This game is amazing simple in its conception. Four people try to lock in a descending or increasing dollar amount, without being the highest (greediest). The others get to bank their amounts. It sounds like it's too easy to have much drama, but the actual play is rather interesting. The first couple of rounds don't really mean much, other than introducing the players and getting an idea of who can read each other's strategy. The available amount increases each round, until the fifth, which is $5,000. Anyone who loses in that round is pretty much done. But there's a twist; the lowest (least greedy) in that fifth round also is blanked out. Of course, anyone who is some distance behind must take a chance and go for a higher figure. Only the two with the most bank compete for the take home money, which is potentially the two players' totals added together. Most players seem to lock in at around half of the bank, and that is a solid strategy.
Corbin Bernsen is an affable host, clearly enjoying his interplay with the contestants, who try to trash each other's confidence, while having a lot of fun. This is not a classic by any stretch, and I would be surprised if it lasts more than a couple of seasons, but it is disposable fun.

James Woods is one of the finest and most charismatic actors in the business. Roger Ebert once said of him, "You can see the wheels turning in his mind, as he delivers one sarcastic line after another." Here he plays Sebastian Stark, a former defense attorney, now chief prosecutor, who shepherds a group of young and hungry attorneys as they track down and prosecute a series of sleazy murderers and assorted criminals. OK, so the plots are thin, the stories are repetitive, the supporting characters mostly interchangeable, prosecutors don't really spend all their time doing police work, and they don't work 24/7 yet still find time to have personal confrontations with the suspects and social engagements with whoever is useful to them at the time. But no matter, it's worth its weight to see Woods showing off his remarkable gift of displaying mutiple emotions simultaneously. For example, while talking with his daughter Julie, who had gone to college in New York, but bolted home to chase a boyfriend who was in trouble with drugs and dropped out, you can see the torment, the love, and the anger in Stark's face. Any parent of a teenage daughter can indentify with that.
I don't think for one moment that Woods took this on for the money, and he is clearly enjoying himself here. But there have been many rumors of him leaving the show, so I suggest you catch it while you can.

This is absolute crap. The worst thing about television is coming to life. After the first 90 seconds, which held no interest whatsoever, I kept watching, hoping for some kind of redeeming quality. Alas, wasted my time. No comedy, no story, this is the reason why I have to wait over and over for TV to finally come up with something. Anybody related to this production should be shot. And I know it wont last more than the first few episodes that the advertisers paid for. When it does die, I will be dancing. The only reason I keep on writing, is I have to do 100 words minimum. What a complete waste of time. Amen.

Oh and by the way, I tried to give it a 0.1 score, but I wasn't able to. So consider my score a negative number.

It appears that the producers wanted to chronicle the band more so than the album. Very little was shown of what went into the writing and recording process, compared to other episodes of this series, and the group itself seemed rather disassociated with the recording, preferring to focus on the rifts with the record company, the ambivelence of the radio markets, and the distaste from the critics. They made their point strongly, that a group can succeed without the support of their industry, but they failed to inform us, the viewers, what was so great about their songs, and (according to the title of this show) this particular album.

This is no 'Behind The Music' soap opera stuff. If you are looking for what drugs were abused, or how the subjects got into trouble with partying and other excesses, you've got the wrong show. This is an indepth examination of the creative process, from concept to recording, broken down by the artists, producers, engineers, and other technical people. Often the master tapes are scrutinized, while the musicians play along live, demonstrating how it was done. I have seen most of them, and the most fascinating moments were in Pink Floyd's 'Dark Side Of The Moon', when Roger Waters tells us how he 'borrowed' spoken word responses from anyone who was hanging around the studio, and The Who's 'Who's Next', when Pete Townshend shows how he came up with the sped up synthesizor for the opening of 'Baba O'Reilly'. Simply put, any musician or fan will be excited to learn this stuff. The only gripe is that some of the great ones, like The Beatles' 'Sgt. Pepper', probably won't get made.