s why the fans were so loyal and brought it back, because they were so passionate about the show.

Deeley: I’m her guardian angel, but she almost has this big-sister thing in the beginning. I’m supposed to be watching out for her, but Paul looks up to her a great deal. Because he’s an angel, he knows her life and he knows what’s going on with her. He’s enjoying this new life he’s got and he’s also trying to figure out where he fits in. As the season progresses Paul will start to get his footing a little more, and then who knows where he’s gonna go when the season ends?

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Mad Men Season 6 Episode 13a

Genre: Drama
Episode Name: In Care Of
Air date: 6/23/2013
Summary: This episode doesn’t have a summary yet. Add one here.

It’s taken almost six seasons, but by inheriting the Chevy account, Pete Campbell finally has something he wants. The victory – such as it is – must have put Pete in a good mood, because the Shakespeare-referencing mercy in this week’s episode title was his. The recipient? Don Draper tribute act, Bob Benson.

James Wolk did a grand job of conveying Benson’s duplicity this week, demonstrating that underneath beaming Bob’s surface sits a resourceful schemer unafraid to protect himself if threatened. Beatifically declaring his admiration for Campbell one instant, then using plant Manolo to get to Pete’s mother the next, Benson has revealed himself as a player with more in common with Draper than an alliterative name. He’s another invented man, and one dangerous when cornered. Having learnt his lesson with Don in season one, Pete surrendered to the kind of animal Bob is and granted him leave to remain on the condition that he keep his distance.

Surrender was a verb carefully chosen in a season of battles and power struggles set against the vague backdrop of an overseas war. It’s what Ted Chaough was forced to do with Ocean Spray, even after Don agreed that the firm would bow out of Sunkist. (A punch line-ish aside in the war of the juices is that Draper evidently drinks neither. He’s a Tropicana man.) Don’s own surrender to Ted last week was short-lived, and ultimately, the lure of an $8 million account won out over honouring your word.

Since the battle lines were drawn over Heinz, business ethics, for want of a better term, have been a recurring theme in season six. Conflicts over loyalty and etiquette have been enacted and debated time and again, and with what conclusion? Is honour, pragmatism, or double-crossing the way to get ahead in advertising? Does the best man win, or the best idea?

Neither. Judging from what Mad Men tells us about winning, there’s no such thing. Even a victory like Chevy will kill you, as proved by poor Ken Cosgrove ‘dying’ for a second time this season at the hands of those fat yahoos in cheap suits, then staggering back to the office with another piece missing. Lucky Strike was SCDP’s horseman of death for years, then Lane tried to turn Jaguar into his coffin last season, and now General Motors keeps killing Kenny (we all see the joke, let’s leave it there). Business is war, says Mad Men, everyone suffers losses, and you’re lucky if you get out alive.

Ted Chaough this week was a lover, not a fighter. Three episodes ago, Peggy told Don that unlike him, her new boss was interested in the idea, not his idea. Well now he’s interested in your idea Peggy, and plenty more besides. The lovesick pair spent most of the episode giggling like schoolgirls.

The Quality of Mercy’s actual schoolgirls were a less innocent bunch, as Sally Draper discovered on an overnight interview to Miss Porter’s Connecticut boarding school. The upshot of Sally having caught her father with his pants down was her doing exactly what any child of his would, and running away to avoid the problem.

The boarding school interlude opened a door for this season’s cameo from creepy Glen, now a peace-sign giving, joint-smoking teen, who came to Sally’s rescue, twice. Sally’s easy lie about her pushy ‘date’ once again showed that she’d learnt to dissemble from the best of them. Your father never gave you anything, Sally? How wrong you are.

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True Blood Season 6 Episode 2a

Genre: Drama, Fantasy, Mystery, Romance, Thriller
Episode Name: The Sun
Air date: 6/23/2013
Summary: A long-lost relative reveals himself to Jason and Sookie. After Tara is victimized by a new government weapon, Eric takes matters into his own hands in an effort to thwart Burrell’s anti-vampire initiatives. On the road to work, Sookie is drawn to a handsome stranger who shares her faerie abilities. Sam is unnerved by supernatural-rights zealot Nicole (Jurnee Smollett-Bell), and is confronted by Alcide and Martha about Emma’s future. Bill contemplates the scope of his heightened powers.

After a long wait, it was finally time for our annual trip to Louisiana, as True Blood returned for a sixth season on Sunday. With the assault on vamp central in full swing when last we saw Sookie, Eric et al, and Billeth having risen from a pile of goo, Who Are You, Really? picked up exactly where we left off last year. As has become True Blood’s habit over the years, the season premiere episode is actually the second episode of the season, as the show began this year’s threads at the end of season five. Having left us on something of a cliff-hanger last season, tension was high – would this season finally lay Bill and Sookie to rest? Would the ever-not-actually-present Warlow finally be present? And have the faeries left Bon Temps – and therefore True Blood – for good? One can only hope…

While Who Are You, Really? couldn’t really answer any of those questions unequivocally, it did present us with what could very well be the end of Bill and Sookie, or rather the end of Sookie and all vampires. Having banished even Eric from her home, it seems Sookie has indeed severed all ties with the fangers – the male ones at least. Despite having survived the assault on vamp central, as well as an encounter with Billeth thanks in no small part to Eric, Sookie, it turns out, is desperate to once again be the innocent, polka dot-wearing, job-having girl she used to be. Unfortunately for Sookie, having clearly never seen the show, turning her back on her vampire protectors generally heralds her impending doom. And lo and behold, on the very evening Sookie gives voice to her need to be boring again, the series’ latest bad boy blows into town.

Yes, the near-legendary parent-killer Warlow has finally put in an appearance – in the shape of a magnificiently grizzled Rutger Hauer – and it appears that ever Die Harder Jason Stackhouse can save her. Of course, Warlow’s apparently being a major player in the Billeth Bible gives her at least a fighting chance and will most likely mean that Eric’s cold plates of meat will be back under Sookie’s, ahem, table in no time, white dress or no. Warlow’s introductory scenes gave us the first of the season’s classic Jason lines – “My parents have become kinda racist and scary since they went to heaven” – and left us with the comforting knowledge that despite the Bruce Willis impression, Jason remains as dumb as a box of hair. Only he would go stropping off on his own on the night that vamp hell breaks loose, and then breezily and accurately recount his entire life story to a weirdly dressed old man. Apparently, Jason was stropping off on his own when the faeries were handing out anything approaching sense.

Speaking of things that are, as yet, a tad without sense, let’s talk Billeth. From Southern gentleman vampire king to gooey puddle and onto… Possessed vampire demi-god? Is he to be trusted? Of course not – it’s True Blood. No one is to be trusted, and that goes for Andy’s magically growing children. Despite his early protestations that he’s still good ole’ Bill, now that at least three mysterious naked demon types have found themselves a Bill-shaped meat suit, nothing he says can be trusted. And just cos he’s handy for taking care of tough stains, doesn’t make it okay. Aside from all the obvious comedy in the ‘Bill is several women trapped inside a man’s body’ style, it’s already looking like a bloody meeting between Billeth and Warlow is inevitable. Luckily, anyone who’s seen Hobo with a Shotgun will know that he might not look like much, but Warlow can kick some ass.

While the episode spent much of its time on the aftermath of the assault on vampire central, it also found time to add a few new layers of intrigue, most notably the new bent politician storyline. Bent politicians aren’t unusual in True Blood, but rarely are they voluntarily involved with the vamps, while simultaneously all but segregating them. The Governor’s back room deal to get the True Blood flowing again is bound to have repercussions down the line, provided that is, that the revelation that vamps aren’t the only not-quite humans on the planet doesn’t get there first. Luna’s sacrifice gave Sam the chance to get away, but shifting live on television has opened up a whole new can of supernatural worms.

It’s still early days, but so far, it seems that Bon Temps is indeed an almost faerie-free zone – the magical children not withstanding – and Lafayette is yet to don his over the top clairvoyant apparel, so it seems that some of last year’s worse nightmares have hopefully been well and truly laid to rest. And, with Warlow Sookie-bound, Billeth hell-bound and Jason up shit creek, it’s clear that there’s plenty of classic True Blood action on the way, and that’s before we get to find out what’s up with the magical children, or what the hell Alcide has to do with anything anymore. As always, lots of questions, tons of ambiguity and more than a whiff of death in the air, and only one thing is for certain: it’s good to be back in the swamp. See y’all next week.

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Zero Hour Season 1 Episode 6a

Genre: Drama, Thriller
Episode Name: Weight
Air date: 6/22/2013
Summary: Still searching for answers to the secrets of his past, Hank confronts his parents about his birth and childhood. Realizing they can no longer stay silent but fearful about how the truth could affect him, they fess up. But Hank immediately senses his parents are not being fully transparent. White Vincent revisits memories of his own childhood and the parallel lives he and Hank have lived. Meanwhile, the hunt for Laila and the next clock brings Beck, Paige, Arron and Rachel to Istanbul, Turkey. Hank searches for more information about his “doppelganger,” Commandant Korbin Sturm, and makes an unlikely connection with a man who holds the key to more than Hank could have ever imagined.

You really should do yourself a favor and watch Zero Hour. Not the whole series; I can’t in good conscience recommend that. Not even the whole pilot, actually. But if you DVR the premiere and watch the first few minutes and the last few, you will be treated to the most over-the-top hilarious parody movie trailer you will likely see all year.

That trailer begins with a flashback to World War II. Nazism is sweeping across Europe. And a band of Rosicrucian priests have vowed to stop a Nazi threat against humanity–nay! against God Himself!–with an arcane plan that involves… clocks. “Twelve is a magic number, ” a voice intones. “Twelve is divine. Twelve is both the beginning and the end of time.”

The last time we heard someone intoning about magic numbers on ABC, of course, it was during Lost, whose spell Zero Hour seems Swiss-engineered to re-cast. But this is no Lost; it’s more like a particularly absurd Rimbaldi subplot of Alias. There is hilariously stiff dialogue. (We learn what order the priests belong to because someone says, “As Rosicrucians we know the most important thing we can do…”) There is an icebound submarine, and old men and babies with creepy pupil-less eyes, and maps and antiques and ancient prophecies. And it all wraps up with a wizened European man warning, “The storm is coming. It will pit science against religion, country against country. … And that storm is called–Zero Hour!”

That storm is blowing big fat flakes of pure hoo-hah, which could have been a grand ridiculous time. But on the way from World War II to the discovery of a secret holy-war conspiracy, we have to pass through Brooklyn, and some of the stiffest acting and dialogue you’ll find this season.

Hank Galliston (Anthony Edwards), publisher of a mythbusting magazine called Modern Skeptic–sort of an anti-Weekly World News–gets embroiled in the kind of conspiracy he usually debunk, when his wife (Jacinda Barrett) buys the wrong antique clock and gets abducted. With his two cub-reporter proteges Rachel and Arron (Addison Timlin and Scott Michael Foster), he goes on her trail, and comes across a mystery that involves modern Nazis, lots of clocks, and “a secret that even the Pope doesn’t know.”

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Genre: Comedy, Family
Episode Name: #TheBritBrats
Air date: 6/22/2013
Summary: Sam and Cat babysit two polite, British girls; Sam tries to fulfill a community service requirement at Elderly Acres.

“Sam & Cat,” which premieres Saturday on Nickelodeon, takes the sidekicks from two other Nickelodeon shows — Jennette McCurdy’s Sam Puckett, from “iCarly,” and Ariana Grande’s Cat Valentine, from “Victorious” — and bunks them in together as costarring leads. All these series were created by Dan Schneider, who also created “Zoey 101″ and “Drake & Josh” and co-created “What I Like About You,” which makes him, like, the Neil Simon of teen sitcoms.

For a particular audience, this will be epic — as if, for a different particular audience, Bill Cosby’s Alexander Scott and David McCallum’s Illya Kuryakin were to ditch Kelly Robinson and Napoleon Solo and team up, or Ed Norton and Ethel Mertz were to run off together into their own show.

The series begins when Sam, who has been Easy Rider-ing about the country since the end of “iCarly,” rescues Cat from the back of a garbage truck. (There was a kitten in a green recycling bin, and then she lost her gum, and — whatever.) In a line Schneider may have lifted from his own pitch meeting, Cat tells Sam, whom she is inviting to stick around, “We sort of have this whole fun ‘Odd Couple’ dynamic — built-in conflict, lots of potential for more adventures.”

Sam is a tender tough girl; though she will hurl herself into a fresh pile of ordure for the sake of a stranger, even at the cost of abandoning a burrito, she is unashamedly a promoter of her own comfort. She doesn’t care much for rules or any less than convenient truth. (Moral lessons are not the point here.)

Cat, who is all pink and red and has the attractive quality of being chronologically older and mentally younger than the target audience, is frilly both in dress and mind and not quite of this world. She speaks, often at high volume, in a sort of sing-songy monotone; can’t turn on a dryer or make soup from a can; and is overexcited by basically everything.

As usual in these comedies, adults are around — to the limited extent they’re around — mostly to be tolerated, used or deceived. Here we get brief appearances by parents who come by to drop off their kids with Sam and Cat, who have set up shop as what a responsible person would describe as the world’s worst babysitters. (Sometimes the kids just drop themselves off: “Our mother left for work,” says one. “She dances near the airport.”)

Cat does have a grandmother (Maree Cheatham), it is true, but she has left Cat alone, stealing off to Elderly Acres to live among other “elderlies,” there to flirt and play Twister. Old people, of course, are funny because they’re old, and still alive. Funny old people! (To be fair, the show also has a go at small children: two apparently lovely little English girls turn out to be a step removed from the Krays.)

There is something at once endearing and annoying about the series, in which sense it is very like the demographic it has been designed to entertain and serve. Sometimes I wanted to ask it not to shout so loud; sometimes I liked it.

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WILFRED: L-R: Elijah Wood as Ryan and Jason Gann as Wilfred. CR: FX.

Genre: Comedy
Episode Name: Uncertainty
Air date: 6/20/2013
Summary: Ryan and Wilfred search for Wilfred’s original owner. Written by Reed Agnew & Eli Jorné; directed by Randall Einhorn.

Adapting any kind of entertainment for a different country’s viewing audience is something of a thankless task. Even if there isn’t a language barrier to crawl over, differences in cultural quirks and taste can leave an adaptation floundering before the first frame of video is shot.

Fortunately for the American adaptation of Wilfred, the appeal of a talking dog must be fairly universal. After two seasons of respectable ratings, the Australia-born dark comedy has officially been renewed for season 3.

In a press release dated yesterday, FX Productions announced that the network has ordered new episodes of Wilfred for 2013. Production on the upcoming season should begin shortly after the turn of the year and the subsequent episodes will air in June.

Trekking into areas far more bizarre than the usual live-action sitcom, Wilfred stars Elijah Wood (The Lord of the Rings, Sin City) as Ryan Newman, a deeply depressed man whose milquetoast suicide attempt is interrupted by his neighbor’s request to watch her dog. Ryan is bewildered, because Wilfred the dog appears to be an ill-tempered, foul-mouthed man in a dog suit . . . whom only Ryan can see. The series’ two seasons have followed Ryan and Wilfred as they bond, go on comic misadventures, and learn to embrace the inherent weirdness of the world. Wilfred also stars Fiona Gubelman (Blades of Glory) as Wilfred’s owner and Dorian Brown (Roommates, Supernatural) as Ryan’s sister Kristen.

Wilfred is the brainchild of writers Adam Zwar and Jason Gann (who also plays the titular man in the dog suit). Originally a series on Australian television, Wilfred was adapted for American audiences by David Zuckermann. As of season 3, Zuckermann is stepping down as Wilfred’s showrunner, but will remain on the creative team as executive producer. In his place, series writers Eli Jorné and Reed Agnew will step up as the show’s prime movers.

I have to admit an ignorance of Wilfred’s current creative arc, despite belly-laughing my way through its initial trailers in 2011. The cynic in me questions just how much comedic mileage a show can pull from the dissonance of Elijah Wood hanging around with an Australian in a dog costume. At what point will the show start circling around to the same gags about a dog who chain-smokes?

In spite of my pessimism, Wilfred has retained a sizable cable audience throughout both its seasons, so one can safely assume that the show has maintained a consistent comedic momentum. At the very least, the announcement of its renewal reminds me that I need to pick up the season 1 DVD set and finally make good on those trailer-based gut busters.

Wilfred will dig its way back onto television in June of 2013.