America's Most Wanted on The Chicago Syndicate for 6-9-07

America's Most Wanted and The Chicago Syndicate have partnered to highlight AMW's upcoming Episodes on Fox.

Jason Howard: Jewel and Mildred Cleveland had not been heard from for over a month. Then, 2004, police found their bodies buried in their own barn. Their mentally ill son Jason Howard has been missing since, and police believe he may be responsible for their deaths.

The Mad Hatter: The Mad Hatter got his nickname by wearing a different style cap for all 17 of his New Jersey bank robberies. Now, he has a new look—a red face. No, it’s not because he’s embarrassed. It’s because during his latest bank robbery, the dye pack exploded all over him as he fled the scene. Now police say they’re hot on his trail.

Unknown Usha Taneja Killer: Usha Taneja’s son was about to get married—she had been waiting for this day for years. But the night before the wedding, Usha disappeared. She was found dead on the sidewalk just blocks from her home, and now police are looking for her killer.

Derrick Lloyd: On New Year’s Day in 1991, cops say a man told Derrick Lloyd to watch the tone of his voice. Lloyd didn’t take kindly to this, and allegedly shot the man in the face. Since then, he’s been on the run. Police think he’s probably hiding out in Jamaica or Boston , Mass.

Joseph Jermaine Woodbury Jr.: In 2005, Ricky Lamar Cooke was found shot to death on a rural road in South Carolina . And now, cops are looking for a man who they say may know something about what happened—his name is Joseph Woodbury.

Jerry Otis Robinson: Jerry Robinson had what seemed like an average relationship with his girlfriend Stacie. But in 1999, what started as a normal dinner date turned into a nightmare for Stacie. Cops say Robinson was going through some hard times, and after the couple split up, he out his frustration by shooting his girlfriend several times. Luckily, Stacie survived, but police say Robinson is on the run and should be considered armed and dangerous.

Bablu Hassan: Cops say when 5-year-old Chastity Adams woke up when she heard Bablu Hassan arguing with her mother. When Chastity realized that things were about to turn violent, she got in the way. Police say Chastity was slashed across the stomach before Hassan killed her mother. Now, Bablu is in big trouble and on the run. Some reports have him all the way in Bangladesh.

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Will Final Sopranos Whack HBO's Identity Too?

Friends of ours: Soprano Crime Family

It's difficult to remember now, but way back in the mid 1990s during a crazy little century called the 20th, HBO was a network far more renowned for its longform production and documentaries than its series. Sure, it had "The Larry Sanders Show," possibly the most magnificent character comedy in recorded history, but "Larry" drew abysmal ratings in appealing to something of an elitist taste.

The three shows that would come to define the quality-rich HBO brand -- "Sex and the City," "The Sopranos" and "Six Feet Under" -- didn't arrive on the scene until 1998, 1999 and 2001, respectively. Nothing that came before ever brought the mighty Time Warner premium cabler anything close to the consistent acclaim and cachet supplied by this threesome.

Movies, minis and docus are great for collecting Emmys, but once they've run, they've run. Series are the gift that keeps on giving. Yet it hasn't escaped notice that aside from "Entourage," HBO is pretty much fresh out of even semi-buzzworthy series product of late.

And so we find that Sunday's much-hyped "Sopranos" series capper represents far more than simply the hour that will determine Tony Soprano's ultimate fate. It's the true end of an era for the network that birthed he and his goombas. Even before HBO programming guru Chris Albrecht's troubles that led to his ouster, the network has been unable to restock its ranks with new stars. The golden touch has turned closer to silver.

This is not a new observation, of course. And particularly this week in coinciding with the "Sopranos'" permanent fish-sleeping expedition, the eulogies mourning HBO's untimely demise are sure to come in waves. It really isn't as bad as all of that, however. For one, the original series cupboard isn't barren, what with "Entourage," the polygamy primer "Big Love" returning next Monday and another season of "Curb Your Enthusiasm" rolling out later in the year. As well, critics continue to sing the praises of "The Wire," though they seem to be the only ones watching it.

There's also the new stuff: the David Milch paranormal surfer fantasy "John From Cincinnati" (premiering Sunday), the comedy "Flight of the Conchords" (arriving June 17) and the psych-themed half-hour drama "In Therapy" (coming this fall) that appears to recall the brilliant but shamefully short-lived 1991 six-parter "Sessions" that Billy Crystal wrote and produced for HBO.

It all sounds just swell, though there is now the distinct sense from HBO not of a front-runner's cool confidence but a boxer who has lost the sting in his jab and is unleashing a less-effective barrage in the hope something connects. Such is the towering height of the bar this network has set.

Yes, a retooling was inevitable. They can't all be winners, and "Carnivale" and "Lucky Louie" weren't. Yet more than that, aside from "The Sopranos" and the recently departed "Deadwood," even the schedule-stickers just aren't generating the kind of hyper-awareness that befits HBO's sterling reputation. As a result, FX ("Rescue Me," "The Shield," "The Riches," "Nip/Tuck") and Showtime ("Dexter," "Weeds," "The Tudors," "Brotherhood") have been able to swoop in and virtually eliminate any perceived qualitative gap while carving out their own unique niches.

Does any of this really matter to HBO? Financially, it's probably negligible. But in terms of perception and esteem -- both essential elements in keeping subscriber churn to a minimum while maximizing water-cooler chatter -- it's huge.

Unfortunately, coolness isn't a commodity that can be purchased outright or Bill Gates would be the hippest man on Earth. HBO hasn't lost its identity, merely its groove. It's simply going to take it a while to get it back.

Thanks to Ray Richmond

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Tony Soprano: Hero and Villain

Friends of ours: Soprano Crime Family

Director David Cronenberg once told me that back in the eighties, when he was trying to make his version of "The Fly" — the one where Jeff Goldblum turns into a gooey monster — a studio head said it wouldn't work; he said he didn't think audiences could deal with a hero who is also the villain.

Scary, huh? There goes "Dr. Jekyll and Mr. Hyde." There go the most fascinating characters in literature.

Television, where fathers were supposed to know best, was even less friendly to moral ambiguity — which is why "The Sopranos" was a landmark.

When we first met James Gandolfini's Tony Soprano in 1999, he seemed to be evolving. He was seeing a psychiatrist; he was coming to terms with his life. He was a gang boss, sure, but he had a crazy narcissistic mom, he cared about his kids, he wasn't a sociopath, like his nephew Christopher. And then came the episode where he took his daughter Meadow to Maine to see a college and spied a rat, an ex-gangster relocated by the witness protection program. Tony saw the man had a wife and kids and hesitated — and we knew he wouldn't kill him.

Only he did.

No matter how much we empathized with and lived vicariously through these characters, creator David Chase made sure to slap us awake — to remind us they were terrible people. Tony ordered the murder of the one entirely sympathetic character, Drea di Matteo's Adriana.

Last season, Joseph Gannascoli's Vito was discovered to be gay, taboo in Mafia culture, and he fled to New Hampshire — how could we not be touched by the sad sack's plight? Only then, he shot a man whose car he hit while driving drunk.

Even Edie Falco's Carmela is tainted. Earlier this season, the budding realtor worried a rainstorm would ruin the sale of a house she'd had built. That shoddy edifice could stand for the Sopranos' way of life: rotted by self-interest, its collapse inevitable.

It makes you think of the ways most of us compromise, in big and little ways, for the sake of self-interest — and how our own lives, as Americans, are unsustainable.

No one knows if in the last episode Tony Soprano will die. Who could write his epitaph? Not Chase — he needed more than 80 hours to take the measure of the man. But I know this: Our perceptions, our lives, our culture is enriched by a hero who is finally a villain.

Thanks to David Edelstein

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