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The BBC series AFTERLIFE starring Lesley Sharp and Andrew Lincoln comes to a full stop after only two seasons, leaving behind a number of questions that will never be answered -- which, for a series dealing with the eternal questions, is just how it ought to be. Maybe.

In this continuation of the story of medium Alison Mundy (Sharp) and the psychology professor Robert Bridge (Lincoln) who takes an interest in her -- first to debunk her then to help her come to terms with her own ghosts -- we are told right up front that things aren't going to go on forever for these two. Robert is diagnosed early on with an inoperable brain tumor, which he keeps secret from everyone, even his ex-wife as he attempts reconciliation with her. Meanwhile, Alison -- who briefly died at the end of the first season -- has brought back a haunter of her own: her mother.

Melissa McCarthy's titular character, Tammy, is having a rough day. She hits a deer, is late for work, gets fired, goes home to find her husband at the table with another woman, and moves back to her mother two doors over, where she promptly announces she's shaking the dirt off her feet from this nowhere town -- again. This culminates in a wild, mouthy road trip with her grandmother (played by Susan Sarandon) to Niagara Falls, with no map, no plan, and no filters.

When I sat down to watch LEGENDS OF THE KNIGHT, I confess my expectations were low. I elected to review it because I'm a lifelong Batman fan. At 6, I had converted the top bunk into Wayne Manor, with a hand-drawn picture of George Washington tacked to the wall that, when trouble arose (as it inevitably did) I would turn around so that it displayed the convenient sign "To the Batcave -->" after which I would then slide down the bedpost and prepare to save the world. (My youthful impressions of Batman were obviously informed by the Adam West / Burt Ward television adventures.)

I knew, at its most basic level, that LEGENDS OF THE KNIGHT was going to focus on individuals who were also Batman fans, and I assumed I would be meeting up with some kindred spirits divided among collectors and obsessors.

Every time an opportunity arises to review "Sesame Street" products, I jump at the chance. The Children's Television Workshop has been creating masterful programming for little ones my entire life. Now that I have a toddler, its a wonderful way to review material that I can watch with my son.

Time is of the essence these days, so working and enjoying family time is a treat. Children of the United States aren't the only ones who have a chance to spend Sunny Days on the Street. My little guy and I often watch the Latin American version "Plaza Sesamo". It's a wonderful way to expose him to the Spanish language and cultural diversity.

"Shalom Sesame" offers a similar window to the nation of Israel and the Jewish people of the world. Disparate cultures are dealt with in an inclusive way that is a boon to young ones in our global community.

DisneyToon Studios (not Disney*Pixar, as would be an easy mistake to make) brings us the next installment of PLANES -- set in the world of CARS -- with PLANES: FIRE & RESCUE. Dusty Crophopper (Dane Cook) continues to make a name for himself as a world famous racing plane, which makes his small airport town of Propwash Junction a tourist mecca as the annual Corn Festival approaches.

But during a routine training session with his coach, Skipper (Stacy Keach), Dusty experiences an irrepairable mechanical failure. If he pushes himself to maximum torque any more, he risks his engine flaming out entirely -- and the part that's failing is out of production.

Got a problem? Odds against you? Call The Equalizer. 212-555-4200.

Back in the 80s, those action packed nights of television drama, Robert McCall (Edward Woodward) was a sort of one-man A-TEAM. Disillusioned with his former career as a secret agent, McCall chose to retire and start standing up for the little guy. No situation was too large and no situation too small (although the smaller ones usually turned into subplots, while the larger ones drove the episode). Whether you were a high school kid being bullied or your invention has been stolen by a corporate giant, whether the bad guys are international terrorists or just a crumb-bum of a slumlord, anyone who called upon The Equalizer and truly needed him found him at their side -- and the fee was always quite reasonable.

John R. Dilworth's cowering canine, Courage, is the reluctant hero of this fun cartoon series that blends the styles of Schoolhouse Rock and John Kricfalusi. He's ostensibly a "cowardly dog," and yet he shows degrees of bravery all the time that exceed that of your average dog. He just shows it without any external bravado. He doesn't run around saving those he loves with a grow, but with a tiptoe and a whimper -- but he still does it, because it needs doing.

A series doesn't have to be long-running to be long-remembered. For evidence of that, look to Welcome Back Kotter, the Gabe Kaplan comedy vehicle which starred Kaplan as Gabe Kotter, a high school remedial education teacher returning to his Brooklyn alma mater, Buchanan High, to educate and mentor a class of misfits who've named themselves The Sweathogs.

The series only ran for four years -- fitting, since that's how long high school should last -- but the Sweathogs, the irascible Mr. Woodman (John Sylvester White), the recipes of Julie Kotter (Marcia Strassman), and Kotter's endless supply of uncles who inspired so many stories, made an indelible impression on American audiences. Lunch boxes, comic books -- the usual marketing machine engines were fired up to feed the audience as much Kotter as they could handle.

Dark Sky Films delivers a Swedish treat that explores all the dark corners of the average put-upon man. In LFO (which stands for low frequency oscillations), sound engineer Robert Nord (Patrik Karlson) is a socially inept Walter Mitty personality who discovers a combination of sound frequencies that serve to immediately bypass and shut down the brain's sensory receptors. It not only puts the body into a state of complete relaxation, but it opens the mind to accept commands. In short, LFO's conceit is the ultimate in mind-control fantasy, put into the hands of a man with no immediate long-range plans on how to use it.

“Witching & Bitching” is a campy, off the cuff, over the top sci-fi comedy that just screams to be the next cult classic. This film by Alex De La Iglesia is made in Spain with English subtitles and is available on DVD from IFC films.

“Venus in Fur” takes place in a Paris theater, where the director of a play about a woman entering into an agreement to dominate her male counterpart, feels exhausted and frustrated after holding auditions all day for the woman’s role and not finding anyone remotely close to what he is looking for. Just as he is getting ready to leave for the day, in from the rain barges a pushy domineering actress bent on getting an audition even though she is not prepared (or so it seems at first).

Lex Luthor in an 80s hair band? Batman baring his feelings of emasculation with Green Lantern? A Starbucks in the headquarters of the Legion of Doom? The real origin of Superboy?

It's your favorite DC heroes and villains as you've never dreamed of them before. Well, okay, maybe once before, because this is, after all, ROBOT CHICKEN DC COMICS SPECIAL 2 (#RCDCS2VIP). Nevertheless, even the first ROBOT CHICKEN DC COMICS SPECIAL wasn't enough to prepare you for the utter ballsiness of the R-rated humor Seth Green and the boys throw at you here with utter irreverent abandon.

I love a good time travel flick, and Doug Liman's "Edge of Tomorrow" qualifies. The unique twist this Tom Cruise vehicle has going for it is the method used for for time traveling, and the restrictions put in place upon it. Specifically, Cruise's character can only ever go back in time to a specific moment -- and to get there, he has to die.

I have fantastic memories from seeing From Dusk Till Dawn in the theater back in 1996.  Goodness, it's so hard to believe that was nearly twenty years ago! Robert Rodriguez and Quentin Tarantino had only made a few films up to that point. More so, George Clooney was really just the dude from "ER" and a host of failed series. Now, Tarantino's films are always Oscar worthy, Clooney has been Best Actor, and Robert Rodriguez owns the El Rey Network. They are a power trio in modern Hollywood, but back then they were just making a horror flick.

The idea of remaking a well loved horror film as a television series that essentially follows the map of the original, well that takes balls! To be honest, it all pays off quite well. Considering the film was packed with stars or soon-to-be stars, the series pulls off recasting so well, that you mostly don't even miss the original players.

Joel Gilbert's latest documentary, THERE'S NO PLACE LIKE UTOPIA, is a two-hour coast-to-coast tour of America in decline. Using THE WIZARD OF OZ as a springboard, Gilbert draws comparisons from the Wizard -- a charlatan -- to President Barack Obama. Not being as complicated of a connect-the-dots as his previous work, DREAMS FROM MY REAL FATHER, UTOPIA is easier to follow, and more inventive in its employment of effects and its cogent use of parallel analogy.

It just goes to show, you can't always trust the critics. I hadn't watched any of Marvel's Agents of S.H.I.E.L.D. because I'd heard from some corners -- comic-fan corners, mind you! -- that the show was not just underwhelming, it was actually bad.

Now that I've got the entire first season to review, I think that the critics were wrong -- mostly. And, yes, I get the inherent irony of my saying that -- I'm completely up on the Epimenides paradox. So with the second season debuting tonight, you've got a few hours to go pick this up and cram like mad to get up to speed.

For those of us old enough to remember, there was a time when there were no music videos and there was no MTV (not that MTV plays any videos anymore) and the only way you go to see your favorite performers were to see them in concert.

Ten in 1973 it all changed…on August 19th 1972 the pilot for Midnight Special aired and it was so good!

Finally we got a chance each week to see the hottest musicians perform one or more of their hit songs live…that’s live as in not pre taped and not lip synced.

It meant staying up late to be able to see it considering I was only 12 when the show first started, but because I was very familiar with the music and musicians of those days thanks to my 8 years senior older brother’s extensive record collection I begged and pleaded to stay up each week (until I was old enough to stay up without having to ask for permission) each week to see the performers whose music I was listening to every day.

It's only September, but anyone knows that if you want to get the really cool stuff for Christmas, you have to start making your list early. Any later than Halloween, and you're likely to get stuck with whatever your friends and family could pick up at the local Walgreens. And you want cool, right? Like, bowtie cool?

Well look no further, friend! The BBC has put together some gift set releases of their best and brightest shows. Let's tear off a corner of the wrapping paper for a little peek, shall we?

DOCTOR WHO: THE COMPLETE MATT SMITH YEARS LIMITED EDITION BLU-RAY GIFT SET

I admit, I'm not completely up to speed on the Ben 10 phenomenon. I know that Ben's a kid with a special wristwatch (like Johnny Sokko) that allows him to turn into one of any variety of aliens so that he can go into battle against other aliens (like Ultraman). And, that's about it.

For those of us who live without BBC America on our tellies, the Blu-ray/DVD releases are an event. Yes, we're behind the curve of all the other Whovians, but we just pretend we're time-traveling to the day of the broadcast premiere. It adds to the overall gestalt of following The Doctor.