Little MOTIVE to Watch

Article first published as MOTIVE Review on Seat42F.

Grade: 84%

ABC’s newest drama, premiering tonight, is MOTIVE. Detective Angie Flynn (Kristin Lehman, The Killing) is a tough single mother and homicide detective with a killer instinct, so to speak. She, more than anyone else in her department, is concerned with the MOTIVE of the murderer, which helps her catch the perp when others cannot.

MOTIVE follows a simple formula. We see the victim of the crime. The police investigate said crime, as they do in any hour-long procedural, and the viewer gets to see what happens during the violent act via flashback, doled out in bits and pieces throughout the installment. What makes it slightly different from its peers, the hook if you will, is that there is a focus on why a bad guy does a thing, rather than just how they are caught.

Angie, our hero, is a lot like other leads in other crime dramas. She has an almost super-human level of perception and intelligence, able to spot small things and remember details, which allows her to complete the investigation. For instance, in the “Pilot,” it’s an offhand comment from a teenager she encounters that leads her to figure out the real villain, even though the evidence is pointing to someone else.

The problem with this formula is that it makes the rest of the department look inferior at their jobs, and it relies on coincidence to save the day. What if she had not talked to a certain person, or that person had not remarked on that topic of that one crucial piece of information? Sure, we can accept that a great detective, who is always paying attention, will eventually find that one puzzle piece, but it’s the type of stretch that frequently only comes up on TV dramas.

The success of this series will largely rest on Lehman’s shoulders, and she seems to be up to the task. Despite being in the same genre, MOTIVE is quite a departure from her previous job on The Killing, and the role she plays is a drastically different one. She does handle the part with ease, feeling comfortable in Angie’s skin, and realistically crafting the character into her own. She adequately joins the ranks other main characters in a similar job on other crime dramas.

Because Angie is so front-and-center, the rest of the cast kind of takes a back seat to her. They are around to support her, but any major breakthrough must come from Angie, not them, to preserve why she is the one we should root for the most. MOTIVE is definitely not a true ensemble piece, with the world revolving around Angie and only Angie.

No one else really stands out as super memorable in the “Pilot,” but we are introduced to a number of others, including plenty of familiar types. There’s: Dr. Betty Rogers (Lauren Holly, NCIS), the super flirty medical examiner; Detective Oscar Vega (Louis Ferreira, Stargate Universe), Angie’s doubting partner who seems to care about her at least as much as a friend would; Staff Sergeant Boyd Bloom (Roger Cross, 24, Continuum), the hard-nosed boss who stays in the office; and Brian Lucas (Brendan Penny, The A-Team), the fresh-faced, naïve, enthusiastic youngster on the squad.

Over time, we will probably get to know all of these people, and every once in awhile, the spotlight will shine a little on them. For now, they are a capable group of characters, if easily interchangeable, to fill in the space around Angie a bit, without drawing attention away from her. Which means, for this type of show, they are doing their job correctly.

Of course, in keeping with the current trend, Angie isn’t just a dedicated cop. She’s also a single mother with an unruly, but good at heart, teenage son named Manny (Cameron Bright, Twilight). Sex and speeding tickets are the issues between them right off the bat, and Angie handles those situations with a kind-hearted nature that reveals her affection for her child, but also that she’s not a pushover. This also results in the most entertaining moments of the “Pilot,” especially when Angie asks Manny’s girlfriend about her boobs.

All in all, MOTIVE is an enjoyable way to kill an hour, and it’s well made enough that fans of murder-based procedurals will enjoy it. It seems like the type of series one could grab an episode every now and then, and you won’t have to watch every week to keep up on the story. This also means there isn’t a lot of depth, and the formula will likely stay pretty rote, so it could get boring pretty quick. There is definitely an audience out there for MOTIVE, as the ratings for shows such as NCIS and Castle prove, and because it’s on during the summer, provides a nice respite from reruns. But for the discerning viewer that wants a compelling narrative, you can probably skip this one.

MOTIVE premieres tonight at 10 p.m. EST on ABC.

Read, Set, Go for THE GOODWIN GAMES

Article first published as THE GOODWIN GAMES Review on Seat42F.

Grade: 92%

FOX’s new comedy THE GOODWIN GAMES premieres tonight at 8:30 P.M. EST. The “Pilot” finds three grown up, estranged siblings returning to their hometown upon learning of their father’s death. After the funeral, they learn he secretly has more than twenty million dollars tucked away, and, rather than split it among them, has set up an elaborate series of contests to determine with child should inherit the fortune.

THE GOODWIN GAMES was originally ordered as part of FOX’s lineup for the television season that is just ending, but has now been reduced to a seven-episode order intended to be burnt off this summer. Even being programmed with reruns of popular comedies, the show doesn’t stand much chance of a future.

But don’t let that scare you aware. It has a great cast and a fun concept, one that should hook in viewers, even if it failed to find support at the network. It’s charming, and it’s time-jumping story will remind sitcom fans of How I Met Your Mother, which isn’t coincidence, since this show is from the same producers. As such, it retains some of the tone and jokes that make How I Met Your Mother so entertaining.

In THE GOODWIN GAMES, we are introduced to: Henry (Scott Foley, Scandal, True Blood), whom is a successful surgeon; Chloe (Becki Newton, Ugly Betty, How I Met Your Mother), a highly intelligent aspiring actress; and Jimmy (T.J. Miller, How to Train Your Dragon, Cloverfield), a screw-up freshly out of prison (again), and indebted to some very bad people. Each have their eccentricities and good and bad qualities. They are all easy to root for, even when bickering, because there is familial affection present in their rivalry.

It’s no wonder they’re a little weird, given their upbringing by single father Benjamin (the great Beau Bridges). He always pitted them against each other, making them jump through hoops for treats and his approval. Viewers get a chance to see just how Benjamin treats them as kids, which informs quite a bit about who they are today, and it’s apparent just where their relationships go wrong.

Now, it’s clear almost right off the bat that the main goal Benjamin has is to bring the three back together as a family, one that is very sympathetic, and likely to happen, based on early interaction. It would not be surprising if, in the end, should an end ever be shown, that he’s not rich. After all, the house they return to isn’t super ornate, though it is quite nice, and maybe the fourth man who plays the game in the first episode and is gifted one million dollars is a decoy to motivate them into participating. This would make sense, given the premise. But, if the money is real, surely they will share it in the end.

However, as in How I Met Your Mother, knowing how things will turn out, generally speaking, doesn’t detract from the enjoyment of the show. The draw is the journey, how the characters will get from Point A to Point B. Their interactions with each other, buoyed by excellent casting choices and great chemistry, are what makes THE GOODWIN GAMES worth watching, and the scenes where all three siblings are together are easily the best moments of the “Pilot.”

The only small complaint I have about THE GOODWIN GAMES is that Chloe, Henry, and Jimmy get along to well too quickly. Sure, mid-episode they argue so much that they can’t finish a single game of Trivial Pursuit. But by the end of the half hour, they seem to have found some common ground and begin to rebuild things between them. In order for Benjamin’s scheme to take up some time and continue for awhile, a little more conflict and a slower warm-up would be appropriate.

Had it been known that THE GOODWIN GAMES would only get seven installments, it’s likely the story would stay confined to this premise. However, designed to run much longer, each of the trio also has their own subplot, too. Chloe is ex-best friends with the lawyer Benjamin tasks with handling his children, April Cho (Melissa Tang, Beginners). Henry, soon after arriving in town, runs into his ex-girlfriend, Lucinda Hobbes (Kat Foster, Weeds, Royal Pains), who is now a minister, and whom Henry still has feelings for. Jimmy has a young daughter, Piper (Kaitlyn Maher, America’s Got Talent), who he tries to do right by, and who is wise enough at her young age to encourage Jimmy to stay on the straight and narrow. These characters are fun, and they do add depth to the proceedings, but while they would work great for a longer-running show, seem extraneous to a limited series.

There’s always a chance THE GOODWIN GAMES could find an audience and continue, slim as that might be. Because I’m a big fan of Foley and Newton’s work, and these are interesting, funny roles for them to play, I really hope that this happens, and will definitely be watching as many episodes as FOX will air, having loved the “Pilot.” But if THE GOODWIN GAMES would fail, as it is expected to, at least I’m confident that the cast won’t be unemployed for long.

DOCTOR WHO "The Name of the Doctor" Review

Article first published as TV Review: Doctor Who - "The Name of the Doctor" on Blogcritics.

Overall, the back half of Doctor Who series seven wasn't nearly as strong as the first half. One might chalk this up to adjustmenting to new characters, including a fresh companion. But I think it's more than that. The stakes and the fun just aren't quite there.


However, the series seven finale, "The Name of the Doctor," is the exception. It doesn't have a lot of signature Doctor Who whimsy, but it does have some top notch acting by Matt Smith (the Doctor), the involvement of the always lovely River Song (Alex Kingston), amazing special effects, and a deep dive into some very heavy Doctor Who mythology.

The primary mystery of the past nine episodes has been how Clara (Jenna Louise-Coleman) can exist. Dubbed "The Impossible Girl," the Doctor has seen her die multiple times in multiple places. Now, we know how this happens, as Clara jumps headlong into the Doctor's scar, a singularity that rips her apart and delivers her to many points within the Doctor's life.

The concept of the scar, which exists in the Doctor's tomb, at the place where he finally dies, is an interesting one. He talks about tearing the universe apart by his travels, and yet it doesn't seem to have harmed the universe all that much. Yet, it provides a vulnerability that the Great Intelligence (Richard E. Grant) is able to exploit, ruining everything good that the Doctor has done in his travels.

I am a little confused as to how the Great Intelligence stays aware enough, after entering the scar, to carry out his mission, and yet Clara, in the two encounters we witness her with the Doctor this series, seems to not know what is going on. Perhaps she is confused, or isn't prepared to handle the time stream the way the Great Intelligence is. Or maybe Clara is just a very good actress. Either way, though it doesn't quite seem to add up exactly right, it's an intriguing idea with which to explain her story. 


In "The Name of the Doctor," we see Clara running through the timelines of previous doctors, mostly those who graced the television screen in the 1960s, '70s, and '80s. The production team does a pretty solid job of matching her to the film styles, not just in clothing, but in overall appearance. It's still obviously computer-enhanced, but those very cool sequences are such a treat for long-time fans, to see those familiar faces again!


The other slightly weak spot in the story is that the Great Intelligence kidnaps only Vastra (Neve McIntosh), Jenny (Catrin Stewart), and Strax (Dan Starkey) to lure the Doctor to his grave at Trenzalore. The Doctor has had many friends over the years, and the Great Intelligence has been waiting for a very long time to strike against him. Surely, others would have been targeted save these three, who all live in the same time and place? I enjoy seeing them again, and it's heartbreaking to watch Jenny and Strax die, even if it's not permanent. But it does feel a little convenient, even if one can make the argument that the Doctor spends a lot of time with them in the recent past.

River's involvement is also convenient, but in a very different way that feels more authentic. She is the Doctor's wife, so she is strongly tied to him. We see a chapter of her story here that we haven't glimpsed before, a woman lonely after the long absence of her spouse. This is a reflection of her, rather than her physical presence, but it still serves the purpose. She gives us some very emotional stuff, which is quite welcome, and does save the writers from having to reveal "The Name of the Doctor" yet, though it still feels like that will be coming.

Also, the scenes between River and Clara, who clearly don't know much about one another, are funny, even if it makes the Doctor look a bit like a lousy cheater.


The end of "The Name of the Doctor" is quite a cliffhanger! Inside the depth of the Doctor, the Eleventh Doctor and Clara encounter the Doctor that isn't the Doctor (John Hurt, Merlin, Tinker Tailor Soldier Spy). This is the very dark persona who turns his back on everything the Doctor stands for. What is he?

Presumably, he is the version that the TV show skipped. When Doctor Who reboots in 2005, we are introduced to Christopher Eccleston's Ninth Doctor. But what if Eccleston is the 10th? What if another version committed genocide against the Daleks and fought in the war? The smart money is that Hurt is this real, forgotten about Ninth Doctor.

Which would make Smith the Twelfth Doctor. Since the Doctor can only regenerate twelve times, Smith could be the penultimate actor, chronologically in the story, to bear the name. Going back and using Hurt as the Ninth, perhaps even in next year's eighth series, could forestall the end of Doctor Who. But the finish line definitely feels near.

Whatever way the series decides to go, we'll find out in November who Hurt's incarnation is, a lot about the iconic character himself, and which version will be continuing in 2014. How exciting!

"The Woman" on ELEMENTARY is No "Heroine"

Article first published as "The Woman" on ELEMENTARY is No "Heroine" on TheTVKing.

CBS's Elementary is one of those shows that I often dread watching, because, like most crime procedurals, most weeks concentrate on a single case that is solved by the end of the hour. Despite that, when the series is good, it's very good, and this year's three-part season finale, which ended with "The Woman" and "Heroine" this week, are two of the best hours of television I've seen lately.

Sherlock (Johnny Lee Miller) finds the love of his life, Irene Adler (Natalie Dormer, Game of Thrones, The Tudors), is still alive, not dead as he had thought. Taking himself off the case, Sherlock intends to stay with Irene and make sure she's OK, trusting Watson (Lucy Liu), Captain Gregson (Aidan Quinn), and Detective Bell (Jon Michael Hill) to catch the villain responsible for Irene's abduction two years ago, Moriarty.

This is quite a turn for the character, seeing Sherlock able to walk away from the case. It's a testament to just how deep his feelings for Irene go. Clearly, this is the one person in the world that makes Sherlock change his game, and seeing the extremely talented Miller play the nuance and complexity of such a situation, so different from typical Sherlock, is fascinating.

But that is nothing compared to what happens when Sherlock finds out that Irene is Moriarty, his love and his foe one in the same.

Elementary has twisted much of the familiar Sherlock Holmes mythology in interesting ways; Ms. Hudson is a transsexual and Watson is an Asian woman. But to make Irene and Moriarty, two incredibly influential people in Sherlock's life, the same person is the boldest move yet. In lesser hands, with a series that doesn't write the tale so well, and isn't performed with the utmost care by amazing players, this would be campy and cheap. In Elementary, with Miller and Dormer involved, it's as impressive as it is daring.

Love and hate are two emotions very closely related. We've seen the story of a hero and villain who are best friends torn asunder many times. But I can't recall a dynamic in fiction as intense as this one, with Moriarty returning Sherlock's feelings, but also driven by motivation he doesn't understand. It helps that she is a genius, capable of tricking and manipulating Sherlock, and their interactions are charged in a very visceral way.

How this will change the game going forward is anyone's guess. Surely, this isn't the last we've seen of Moriarty, and when her path crosses with Sherlock's again, it will throw him into disarray. He is able to put the law ahead of emotion, and helps Irene get caught. But the romance between them doesn't seem to be over, either, and she will likely terrorize him again.

Part of the reason Sherlock is able to stop Irene / Moriarty is because she underestimates Watson. Liu's version of Watson is a memorable one, and much sharper than some may give her credit at first glance. Moriarty probably won't make the same mistake again. But the fact that Watson can play such a key role in "The Woman" and "Heroine," during a tale in which one would think she would take a step out of focus, is telling to Watson's overall importance in the series.

The fascination of three brilliant minds going at each other is wonderful storytelling. In this encounter, Sherlock is sort of off of his game, with only Moriarty knowing the score ahead of time, and Watson is the x factor. But the next time, they should be ready for each other, or Sherlock will be as ready as he can be, and it should be a true match of wits, with the stakes likely upped even more.

However, until then, we're probably sentenced to go back to boring procedural episodes, setting aside amazing backstory and awesome performances in favor of solving a few murders. Yawn.

Elementary has been renewed and will return to CBS next fall.

GREY'S ANATOMY Finale Not Quite a "Perfect Storm"

Article first published as GREY'S ANATOMY Finale Not Quite a "Perfect Storm" on TheTVKing.

ABC's Greys Anatomy likes to show the ups and downs of the doctors who work at Seattle Grace Seattle Grace Mercy West Grey Sloan Memorial Hospital, their loves and their losses. In the penultimate episode of season nine, the focus is the positive, and delivers a heartwarming story. In the season finale which aired this week, "Perfect Storm," things get much more depressing.

It's understandable that Callie (Sara Ramirez) and Arizona (Jessica Capshaw) still aren't seeing eye to eye. Arizona goes something very traumatic with the plane crash and losing a leg. There is no way for Callie to grasp this experience, try as she might. The chasm between them is just too wide.

Yet, Arizona's tryst with Lauren (Hilarie Burton, White Collar) feels like it comes out of nowhere. Sure, one can see how these bad feelings may still be boiling under Arizona's surface, as much as she pretends everything is OK. That doesn't excuse, however, cheating on your wife. Callie cut off Arizona's leg, but for good reason, and has done everything possible since then to make up for it.

Grey's Anatomy does a pretty decent job of avoiding villainizing either woman in the marriage, making viewers see both sides of the issue. The problem is, we also care very deeply for them, and to watch their marriage fall apart sucks. They have already overcome so much, and to see it fall apart so completely in "Perfect Storm" is not fun. Even if they work hard next year to repair things, it could easily feel like a retread of this season, where their marriage flounders. This is not an arc to look forward to, no matter how well written and performed it might end up being.

 Owen (Kevin McKidd) and Cristina (Sandra Oh) have a situation both similar and completely different than Callie and Arizona. They've come through a lot together, but there's a big divide in their pairing, Owen wanting a kid, and Cristina strongly wanting to avoid becoming a mother. As of "Perfect Storm," it seems like they may no longer be able to ignore this, and it's time to split. I hate to see them apart, but their rift is no one's fault, and they should try to move on and be happy. At least they don't seem resentful of one another, making a break up a little easier than some on the show have been.


Also a bit disappointing is April (Sarah Drew) running back to Jackson's (Jesse Williams) arms. They have their shot, and it really does feel like she, at least, moves on in season nine. Her relationship with Matthew (Justin Bruening) looks to be something good in her life, and something she values. She's just going to toss that away now, after that wonderful, corny proposal last week? That doesn't seem like April.

The final complaint I have is the drama surrounding Meredith (Ellen Pompeo) giving birth. With Lexie dead, Meredith is once more the only Grey in Grey's Anatomy. She's also the beloved star of the series, even though it is truly an ensemble show, and it would be awfully hard to accept she could be killed off without warning. Thus, all of the bad things that happen to her feel forced and false, and the fact that everything ends up being fine makes it even worse, worrying for nothing.

However, Meredith's complications do give both Ross (Gaius Charles) and Bailey (Chandra Wilson) a chance to step up. Ross is the lagging member of the intern pack, and even though Meredith has to guide him through the surgery, the fact that he plays a huge role in saving her life will serve him well moving forward. And Bailey is on her way back to operating even before this, but having her come in and rescue Meredith means a lot, allows Meredith and Derek (Patrick Dempsey) to continue the Grey's tradition of baby naming, and is a triumphant return for the good surgeon.

Too bad Bailey hasn't yet apologized to Webber (James Pickens Jr.) for treating him so poorly. As Ben (Jason George) assures her, Webber knows Bailey, and surely doesn't hold her behavior lately against her. But if Webber dies here, before Bailey has the chance to express her regret, it could be heartbreaking for Bailey. Given Grey's history, Webber could go either way, surviving or dying. I really hope, as much as death can pump up the show when done right, it's the former.

Also, let me add, having Ben back these past couple of episodes has been great. He feels like a natural part of the cast. It's time to bring him home and make him a more permanent fixture on the show. He can continue his medical training at this hospital, not somewhere else.

"Perfect Storm" does give us some things to look forward to in season ten. Alex (Justin Chambers) may finally have found a true love in Jo (Camilla Luddington), as long as she sticks around, as she definitely needs to. He has had such bad luck in love, and Jo is someone who offers a stable option for him, someone who isn't likely to flee or dump him after they commit to one another. Luddington is not yet signed full-time for next season, but that's a move the show should make.

I did like "Perfect Storm," and even the parts that made me uncomfortable or annoyed were extremely well done. Nine seasons in, the quality is consistently fantastic, proving the team behind the series not only knows what they are doing right, but how to keep it going without allowing anything to grow stale. The growth in the characters has been amazing, and I definitely look forward to next year.

I just wish the episode wasn't quite so depressing in the specific ways that it was. It's more satisfying when the disaster is caused by an unavoidable outside source, no matter how many times it happens, rather than imploding character flaws. There's something else to blame for a plane crash, shoot out, or illness, rather than a couple just collapsing in on themselves. This path, unlike the crises, is more realistic, but it makes it harder to root for certain personalities, and Grey's is all about the people; I want to root for them.

Grey's Anatomy will return next fall on ABC.

SCANDAL Puts Its "White Hats Back On"

Article first published as SCANDAL Puts Its "White Hats Back On" on TheTVKing.

ABC's Scandal begins season two last fall with "White Hats Off" and ends it this week with "White Hats Back On." In between, we get a dark, twisted game of manipulation, struggles for power, torture, murder, and intrigue. The characters go to places lower than they consider possible before, and do things they will live to regret. It's a hell of a ride.

It's nice to see the "White Hats Back On" for Olivia (Kerry Washington) and crew. They've done enough, suffered more than their share. They need to refocus on a mission of helping people and making the world better, not participating in the kind of stuff they've been doing. Not if they want to hold their heads high and be proud of their work. Olivia's literal donning of a white hat late in the episode symbolizes this shift.

Olivia's turning point is motivated by selfish reasons. Going into the hour, she believes she can finally be with Fitz (Tony Goldwyn), coming up with a plan that will allow him to both stay in the White House and have her on his arm. It's smart, it's fairly simple, and it should be possible to enact it.

However, Cyrus (Jeff Perry) sabotages everything, not by ruining the plan directly but by poisoning the romance between Olivia and Fitz. Both have secrets to hide: Fitz murders Verna (Debra Mooney) and Olivia sleeps with Jake (Scott Foley). They, as a couple, could get past these latest setbacks when Cyrus tells each the hidden truth. But Olivia decides their relationship shouldn't be so hard, and calls it off.

Stepping back from the mess she's been embroiled in all season, stemming from the Defiance election rigging scandal, helps Olivia better live with herself. I do think she's sincere when she talks about how she's been bringing her team down, and wants to improve their situation. However, she wouldn't have the courage to do this just for their sake. It takes an epiphany, brought on by continued manipulation and rule-breaking, to change her mind.

The one person who may have a problem with Olivia's about-face is Harrison (Columbus Short). In her absence, he has often had to step up to fill the void. He isn't necessarily the de facto leader, and hasn't really served as replacement. But it's likely he thinks he has, based on the ego we've seen from him, and he may bristle against going back to being second banana.

Olivia's decision comes not a moment too soon for Quinn (Katie Lowes). The delight she takes in torturing Billy (Matt Letscher) is disturbing. Huck (Guillermo Diaz) is very worried about Quinn, but still dealing with his own failings and struggles, is not in a very good position to lend her a hand. Thus, Olivia coming back into the fold, concentrating on her own people, whom she has mostly stood apart from this season, could be just what Quinn needs. Maybe Olivia can salvage Quinn's soul, restore Huck, and do what she has done for her team before.

Which isn't to say that Scandal is now going to be "White Hate Backs On" all the time. That isn't the way this series works, and before this season finale comes to an end, a new problem rears its head: Olivia's affair with Fitz is outed. This takes her, and those connected with her, right back into the muck, and should provide an interesting conflict to begin season three on.

Who is responsible for outing Olivia? It's doubtful that Cyrus is behind it. He is so stressed with the White House politics that he has a heart attack, surprising only in that it doesn't happen before now. Cyrus fights to stop Olivia and Fitz's coupling, and telling the press about them will only drag the issue out, hurting Fitz's chances of  re-election. So he's likely innocent of this.

It could be James (Dan Bucatinsky), Cyrus's "better" half. The concern in James's eyes when he comes to Cyrus in the hospital bed is genuine, but he also still asks about Fitz's marriage, furthering his career as a reporter. James and Cyrus's marriage is rocky and fraught with complications, but there is love in there, which is why it's my favorite element of the series, tied with Cyrus and Olivia's friendship.

It would not be above James to hurt Cyrus's career for the sake of his own, as a journalist, but considering we don't see James finding out above Olivia yet, the exposure will probably come as a shock to him, too, throwing more flame to the fire fight in his union. Cyrus doesn't keep James in the loop, and James is just as likely to tell Cyrus before the rest of the press, to rub his snooping abilities in his husband's face, which is something that doesn't happen. It's probably not James.

Jake, who could be jealous of Olivia and Fitz, most likely isn't responsible, tossed in a pit and left to rot. I hope Olivia learns about Jake's fate, maybe through Huck, even though Huck wants to get away from that world, and saves him. With Fitz and Olivia on the outs, Olivia could use a new, steady love interested, and Jake has that potential.

It could be Mellie (Bellamy Young). Earlier in "White Hates Back On," Fitz makes it clear their marriage is over. This is before Olivia sends him right back to Mellie's arms. Mellie can be self-destructive, and thinking everything is ruined, she may have taken the nuclear option and leaked Olivia's name. Though that would work against her own professional goals, so while she is a serious possibility, I wouldn't rank her at the top of the list.

David Rosen (Joshua Malina) is also a suspect. He plays Olivia and the group to get back into his old position, with even more power. In doing so, it proves he is susceptible to the same game playing everyone else in the cast engages in, even though it's something he despises in them before. This could be a parting shot as David leaves the group, looking for some justice against Olivia. Though, David doesn't seem super vindictive, and may still harbor feelings for one of the gang, Abby (Darby Stanchfield), so like Mellie, while it could be him, he isn't my first choice.

No, the most likely culprit is Rowan (Joe Morton, Eureka). He is introduced recently, has tendrils in many places, is behind the locking up of Jake, and is shown to be plotting against Olivia. At first, it seems his scheme could be to kill her, as someone tries to shoot Olivia this week. However, now that we know, because of the shocking ending, that Rowan is Olivia's father, it is likely his techniques against her would be less lethal.

What is Rowan's goal? Why is he after Olivia? What does he want her to do? Would outing her help him accomplish this? There is still so much mystery surrounding who Rowan is and what his mission is that Scandal could go in any number of directions from here. This is a rich vein to tap.

Or it could be someone else, someone we may not even have met. Maybe it's a secret service agent with a beef against the president, or who considers themselves well versed in morality. Maybe it's a political rival. Maybe it's an old foe. Who knows?

This is a wonderful, exciting season finale, concluding some arcs, but also leaving the door wide open for any number of new stories. Scandal doesn't operate on a week-by-week basis, and in keeping with its serial nature, much is not wrapped up. Life goes on, and the past will continue to haunt the present.

Scandal, thankfully, has been renewed and will return to ABC next fall.

THE OFFICE "Finale"

Article first published as THE OFFICE "Finale" on TheTVKing.

How do you say goodbye to a beloved series after nine (!) seasons on the air? Well, it helps to give every single person in the sprawling cast a nice moment, with even bigger payoffs for the show's leads. Toss in the most-missed character in the series' run, a slew of recurring returning players, a handful of well-known guest actors used in smart, not distracting, ways, and supersize it to 150% longer than the normal installment so it doesn't feel rushed.

That's what NBC's The Office did last night, to great effect. There are two major stories intersecting in one weekend: Dwight (Rainn Wilson) and Angela (Angela Kinsey) are getting married, and all of the former Dunder-Mifflin staff are gathered together for a reunion panel, post the airing of their documentary. Thanks to some wrangling by Jim (John Krasinski) and Pam (Jenna Fisher), both are scheduled on the same day so that everyone special gets to participate in both.

This level of caring extends to how Jim approaches Dwight's bachelor party, intent on making it perfect for his best friend. Dwight and Jim have fought like brothers over the years, but "Finale" is the ultimate payoff, not only proving Jim's affections, but showing how much Dwight cares for Jim, too, when he gives Jim and Pam a generous severance (which we'll get to later), and how he's upset at Jim backing out being "bestest mench" at the wedding. Fear not, it's just Jim's greatest "prank" to date, as he arranges for Michael Scott (Steve Carell) to fill the role, a great present for Dwight.

Despite NBC and Carell's reps repeatedly and vigorously denying Michael's appearance in this last episode, it's more than a one-scene cameo. Michael is at both the ceremony and the reception, happily celebrating the union of two people that he deeply cares about. He may only get two lines (at least to the best of my memory), but they are such classic Michael Scott dialogue that it's all that is needed. His presence makes the event perfect.

Well, that, and the fact that everyone gifts Angela cats.

Angela's cat fetish isn't the only major plot part featured for a supporting player, with each of the vital members of the Dundler-Mifflin staff whose names have not graced the opening credits, save once, before now, have a tribute in this episode. Kevin (Brian Baumgartner) gets a couple dumb moments and a cake. Phyllis (Phyllis Smith) and Stanley (Leslie David Baker) get to tell each other how much they miss one another, now that Stanley has retired and, happily divorced, moved to Florida. Phyllis also saves Angela's walk down the aisle, after causing Angela's walking hardships, and tries to fatten up her new desk mate (Better Off Ted's Malcolm Barett) into a new Stanley. Meredith (Kate Flannery) is proud of her son, hired to be Angela's bachelorette party stripper, and gives him tips at work. Kelly (Mindy Kaling) ditches her husband (Sendhil Ramamurthy) to run away with Ryan (B.J. Novak). Nellie (Catherine Tate) finally gets a child, when Ryan's fleeing results in an abandoned baby. Erin (Ellie Kemper) gets to meet her biological parents (Joan Cusack, Shameless and Ed Begley Jr., Family Tree). Andy (Ed Helms) has found his niche in the world. Toby (Paul Lieberstein) feels valued when his colleagues insist that he hang out with them. Oscar (Oscar Nunez) is running for office, and even has an assistant (Ben and Kate's Dakota Johnson). Darryl (Craig Robinson) is very successful, and riding in limos. Creed (Creed Bratton) sings a song, and is arrested at the end.

It's important that The Office serves all of these personalities, and there are a lot to get to, as the long paragraph above attests, so the increased running time is invaluable. The show is about so much more than five or six main characters; it's about the huge family that has come together under these conditions, bonded through the experiences they have undergone together. All of these bits, and the large hang out of the staff at the end, Dwight and Angela even postponing their honeymoon to be there, mean so, so much. It's very gratifying for the fans to see the characters care about each other as much as we care about them.

Even better, in the group photo in the warehouse, the behind-the-scenes crew get to join their colleagues and be included in one of the last moments for The Office.

Not that the more central players are given the short shift this week. Pam feels bad, especially after the documentary panel, that Jim always gives up everything for her. The viewers remark that Jim adores Pam, and she doesn't seem like she deserves it, something Pam also realizes when she tries to watch the show herself, and finds it too painful. So she makes the ultimate sacrifice, calling Michael's realtor ex-girlfriend, Carol (Carell's real wife, Nancy Walls), to sell their house, and giving up her life to move to Austin for Jim's dream career. This is the perfect cap to their relationship, the one that proves their love is not one-sided.

I have very few complaints about this final hour. I think it's a little cheesy that Mose's (Michael Schur) kidnapping of Angela is faked out as sinister. I don't like that Pam paints the office staff on the warehouse wall, leaving the warehouse workers, who will have to look at it every day, out of the process, although the way that the cast sneaks away from everyone else during the party reinforces that they don't value the others so much, and they aren't exactly part of the same family.

It's also a little sad how many of the staff are gone from Dunder Mifflin. Dwight (deservedly) fires Kevin and Toby, Stanley retires, Creed goes on the lamb, Nellie moves to Poland, Andy moves to New England, Jim and Pam quit, following Darryl, and Michael has been gone for a very long time. Yet, they all feel exactly where they should be.

The best scenes in the "Finale" are the emotional ones: Michael talking about how proud he is his "kids," both literal and figurative; Dwight speaking of his relationship with his subordinates; Dwight and Kevin making up; everyone reliving the memories they share. It's hard to write this review without tears in my eyes. This is how we want to remember them, and because The Office gives us this nearly-perfect send-off, we will get that wish.

Thank you to everyone involved in The Office for a wonderful series to be thought of fondly and relived over and over again.