In its final outing, ‘Desperate Housewives’ will wrap up the stories of Susan Delfino (Teri Hatcher), Lynette Scavo (Felicity Huffman), Bree Van De Kamp (Marcia Cross), and Gabrielle Solis (Eva Longoria) in a special two-part series finale, titled “Give Me the Blame”/”Finishing the Hat”. The finale will revolve around the ongoing murder trial which sees Bree charged with the death of Gabrielle’s step-father, that actually occurred at the hands of Gabrielle’s husband Carlos (Ricardo Chavira) in an act of self-defense.

Other storylines expected to be resolved in the finale include the long-awaited reunion between Lynette and her husband Tom (Doug Savant), and a follow-up to Susan’s decision in last week’s episode to sell her home on Wisteria Lane, following the death of her husband Mike (James Denton) earlier this season. The official episode description for “Give Me the Blame” reads:

“Susan plans on selling her home; Trip begs for Bree to come clean to him about the night Alejandro was killed; Gabrielle tries to come up with a way to stop Bree from being convicted.”

Then, the official episode description for “Finishing the Hat” reads:

“Katherine returns to Wisteria Lane and offers Lynette a job, that could end her chances of reconciling with Tom; the ladies agree to take care of Mrs. McCluskey when they discover she wants to die with dignity; Julie goes into labor on the way to Ben and Renee’s wedding; Renee is furious to find out that Ben has been arrested and thrown in jail.”

The return of Katherine in the series finale marks the first appearance by former star Dana Delany since her departure from ‘Desperate Housewives’ two years ago, when her character departed on an extended trip to Europe with girlfriend Robyn (Julie Benz). In real life, Delany took a starring role on her own ABC series ‘Body of Proof’.

Other former stars are expected to return for the final episode, which comes after several years of declining ratings for the once top-rated series. Premiering in the fall of 2004, ‘Desperate Housewives’ was one of two shows (the other being ‘Lost’) credited with revitalizing the struggling ABC network.

In its first two seasons, the series averaged more than 20 million viewers per week, however, that figure has been in a steady decline ever since, with the current season averaging 8-9 million viewers per week. Still, the series has remained one of ABC’s strongest-performing shows and one of its most popular series internationally. For the majority of its run, ‘Desperate Housewives’ was the most-watched comedy series worldwide, reaching 51.6 million viewers in 2009.

‘Desperate Housewives’ has won seven Emmy awards during its run, including one for Outstanding Actress for Felicity Huffman and two for Outstanding Guest Actress for Kathryn Joosten. In 2004 and 2005, it won the Golden Globe for Best Comedy Series, while Teri Hatcher won Best Actress in 2004. Hatcher and Huffman also won Screen Actors Guild awards for their performances (in 2004 and 2005, respectively), while the entire cast won for Outstanding Cast in 2004 and 2005.

The two-part series finale of ‘Desperate Housewives’ will air on Sunday, May 13 from 9:00-11:00pm.

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‘Mad Men’ returned for its fifth season last month, and executive producer Matthew Weiner seems more interested than ever in exploring how his female characters cope with the myriad of personal and professional challenges American women faced in the 1960s.

From race and employment, to marriage and motherhood, the women of ‘Mad Men’ are in increasingly independent positions, while some male characters are struggling just to stay relevant. Here is how the series’ three principal female characters are faring this season:

Peggy Olson (Elisabeth Moss): Peggy entered the advertising firm of Sterling Cooper in the first episode of ‘Mad Men’ as the naive secretary who soon worked her way up to a Junior Copywriter position, forcing her to contend more bluntly with the patronizing attitudes of her male colleagues and clients.

At the end of Season 3, Peggy was one of only two women at the agency to transfer over to the new Sterling Cooper Draper Pryce agency, and in last Sunday’s episode she bartered with founding partner Roger Sterling in a remarkable show of power play:

Roger: What do you make a week, sweetheart?

Peggy: You don’t know, huh? That’s helpful.

Roger: You know, I could fire you… Fine, how much you want?

Peggy: How much you got?

Roger: $400.

Peggy: Give me all of it.

Roger: Jesus! You better be good.

Peggy: Do you want me to take your watch?

Roger’s desperate bargaining with a female subordinate several decades his junior is indicative of the power and importance Peggy is gradually beginning to wield in her professional life.

Joan Holloway (Christina Hendricks): Joan can be described of something as a ‘Queen Bee,’ as she mediates between the workers and the partners while confidently exhibiting her sexuality in her role as Office Manager. This would explain why she has been frequently frustrated with Peggy, initially when she was a meek secretary, and later when she ascended the career ranks so swiftly.

Late last season, Joan discovered that she was pregnant and has been on maternity leave through the first four episodes of the season. Joan initially feared that motherhood meant the end of her career at the agency, but this was put to rest when she was told that they “couldn’t operate a parking meter” without her.

Yet, it was in Sunday’s episode that Joan’s development took a significant turn: after finding out that her husband Greg, a soldier newly returned from overseas, had volunteered to re-enlist after being away for over a year, she told him that their marriage was over and finally confronted him about being raped by him in Season 2:

Joan: I’m glad the Army makes you feel like a man, because I’m sick of trying to do it.

Greg: The Army makes me feel like a good man.

Joan: You’re not a good man. You never were, even before we were married, and you know what I’m talking about.

At this, Greg left and the series will now move forward with Joan as a single, working mother – a situation wholly unique in the Sterling Cooper Draper Pryce offices of 1966.

Betty Francis (January Jones): During the first three seasons of ‘Mad Men’, Betty was the archetypal unhappy suburban housewife of the 1960s. She repressed her unhappiness about having no life outside of the domestic sphere, and represented the antithesis to Peggy, a woman who gave away her own baby in order to secure her independence and career opportunities.

After separating from Don Draper at the end of Season 3, Betty remarried in the hopes of leading a happier life. However, when Season 5 began, Betty was shown to have undergone a significant weight gain and asked for diet pills from her doctor:

Dr. Horton: Mrs. Francis, when a housewife has rapid weight gain, the cause is usually psychological. Unhappiness, anxiety, boredom, things that cause us to lose our self-control.

The doctor lists all of the issues which have plagued Betty since the series began, revealing that trading one husband for another has not led to her becoming either a fulfilled or secure woman.

‘Mad Men’ features several other female characters, and this season has seen the introduction of Teyonah Parris, as the agency’s first African-American employee.

However, it is these three women who serve as the principal female figures on their series: Peggy, who represents independence and ambition; Betty, who represents domestic isolation; and Joan, who represents somewhat a combination of the two as she strives to meld motherhood and her career. Their development will undoubtedly continue to play a key aspect of the series in this season and beyond.

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The hotly-anticipated miniseries from the mind of Julian Fellowes (‘Downton Abbey’) was expected to be one of the highlights of the centennial anniversary of the RMS Titanic’s sinking, however, a bloated cast, flawed set-up and overload of social commentary amounted to one massive disappointment.

‘Titanic’ is a 4-part miniseries which will document the experiences of various passengers aboard the infamous ship which sank on its maiden voyage on April 12 1912. The ship’s sinking has been depicted onscreen many times before, most successfully with the eponymous 1997 theatrical release grossing almost $2 billion, and soon to be re-released into cinemas in 3D. But this miniseries, penned by the same man who turned ‘Downton Abbey’ into a worldwide hit, does not seem likely to follow in the footsteps of Fellowes’ award-winning series.

For starters, there are too many characters. Plain and simple. Featuring 89 main characters in total, each episode will focus on a select group before ending with their efforts to escape from the sinking ship. Episode 4 will presumably tie all of the storylines together and then show which of the characters managed to survive.

Unfortunately, Fellowes has tried to do too much with too many characters, barely giving the audience a chance to learn their names or backstories before one is suddenly thrust onto the deck where hundreds of inter-changeable characters are running around, spewing out stock dialogue of  a dozen other disaster dramas.

Clearly trying to emulate the appeal of ‘Downton Abbey’, Fellowes depicts the servants and the first-class passengers, and every other group in between. However, unlike ‘Downton Abbey’, Fellowes does not have 7 episodes to tease out the nuances of their relationships, nor is there the opportunity to create compelling or surprising encounters between characters of different social status. Certainly, a variety of characters do interact in this first episode, but it is to no dramatic pay-off.

The most glaring and irritating aspect of the first episode is undoubtedly the inclusion of a social issue in every other line of dialogue. The very first scene, which lasted no more than 60 seconds, referenced: the judicial system, political protests, women’s right to vote, class bias, and even an allusion to homosexuality.

Moving beyond that, not an act break could go by without one nationality criticising another, with one American character awkwardly commenting, “I can’t see the English wanting to drop the class system anytime soon. It’s woven into their heritage.” Excuse me, but what was this character’s name? Who was he addressing?

Why should the audience care? The most laughable, and again awkward, piece of dialogue had to be when an upper-class American character told a man from an opposing political party that he could sit next to him – all while outside on the deck hundreds of passengers were clamouring onto lifeboats. It was ridiculous, and simply ineffective on any thematic level.

All in all, Fellowes is clearly eager to explore class, sex, politics, nationality, and countless other hot-topic issues. And who could blame him? The RMS Titanic was a melting pot of different cultures and classes, with the accounts of survivors offering up various threads for a story-teller to pursue in this type of series.

It must have been incredibly tempting to produce a big-budget series, guaranteed to be given a massive promotional push, scheduled in the exact same time-slot as ‘Downton Abbey’, and sure to attract interest from the U.S. and beyond. But all those lavish production values amount to nothing when you have bland characters, forced dialogue, predictable interactions, and an badly-executed premise made all the more frustrating by the possibilities for provocative storylines which it had to offer in the first place.

With three episodes still to go, one can only hope that things improve. If not, Fellowes won’t be worried. After all, ‘Downton Abbey’ isn’t going anywhere.

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War is coming to Westeros. As the cold winds rise and five kings vie for power, bonds are forged and broken, identities are challenged and romance blossoms. With the stakes higher than ever before, who will survive the chaos to claim the Iron Throne?

Based on the bestselling fantasy book series by George R.R. Martin, ‘Game of Thrones’ is an epic drama set in the world of Westeros, where ambitious men and women of both honor and ill-repute live in a land whose summers and winters can last years. The Emmy- and Golden Globe-winning fantasy series begins its second season Sunday, April 1, exclusively on HBO, followed by other episodes on subsequent Sundays.

Created and executive produced by David Benioff and D.B. Weiss, the ten-episode second season of ‘Game of Thrones’ plays out against the backdrop of a fast-approaching winter – the season of the white raven. In King’s Landing, the coveted Iron Throne is occupied by cruel young Joffrey, counseled by his conniving mother Cersei and his uncle Tyrion, who has been appointed Hand of the King.

But the Lannister hold on the Throne is under assault on many fronts. Robb Stark, son of Ned Stark, the slain Lord of Winterfell, seeks autonomy in the North and has taken Cersei’s brother Jaime prisoner in battle. Daenerys Targaryen looks to shore up her depleted power in the East with her three newborn dragons. Stannis Baratheon, brother of the late King Robert, rejects Joffrey’s legitimacy and aligns with a powerful priestess to raise a naval attack. And Renly, Stannis’ charismatic brother, has maintained his own claim since fleeing King’s Landing.

In the meantime, a new leader is rising among the wildlings North of the Wall, adding fresh perils for Jon Snow and the order of the Night’s Watch. With tensions and treaties, animosity and alliances, the second season of ‘Game of Thrones’ will be a thrilling journey through an unforgettable landscape.

April’s episodes

Episode #11: “The North Remembers” – As Robb Stark and his northern army continue the war against the Lannisters, Tyrion arrives in King’s Landing to counsel Joffrey and temper the young king’s excesses. On the island of Dragonstone, Stannis Baratheon plots an invasion to claim his late brother’s throne, allying himself with the fiery Melisandre, a strange priestess of a stranger god. Across the sea, Daenerys, her three young dragons and khalasar trek through the Red Waste in search of allies, or water. In the North, Bran presides over a threadbare Winterfell, while beyond the Wall, Jon Snow and the Night’s Watch must shelter with a devious wildling.

Episode #12: “The Night Lands” – In the wake of a bloody purge in the capital, Tyrion chastens Cersei for alienating the king’s subjects. On the road north, Arya shares a secret with Gendry, a Night’s Watch recruit. With supplies dwindling, one of Dany’s scouts returns with news of their position. After nine years as a Stark ward, Theon Greyjoy reunites with his father Balon, who wants to restore the ancient Kingdom of the Iron Islands. Davos enlists Salladhor Saan, a pirate, to join forces with Stannis and Melisandre for a naval invasion of King’s Landing.

Episode #13: “What Is Dead May Never Die” – At the Red Keep, Tyrion plots three alliances through the promise of marriage. Catelyn arrives in the Stormlands to forge an alliance of her own. But King Renly, his new wife Margaery and her brother Loras Tyrell have other plans. At Winterfell, Luwin tries to decipher Bran’s dreams.

Episode #14: “Garden of Bones” – Joffrey punishes Sansa for Robb’s victories, while Tyrion and Bronn scramble to temper the king’s cruelty. Catelyn entreats Stannis and Renly to forego their ambitions and unite against the Lannisters. Dany and her exhausted khalasar arrive at the gates of Qarth, a prosperous city with strong walls and rulers who greet her outside them. Tyrion coerces a queen’s man into being his eyes and ears. Arya and Gendry are taken to Harrenhal, where their lives rest in the hands of “The Mountain,” Gregor Clegane. Davos must revert to his old ways and smuggle Melisandre into a secret cove.

Episode #15: “The Ghost of Harrenhal” – The end of the Baratheon rivalry drives Catelyn to flee and Littlefinger to act. At King’s Landing, Tyrion’s source alerts him to Joffrey’s flawed defense plan and a mysterious secret weapon. Theon sails to the Stony Shore to prove he’s worthy to be called Ironborn. In Harrenhal, Arya receives a promise from Jaqen H’ghar, one of three prisoners she saved from the Gold Cloaks. The Night’s Watch arrive at the Fist of the First Men, an ancient fortress where they hope to stem the advance of the wildling army.

Critically acclaimed

In September 2011, ‘Game of Thrones’ received two Emmys, including Outstanding Main Title Design and Outstanding Supporting Actor in a Drama Series for Peter Dinklage, who also received a Golden Globe for Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television.

The first season of ‘Game of Thrones’ inspired critical raves. TV Guide called the show “a crowning triumph” and “brilliant,” while the Los Angeles Times termed it “a great and thundering series,” as well as “wild and bewitching.” The Hollywood Reporter praised the “excellent storytelling, superb acting and stunning visual effects,” and the New York Post observed that the “art directing, acting and incredible sets are as breathtaking as the massive scope of the series.”

Episode #15: “The Ghost of Harrenhal” – The end of the Baratheon rivalry drives Catelyn to flee and Littlefinger to act. At King’s Landing, Tyrion’s source alerts him to Joffrey’s flawed defense plan and a mysterious secret weapon. Theon sails to the Stony Shore to prove he’s worthy to be called Ironborn. In Harrenhal, Arya receives a promise from Jaqen H’ghar, one of three prisoners she saved from the Gold Cloaks. The Night’s Watch arrive at the Fist of the First Men, an ancient fortress where they hope to stem the advance of the wildling army.

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Glee has been a television and cultural phenomenon since its debut in 2009. Centring around a high school glee club in the fictional town of Lima, Ohio, the series has made household names of its stars Lea Michele, Jane Lynch and Matthew Morrison. The cast’s musical recordings have broken chart and touring records, while the producers have launched a successful companion reality series entitled “The Glee Project”, which seeks to find new singers for the mother series.

However, now in its third season, Glee is facing a number of challenges both on and offscreen, the latest of which is the announcement that this summer will not see the cast embark on a US and UK tour, one which proved to be one of the most successful tours of 2011. While FOX insists that the absence of a tour this year is simply a way of giving give the cast a break after three years of continuous work, the decision comes as the latest in a line of challenges which the show has had to face in recent times.

Firstly, the show has experienced a steady ratings decline during this season. In its last airing on February 14, Glee garnered 6.99 million viewers, down 24% from its season premiere on September 20. More worrying, on a year-to-year scale this marked a 34% decline from the 10.53 million it attracted on February 15, 2010.

This comes in spite of high-profile tributes to West Side Story, Michael Jasckson, and a well-publicised episode depicting several major characters losing their virginities. The series has even started being beaten in the coveted 18-49 demographic by new comedy series New Girl, which airs straight after Glee on FOX’s Tuesday night line-up.

Secondly, the show has come under intense scrutiny over the long-term futures of its stars Lea Michele, Corey Monteith, Dianna Agron and Chris Colfer, among others, as their characters approach graduation. At first, reports surfaced that several of the departing characters would be spun-off into their own series set in New York, depicting them attending a performing arts school, with even Colfer releasing a statement indicating his probable departure at the end of season three.

However, those rumours were later dismissed by show runner Ryan Murphy, but confusion remains over how exactly the stars would continue to figure into the show’s storylines once their characters have graduated.

Thirdly, Glee’s attempt to segue onto the big-screen got off to a lukewarm start when ‘Glee: The 3D Concert Movie‘ failed to perform as well as expected, grossing just $18 million at the box office. The movie opened to mixed critical reviews, and its failure marked the first significant sign of the franchise’s vulnerability after just two years of production.

Finally, but perhaps not surprisingly, the series has gone out of fashion with major award voters. Despite winning three Emmys for its freshman season, that tally decreased to one for its sophomore season, and the show walked away empty-handed at both this year’s Golden Globe and Screen Actors Guild Awards.

This is not surprising as Glee has been accused repeatedly of uneven storytelling and relying too heavily on stunt casting, with the last 12 months featuring appearances by Gwyneth Paltrow, Ricky Martin, Britney Spears and John Stamos. Add that to the fifteen actors already comprising the main cast, and the criticism begins to take on merit.

Ratings-wise, Glee has never been the number one show on television – it has yet to rank in the top 30 for a whole season – but its online presence, chart records and critical buzz have ensured it a prime spot on FOX’s broadcast schedule. Yet, facing a continuing ratings decline, the potential loss of its stars and dwindling industry support; FOX’s former powerhouse may be in need of some significant revamping if it hopes to stick to the same formula and with the same cast members for its as-yet-unconfirmed fourth season.

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