Each network has a different approach to programming the post-Super Bowl slot, with varying results.

Two years ago, CBS used its post-Super Bowl slot to launch a new reality series, Undercover Boss. It was renewed, and still continues, so that game plan worked.

Last year, Fox used its ultra-valuable time slot after Super Bowl XLV to expose new viewers to an existing hit: its high-school comedy-drama-musical mashup, Glee, complete with a football-team zombie dance to Michael Jackson's "Thriller."

That was at the midpoint of what turned out to be a dismally unfocused sophomore season for Glee. And earlier this week, Glee presented a special episode with a Michael Jackson theme -- so, no lessons learned there.

For 2012, NBC has the Super Bowl, and is playing it safe -- and musically -- both at halftime and afterward.

At halftime, it's giving the musical spotlight to Madonna, who's far from the first AARP member to take center stage at the 50-year-line on TV's biggest annual event. But the others have been male -- and for Madonna, it's the biggest move in a calculated career revival, which also included the unveiling of a music video on Thursday's American Idol.

(Remember music videos, kids? They were what MTV used to play, from time to time, before settling on pregnant teens and Snooki.)

After Super Bowl XLVI, though, is where the real action is. That's when NBC presents the second-season premiere of The Voice, its reality-show competition featuring Christina Aguilera and three other popular singers.

As I noted a year ago, any program that follows a Super Bowl inherits one of television's very biggest audiences -- but one which is, by that time, mostly inebriated or stoned, either partying or sulking (depending upon team loyalty), and not exactly paying attention.

Like commercials during the game itself, a post-Super Bowl offering must grab the eye first, because you can't assume the ears are listening. Humor sells well. Action sells better. Usually, sex sells best.

The Voice is just the reverse. Its opening round depends on listening, not watching -- and, in fact, not watching is its central gimmick. The judges listen in tall swivel chairs, their backs to the contestants, and turn to face them only if sold by the power of their vocals.

But The Voice is a smart gambit in the post-Super Bowl slot, for two reasons.

One, it was NBC's only hit -- a surprise one, arriving in late summer -- of an otherwise dismal year. The Playboy Club was closer to the network's norm. Compared to that, The Voice shines like a supernova.

It's the sort of TV show a Super Bowl party can stay tuned to watch, and give partygoers the chance to talk about and enjoy in a communal setting. And NBC needs to remind people that The Voice is back, and nothing does that like airing its season premiere after the Super Bowl.

Two, the season premiere actually is a two-parter -- one that continues Monday, providing a high-profile lead-in to NBC's newest series, Smash. That show, like The Voice, is filled with music. But Smash is scripted, and is about a season-long effort to create and mount a Broadway musical on the life of Marilyn Monroe.

NBC needs a hit like Ron Paul needs delegates -- and Smash, following The Voice, just could be the one-two punch NBC needs. If so, this Super Bowl showcase will be one of the smartest uses of that highly visible platform in years.

(The rest of this column ran previously in this space, but still applies. Besides, it gives me another opportunity to run the Jennifer Garner picture.)

The ultimate post-Super Bowl offering may have been in 2003, when ABC presented a special episode of its series Alias, starring Jennifer Garner as a beautiful spy. For the Super Bowl crowd, this particular episode opened aboard a private jet, with Garner's Sydney going undercover as an escort, entertaining a rich client by sporting a whip and wearing nothing but panties, a bra and a stern expression.

Over the years, there have been more misses than hits in programming after the Super Bowl. The first game in 1967, before it was even called a Super Bowl, was followed on CBS by an episode of Lassie. The first truly successful use of the post-Bowl slot was in 1983, when NBC launched The A-Team.

Since then, the Super Bowl has provided a launching pad to a few great TV series (ABC's The Wonder Years in 1988, NBC's Homicide: Life on the Street in 1993), but has spawned just as many instant flops (NBC's Brothers and Sisters sitcom in 1979, CBS's Grand Slam sitcom in 1990).

Mostly, what the time slot has done right is draw bigger audiences to already successful shows, as with the 1996 NBC "Super-Sized" episode of Friends and Fox's 2008 episode of House.

It worked for House four years ago -- and ought to work just as well for The Voice this weekend.

I'm really, really impressed by NBC's Smash, the new making-of-a-musical drama series -- NOT a reality show -- that premieres Monday. I'll have a full review of that series then -- but for now, please check out Thursday's Fresh Air with Terry Gross on NPR, on which I interview two of the show's executive producers, Craig Zadan and Neil Meron.

They're the guys whose musical TV lineage goes all the back to CBS's Gypsy, with Bette Midler, almost 20 years ago, and whose more current credits include winning the Oscar-winning movie version of Chicago and the current roadway hit revival of How to Succeed in Business without Really Trying.

After about 5 p.m. ET Thursday, you can hear my interview with them on the Fresh Air website HERE.

In reality-TV terms, it would be like Donald Trump turning to his own son on NBC's The Apprentice and dismissing him with a curt "You're fired": Simon Cowell has delivered several pink slips regarding his Fox series The X Factor, effectively X-ing out not only stiff-as-a-surfboard host Steve Jones and wishy-washy judge Nicole Scherzinger, but his American Idol crony Paula Adbul as well.

Which proves at least two things...

One, Cowell is an astute enough businessman to make and steal headlines even as NBC's rival music-competition series The Voice is days away from its season premiere.

And two, Cowell is an astute judge not only of musical talent, but of what's wrong with The X Factor...

He's also mentioned, according to reports, that perhaps the show's glitz factor should be toned down a bit, in terms of its set and lighting overkill. And that the caliber of talent could be better.

God points all around. But take away the talent (which wasn't good enough), the production values (which were way too distracting and overdone), the host (who was a British Ken doll), and the female judges (who, at various points in the competition, refused to judge, even to the point of tears), and what's left?

Simon Cowell. Oh, and fellow judge L.A. Reid.

That's a proper, drastic house-cleaning -- but it's about the only way The X Factor could hope to get any attention right now.

The Voice is returning for Season 2 right after the Super Bowl, expecting to open the year with mammoth audience numbers.

American Idol, which Cowell left to prepare for the launch of his next series, is now down double digits in audience percentage so far this season.

And The X Factor? It's scrambling -- for attention, and, starting now, for replacements.

But Cowell is an astute businessman, so I'm betting he'll up the ante for his own Season 2. If The Voice made it so big with Christina Aguilera, Cee-Lo Green, Adam Levine and Blake Shelton, expect Cowell to counter with someone bigger than a former Pussycat Doll.

That may not be enough, but at least it's a start. Whoever is chosen to be a judge, though, must understand and accept one critical component of the judge:

They're there to judge.

Hanging art in a museum is nothing unusual, but the way New York's Guggenheim Museum hung the collected works of Maurizio Cattelan for a recent exhibit certainly qualified as odd.

All of his pieces, in a display appropriately titled All, were hung from the ceiling of the museum's seven-story rotunda.

There were 128 pieces in all -- or, if you like, in All. And out of all those weird works -- the pope hit by a meteorite, the chess set pitting good vs. evil, the tiny elevators -- one of them spoke to me the most.

It was a stuffed donkey, with an old TV set tied to its saddle.

Perhaps, for a television critic burdened with too much to do and see, it's the perfect metaphor.

Yes, I realize, that makes me an ass. And also means I'm a beast of burden of my own choosing. And so on.

I get it.

But what I don't get is the title Cattalan gave to this particular 1998 piece -- a media commentary whose own working media, as a work of art, are taxidermied donkey, television, rope, saddle, and blanket. (Budding artists and media critics, don't try this at home.)

The title of the work, according to the exhibition booklet, is:

If a Tree Falls in the Forest and There Is No One Around It, Does It Make a Sound?

Great piece of art. Lousy title.

So what should it be called?

For starters, how about:

Mule Never Get Rich.

Dumb Beast, Smart TV.

TV Worth Carrying.

Okay, so those aren't great titles, either. Some, I admit, may even be ass-inine.

I presume you could do better. So go ahead and try . . .

David Milch. Michael Mann. Dustin Hoffman. Nick Nolte. HBO's Luck, which premieres Sunday night at 9 ET, claims all of those defiantly individual artists and more, working towards a common goal: to produce an involved, multi-layered, intriguing show about the world of horse racing. At that goal, they cross the finish line impressively -- but not in record time.

It takes a while to define, understand and warm up to the characters and conflicts in Luck -- but it's worth the effort, and the commitment. By episode three, all the pieces are in place, and Luck really begins to pay off...

HBO's Deadwood, Milch's career-best TV creation, remains unsurpassed, by him and by most others. But Luck, in its first season (HBO, unusually and proudly, provided all nine Season 1 hours for preview), manages to pull off three things that Deadwood managed so masterfully.

One, Luck presents so many compelling characters, embodied by so many talented actors, that you become satisfied watching no matter who is, or isn't, on screen at the time.

Two, it covers the entire spread of perspectives, from the corporate owners in the luxury boxes to the horse trainers in the stalls, from the jockeys on the saddles to the gamblers in the stands. Like Deadwood, which saw that town from so many perspectives -- saloon owners, hookers, doctors, lawmen, mine workers, and so on -- Luck gains it strength by pivoting around a single point. In Deadwood, it was the town. In Luck, it's the track.

And three, it looks as good as it sounds. Milch, and the writers working under him, haven't tried to duplicate the puffed-up Shakespearean cadences of Deadwood, but have found their own language in the clipped poetry of the track. And under Mann's direction (literally, for the premiere episode), the images, like the four-legged animals competing on the oval, are majestic.

That's one thing I really enjoy watching in Luck, by the way. There are scenes where various characters have to interact with the horses -- petting them, talking to them, bathing and training them -- and those scenes are like improv. The horses act, and their human co-stars react -- or the other way around. But the horses, in close-up, make it all seem more real somehow.

(For a full review of Luck, and a clip featuring Dustin Hoffman, listen to Friday's Fresh Air with Terry Gross on NPR -- or, after about 5 p.m. ET Friday, visit the website HERE.)

As host of the new Showtime series Inside Comedy, David Steinberg doesn't get much respect from Don Rickles in the opening show -- and that's funny. But he does get lots of respect, with equally amusing results, from Jerry Seinfeld, Chris Rock, Steve Carell, Jane Lynch, Billy Crystal, Martin Short, Brad Garrett and Larry David. And that's just in the first five installments of this very welcome, very entertaining, arguably important 10-part TV show...

Inside Comedy premieres Thursday night at 11 ET on Showtime, and differs from Steinberg's last talk show with fellow comics, TV Land's Sit Down Comedy with David Steinberg, in one significant respect: this time, there's no studio audience.

That doesn't mean the comics don't reach for time-tested stories or easy laughs, and often you can hear the TV crew, and what must have been a very small quorum of friends and associates, laughing uproariously at what Steinberg brings out of his guests. But it's the chemistry, between subject and questioner, that makes all of this possible.

When Chris Rock, for example, talks of testing new comedy material by going to Palm Beach and performing it before an elderly Jewish audience, Steinberg understands instantly that Rock does it because if it works there, it'll be smash once Rock gets before a younger, more ethnically diverse audience. And it's that understanding that prompts Rock to follow up with a delightful, sports-related simile:

"It's like swinging two bats in the on-deck circle," he tells Steinberg. They both laugh -- and chances are, at home, you will too.

These are conversations, not interviews, and are better because of it.

Steinberg's comedy career began at Second City, and his impish comic "sermonettes" proved one of the factors in CBS firing the Smothers Brothers in the late Sixties. When Seinfeld, on the premiere show, talks about why he thinks of Don Rickles as a pure entertainer with an amazing amount of energy, Steinberg not only gets it, but amplifies upon it.

Similarly, when Martin Short talks about fellow SCTV cast member John Candy, Steinberg recalls directing Candy in the movie whose eventual title was Going Berserk.

And with Larry David, whom Steinberg has directed in many episodes of HBO's Curb Your Enthusiasm, the stories -- and the honest comments -- Steinberg gets out of Larry David are laugh-out-loud funny. Even David himself laughs out loud at some of them, not quite believing what he's saying or admitting.

Larry David's mom made him take a postal worker's exam just in case his standup comedy career didn't work. And that was after he graduated from college.

Steinberg and Steve Carell are two of the executive producers of Inside Comedy, and their approach is brilliantly simple -- and simply brilliant. Just two comics at a time, sitting around talking -- about their comedy influences, their biggest on-stage mistakes, and, when applicable, playing in front of U.S. Presidents.

I've seen the first half of this season's outings of Inside Comedy, and can't wait to see the rest. Coming up: Mel Brooks, Ellen DeGeneres, Robin Williams, Tim Conway, Kathy Griffin and others.

As a guest list, that's no laughing matter. But in Steinberg's hands, and as shown on Inside Comedy, it is.

When Kiefer Sutherland ended his run on Fox's 24 -- and much of the time, as CTU loner Jack Bauer, he was indeed running -- he wasn't expected to return to TV very quickly.

Yet here he is, starring in a new series called Touch, which is unveiled with a sneak preview Wednesday night at 9 ET on Fox.

The pilot is all about establishing the premise and the parameters. What happens next, and whether it delivers on its original potential, will take months to sort out. Because after this special preview, Touch doesn't resurface until March...

Touch is created by Tim Kring, creator of NBC's Heroes. Sutherland stars as Martin, a widower whose wife died on 9/11, and who has raised their 11-year-old son, Jake, alone. And it's a lonely type of single parenting, because Jake, played by David Mazouz, doesn't speak, doesn't like to be touched, is obsessed with numbers, and occasionally runs off to do dangerous and seemingly inexplicable things.

Eventually, though, Martin meets a behavioral expert, played by Danny Glover, who suggests to Martin that his son may actually be gifted, and seeing the world differently than most of us -- but in a way that reveals its patterns, its interlaced connections, and even the future.

For my full review of Touch, go to the Fresh Air website HERE. After about 5 pm. ET Wednesday, you'll be able to hear audio, as well as read the story.

The newest installment of the PBS Nova series is the best mystery thriller I've seen on TV this year. It's got forensic scientists trying to identify partial fingerprints and examine photographic evidence, investigators traveling the globe to track down promising leads, experts adamantly offering conflicting testimony -- and enough twists and turns to satisfying the most fervent mystery fan.

The hour, premiering Wednesday night at 9 ET on PBS (check local listings), is called Mystery of a Masterpiece. And the mystery involves a painting that is suspected by some -- but refuted by others -- to be a previously unknown work by Leonardo Da Vinci...

The unsigned work, a portrait of a pony-tailed, well-dressed woman in profile, originally was sold at auction by Christie's for $22,000. It was identified, in the program, as "German School, Early 19th Century." But one of the bidders who lost that day never forgot the painting, and when he eventually got a second chance to acquire it, he did.

And then he began asking questions, and taking the piece to experts. Could it be, as he suspected, an unknown work by Leonardo Da Vinci?

It's an outrageous query, and an even more outrageous claim. Only a dozen or so portraits by the man who painted the Mona Lisa exist in all the museums across the world. To say that this could be another, when no historical record exists of it having been painted or previously displayed, is the longest of long shots.

But Nova is a science show, and there are ways of testing these things -- at least to eliminate the various forgeries and impossibilities. And, as Sherlock Holmes said, when you eliminate the impossible, whatever remains, however improbable, must be the truth...

Because the canvas in question is made of vellum, which is animal skin, it can be carbon-dated, to determine whether it indeed comes from the 19th century -- which Christie's experts presumed -- or was much older. Da Vinci lived from 1452-1519, so for the mystery painting to possibly be his work, the vellum would have to be much older than the 1800s.

That test takes place in the very early portion of Mystery of a Masterpiece, so it's not spoiling much to say that the test, with "95 percent predictability," dates the canvas within the range of the years 1440 to 1650.

But that means only that the material on which the portrait was painted is old enough.

Next comes a visit with a painter who dabbles in "legal forgeries," recreating masterworks only for his own amusement. He shows how to strip the paint off an existing old canvas and start anew.

At this point, at full steam, the mystery is afoot. David Murdock, the writer-director-producer of this clear and exciting program, presents the three pivot points on which this mystery must rest.

1) Artistically, does the work measure up to, and is it consistent with, other Da Vinci paintings?

2) Scientifically, does it match what we know about the ages of not only the canvas, but the pigments and other elements?

3) Historically, is there any supporting material to put either the subject of the painting, or the painting itself, in perspective?

Tackling those three questions -- in a manner of which Dan Brown, author of The Da Vinci Code, would approve -- takes this Nova from New York to Paris, from Switzerland to Poland, and elsewhere. It's no wonder Mystery of a Masterpiece was produced in partnership with National Geographic. A lot of frequent-flyer miles were generated in the making of this program.

And every path leads to another hidden corridor, another puzzle. That's where the real fun is, so I won't give too much away -- but one delicious detail has to do with the braided ponytail sported by the woman in the portrait.

Eventually, that hairstyle is tracked down to a particular place and time -- a trendy moment of fashion that is captured in a few other period portraits, and which lasted only a decade, in Milan. Turns out it was the decade of 1482-92, and this long, tight braid fad was in style precisely when Da Vinci was living in Milan. There are even contemporary works by other painters, showing the similar ponytail, presented as evidence.

And so on. Watch the rest, and decide for yourself whether you're persuaded by the amassed evidence. One verdict, however, seems irrefutable: This Nova, in its direct and detailed manner of story-telling, is its own minor masterpiece.

Impressively -- and amazingly -- the PBS American Masters series has been examining popular art and profiling gifted artists for a quarter of a century. And now, to start Season 26, it turns it attention to yet another worthy, inspirational figure: talented, tragic folksinger Phil Ochs...

Phil Ochs: There But for Fortune, a 2010 documentary written and directed and co-produced by Kenneth Bowser, premiering Monday at 10 p.m. ET (check local listings) will please and inform those who are fans of his musical canon, and impress and win over those coming to his music, and his story, for the first time.

If you know the work of Phil Ochs, or if you don't, you should watch this program. Anyone not covered by those two categories can feel free to skip it.

Ochs was a contemporary of, and in unavoidable competition with, Bob Dylan when both started out singing their folk songs in Greenwich Village in the early Sixties. Dylan became the king of folk music, then went electric and left overtly political songwriting behind, all in the course of a few years. Ochs held to his original course -- and their two stories ended up very, very differently.

Pete Seeger, one of many interviewed for There But for Fortune, recalls championing both of those young songwriters in their early days in New York.

"I once went up to a little magazine called Broadside," Seeger says, "and I invited both Bob Dylan and Phil Ohs to come up there with me. And I sat back listening to song after song that they'd just written within the last few weeks.

"And I thought to myself, here I am with two of the greatest songwriters in the world. And someday, they'll be famous. But right now, nobody is printing them, except this little mimeographed magazine -- 500 copies!"

Ochs never did achieve the success or fame of Dylan, though such songs as "Draft Dodger Rag," "I Ain't Marching Anymore," and "Crucixifion" had a measurable impact in their time.

Ochs, at one point in his career, had such a good sense of humor about his own pop-culture standing that he released an album called Phil Ochs' Greatest Hits, adorned with a photo of him wearing a gold lame Elvis-style suit.

Ochs thought this was funny, he explained, "since I never had any hits." He even went out on tour wearing the suit, in a proto-Andy Kaufman-type stunt, but many audience members didn't get the joke. "Bring back Phil Ochs!" one audience member screamed at his Carnegie Hall concert -- echoing screams of "Judas!" aimed at Dylan went he went electric.

But those who got Phil Ochs really respected his commitment and his artistry, and gather in this one-hour documentary to explain why.

The roster of fervent Ochs enthusiasts includes not only fellow folk travelers such as Seeger, Joan Baez and Peter Yarrow, but Tom Hayden, Sean Penn and -- especially poignant because of his recent death -- Christopher Hitchens.

Here's a brief clip to suggest why. It's not from the documentary, but this YouTube clip of Ochs singing "I Ain't Marching Anymore," intimately and in the round, presents him well -- and in a complete performance:

There But for Fortune covers Och's musical career, but also his political commitment -- culminating in his outrage at clandestine CIA policies in Chile, which led to him organizing a benefit concert to support the Chilean political refugees stranded and potentially targeted after a military coup that assassinated the country's pacifist leader.

It was a concert that sold out at Madison Square Garden -- and on which Ochs shared the bill with, among others, Bob Dylan.

This American Masters presentation doesn't shy away from Och's bipolar disorder, and the occasional bouts of depression that eventually led to his suicide, at age 35. They're all part of the man's deep, dark history, and his singular, sincere perspective.

Not many television programs, over the decades, have opted to focus on Phil Ochs.

It's not surprising that American Masters has -- or that the series has done it so well.

You've seen similar scenes dozens of times on CBS's Survivor, even on the same South Pacific islands of Vanuatu: people stranded and working frantically to build a makeshift shelter as the rain pelts them mercilessly.

Except, this time, one of the people marooned is Karl Pilkington, the reluctant world traveller sent around the globe by Ricky Gervais and Stephen Merchant for the new season of the Science Channel TV series An Idiot Abroad -- and he says and does things you just won't find anywhere else.

When Karl's temporary training guide tries to teach him how to fashion a type of twine out of thinly sliced strips of palm fronds, Karl stops him, reaches into his travel bag, and pulls out a ball of string, then a roll of duct tape. And then, as the rain pours down, Karl grumbles to the camera -- actually, to himself -- that, "We shouldn't be building a shelter. We should be building an ark."

I love this guy. And when I spoke to him by phone Thursday, nothing he said made me like him, or laugh, any less...

For the uninitiated, Karl Pilkington is a plain-spoken, no-nonsense "bloke from Britain" who first crossed paths with Ricky Gervais and Stephen Merchant when the pair were appearing on the radio, and Pilkington was assigned as their producer. In time, entertained by the odd way their producer thought and talked, they urged him to take more of an on-air role, and he did.

Eventually, he became the central star of the trio's podcasts, which eventually were animated by HBO and turned into the successful, delightful The Ricky Gervais Show. Then, last year, Gervais and Merchant persuaded Pilkington to visit the wonders of the world -- with a lot of curves thrown in -- for a travel series called An Idiot Abroad.

Starting Saturday night at 10 p.m. ET, Science Channel, which imported the original series, presents the second-season sequel: An Idiot Abroad 2: The Bucket List. Again, the program dispatches Pilkington as a reluctant traveler, taking marching orders from Merchant and Gervais back home -- this time doing everything from mushing with a team of sled dogs to riding on the Trans-Siberian Railroad.

"It's making Karl do things other people want to do before they die," Merchant explains in the opening to each show -- at which point, Gervais lets loose with one of his patented, contagious cackles.

"Exactly," Gervais clarifies, referring to Pilkington's marching orders. "This isn't his list!"

So Pilkington's itinerary, each episode, is a surprise, even to him. But -- and here's one of the show's secret weapons, and most glorious constant twists -- you never know how Karl is going to react. He gets sent to some remote jungle to be buried alive, vertically, with only a breathing tube above the surface, and ends up liking it.

"It's funny," Pilkington told me Thursday by phone, "how some of the things that they arrange, because they think I'm gonna hate it -- and I don't.

"Like in Russia, when I was buried alive -- I quite enjoyed that. And it really annoyed the cameraman and the director, because they were thinking, 'Karl, this is punishment'... And I said, 'No, I'm quite happy.' And they're worried about when they get back, and they meet with Ricky and Steve."

Karl is less worried, and feels all he's required to do is stay true to himself -- even if the result isn't what his better-known mates are expecting.

"They sort of can never predict how I'm going to take something," he says. "There's a lot of people who'd say, 'Oh, I'd love to do that' -- but I don't. And there'll be something else that I quite enjoy that other people don't. So even though they've known me for 13 years or whatever it is now, they still don't really know me. Ricky, I think I know him more than he knows me."

While being buried alive, Karl says to the camera, "This is one of them things they tell you not to try at home, innit?"

And afterward, when he checks in by phone with his bosses back home, he gives Ricky and Steve a recap that couldn't have been drier -- or funnier.

"Did that thing yesterday," he said deadpan. "Got buried alive. Cheers for that."

You'd think Karl would resent, even hate, the curves thrown at him during An Idiot Abroad 2 -- but once again, his reaction isn't at all what you might expect. Even when, in a future episode, his scheduled trip to swim with dolphins is scuttled for another underwater adventure -- for which Karl is submerged in a cage and sent to swim with sharks.

"'Change of plan,'" is the way Karl remembers being informed of the switch in a phone call.

"'You weren't that keen on the dolphin thing, you said you might find it a bit boring, so we changed it, and it's gonna be sharks.' And to be honest," Karl continues, "I think it is a better experience. I did enjoy that. I never thought in my life I'd get that close to a shark. It is pretty amazing....

"That's why the program works well," Karl reasons. "If I did know what's coming, I wouldn't sleep at night. I think that's why they did it that way, actually. They know that if they told me everything I was doing before we went away, I wouldn't actually leave the house. I'd just get wound up."

And then, without missing a beat, Karl Pilkington makes one of those leaps of logic, or unusual connections, that make him a unique TV personality. If Ricky Gervais heard this, and the context in which it had arisen, I'm certain he would have howled with laughter as Karl made his point. Instead, I did.

"I think that's why I hate Christmas," he continued, seemingly out of nowhere.

"The whole year builds up to it. It's a surprise, in a way, that I can handle more. If you just suddenly said, 'It's Christmas today!,' I'd probably enjoy it more than it always being on December 25."

I asked Karl if he had his own bucket list -- not one that was foisted upon him by Steve and Ricky -- and guessed, correctly, that he did not.

"There isn't anything," he said, then paused to think about it.

"That's a good thing, innit, in a way?" he asked. "That I don't really wish for anything? I'm quite happy."

I asked him if he had read Mark Twain's The Innocents Abroad, the irreverent 1869 travel book that launched Twain's career -- and, presumably, inspired the title of An Idiot Abroad. Once again, Karl's reaction was completely unexpected. And, as usual, led to a derailed train of thought that was unexpectedly delightful.

"I'm not proud of it, but I haven't got the concentration to read books," he admitted, then chuckled. "I've wrote more books than I've read."

Then he suggested that Ricky Gervais hasn't read The Innocents Abroad, either.

"I don't even think Ricky knows that book exists," Karl says. "He's never said that. He said he came up with that title. I wanted to call it Karl Pilkington's Seven Wonders, and he said,'No one knows who you are, and it sounds serious, and people might tune in to want that serious thing, and you'll let them down.' And he came up with that title. He's never said, 'It's a Mark Twain book."

As for Karl's on-camera style of saying whatever comes to mind (in one scene, he meets a "human magnet" who can make things stick to his skin, and asks whether he can keep a cell phone stuck to his ear, which would be useful), he has a simple explanation:

"It's just being honest. I don't know if you get David Attenborough and Michael Palin over there -- they're brilliant." (We do, and they are.)

"Attenborough's one of my favorites, the nature stuff. But I don't know -- is he being totally honest? How many spiders can you see? Can he really be that amazed? He must be 80 [actually, he's 85 - DB] -- think of how many spiders he's seen in 80 years of living. But every time he holds one, it's like the first time he picked one up!

"So if he is that excited, that's amazing."

An Idiot Abroad 2 is amazing, too. Hilarious, unpredictable, and educational -- and it's that last element that Karl Pilkington likes most about the series, and why he's agreed to keep making it.

"If there's funny bits in this that people like, fine. But like I said, I do watch Attenborough and Michael Palin. I want to make something that's interesting...

"It's not packed full of facts, but there is stuff in there. I think it's important that people know that."

Less important for people to know -- but still funny -- is that Karl Pilkington still has a very vivid recollection of the day he met Ricky Gervais, the man who has changed Karl's life so significantly.

On the day of producing the first radio show helmed by Ricky Gervais and Stephen Merchant, Karl showed up about an hour early to prepare. Gervais showed up next, and Karl offered and served him some tea -- "and then," Karl recalls, "he hit me over the head with a mobile phone, to see what sound it made [on Karl's round, partly bald head].

"I just let that go. What can you do? I was working for a big company, and you can't turn around and say, 'Oh, I'm going. I can't be hit by a phone. I'm going home.' So I let him get away with that. And then he stuck a bib on me head.

"And Stephen hadn't even turned up yet -- he didn't see any of this. I thought, 'What's he like? Maybe Ricky's the good one here...

"After that, I said to them, 'Look, don't come in early next week."

Effortlessly hilarious. Endlessly entertaining. And, at the same time, utterly serious.

Just like An Idiot Abroad 2: The Bucket List.

If you miss it, you're an idiot.

Here's a brief sample, courtesy of The Science Channel:

And finally, click HERE to purchase the just-released DVD set of Season 1 of An Idiot Abroad.

So have fun, folks. We're here all week. Try the Veal of Fortune... - DB]

They laughed at me when I brought doughnuts into the Fresh Air with Terry Gross office in Philadelphia last Friday. Not because I brought doughnuts -- I always do that when I guest host.

They laughed because last week, I brought in special Dunkin' Donuts, offered in celebration of the 60th anniversary of NBC's Today show.

And more specifically, they laughed because the mere existence those doughnuts brought me such joy. But while they're laughing, I'm dreaming -- of a million-dollar idea for a theme restaurant built around TV shows. I think of it as a little place that's called, and serves, 'TV Dinners'...

But first, let's get back to the doughnuts.

Melody Kramer, the genial guru of all things online at Fresh Air, has made a habit of photographing and chronicling the Hawaiian shirts I wear Fridays when I guest host. I'd like to claim my wardrobe choices as a "Casual Fridays" thing -- but I can't. I'm dressed just as casually on Thursday. And Wednesday...

But this time, I asked Melody to take a picture -- of me holding a Today doughnut. She obliged, happily -- knowing it would be mere minutes before she's post the photo on Tumblr, or Jugglr, or TghtropeWalkr or whatever she does, and toss me out there to be chewed alive, like chum to the sharks.

One of the Fresh Air producers, John Myers, thought this particular photo session was ridiculous enough to photograph with his own digital phone camera (I'm surrounded by Zapruders!) -- which is how I'm able to show you not only Mel's photo of me above, holding the doughnut, but the one at right, taken by John, of Mel taking my picture.

(Reactions to that shot are at our own TV WORTH WATCHING Tumblr page -- yes, apparently we have one -- HERE.)

But look what happened next. Mel posted the picture on the Fresh Air Tumblr page HERE, and asked readers to suggest their own TV-themed doughnut flavors and designs. The results were not only voluminous, they sounded delicious -- and were flat-out clever.

My favorite, from Skipp (who has a Tumblr page called IllJustBeLike), responded to another poster's request for a Breaking Bad doughnut by imagining the perfect one: "Crumbled blue sugar crystals on top of plain white frosting." Brilliant, brilliant, brilliant.

Another Tumblr poster, TheJungleNeverDies, suggested an Arrested Development doughnut with "banana frosting" -- a clever nod to the show's Bluth Frozen Banana stand. And there are plenty of other suggestions, which you can read on the aforementioned Fresh Air Tumblr site. Or begin a discussion on this aftermentioned Facebook page: the TV Worth Watching Facebook page. Apparently, we have a wall HERE, or at least a lean-to.

But enough social media sidetracking. The main event here is food and TV.

Doughnuts are what got us here, and they have a strong association and tradition with TV. When I think of TV and doughnuts, my mind goes back to ABC's Twin Peaks (see the photo at the top of this column), where the sheriff's conference table was decked out with doughnuts, stacked in tiny tasty towers of two.

Mmm, doughnuts.

Which reminds me -- The Simpsons, of course, has long presented doughnuts as Homer Simpson's favorite, saliva-inducing, mmm-generating treat. And the marketing people behind that show know well the power of doughnuts. When The Simpsons Movie was released, Sony sent (to some critics) specially made boxes of specially made Simpsons doughnuts, seen at right.

Why stop there? Why not offer them to everyone, all the time?

And why, for that matter, stop with doughnuts? Twin Peaks was as famous for its "damned good coffee" and its cherry pie as for its doughnuts. Why not have a Twin Peaks coffee-and-pie special on a restaurant menu?

It's not like it hasn't been done before, many times. ABC's Pushing Daisies was set at a mouth-watering pastry diner called "The Pie Hole." To publicize the show's second season, ABC rigged up a portable "Pie Hole," and hit the streets of Southern California trying to drum up viewers while slicing up pie.

Even HBO's True Blood has gotten into the game, marketing not only uniforms and mugs and beer glasses from Merlotte's, the show's fictional bar. The show even approved the marketing of a crimson-red brew called Tru Blood -- named after the synthetic blood sold to well-behaved vampires in that fictional bayou town.

So can I bayou a brew? Sure -- if it's blood red.

And what of the Boston Beacon Hill bar once known as the Bull & Finch Pub? That place was the inspiration for the bar in NBC's Cheers -- and when that sitcom proved so overwhelmingly popular, the Bull & Finch eventually bowed to the cultural tsunami and changed its name, officially, to Cheers Beacon Hill. Play it again, Sam Malone...

My TV Dinners restaurant idea, though, isn't centered on a single show -- but celebrates all of TV at the same time. Maybe we'd have to pay the culinary equivalent of royalties to the various studios and program owners, but so what? That'd still leave room for enough profit, and enough creativity, to make it a fun place to run -- and to visit.

Think of your favorite shows, and the associations that come with them, and help me plan a menu:

Aunt Bee's fried chicken from The Andy Griffith Show!

77 Sunset Strip Steak?

I await your suggestions...

[UPDATE: My son, Mark, who insists he still writes for this site (most evidence to the contrary), caught wind of my TV Dinners restaurant theme and rose instantly to snap the bait. This is, after all, the young man who contributed to a list of classic literature-related meats by providing, among others, "Filet Miserables," "Porterhouse-Five" and "To Grill a Mockingbird."

Makes a father proud. - DB]

[Second update, sent after his lunch break on the West Coast:

-- Makes a father worried. - DB]

Third and decidedly final update from alleged TVWW The Son Also Criticizes contributor Mark Bianculli, sent later:

The Flax of Life
Logan's Rum Cake
Laverne and Shirley Fries
La Femme Ni-Pitas (ouch, sorry, had to try)
The Big Meringue Theory
Rescue Meat

How does FX's Justified follow a season where it served up one of the best season finales in TV history? By doubling down -- and tossing out weekly explosions, in the form of delightful and unexpected guest stars, while slowly setting the table for a season-long feast of continuing story lines and confrontations. What a start. What a show...

Season 3 of Justified, which premieres Tuesday night at 10 ET on FX, begins a few weeks after last year's phenomenal season finale ended. And I guess, before I proceed -- or before you do -- I ought to point out that If you haven't seen Season 2 yet, or bought the DVD set HERE, do it now, and don't read the rest of this column until you've caught up.

But you know what? If you haven't taken the time to watch and enjoy one of television's best current series, what the hell are you waiting for? And why is it my problem?

But I digress.

So last season ended with Margo Martindale as Mags Bennett -- a season-long guest role for which she deservedly won an Emmy -- cornered by Timothy Olyphant's Deputy U.S. Marshall Raylan Givens, and pouring him, and herself, a Mason jar of her homemade Apple Pie moonshine. We'd seen her offer such a libation before, in the season premiere, where the glass in which her moonshine was served was laced with poison.

This time, when Mags and Raylan drank, he was unaware that one of the drinks had been laced. Mags was very aware -- but instead of taking out Raylan, who was there to arrest her, she took her own life. What a fantastic ending -- so much so, that I completely forgot, until this new season began, that somewhere in there, at the end of that same season finale, Raylan had been shot.

As this new season begins, he's healing, physically -- and still as sarcastic and feisty mentally, and verbally, as when he was strung up like a pinata by Mags' son Dickie (Jeremy Davies from Lost).

Dickie is still around, though in prison, as this new season begins. Also still around is Ava (Joelle Carter), another shooting victim from last season, who has taken a more active interest, and role, in the schemes of Boyd Crowder -- Raylan's childhood friend and more recent occasional adversary, played so well by Walton Goggins.

Almost immediately in this new season, Raylan calls Boyd into the Marshal's office (see photo at top of this column) to interrogate him about Mags' missing money.

And Ava, Boyd's very significant other, has blossomed into a full-tilt partner, riding herd over Boyd's untrustworthy associates, who include Raylan's estranged father.

Quite a crowd.

But watch what happens, and who shows up, this season.

In Tuesday's season premiere, one of the new bad guys is played by Desmond Harrington.

His name might not be familiar, but his face is -- from another current quality TV series. He plays Quinn, the party-hearty Miami detective on Dexter.

Next week, one of the guest stars is Carla Gugino, who's already starred in one series inspired by the writings of Elmore Leonard -- ABC's Karen Sisco. And the week after that, we get introduced to yet another new character, played by Pruitt Taylor Vince, fresh from The Walking Dead.

(He's great -- and you can hear a sample of his byplay with Olyphant's Raylan HERE in my review of Justified, which ran Monday on NPR's Fresh Air with Terry Gross.)

That's enough top talent to fill an entire TV season, and walk away with leftovers. But this year, Justified is using those fine actors, and wonderfully written characters, as appetizers.

The main course: Two actors brought over from NBC's Boomtown, which, not at all coincidentally, is one of the previous credits by Justified creator Graham Yost.

One of the actors Yost has plucked to enliven Season 3, and who shows up from the start, is Neal McDonough, playing Quarles, a bad guy from Detroit who dresses sharp, wields a cocky attitude and a large vocabulary, and always has something up his sleeve -- starting with a Wild Wild West-type hidden pistol.

Quarles is a fantastic character, so full of charisma and confidence that, in McDonough's hands, he dominates the screen. Except when Olyphant, as Raylan, finally meets him face to face. Then, they have a showdown worthy, in terms of underlying tension and equally matched adversaries, of Raylan and Mags -- and that occurs only a few episodes into the season, with a lot more to go.

Also occurring a few episodes into the season: Another Boomtown vet, Mykelti Williamson, playing a formidable Kentucky presence named Limehouse. He emerges as a threat from within, every bit as powerful and ruthless as Quarles' threat from without. And Limehouse, as a character, is captivating -- made even more so by two real-life observations.

One is that the character, and the whole idea of a sequestered African-American community hidden in the hollows of Kentucky, is based on fact, which makes the idea even richer.

The other is that Limehouse is played by Williamson -- and played so well, with such power and force and with such a convincing manner and accent, that it takes a long, long time to persuade yourself that yes, somehow, this indeed is the same actor who played Bubba in Forrest Gump.

Just one more surprise from Justified -- and one more reason to tune in, and stay tuned.

Martin Luther King, Jr. Day is an official holiday. It's also the return travel day for critics and reporters who have been out in Pasadena for the Television Critics Association press tour. And at Rowan University, where I teach, it's the last day of winter break before the spring term begins Tuesday.

So the TV WORTH WATCHING staff should be enjoying a day of rest. Instead, we're all over the place -- literally, figuratively, and, on the web, virtually...

Monday, for example, I can be heard on NPR's Fresh Air with Terry Gross, reviewing Fox's Alcatraz, which premieres Monday at 8 p.m. ET on Fox, and FX's Justified, which returns for Season 3 Tuesday night at 10 ET. You can hear that report, after about 5 p.m. ET Monday, by clicking HERE.

Several of our contributors have been out covering press tour. Bill Brioux has been our go-to guy, because he's been kind enough to share with us some of his dispatches for his own website, TV Feeds My Family.

In his most recent post for us, Brioux describes the lively, genially foul-mouthed press conference for HBO's Luck, the upcoming David Milch series starring Dustin Hoffman and Nick Nolte. Brioux, in reporting about the R-rated exchanges between critics and actors, singled out the quote-sparking questions by our own Ed Bark.

Bill Brioux's TVWW column on that lively session can be read HERE -- but I also recommend visiting Bill's home site TV Feeds My Family, HERE, to read yet another dispatch from the tour, yet another play-by-play account of the already infamous Jennifer Lopez-Marc Anthony panel by Univision. Bill's writing made me laugh out loud, but that's nothing new.

Since Bill was writing about Ed, it also makes sense to follow Ed firsthand as well. His latest contribution to TVWW is his current Uncle Barky's Bytes review of Alcatraz, which you can read HERE.

However, when Ed Bark is on press tour, he reports exclusively for LocateTV, and was filing stories as recently as yesterday, when he covered a Sunday afternoon press conference with Russell Brand, tied to his upcoming late-night FX program, Strangely Uplifting.

Ed's LocateTV stories, starting with that one, can be found HERE. And, of course, his regular home-field site, UncleBarky, can be found HERE.

Another intrepid TVWW columnist who appears elsewhere during TCA tour dates is Ed Martin, who files exclusively, during that period, for Jack Myers' MediaBizBloggers. Like Ed and Bill, he's been busy filing -- and, unlike many of those in attendance at TCA these days, busily asking questions.

Ed's stories for MediaBiz are filed under the Ed Martin's Watercooler TV banner, and can be found HERE -- including his recent story, an interview with Al Gore about the Current TV network and its plans for this election year.

And, of course, Ed also writes stories for us HERE, at Ed Martin's TV Mix, when he's not on tour.

And while I don't want to exclude anyone -- we're all busy, it seems -- I should end with a nod to yet another TVWW contributor, Alan Pergament, who writes the Still Talkin TV column for us. StillTalkinTV also is the name of his personal blog, which just posted a review of a show both Ed Bark and I thought worthy of mention: Fox's Alcatraz. You can read Alan's review HERE.

Well, that's enough of that. Go enjoy your holiday. And don't worry about me, as I watch stuff that's going to be on TV the next few days. To me, watching good TV is a holiday...

Spoiler Alert: Justified is magnificent.

Bill Moyers is back -- twice! This weekend, he'll make you think, as he launches the inaugural edition of public TV's Moyers & Company. But already this week, he's made you laugh -- as Stephen Colbert's guest on Tuesday's installment of Comedy Central's The Colbert Report.

Not many people can parse the differences between tax breaks and tax dodges on one show, and screech owls and hoot owls on another. But Moyers can, and does...

Granted, we're approaching only the ides of January -- but the playful byplay between Moyers and Colbert on The Colbert Report ranks, to this point, as one of my favorite shows of the year.

The Moyers guest spot, in its entirety, can be seen HERE, courtesy of The Colbert Nation website. And if you missed it Tuesday, you owe it to yourself to -- if you'll forgive this echo to the grand early days of CBS News -- see it now.

Or, if you like, you can visit NPR's Fresh Air with Terry Gross website after about 5 p.m. ET Thursday, and read and hear my review of Moyers' new public TV series, Moyers & Company, HERE. I open with two choice samples from Moyers' feisty Colbert Report visit, just to set the mood.

I also talk, in great enough depth that I need not repeat it here, about why Moyers & Company is on public TV but not on PBS nationwide, and when and how to find it. I also review the premiere episode written by Moyers and Michael Winship. I've seen it in rough-cut form, and really enjoyed it.

Here, all I'll add is that what's wonderful. and valuable, about Moyers & Company is not only the people interviewed for the show, but how much time they're given to make their points. It's not only instructive -- it's civilized.

And speaking of civilized -- while waiting for the weekend, and Moyers & Company, to roll around, why not read TVWW contributor Eric Gould's The Cold Light Reader review of another Bill Moyers program. This particular program is 25 years old, but it's still TV Worth Watching.

In fact, it's one of the best, most inspirational television series ever made. Read about it HERE.

Then, to find where Moyers & Company is playing in your area, click HERE.

If you're wondering why this week's BIANCULLI'S BEST BETS provide no mention of either the new NBC sitcom Are You There, Chelsea? or the new CBS sitcom Rob, let me be clear. It's not an oversight. It's a judgment. Both shows are terrible -- but Chelsea Handler's program is the more disappointing, because she's been so clever and successful at hosting talk shows and writing memoirs...

But under the guidance of NBC, Handler's delightful book Are You There, Vodka? It's Me, Chelsea now ranks, in TV history, as the worst TV sitcom to be adapted from another medium, with an edited title, since CBS's S*** My Dad Says.

I don't know what's worse: NBC making a sitcom that squeezes all the humor out of Handler's original book like so much dirty water from a dishrag, or Handler herself explicitly endorsing the diluted proceedings by co-starring in the sitcom, playing her own older sister.

Actually, I do know what's worse. It's the latter. More on that in a minute.

In Are You There, Chelsea? (Wednesday, 8:30 p.m. ET, NBC), the title role goes to Laura Prepon, who's made several impressive appearances on TV lately as a second-act follow-up to her days on That 70's Show -- most notably as a guest star on ABC's Castle.

But playing Chelsea, with the real Chelsea co-starring as disapproving sister Sloane, Prepon seems oddly deflated, as though her idea of conveying Chelsea's sharp sarcasm is to be as flat-voiced and depressed as possible: equal parts Eeyore and Marvin the Robot.

And Handler, as a sitcom actress in this particular character, is about as likable here as she is amusing. In both cases, not very.

Many of the jokes, and even some of the situations, are familiar from Chelsea Handler's books, but they don't transfer winningly here. Just because it's based on real life, that doesn't make it real funny.

A perfect case study of this is CBS's Rob, which premieres Thursday (8:30 p.m. ET, CBS), and stars former Saturday Night Live cast member Rob Schneider as a fastidious bachelor who marries a Mexican-American (played by Claudia Bassols).

In real life, that echoes Schneider's third and current marriage in real life -- and in the sitcom, the humor is supposed to derive from Rob's culture clashes with his new in-laws, especially the father-in-law, played by Cheech Marin).

It may be funny in real life, and sound funny in a pitch meeting, and perhaps -- though I doubt it -- even look funny on paper. But on TV, as presented in this new CBS pilot, Rob isn't fun to watch. It's positively painful.

Chelsea Handler's sitcom failure, however, is the more egregious TV sin.

Why? Because, like Kathy Griffin and Sandra Bernhard before her, Handler achieved acclaim by making often incisive, usually biting observations about others in show business. But when you cross over to star in a sitcom, and do the sort of stuff you would mock in standup or on your talk show, you'd better be good.

In Are You There, Chelsea?, she isn't. Not even close. End of story.

But it'll give her a chance, on her show and in her books, to make fun of herself for making a bad choice. And vodka knows, she's done that before.

And very, very well, at that...