Jerome Wetzel TV

White Collar faces "Judgment Day"

2012-03-01T14:16:00.001-05:00

USA's White Collar completes its third season with "Judgment Day." A wrench is thrown into Neal's (Matthew Bomer) commutation hearing when Agent Kramer (Beau Bridges) begins a campaign to ruin Neal. The goal is to get Neal's sentence extended, and transfer him to Kramer's supervision in DC. That way, Kramer gets to use Neal for his own purposes, indefinitely. Peter (Tim DeKay) and Neal's other friends help him try to outwit Kramer, but to no avail. In the end, Peter gives Neal a signal, and Neal flees the country with Mozzie (Willie Garson).

"Judgment Day" represents a major game change for White Collar. With Neal cutting his ankle monitor and running, what will season four be about? Now Neal is a wanted man, having to stay out of the eyes of the law. His partnership with Peter is effectively over. Neal abandons his life in New York City. The other option would have been to get in more trouble and be stuck with Kramer. But it's still not a decision Neal should make lightly.

Nor should Peter. Peter sticks his neck out for Neal repeatedly. Peter does everything he can to help and reform Neal. More than that, Peter is his friend. What's more, until Kramer interferes, it works. Neal is changed. It puts Peter's own reputation and career at risk to stand up for Neal, and allow him to escape. There will surely be negative consequences for Peter that stem from these events. But Peter gives Neal a signal to run anyway, because it's what it best for Neal at present. That's real friendship.

And Peter is not Neal's only friend. Elizabeth (Tiffani Thiessen) gets him two cakes, one for each expected outcome. Mozzie and Sarah (Hilarie Burton) help Neal go around Kramer's back. Diana (Marsha Thomason) assists Neal in escaping Kramer's agents. June (Diahann Carroll) gives testimony in Neal's favor. Even Jones (Sharif Atkins), despite recommending Neal stay in custody, cares about him, and shows it. Neal has to give up this entire life, and the family he has built around him, to flee.

In fact, this might be a repeat for Neal. Not a lot is known about Neal's past, but in "Judgment Day," Neal visits a woman (Judith Ivey) he knew long ago. This woman talks about the day that a teenage Neal ran away, and the lack of contact both have had with Neal's parents. So it seems Neal has faced giving up everything before. Last time, it led him to a life of crime. This time, with Mozzie by his side, it would not be surprising if that happens again.

How can Peter bring Neal in from the cold and restore some balance to his life? That will surely be the focus of the beginning of season four, likely for only one episode, though hopefully for several. White Collar will surely figure out some way to accomplish a restoration of its format during the break. The series takes chances, but throwing out their entire plot structure is unlikely to happen. That's too bad, because this is a heck of a story that could be played out for some time before going back to the regular formula. In fact, White Collar would make an excellent serial, if the network would only consider changing direction.

Awesome season finale, White Collar! The series will return this summer to USA.

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Parenthood ends with tears and a wedding

2012-03-01T09:23:00.000-05:00

NBC's Parenthood is always among the first of the network shows to bow out for the season, and with last night's episode, "My Brother's Wedding," it does so again. Crosby (Dax Shepard) and Jasmine (Joy Bryant) rush their wedding into existence in less than a week. This happens despite Crosby's feud with Adam (Peter Krause), which heats up as Adam pressures Crosby into selling their business. Also, Julia (Erika Christensen) and Joel (Sam Jaeger) struggle with their devastation at not getting the baby they were promised, and consider other options, while other Bravermans fall in and out of love.

Crosby and Jasmine getting married is long overdue. For awhile, it appears that the two are ready to move on, both dating delightful people, who are great additions to the series. But in a cast as full as Parenthood's is, there just isn't any room for too many extras, and they were superfluous. Yes, the idea isn't romantic, but it's realistic for the confines of a network television budget. And so, gone are Dr. Joe (DB Woodside) and Lily (Courtney Ford), as regrettable as that may be.

In some ways, Crosby and Jasmine's nuptials in "My Brother's Wedding" come out of nowhere, as the characters have been separated for quite a bit of time, and only reunite in the penultimate episode of the season. On the other hand, this is a plot thread begun in the very first episodes of Parenthood, and one this has often seemed an inevitable conclusion. Crosby is finally mature enough to handle a family, and so he gets one. It's nice that Parenthood decides to stop playing around and just get them together already, in a hopefully permanent situation, even if it may have been done partially due to fear of cancellation.

The main story of "My Brother's Wedding," more than the wedding itself, is the fight between Crosby and Adam. These two siblings are as close as can be, and their purchase of the Luncheonette earlier this season solidified that. While the two have plenty of stories together prior to this arc, seeing them in business together creates a whole new, welcome, dynamic. To think that they might give it up for money, admittedly, a whole lot of money, is heartbreaking.

That is the crux of the fight. The Luncheonette is Crosby's dream, but Adam only sees it as a business. Worried about his family's financial future, Adam is eager to sell, even before the offer is upped considerably. He doesn't think about what it means to Crosby all that much, and certainly doesn't even consider how the business has brought them closer together.

Crosby, on the other hand, is not only in his dream career, but genuinely seems to enjoy working with Adam. It's this affection that convinces him to let Adam sell, not wanting to deny his elder brother his own dreams. Until Adam sees this, it looks like the partnership might be over. But in a very touching wedding toast, almost coming too late, Adam waxes the truth of the matter, and decides to turn down the offer. It's a prime example of the best that Parenthood has to offer, and a moment that will rank among the series's best, even should the show go on for ten years. As it should.

Joel and Julia are wrecked in "My Brother's Wedding," but not surprised, when Zoe (Rosa Salazar) decides to back out of the adoption. While Zoe does seem sincere when she says she had no inkling that she wants to back out of the adoption prior to her son's birth, it's a fear that haunts Joel and Julia all season long. And with good cause. As parents themselves, they know how the birth of a child can change a person. For Zoe, she is leaving this ordeal enriched and in a much better place, and is rightfully grateful for everything Joel and Julia have done for her. But for the couple, Zoe deciding to be a mother is a painful betrayal, and Zoe is lucky that they handle it with grace, when anger would be perfectly justifiable here.

However, Joel and Julia's plot going forward in "My Brother's Wedding" seems rushed. They immediately go to someone to expand the pool of children they are looking to take in. When they are asked if they would be willing for a last minute placement, and agree, it's highly predictable that they will have a child by the end of the hour. And sure enough, they do, though he's a boy at least as old as their daughter, Sydney (Savannah Paige Rae), rather than a newborn. Only in television, with the threat that Parenthood may not get a fourth season, would a bureaucratic system move so swiftly!

If Joel and Julia thought the risk of losing Zoe's baby was great, wait until they get attached to this boy! His mother is incarcerated, and only gives up her rights to him up to keep him out of "the system," assumedly, foster care. It seems incredibly likely that, should the show return, she will be freed at some point and seek to get custody of her son back. Joe and Julia may be much better caretakers than this unseen criminal mommy, but courts usually side with the biological parents, if that's at all possible. This could end in even more tears, which would not be fair to the characters or the fans of Parenthood, who have suffered along with the couple.

Sarah (Lauren Graham) also has babies on her mind when she dumps Mark (Jason Ritter). Mark is willing to do without children, something he'd really like to have, but Sarah isn't about to let him make that sacrifice for her. She has a point. Mark may think he is making the right decision now, but who's to say that he won't regret it later in life?

To the delight of many a fan, Mark wins her back and proposes, which she accepts, by the end of "My Brother's Wedding." The question is, how successful will this be? Sarah's fear about Mark's potential regrets are real and unresolved. The simplest solution would be to have Sarah get pregnant, then come around to the idea of raising another child. After all, viewers have gone through enough heartbreak with this pair. However, that's also an anti-feminist story, in a way, which could offend a number of women. In that regard, it may seem a little old fashioned should this happen, but compromise is also the key to any successful relationship, and might just need to happen here if the two are destined to stay together. That is, if Ritter doesn't get another series. Budget be damned, lock him in as a series regular Parenthood! It's necessary!

New love blossoms as Drew (Miles Heizer) and Amy (Skyler Day) decide to do the nasty in "My Brother's Wedding." That's a crude description of what has been a sweet, young romance. But how else to talk about it when they sneak upstairs and get it on with their family right below at the wedding? Just because it's a season finale, does not mean that Parenthood should have rushed this along. Their hooking up is actually a great scene for those who like love. But the circumstances surrounding it are this episode's misstep.

In the meantime, Amber (Mae Whitman) must choose between her job and being with Bob Little (Jonathan Tucker). He is her boss, and running for office, so it wouldn't be cool for him to sleep with his assistant. And yet, Bob, who is supposedly a "great politician" doesn't concern himself with this. He is genuinely interested in Amber, and also in need of her capabilities as his assistant. There is no discussion of him considering how it might hurt his standing with the voters. And so the choice falls to Amber and Amber alone.

It's a shame that this is handled clumsily, and the resolution stretched out an episode or two longer than it should be just so it winds up in the season finale. But Amber makes the right choice. Yes, it would be terrific to see her in a sturdy relationship with Bob, who seems like a good fit. However, Amber is only 19, and just starting out in the professional world. She should not give up a chance at a real career doing something that she is good at for any guy. If they are meant to be together, it can still happen down the road. She is smart to not toss out the opportunity at this juncture.

Amber's story channels the classic head versus heart debate. Many people of a romantic notion always root for heart. In reality, head must sometimes be given the preference. Not all the time, mind you, but in certain situations. The one presented in "My Brother's Wedding" for Amber just feels like one of those times. So while Amber and Bob not being together might be sad, it's the right thing for the character and the show.

Lastly, it is worth noting who Crosby's best man is. The character is named Billy, and he is played by Derek Phillips. Phillips played the character of Billy on Jason Katim's other series, Friday Night Lights. This Billy has a different last name, but fans of Katim, who created Parenthood, will not miss the reference, as Parenthood's Billy acts very much like early Friday Night Lights Billy. Also, this could just be coincidence, but the woman in the green dress that Billy dances with at the wedding in "My Brother's Wedding" looks an awful lot like Dana Wheeler-Nicholson, who played Billy's mother-in-law on FNL.

In all, Parenthood delivers a moving, fantastic season finale. If the world is just, the story will continue next fall on NBC.

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Article first published as TV Review: Parenthood - "My Brother's Wedding" on Blogcritics.

The Fades scares up Blu-ray and DVD

2012-02-29T07:52:00.000-05:00

The Fades, a new British sci-fi / horror series, recently completed its first season run on BBC America, and is already available in stores. This show is the story of 17-year-old Paul (Iain De Caestecker, Coronation Street, The Little Vampire), who is suddenly drawn into the supernatural. The Fades are ghosts who cannot cross over to the other side, and are fighting a war with the Angelics, humans with special powers. The Fades have found a way to gain substance in the real world by feeding on people. Paul realizes that he has more powers than any of the Angelics, and they begin to argue over whether he could be the savior who ends their war. Death, destruction, and the possible end of mankind make the stakes high in this six episode adventure.

While not yet renewed for a second series, The Fades does not end with a neat tying up. Nor should it. It is a bold, innovative show that is not afraid to kill off main characters and take big chances. In fact, The Fades advances more plot, twists, and major game changers than most American shows do in a full, twenty-two episode season. It should be praised for that.

In the first episode, Paul is merely having dreams, but thinks he is a normal boy. By episode six, he has not only faced down death and come back from it, but is poised to become the hero who saves the world. The character changes fundamentally, as do so many of those around him.

Not everyone survives series one, and should a second be commissioned, as it must, they will be missed. Unless the show finds a way to bring them back, which it very well could, given the material. Death is an obstacle here, and though total annihilation is possible, it doesn't touch everyone.

The Fades is filled with engrossing characters. There's Sarah (Natalie Dormer, The Tudors, Captain America: The First Avenger), an Angelic killed in the first episode, who can't let go of the love that she has for her ex-husband, Mark (Tom Ellis, EastEnders, Miranda), whom she is still living with when she dies. She resists the draw of John (Joe Dempsie, Skins), the leader of the reborn Fades, who is an alluring trickster bent on world domination.

There are other Angelics, too. The most important one in The Fades is Neil (Johnny Harris, Atonement, Whitechapel), who first approaches Paul to help them. But as time goes on, Neil doesn't always agree with Paul's decisions, nor that of the other Angelics. Neil is headstrong and battle weary, and isn't willing to rely on any possible savior if that means he needs to give up trying to win the battle himself. He also takes the approach of a desperate man, which doesn't always serve him well, from a moral stand point.

Paul's family both grounds him, and complicates matters, as they can easily become pawns in the game. Paul has a mother, Meg (Claire Rushbrook, Whitechapel, Linda Green), and a twin sister, Anna (Lily Loveless, Skins), who are quite helpless against the baddies. Paul's best friend, Mac (Daniel Kaluuya, Psychoville, Skins), isn't much more capable, but at least he loyally stands by his pal through everything. And Anna's best friend Jay (Sophie Wu, Kick-Ass) further distracts the hero, as she becomes a love interest for Paul. So it's a little hard for Paul to keep his mind just on the matters at hand.

The many layers and stories interwoven together are what makes The Fades so great. It could have picked a couple of elements, and made a wonderful story. But by packing all of these and more into six hours of television, the result is a busy, enticing, exciting mess of an apocalyptic showdown, the likes of which have rarely been seen on the small screen. This is definitely a must-see British series.

It's rewarding to see The Fades on disc because BBC America censors the language and nudity. For those who are offended by such things, cable is the way to see this show. But for fans who think these elements enhance the series, this release fixes those things toned down by the network.

The Blu-ray release looks and sounds great, as one would expect with such a special effects-laden story, though the audio is sadly not presented in surround sound. But the discs themselves leave a bit to be desired. For one thing, the menus blare creepy music at a much louder volume than the episodes or extras, which makes them a pain every time one must navigate them. For another, the extras are mostly short bits of two minutes or less, grouped together by categories such as 'Extra Scenes,' 'Deleted Scenes,' and 'Mac Explains.' Now the lengths in themselves aren't the problem, as they add up to a satisfactory amount, and it's great that extra and deleted scenes are included for each episode. However, there is no 'Play All' button, even within the subcategories, so every minute or two one has to go back through the noisy menus. I recommend muting during these times.

That's really a minor complaint, though. The extras, including interviews with Johnny Harris and Natalie Dormer, are good, if not particularly deep. And the series is plenty awesome enough to make up for any inconvenience built into the discs. Seriously. It's unlike anything else on television.

Buy The Fades Season One today.

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Is 'Karma' good for How I Met Your Mother?

2012-02-28T17:08:00.000-05:00

This week's How I Met Your Mother on CBS is called "Karma." Barney (Neil Patrick Harris) finds Quinn (Becki Newton, Love Bites, Ugly Betty) at a strip club working under the name Karma. Actually, they've both been there on a regular basis for over a year, but he finally notices her. Barney tries to ask her out, but ends up being played into spending lots of money on her. He is sincerely hurt, and seeing that, Quinn decides to give him a chance. Meanwhile, Ted (Josh Radnor) tries to decide what to do with his spare room, and Robin (Cobie Smulders) crashes in the suburbs.

Season seven has been the year of Barney looking for a serious relationship. The writers have tried him with Robin, but that didn't work out. He ends his next relationship because he thinks that he can get back with Robin, but is let down. Now he's considering Quinn. Has he learned his lesson, or will he toss Quinn aside at the first chance for another shot with Robin?

Quinn is a great character, played by the wonderful Newton perfectly. She is a match for Barney in every way, with similar personalities. If anyone has a chance to truly turn his head from Robin, as it should be, after he was scorned, it's Quinn.

So might Quinn be the woman Barney is going to marry in the flashes of a wedding seen earlier this season and last? Well, it's hard to tell. Perhaps Robin will be the bride, because she's familiar, and it's what many fans want. But it might be the bolder, more realistic move to go with someone else. And should that be the decision, Quinn might just be the perfect girl to make that happen. Plus, keeping Newton working on television is a worthy goal.

It's kind of a shock when Ted decides to move out of his apartment, where he has lived for the entire run of How I Met Your Mother. But Ted is desperately looking to make a change, because what he has been doing for the last seven years has not given him the result he seeks. He wants a wife, and he is failing over and over again. So the smart thing to do is make changes, any see if one can get different results. Giving up the apartment unsticks him from his comfort zone, and could be just what he needs.

Still, it's heartbreaking to see the place empty at the end of "Karma." It is some comfort that Lily (Alyson Hannigan) and Marshall (Jason Segel) will be back in it, given it was once their home. But it won't be the same.

While staying with Lily and Marshall outside of the city, Robin is unhappy, and thinks that they are, too. This plot culminates in "Karma" when the couple sees Ted's gift of the apartment. The question is, is this the right decision for them? They were willing to live in the suburbs for their child, but both prefer city life. Will they feel guilty for putting their own needs above the kid's? Or will they make peace with the fact that many kids are raised in New York City and do just fine, so why not theirs? This story is probably not yet over, though moving back downtown seems to be the right decision.

"Karma" is a terrific example of how How I Met Your Mother is fully recovered from the slump it was in for awhile. Tune in to CBS Mondays at 8 p.m. ET later this spring for more fresh episodes.

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Being Human picks up on the "Eve of the War"

2012-02-28T11:55:00.000-05:00

Being Human returns to BBC American with "Eve of the War" this past weekend. The action picks up a few weeks after last year's finale. Viewers learn that, in the interim, Nina (Sinead Keenan) has been killed in retribution for George's (Russell Tovey) slaying of Wyndam (Lee Ingleby). Now, George is a shut-in, protecting his unnamed infant daughter by not allowing her out of her nursery. That is, until Tom (Michael Socha) shows up with information about Griffin (Alex Jennings, Whitechapel, The Queen), Wyndam's replacement who ordered Nina's murder.

Tom and George have their work cut out for them in the revenge game. Griffin is a few steps ahead, bringing in the Old Ones, and plotting to kidnap George and Nina's daughter, the first baby born of two werewolves. Disappointingly to the vampires, the baby appears all-human. The Vampire Recorder, Regus (Mark Williams, the Harry Potter films), reveals that the baby is prophesized to wipe out all the vampires from the face of the Earth, so Griffin decides to kill her.

The new vampire characters in "Eve of the War" are interesting, if a bit murky in their motivation. Is Regus really willing to see the annihilation of his entire species just to allow a prophecy to come true? Yes, he has dedicated his life to such works, and without prophecy fulfillment, his efforts seem to be a waste of time. But this is a serious offense against himself and his people, not to mention, he is missing a third of the scroll, and doesn't even know the whole story. Perhaps he is a good guy who just can't stand to see a baby killed?

The new vampire villain looks to be Cutler (Andrew Gower, Monroe), who is far more suited to modern times than Griffin is. Cutler tries to warn Griffin that his plans will fail, and is cunning enough to hide in the shadows when all hell breaks loose in the vampire place. Cutler will surely take over the local hive, and possibly the plans for world domination that Griffin aspires to. As such, Cutler will be the face of evil our heroes must defeat. Or so it seems from the season premiere alone.

It's a shame that Being Human kills Nina off screen. With the injuries she suffers near the end of last season, that seems a cleaner time to end the character than with an unseen hit. However, her death, and the way it is carried out, gives great motivation to George, who seeks to avenge her any way that he can, which eventually leads to his own reckless downfall. George dies a hero, in a powerfully moving scene, because the result of his actions is the saving of his daughter, whom he names Eve. Awesome way to take out George, which makes Nina's disappearance all the more regrettable.

This leaves Annie (Lenora Crichlow) with plenty of story going forward. Not only does she have to serve as a mentor to new housemate, Tom, but she has to raise George and Nina's baby. This is surely a lot for a ghost to handle, given her limitations. It also makes Annie even more the heart of the series than she previously is, which Crichlow should be able to handle with the ease that she has demonstrated repeatedly already.

To round out the house, because Being Human fans know that a vampire, werewolf, and ghost must band together to protect the human race, "Eve of the War" introduces Hal (Damien Molony). Hal has long been part of a similar trio as the main characters of this show, but his werewolf pal is dying. It is unknown what will happen to the ghost that he lives with, but Hal should have some guidance and wisdom to offer Annie, being that he has been a protector of mankind for so much longer.

Oh, and there's a plot set in a dystopian 2037, where a young woman (probably a grown Eve, though that is unconfirmed) has her friend kill her so she can, as a ghost, kill a baby and save the world. No idea how this works into the rest of the story yet, other than the prophecy connection, as she has Regus's scroll, including the missing piece.

"Eve of the War" is a fantastic season premiere. It changes the tone of Being Human into something a good deal more exciting than the original premise, and certainly a faster moving series. The new characters are interesting, and the plot arcs just beginning look to be really cool. One could not ask for a better premiere!

Being Human airs Saturdays at 9 p.m. ET on BBC America.

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Robin of Sherwood set 2 concludes series

2012-02-27T06:34:00.000-05:00

Robin of Sherwood Set 2, containing all thirteen episodes of the third and final series, is now on Blu-ray and DVD. When Robin of Sherwood Set 1 ends, Robin of Loxsley (Michael Praed, Timewatch. Dynasty) is dead, leaving the characters in disarray. As Set 2 begins, a new Robin, Robert of Huntingdon (Jason Connery, Shanghai Noon), emerges. This Robin is significantly different, coming from a privileged background. But he is soon tapped by Herne the Hunter (John Abineri) to take over the legendary sword, and with it, the role of Robin of the Hood. The new Robin is reluctant, until Marion (Judi Trott) is kidnapped, and he springs into action, rousing the Merry Men back together, and resuming the noble work left undone by his predecessor.

If one is a fan of Set 1, Robin of Sherwood Set 2 has many of those same great characteristics. It is largely shot outdoors, in authentic settings. The budget may not be huge, but what there is is dedicated to the special effects of the magical elements, which are stepped up in this second set. This is a show with a lot of the supernatural, and also, a lot of sword fights, which are usually executed in a seemingly realistic manner. The acting is the same high quality as Set 1, and aside for a handful of cheesy missteps, the story, as a whole, remains among the best of the genre. Robin of Sherwood, which aired in the U.S. as Robin Hood, is worthy of being remembered, and Set 2 carries on the proud traditions of Set 1.

Connery, son of Sean, takes over the mantle well. He is physically and temperamentally very different from Praed's Robin, which is a good thing. Any imitation would have fallen short, and for Robin of Sherwood to keep going with a different lead, a new nature needed to be incorporated. Connery plays the part in a manner that does not resemble the former Robin, but it is not inferior, either. He handles the dramatic and the mystical with ease, and one wonders why his career, while respectable, did not take off further after this.

Of course, many of the other great characters from the first set return. Of particular note are Will Scarlet (Ray Winstone, the fourth Indiana Jones), Nasir (Mark Ryan, the new Transformers films), and the Sheriff of Nottingham (Nickolas Grace, Brideshead Revisited). The latter is a fantastic villain, who still chills and proves a worthy antagonist three seasons in. Another bad guy with an intriguing twist is Sir Guy of Gisburne (Robert Addie, Excalibur), who uncovers a startling secret. Unfortunately, Robin of Sherwood is canceled before all of the implications of that twist can be fully explored.

For a series so old, it is remarkable at how well Robin of Sherwood has been restored! The picture quality is quite good, if a bit soft, with clear colors, and images relatively sharp, considering. It isn't the same as today's releases, of course, but it is definitely one of the better touched up series of the past that surely needed a lot of work. That it looks as good as it does deserves high praise. The audio is pretty good, too. The episodes are not available in surround sound, but the stereo mixes are decent, and not distracting. Sound effects and music are blended well with dialogue, and it does not appear that anything gets lost in the output.

Robin of Sherwood Set 2 delivers on the bonus features. Nine of the thirteen episodes have audio commentary tracks, which use some of the principal actors and creative team. There are fun anecdotes, and some rich background information. There are also cast filmographies, a thirteen minute blooper reel, a photo gallery with over 400 images, three episodes with tracks available to listen to the music by itself, and a preview for the U.S. Showtime run.

That's far from all. A 76 minute documentary called "Nothing's Forgotten: The Making of Robin of Sherwood) tells a comprehensive story of the series, with many of the central acting and backstage team involved. The band Clannard, which won awards for scoring the show, gives a twelve minute interview about what they bring to the table. Performer Mark Ryan talks about the swordplay techniques used in an eight minute feature. And Esta Charkham, a producer, presents a four minute retrospective through photographs.
Robin of Sherwood Set 2 is a solid collection, well worth the purchase price. For fans of British television of the fantasy genre, this is a must-have for any comprehensive collection. Buy Robin of Sherwood Set 2 on sale now on Blu-ray and DVD.

"The End of All Things" doesn't stop Fringe

2012-02-26T18:52:00.000-05:00

FOX's Fringe this week, "The End of All Things," finds Peter (Joshua Jackson) and the others frantically searching for Olivia (Anna Torv). With few leads, it seems fortunate that the primary Observer involved in events, known as September (Michael Cerveris), shows up in Walter's (John Noble) lab. Sadly, this Observer has been shot and is near death. Peter goes into September's mind to see if he knows where Olivia is being held, and instead, Peter discovers that he has a soon with Fauxlivia (also Torv) in his timeline. The Observer advises Peter to go home, then ejects Peter before dying and disappearing.

The Observers are a mysterious race, and Fringe fans may never learn everything that they do. But what is known is that other Observers are not happy with September, and want him to suffer the consequences. Do those consequences involve death? Or did someone else attack September. Why would anyone else wish him harm?

In "The End of All Things," September reveals to Peter that the Observers are human beings from one possible future that travel through time and observe events. September feels guilty for interrupting Walter's work in this timeline, causing Walter not to save Peter's life. As such, this alternate timeline, as shown all season, is a mistake. This particular reality shouldn't exist. Why, then, is Peter in it? And why do the Observers want to erase Peter completely? If Peter is supposed to survive, without September's interference, shouldn't the others want Peter there?

Then again, in the 'normal' timeline, September intervenes and saves Peter from drowning because he is "important." Important how? To solve the paradox? And now that it is solved, why is Peter still around? Does this mean that Peter shouldn't exist, and that September interrupting Walter means nothing? The possibilities are many, and confusing.

The bottom line gleaned, though, in "The End of All Things" is that Peter must return home. Sure, September could have been referring to Peter's house, which he does go to, and it leads to him finding Olivia. But obviously the Observer also meant something more. Where is home and how does Peter get there?

An interesting concept explored in "The End of All Things" is how video cassettes can write over a recording, but images and flashes from the original video may come through. This opens up a theory about what has happened to the universe. Perhaps this Peter-less timeline is recorded over reality, and Peter's appearance, as well as Olivia suddenly developing Peter's Olivia's memories, could be the other timeline bleeding through. In this case, Peter must negate this whole existence to restore what was. Is that what has to happen? Or can the two timelines co-exist in alternate realities? Is what is happening to Olivia a symptom of a gradual shift, or does everything need to be replaced all at once? And if it is the former, how hurt will Olivia be, once everything else is back to normal, that Peter is rejecting her now?

Blair Brown must be praised for her multiple Ninas in "The End of All Things." The Nina being held by Fringe Division is likely still Olivia's caring mother figure, and is telling the truth about her non-participation in drugging and kidnapping Olivia. There is another Nina working with David Robert Jones (Mad Men's Jared Harris) who is not on the up and up. Both versions of Nina are played very well, keeping the character murky, and viewers must continually reassess what is the truth about the women. It is a truly fantastic performance!

Lastly, what is David Robert Jones's game? In the real timeline, he is killed before he can carry out whatever dastardly plan he is cooking up, which somehow involves Olivia's abilities. In this alternate world, he lives on, testing Olivia again. At the end of this week's installment, the other Nina and DRJ escape to the other universe, so the threat that they pose continues. DRJ is a wonderful villain, and it's great that Fringe is using this opportunity in season four to bring him back and explore him further. What is really exciting is what potential powers in Olivia his activities may unlock!

Fringe will return in four weeks to FOX, Friday nights at 9 p.m. ET.

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"On My Way" to Glee

2012-02-24T07:06:00.000-05:00

FOX's Glee ends its winter run in a big way with "On My Way." Karofsky (Max Adler) attempts suicide, rocking both the New Directions and the Warblers. This puts their petty feuding into perspective, leading to a unified front at Regionals in supporting a charity to help others like Karofsky. It also is another contributing factor in Rachel (Lea Michele) and Finn's (Cory Monteith) march to the altar. The pair pushes up the ceremony to just after Regionals, as their parents scramble to prevent it. And on the way to the wedding, Quinn (Dianna Agron) is involved in a horrific car wreck while texting and driving.

Glee will never be blamed for not doing enough to promote a stop to the bullying of teens, especially gay ones. Karofsky's arc in "On My Way" almost comes to a tragic end, as he feels shamed enough to try to take his own life. It's with great relief that his father (Daniel Roebuck) catches him in time, and saves the lad. The scene is emotional, powerful, and one that no viewer will soon forget, especially with Blaine's (Darren Criss) haunting "Cough Syrup" laid over it. It is an excellent moment for Glee.

It's also a transformational moment for Max Adler. Originally introduced as a stereotypical bully, the character of Karofsky has really grown into a fan favorite, and deservedly so. His arc, which climaxes in "On May Way," not only affects every character on the series, as well as every viewer at home, but surely deserves at least an Emmy nomination for Best Guest Actor. This young man plays Karofsky in such a way that will tug at every heart string. It's no wonder that the characters rally around him, offering their support in their own ways, even after what he has done to them.

Also stand out is the scene where Kurt (Chris Colfer) visits Karofsky in the hospital. Kurt and Karofsky are not meant to be together, but their growing friendship is certainly a Glee highlight. Given the circumstances leading up to the suicide attempt, Kurt should not blame himself for not answering Karofsky's calls. He comes to see him, and that's what Karofsky needs.

The biggest impact comes when Kurt helps Karofsky imagine what might happen in a few years, and how his life could change for the better. One can easily picture hundreds of gay teens glued to their television sets, picturing their own futures, identifying with both guys, and wishing for their own happy ending. Glee delivers the ultimate "It Gets Better" video in this sequence. And it really does get better, and will only get more so as society adjusts away from this latest form of bigotry. If "On My Way" prevents a few real suicides by offering that hope, the series has more than proven its worth.

What is really surprising is how Sebastian (Grant Gustin) changes. He has taken over the villain role on Glee, but that comes to a abrupt halt this week. Sebastian previously insults Karofsky in a bar, and that comes back to jar him in "On My Way." He deals with his own guilty feelings. Will the change be permanent? Probably not, and who would want it to? Television needs bad guys to stay interesting. But it's great to see that Sebastian has some depth to him, and is not wholly two-dimensional.

"On My Way" contains a great moment for the staff, as Principal Figgins (Iqbal Theba) gathers Sue (Jane Lynch), Will (Matthew Morrison), Emma (Jayma Mays), and Bieste (Dot Marie Jones) in his office to discuss how to handle the Karofsky's situation. Each teacher feels somewhat responsible for not seeing it coming, and also compassion for their students. Their reactions are professional, but also show the deep personal connection educators feel to the children that they work with. In fact, it's among the finest behavior shown by their characters. If they were like this every day, they would be ideal teachers, instead of the caricatures they sometimes are reduced to.

Will is not at his finest in "On My Way." He sits the New Directions down to talk to them about suicide. Not only does he not tell his students that they can always call on him, which is what he should be doing, but he also tells a lame story about considering the final act of desperation himself after getting caught cheating on a test. Not even a test that will get him into college or anything, just a standard test for a class. It does not come across as sincere, and doesn't live up to the moment that it should be.

Facing change in "On My Way" is Sue. She is pregnant, somehow, and the father has still not been revealed. This softens her up considerably, allowing logic to easily be forgotten in favor of an engrossing story, and some character development. In the end, she even offers to help the New Directions win at Nationals, and claims there is no catch to her motives. Could she really be sincere? If Sue brings to bear her formidable coaching talents, which have won many a Cheerios national title, and doesn't try to sabotage them in some way, the group should be unstoppable. What an exciting prospect! And also a fitting, satisfying, happy ending to the three year arc of many of the characters. This would truly be a full circle moment for Sue, and one cannot help but wish that this spirit is genuine.

Quinn returns to focus in "On My Way." Looking forward to soon head off to Yale, she tries to leave things good between herself and her classmates. She does this by offering sympathy concerning Karofsky, and being less judgmental about Rachel's wedding. The scene where she asks Rachel if she is still welcome at Rachel's wedding is sweet, and reminds viewers of what these two characters have built over the years. It's not exactly friendship, but there is a special bond between them. Sue allowing her back on the Cheerios is just icing on the cake. Things put in order, Quinn can happily move on.

And then the car wreck happens. Setting aside the anti-texting-while-driving message that Glee is touting, which is probably an important one for teens, though not particularly appealing, how will this change the course of Quinn's life? The challenges she's had to overcome deal with body image and pregnancy. Is Glee really going to ask for more of her when her victory is so near? It seems a little off that Quinn gets into Yale, but now that fans have accepted that twist, would Glee dare to take that accomplishment, a reward for all the work she has done on herself, away? And certainly any chance of her cheerleading again is now gone.

Might Glee kill Quinn off? It seems unlikely, especially coming so soon after Karofsky's close call. It would also extend a depressing tone into at least one more consecutive episode, which doesn't seem like a move that Glee would make. However, the series should definitely consider it. Agron has had a nice run, and her death could really put things into perspective for many characters, even more so than Karofsky's. It would also give a Nationals victory, dedicated to Quinn, of course, even more umph. If the actress is going to depart the show soon anyway, why not leave in such a way that she will be fondly remembered for, and as a deeply powerful motivator?

Besides Quinn's wreck, the other cliffhanger in "On My Way" is whether or not Rachel and Finn will go through with their wedding. As the episode closes, it is time for them to take the plunge. They are at the courthouse, surrounded by family and friends and Sue. Both characters seem ready to go for it, with none of the hesitation or doubts that have plagued the past few episodes. In fact, Glee almost goes to lengths to get fans on board with the matrimony, something that hasn't really been attempted until this episode. So is the deal done? It seems certain, unless news of Quinn reaches them beforehand, which wouldn't be realistic.

The wild cards here are Burt (Mike O'Malley), Carole (Romy Rosemont), Leroy (Brian Stokes Mitchell), and Hiram (Jeff Goldblum). Setting aside that Burt has not been in Finn's life long enough to react so strongly, what plan might these four come up with? Carole is slowly getting on board with the marriage, and possibly Leroy, too, but Burt and Hiram are dead set against it. What will they do to try to stop the wedding? It would be very unlikely that they would come around this late in the game, and keep their mouths shut, barring something happening to change their mind. And there simply isn't time for that. But will whatever they do actually change Rachel and / or Finn's mind?

By the way, are we to assume that Hiram and Leroy have been at all of the New Directions' events, just unseen up til now? For their characters to be absent seems unlikely, and their attendance at Regionals really makes the hole left by them over the past two and a half years really felt. It is a big mistake to wait until now to bring them into the story, though it's too late to fix that. Thank goodness the course correction is happening now, but it feels a little too late.

As far as music goes, "On My Way" delivers pretty well, though most of the episode is lacking song. There is merely one performance outside of the Regionals contest, and that is Blaine's aforementioned number. While powerful in context, one gets the impression that it might not have stood so well on its own. Context does matter, though, so it gets a passing, but not spectacular, grade.

The Warblers are a bit of a let down while performing "Stand" and "Glad You Came" for their Regionals entry. The group is severely lacking strong leadership without Blaine this year. Sebastian is an interesting character, perhaps, but he pales in comparison on fronting the group. Neither song choice is particularly impressive or memorable, and it's a relief that the Warbler's third number is omitted.

The New Directions, of course, are much better. "Fly"/"I Believe I Can Fly" is a cool mash-up that features six different members of the glee club! The second song, "What Doesn't Kill You (Stronger)," is, as promised, for the Troubletones, with each of the three main New Directions girls in the group getting solo time. Though where did the others come from? They haven't been practicing with the New Directions. One would be forgiven for assuming that they had quit choir until they suddenly show up here.

As great as Rachel does in leading the finale, "Here's to Us," it's also really neat that the so many other members of the group get to shine, too, in the first two songs. It's taken three years, but the other characters have been fleshed out enough to finally take a bit of spotlight of their own, without leaving everything on the shoulders of one girl.

So "On My Way" will stand out as a high point of this season. Not musically, perhaps, but definitely in terms of story and character development, as well as societal impact. Great effort for a mid-season finale.

Glee is taking a break, but will return to FOX in April.

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "On My Way" on Blogcritics.

Happy Endings - 'The Butterfly Effect Effect'

2012-02-24T06:30:00.000-05:00

This week, on ABC's Happy Endings, "The Butterfly Effect Effect," the gang wait for Brad (Damon Wayans Jr.) and Jane (Eliza Coupe) to have their annual fight to signal an end to winter. Assuming that they have grown past that phase, Brad and Jane instead stage a fight for their friends' benefits. But with their hearts not in it, it does not have the intended effect, as everyone can sense something off about the situation. Though, soon enough, a real fight between the couple breaks out, and balance is restored.

It's a little weird that everyone is so involved in Brad and Jane's relationship, isn't it? Sure, on ensemble sitcoms where two of the ensemble are married, their private lives are always minimized in favor of group dynamics. Happy Endings has done a pretty good job balancing the parts up til now, but the events of "The Butterfly Effect Effect" just seem a bit too intrusive into the union. Of course, friends will be there to comfort Brad and Jane during any rough patch. But when everyone else gets involved in the fight so much, it just feels wrong.

Not to mention the fact that Penny (Casey Wilson) and Dave (Zachary Knighton) actually try to goad the fight into existence. Other shows have proved that selfish, uncaring characters can be funny (see Seinfeld and It's Always Sunny in Philadelphia). Happy Endings is different because the group is infused with a sense of loving warmth. They may tease one another, but they don't actively try to sabotage the others for their own gain. Again, until "The Butterfly Effect Effect."

Meanwhile, Max (Adam Pally) has gone into a bear-like state of hibernation. He stumbles around the apartment with a full beard, bundled up, eating honey with his hands. There's also a cheap gay joke in here somewhere that, thankfully, the episode avoids. This whole thing is very, very funny, allowing Pally some of his best visual gags yet, but it doesn't make sense for his character. Where is his boyfriend? How long has Max been allowed to hide in the apartment? Surely, not for long. Just last week he was shown out and about. Then he just drops the whole act when the others tell him to. It's a great one-note joke, but doesn't fit in the continuity.

It's not that "The Butterfly Effect Effect" is a bad episode; the main actors in Happy Endings are far too good for that. It just feels like it's an episode of a different series. It loses the spirit of many of the characters just for the sake of a few laughs. This could be chalked up to winter doldrums setting in, and the characters not feeling like themselves, but if so, there needs to be some explanation of that on screen. Instead, winter is touched upon, but not used as an excuse for personality changes. In this, Happy Endings fails to live up to the generally high standards that the series has been setting.

That is, until the last minute of the episode. When everyone makes up, and they all force Brad to buy them dinner at the Chop House, the true tone of the show returns. Which is why it is so glaring that most of the rest of the half hour doesn't match up. The series remembers its identity at the last moment, and pulls itself away from this side trip. Good course correction, but it's a shame it needs to be made at all.

Happy Endings airs Wednesdays at 9:30 p.m. ET on ABC.

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Raising Hope engages in "Sheer Madness"

2012-02-23T06:34:00.000-05:00

FOX's Raising Hope goes for "Sheer Madness" this week. Sabrina (Shannon Woodward) and Jimmy's (Lucas Neff) relationship is still new, so they hide their embarrassing habits from each other. This doesn't sit right with Virginia (Martha Plimpton), who encourages them to be themselves. To do that, Sabrina goes off her meds, which reveals her irrational fear of spiders crawling into her ears at night, which she solves by wearing pantyhose on her head. As this plays out, Burt (Garret Dillahunt) feels guilty for hiding his own shameful secret from Virginia, but is scared of what she might say if he does come clean. To this end, he seeks advice from Andrew (Ethan Suplee).

Raising Hope did the bold thing last week by putting Sabrina and Jimmy together. A year and a half is enough dancing around the issue. The series deserves praise for taking the chance, something many shows why away from. While their relationship is only one week old in "Sheer Madness," it is already showing signs of working well for the series. Now that she is with Jimmy, Sabrina gets the chance to reveal a little more of her character. Woodward is a constant delight, and any opportunity for her to be even funnier on the show is appreciated.

How will the couple progress from here? Making it through this first trial is a valid test, though it's a simple, easy one that just covers the onset of being together. Jimmy accepts Sabrina the way she is, which is just a more pronounced version of the personality she has already shown. But he also cares enough to help her try to get over her fear. It's telling that Jimmy doesn't ask Sabrina to go back on the meds, but rather, tries to help her work on her issues in a healthy way. This doesn't end well for Jimmy's face, but it should prove just fine for his heart.

There are signs already that Jimmy and Sabrina's relationship is similar to Virginia and Burt's. Both care a great deal about each other. They overlook flaws, and love the other person for who they are. They understand each other. This is evident on Jimmy's part over the past year and a half, but it's gratifying to witness that, with Sabrina, this just may be a two-way street.

In this story, Virginia is arrogant in her assumption that she and Burt are the perfect couple, with nothing to hide from each other. They have a very open, honest relationship, but that doesn't mean that they are perfect, as "Sheer Madness" soon reveals. This isn't a bad thing. It makes them relatable and normal. The fact that Burt goes to great lengths to hide his foot shaving habit speaks to his continuing desire to be adored by Virginia. When she finds out, she handles it wonderfully. This is certainly a couple in it for the long haul, and one who shares deep love. And if Jimmy and Sabrina continue to follow their example, as they seem to be doing, there could be a second pairing just as good on Raising Hope soon.

Maw Maw (Cloris Leachman) is a strange character, in that the humor she plays up in the series is divisive. This reviewer, for one, does not usually find her character amusing, which is a shame, given the actress's long body of excellent work in film and television. However, in "Sheer Madness," it's hard not to like her. The way that Leachman goes for the gusto in describing the foursome that she lost her virginity to is quite impressive, and it dares anyone not to appreciate her in that moment. She proves once more why the term 'comedy legend' is apropos in describing her. Well done!

"Sheer Madness" is not quite as good as last week's episode, but considering how epic that particular one was, how could it be? Instead, the truly excellent cast and writing staff (and surely everyone else involved) deliver the consistent, funny, touching content that few series can do week after week, and that's plenty.

Watch Raising Hope Tuesdays at 9:30 p.m. ET on FOX.

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Doctor Who brings "The Sensorites" to DVD

2012-02-22T21:21:00.000-05:00

BBC has just released the classic Doctor Who serial "The Sensorites" on DVD. This six-part tale is from season one of the series, originally airing in the summer of 1964. The Doctor (William Hartnell), Susan (Carole Ann Ford), Ian (William Russell, Harriet's Back in Town), and Barbara (Jacqueline Hill, Romeo & Juliet) find a spaceship whose inhabitants are apparently dead. Or so they think until the "dead" begin to wake up. But the ship is trapped, forced to stay in orbit of the Sense-Sphere, where the Sensorites live. This race has had a bad encounter with humans, and it's unclear whether they mean to harm the travelers. Can the Doctor broker peace?

"The Sensorites" introduces the Sensorite race, which isn't a particularly memorable one. They are a scaredy-cat species, at least as afraid of the humans as the humans are of them. They are terrified of the dark and loud noises, and quite oddly, cannot recognize members of their own race. This particular characteristic is incredibly weird, and surely not realistic. It is hard to comprehend how a culture could function when they can't tell one individual from another. This is not delved into in depth, but on the surface, at least, it doesn't make a lot of sense.

The Sensorites, despite their timidness, do still prove a threat, or at least, certain Sensorites do. Some of these aliens wish to kill the Doctor and his companions, while others just want their help in curing a disease inflicting the race. Which want which? Again, impossible to know, because no one can tell which Sensorite is which, making it easy for one in power to be replaced.

One thing that "The Sensorites" can be credited for is being the frontrunner to the rebooted Doctor Who race, the Ood. The Ood are from the Ood-Sphere, which is, apparently, in the same solar system as the Sense-Sphere. Many consider the Ood a better set of characters, but those fans should thank "The Sensorites" for laying the groundwork, which in present day has been built upon.

As much as the Doctor is the star of the series, Susan is center stage in "The Sensorites." Like the aliens, she possesses telepathic abilities, which allows her to help solve the mysteries that the group faces. She also speaks of her home planet, enriching the back story of a character not well known. Ford is up to this challenge, really making Susan quite interesting in this installment, and it's too bad that she doesn't get more focus more often.

In the end, it is discovered that the Sensorites are being poisoned by humans on the planet, who have become monsters. The offenders are stopped, and sent home to be treated for madness. It's an unexpected twist, and not one that seems particularly brilliant. There isn't really a set of clues that leads to this discovery, but rather, it's tossed in at the last minute. Slightly disappointing.

What "The Sensorites" does well is deliver a sci-fi experience. The look of the alien world is pretty, well, alien. The set builders use lots of curved lines to differentiate the architecture of the Sensorites. Being that this is made in 1964, and predates most filmed science fiction, Doctor Who really had room to play at making a new environment, and they do so very well. There is also a general level of creepiness infused in much of the adventure, owing to the slow burn unfolding of the plot, wonderfully capturing a tone of unease in this strange place.

"The Sensorites" DVD comes with some pretty great extras. Twenty-one minutes are devoted to looking into the writer of this serial, Peter R. Newman, who, strangely enough, has only one other screen credit. There is a seven minute extra examining what a Vision Mixer does, and two minutes cover how the Sensorites' voices were developed by said mixer.

The commentary track has a lot of voices on it, but it is moderated to avoid being too confusing. The performers behind Ian and Susan are present, as well as some guest stars, the director, Frank Cox, and a couple of crew members. In all, there is a wealth of information to be gleaned from these tracks. Also included is a photo gallery and PDF materials, which include some design sketches. Pretty neat.

For a serial so old, "The Sensorites" looks good. The audio and picture have been remastered, of course, and perhaps that's why it took so long to reach release. The work is fantastic, and one may be surprised at how nicely it is presented, considering.

Buy Doctor Who - "The Sensorites," available now on DVD.

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Article first published as DVD Review: Doctor Who - The Sensorites on Blogcritics.

Doctor Who's "The Caves of Androzani" gets the Special Edition treatment

2012-02-22T21:06:00.000-05:00

Now on DVD from the BBC is Doctor Who's "The Caves of Adrozani" Special Edition. Broadcast in 1984 and voted the best Doctor Who story ever by fans in both 2003 and 2009, "The Caves of Ardozani" finds the Doctor (Peter Davison, the fifth actor to play the role) and Peri (Nicola Bryant) landing smack dab in the middle of a war. Trapped as they are between gun runners and drug dealers, there is the added threat of poison that is slowly killing the pair. And only one of them survives the ordeal.

Yep, that's right. "The Caves of Ardozani" features the last regular appearance of Davison's Doctor, who regenerates into the sixth Doctor (Colin Baker) at the end of the four-part adventure. It is an emotional scene, with the Doctor dying right in front of Peri, only to awaken again seconds later. It's even better, when one considers how many old companions recorded new content for the special effect that goes with the event. The monumental sequence is the subject of an eight-minute extra on the DVD, which can be viewed with or without commentary, and it is mentioned in multiple other extras as well. Surely, as big as the events of "The Caves of Ardozani" are, no element of the story is more important than the finale.

But before that happens, plenty else must occur. The battle that the Doctor and Peri drop into is raging between General Chellak (Martin Cochrane, Specials) and Sharaz Jek (Christopher Gable, The Boy Friend). Chellak has control of the caves, and has an army to back him up. But Jek has control of the planet's precious resource, which lengthens life, and he has many androids to protect him. Adding to the power struggle is a duplicitous politician named Morgus (John Normington), who is comfortable playing with others as his personal pawns, and who has no problem assassinating presidents to get his way.

Which means that the struggle within "The Caves of Androzani" is multi-layered, and has many players. Each of these characters has his or her own motivations and goals, making for a very full two hours. There are officers who serve Chellak, as well as gunrunners who also come into play. As such, the story is complicated and intricate.

Almost too much so, in this reviewer's opinion. If one does not give "The Caves of Androzani" one's full attention, it may be hard to follow along. Adding to the confusion is the fact that Jek willingly makes android copies of others, including the Doctor and Peri, and thus, it's hard to trust that any character is real at any given time. It's barely-contained chaos that can end in no other way that destruction and death. Which is exactly what happens to the caves, and to almost all of the guest stars.

Folded within this action-packed serial is a very touching story about the Doctor's affection for Peri. Other companions become dear to the Doctor over the years, but surely this relationship ranks among the strongest. Peri is poisoned, and is about to die. The Doctor rescues her, but escapes with only enough antidote for one of them, and he is also ailing. The Doctor's death is a heroic sacrifice, giving over his own life so that Peri may live on. The knowledge that he will regenerate does not take away from this at all.

Which is why "The Caves of Adrozani" is a great story, but not the best, despite what the polls say. It has a lot of wonderful things in it, but the many, twisty characters, not so clearly defined, hurt it a little, just because there is so much wedged into a relatively small amount of time. Well, that, and really cheesy giant bat costumes don't exactly help, either. But the acting is terrific, except, arguably, that done by Bryant herself.

Adding another layer to the already busy story is Jek himself. He is a lonely, tormented soul. He has a beef with Chellak, and his reasons for the conflict are personal. But he is not without care for others. For instance, he develops a very deep, somewhat creepy, bond with Peri. It's almost a Phantom of the Opera type of relationship that they share. But in the end, he contributes to saving her life, rather than hurting her, so he's an all right guy.

Considering that this release is a Special Edition, there are plenty of extras included, more than enough to make this DVD worthy of your hard-earned money. A commentary for the story is here, featuring Peter Davison, Nicola Bryant, and the director, Graeme Harper. Hearing from the people who were actually on set is thrilling, and all three add a lot to the history and understanding to the episode.

In fact, many of those who worked on "The Caves of Androzani" are still alive, and are featured in the various special features. A 36-minute extra called "Chain Reaction" interviews a number of them about their experience with this particular story, which was originally titled "Chain Reaction." Harper gets his own 12-minute interview, in which he dwells on directing both this serial, and a modern Doctor Who tale from the current reboot. Five minutes are devoted to the creation of Sharaz Jek, who was almost played by several of today's well-known icons. Old talks with Davison and Colin Baker are present. Plus, there is a photo gallery, extended scenes, and PDF materials.

In short, this is a great Doctor Who story, and even if you have already purchased it on DVD, this release adds a lot to the tale. For anyone interested in the best of Classic Who, and how it got made, this is a set for you.

Doctor Who "The Caves of Adrozani" Special Edition is available for sale now.

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Article first published as DVD Review: Doctor Who - The Caves of Androzani Special Edition on Blogcritics.

Life's Too Short another hit for Gervais and Merchant

2012-02-21T06:36:00.000-05:00

This week, Life's Too Short premiered on HBO. The series is a fictional mockumentary, following the life of Britain's "go-to dwarf," Warwick Davis (played by the real Warwick Davis). While fans of Davis may know him from his turn in the Harry Potter and Star Wars franchises, and less so for a starring role in Willow, this Warwick is short on cash and going through a messy divorce. So he bugs his old friends Ricky Gervais and Stephen Merchant to find him work, which is not something that they are eager to do.

Life's Too Short blurs the line between reality and fiction. What is happening on screen is scripted, not real. It would be quite surprising if Davis is really hard up for dough, given the long list of screen credits he carries, including many recent projects. Instead, in the style of Gervais and Merchant's previous series, The Office and Extras, a doddering idiot runs around with a lot of moxie, but little skill to get what he wants. Because the guy at the center of this show is playing a character who shares his name and much of his back story, one can be forgiven for thinking, at first, that this is non-fiction. However, Warwick Davis is just another character in the vein of David Brent.

Which is not a complaint at all! Davis really sells the part, making Life's Too Short very enjoyable. Also, Merchant and Gervais have perfected this shtick over time, and what is presented in this latest incarnation is actually very smooth and funny. From climbing through the doggy door of his house, to bending reality when speaking of his divorce, the character of Davis is someone who is very entertaining, even if he is not well liked.

Those who complain that Life's Too Short is offensive haven't been watching very well. The involvement of Davis in the project, as well as a number of other very short actors, gets around the picking on dwarves criticism, since they are complicit in the project. People are surely allowed to make fun of themselves, no? Plus, there is never an issue of size in anything that matters. His wife isn't leaving him because of his stature. His height has nothing to do with why Merchant and Geravis are annoyed with him. Instead, it's Warwick's blustery attitude that the show rides on.

Like Extras, Life's Too Short looks to recruit many A-list guest stars. In the first episode, Davis sits in on a meeting between Liam Neeson and Gervais and Merchant. Neeson insists he would like to get into comedy, and aided by Gervais, Neeson practices some improv. Nesson keeps throwing AIDS and other dark material into the sketch, which is actually quite hilarious, mostly because of the awkward air in the room. While the character of Neeson may not be able to garner any laughs, the actor certainly knows just the right delivery to hit on.

Life's Too Short is a fantastic show that should not be missed. Tune in to HBO Sundays at 10:30 p.m. ET.

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Glee considers matters of the "Heart"

2012-02-19T10:46:00.000-05:00

FOX's Glee this week focuses on "Heart." Rachel's dads, Hiram (Jeff Goldblum, Jurassic Park, Law & Order: Criminal Intent) and Leroy (Tony Award winner Brian Stokes Mitchell) learn of Rachel (Lea Michele) and Finn's (Cory Monteith) plans to marry. They act very supportive, but secretly plot with Burt (Mike O'Malley) and Carole (Romy Rosemont) to derail the ceremony. Unfortunately for them, their machinations backfire, and the young couple decides they will tie the knot this coming May.

Rachel and Finn are too young to marry. They haven't known each other, or been together, long enough to take this step. They are both going into it for the wrong reasons, which have been expounded upon in depth in previous Glee episode reviews. So it's a little disheartening (hehe) that "Heart" chooses to overlook any of these elements, at least in the minds of the central couple, and instead, focuses on how they get along. Which is splendidly, for now. There is a little bit of a rocky start to a night spent together, but they come through it stronger than ever. Unfortunately.

When are parents going to learn that kids will do what they are going to do? Rachel and Finn are making a mistake, true, but it's far too late for their mom and dads to do anything about it. Hiram drops a few passive-aggressive comments, but other than that, both couples seem set on reverse psychology to undo the impending union. This fails, as all such plans do. How will Hiram, Leroy, Carole, and Burt cope with this, and what is their next move? Or will they just get on board, and do what Rachel and Finn want?

"Heart" introduces Hiram and Leroy to Glee viewers (apparently someone forgot that a picture of Rachel's dads was featured in the pilot, though with different actors). It's hard to think of two better men to play these pivotal roles than Goldblum and Stokes Mitchell. Both are fantastically flamboyant, in a way that fits the situation. As they croon "Chapel of Love" and "You're the Top," it's immediately obvious why Rachel is who she is. The two guys also have delightful chemistry, and it feels like a great home setting for Rachel's character.

Love is in the air at school, too. Artie (Kevin McHale) continues to hate being alone, and sets his sights on Sugar (Vanessa Lengies) as his next possible boo, thinking her Valentine's party is the perfect time to hook up. Unfortunately for Artie, Rory (Damian McGinty) has the same idea, and two end up competing over the girl, who doesn't really seem right for either one of them.

Rory wins Sugar, for now, but does so by lying about his upcoming deportation. Rory has had little to no plot all season, and so it's nice to finally get a little story for him, as well as a song when he uses "Home" to woo Sugar. But this plot seems to come out of nowhere, and his sneakiness doesn't exactly gel with the Rory first introduced all those months ago. While, perhaps, his character has changed from the time spent in Ohio, viewers not having been privy to such a change, or the reason for it, are left confused. This is a very weird plot.

The second Glee Project winner finally makes his debut in "Heart." Joe Hart (hehe again) is played by Samuel Larsen. Joe is an odd character, introduced as uber-religious, but also a bit of a live-and-let-live hippy. It's fun to hear him perform "Stereo Hearts" and a mash up of two songs, both titled "Cherish." Yet, it's totally bizarre when he decides not to judge Santana (Naya Rivera) and Brittany's (Heather Morris) relationship, given his character's introduction. Not only does Joe come out of nowhere, but his odd behavior makes him hard to pinpoint. Sadly, it's not in a complicated, deep manner, but rather, it feels like the writer's just aren't sure what to do with him.

Santana is hauled into Figgins's (Iqbal Theba) office for kissing Brittany in the hall. The broken rule isn't a PDA issue, which would be understandable, but rather, because the girls are lesbians. This kind of bigotry is completely intolerable, and thankfully Glee continues to highlight that. In 2012, homophobia is the new racism, and it's pretty darn ugly. Given what happened in New Jersey this week, this is incredibly relevant to the current news cycle.

Kurt (Chris Colfer) gets a surprise secret admirer in "Heart" when Karofsky (Max Adler) returns. Dressed as a gorilla at first, Karofsky makes a play for his former tormentee. Kurt is flattered, but gently lets him down. It's not surprising that Dave latches onto Kurt, given that Kurt is the only out gay teen Karosky knows while dealing with his internal conflict. It's only surprising that it's taken this long for Dave to act on those feelings. But Kurt is very happy with Blaine (Darren Criss), and Kurt and Karofsky just don't seem like a matching pair, anyway. However, hopefully Karosky will find a reason to return to Glee again soon, because his character arc has been neat, and any screen time for him is welcome.

The assignment Will (Matthew Morrison) gives his kids this week is to study the best love songs of all time. Yet, only two are featured in "Heart," which is pretty disappointing. Tina (Jenna Ushkowitz) and Mike Chang (Harry Shum Jr.) kick things off with "L-O-V-E," a great number, if not really being relevant to any of the episode's stories. Then it's not until Mercedes (Amber Riley) delivers a coincidentally timely (given Whitney Houston's recent passing) rendition of "I Will Always Love You" while pining over Sam (Chord Overstreet), that another example of this theme comes along. This is a truly powerful performance, and well appreciated. But that's it. Other songs, such as the guys' "Let Me Love You," are fun, but nothing deserves the "best" title other than those two numbers.

"Love Shack" is a strong ending for the episode, with Blaine returning in top form, to lead the group in a remarkably enjoyable version of the old pop hit. It surely shouldn't be on a "best love songs" list, but Glee turns it into something really fun with great choreography and tongue-in-cheek jokes. The best moment may be Finn's face as he cheesily pops up into frame near the end. The performance is an appropriate ending, even if it's mainly fluff.

Which is kind of what "Heart" is: fluff. The plots glosses over anything serious or real. The episode is amusing and entertaining. It's not bad, but there is so much missed opportunity here for it to be better.
With the impending end of many characters' runs on Glee, things will probably take a more dramatic turn soon. Maybe even next week, which is the winter finale, and features Regionals. Until then, this is a serviceable, if not overly impressive, entry.

Glee airs Tuesdays at 8 p.m. ET on FOX.

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "Heart" on Blogcritics.

"Dave Returns" to Parks and Recreation

2012-02-18T13:08:00.000-05:00

In this week's episode of NBC's Parks and Recreation, Leslie's (Amy Poehler) old flame, Dave (Louis C.K., Louie), comes to town. He is willing to help Leslie win an important endorsement in the police chief, but he'd also like to rekindle their romance. This doesn't sit well with Ben (Adam Scott), of course. Luckily for Ben, Leslie has no intention of going back to Dave. Also, Andy (Chris Pratt) works on Leslie's campaign song, and Tom (Aziz Ansari) tries to lock Ann (Rashida Jones) into a relationship.

Dave was a fantastic character on Parks and Recreation, and Leslie's first real love interest. It was so exciting when they got together, and depressing when Dave moved away. Plus, Louis C.K. is a great comedian, with a terrific series of his own on FX. It's exciting that he found the time to return to Parks and Recreation in "Dave Returns," given his busy schedule.

However, Leslie is with Ben now, and that relationship, having been given more attention and development, is now the priority. No one wants to see them split up, even by an old, beloved boyfriend. Dave is a great recurring character, and hopefully C.K. will find the time to do some more guest spots. Perhaps if Dave gets the Chief of Police job, it will give him an excuse. That seems unlikely, though, considering that "Dave Returns" ties everything up nicely between him and Leslie. Still, one can wish.

Andy's story is satisfying. Andy often contributes the least on group projects. He tries pretty darn hard to be valuable, but his intelligence is low, and his skills are limited. Music is his forte, and having him work on Leslie's song is a perfect use of the character. Yet, he still struggles. Which isn't unusual for a creative type. Ron (Nick Offerman) is the one who, anonymously, comes in and saves him, adding a saxophone track, without revealing that they share a love of song. It's a cool story, using characters the way that they should be used, without venturing outside of who the people in the show are at their core.

And who would have thought that perfectionist Christ (Rob Lowe) was so, so, so bad at singing? Hilarious! Rob Lowe really goes for the terribleness with gusto!

Also sticking to his defined self is Tom. Tom lets a little sincerity show last week with Ann, which sees them end up on a date together. Tom enthusiastically wants to keep acting like his over confident, somewhat jerky and creepy, self, putting the facade back up, post-date. Ann only wants to be with him if he brings the tone a little lower. She does eventually agree to a second date, but only after he wears her down.

This is a delicate balance. For Tom to be worthy of Ann, he must find his true self. Yet, the character he presents is very enjoyable for the viewing audience. And fans also want Tom to find love. So what happens is that some sort of middle ground must be struck. Tom needs to stay funny, but also not be so insane that Ann cannot be with him. These two characters work well together, but only if things are handled correctly.
Watch Parks and Recreation Thursdays at 8:30 p.m. ET on NBC.

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Modern Family verges a little too modern with "Aunt Mommy"

2012-02-18T11:14:00.000-05:00

This week's episode of ABC's Modern Family finds Claire (Julie Bowen), Phil (Ty Burrell), Cam (Eric Stonestreet), and Mitchell (Jesse Tyler Ferguson) out celebrating the sale of a house that the guys help Phil close. As the alcohol begins flowing, talk turns to Cam and Mitchell's efforts to have a baby. They are jealous of friends who have used a surrogate, and disappointed that they can't have one child who has both of their genetic materials. Claire, who is feeling especially proud of her children, and feeling generous from the wine, and offers one of her own eggs to help them out. All four agree that it is a great idea. However, the next morning, hung over, everyone except Cam begins questioning that plan.

Titled "Aunt Mommy," this episode verges into strange, weird territory. While it is respectable for Claire to offer to donate an egg, it is bizarre that she would be the biological mother of her nephew or niece. Not to mention how odd it would be for Mitchell to raise a son who is partially his sister's child. Yes, this way genetic material related to Mitchell would mix with Cam's, but it's not like the kid will ever really have anything of Mitchell in him or her. Instead, the child would have a little of Mitchell's parents, which is far from ideal.

Some of this would not be an issue with some families, but this one can be a little high strung. As neurotic as the Pritchett family can be, it's clearly not a good idea. They would obsess over the implications, and surely there would be arguments over how the child is raised, and who has a say in discipline. While that might be provide some comedy, it would also strain relations within the family, so much so that it might be impossible for them to get along as well as they do now, which would kill the show. Modern Family hinges on the love between the relations.

Thus, "Aunt Mommy" is not a bad episode. It deals with an idea that looks great on paper, but just doesn't work so well in the real world, at least with these particular people.

That being said, "Aunt Mommy" is also really, really funny. Because of the drunk conversation, a deal is made. Three of the four people involved want to get out of the deal, but do not want to hurt feelings. Which leads to a comedy of errors, in which the entire clan is soon involved. Loud fights ensue, all the funnier in the unnecessary nature of the argument. Mitchell and Claire, hiding under the table and resolving the issue, will stand as one of the great moments of the show's run.

There is also some pride to be had for Claire and Phil in the responsible behavior of their kids. While they have trouble with Haley (Sarah Hyland), Alex (Ariel Winter), and Luke (Nolan Gould) from time to time, there really is affection between the siblings, and the will to take care of one another. Left to their own devices, they can handle things without the adults present. It's a wonderful realization for their parents, surely one many viewers with children can relate to.

The B plot in "Aunt Mommy" finds Gloria (Sofia Vergara) and Manny (Rico Rodriguez) finally collecting the last of one hundred lucky pennies, which they will use to buy a lottery ticket. As they count the change, the two reminisce over the great times they had finding each one, reliving wonderful memories. It's a wonderful mother / son bonding experience.

Although Jay (Ed O'Neill) sometimes gives Gloria crap for how much she babies Manny, even he sees that this is a special activity the two have together, that should be allowed and encouraged to continue. So he steals a few of the cents, giving them reason to go on with their quest. It seems as if Gloria realizes this, and it glad for it. Jay can be a real softy, and is a terrific husband and stepfather.

Who wouldn't want to be a part of this family? Watch Modern Family Wednesdays at 9 p.m. ET on ABC.

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Archer is involved in "Lo Scandalo"

2012-02-17T10:11:00.001-05:00

FX's Archer goes for the bottle story with this week's "Lo Scandalo." Meaning, all of the principal characters gather in one location and stay there for the duration of the episode. Malory (Jessica Walter) calls Archer (H. Jon Benjamin) to help her dispose of the body of the prime minister of Italy, which is in her living room. She tells Archer that armed men came in and did the deed, and shows her son that she, herself, is shot. Soon, the other ISIS employees join them in this scheme to cover up the crime, helping a guilty-looking Malory escape the law, while Archer becomes obsessed with having spaghetti and meatballs. But is the yarn that Malory is spinning them really the truth? And can they get the body out quietly without the police, who show up at the door, finding out?

Bottle stories are a convention that only the best sitcoms can use successfully. Archer meets that criteria. It has wonderful, well-defined characters, whose interactions with each other provide plenty of entertainment, and are always welcome. From the dinner party ruse to fool the detective, to discussions in the kitchen over what to do, "Lo Scandalo" is packed full of fun ensemble moments, allowing each of the principal cast members to shoot off some great one-liners.

What's more, when such immense talent is gathered together in this manner, and they are allowed to play off of each other, it makes for the best stories of the series. In animation, the actors often are not able to gather, making the task of a fluid interchange even more daunting and difficult. Whether Archer records separately or together isn't clear, but what is is that the dialogue flows seamlessly into a true art form. That may sound like high praise for a silly cartoon, but if any such show deserves it, it's Archer.

Archer can do this because its cast is excellent. From Judy Greer's Carol/Cheryl, to Chris Parnell as Cyril, and especially Amber Nash's Pam, each brings some unique talents to bare. Could other actors do this as well as this particular group? Possibly, but it's hard to imagine how. Each has become so ingrained in the fabric of the series, that losing any one of them would be a shame. While Archer does have the spy angle working for it, the workplace comedy group is the heart and soul that makes things work on a level above the norm.

"Lo Scandalo" certainly brings the funny, as well. The continued query of "Doesn't Italy use a King?" is more amusing each time it is uttered. Krieger (Lucky Yates) insisting that the others drop off the body pieces he has packaged for them in a smiley face pattern is great, but Archer and Lana (Aisha Tyler) both dropping theirs into the trash can in front of Malory's building, a moment done without mentioning the joke, is even better. And it's hard to top everyone wanting to know why the prime minister is in a rubber suit with a dildo up his butt, and their sometimes clueless questions to try to get to that answer.

This week's Archer is also a bit of a mystery. While Malory's words are quickly taken at face value, it becomes clear as Lana and Archer discuss the situation at the end that things don't quite add up. In flashes, viewers get the treat of Malory perfectly constructing the entire thing, including calling the police on herself, to make her seem as innocent as possible. She gives herself an alibi, and a way to rise above suspicion. It's very clever, and the long game of revenge is trademark Malory.

Archer, who often seems a little dense, and appears especially distracted through this episode, is the one who figures this out, cementing the idea that perhaps he isn't as dumb as he looks, and is quite an effective spy. It justifies his role on the series, and his character's reputation. He refrains from calling his mother out in front of everyone because, well, she's his mother, and he doesn't want her to get in trouble. Archer trusts Lana, so she is told, and that's it. But the details do not escape him, and that's extremely rewarding.

FX has a bona fide gem in Archer, in that it's smart, hilarious, and enjoyable week after week. It also has that special, ineffable something that really makes it shine, and sets it above the pack. Watch Archer Thursdays at 10 p.m. ET on FX.

MORE: If you like my reviews, please follow me on Twitter! Click here to buy Blu-rays, DVDs, and streaming episodes of Archer. Please click here to read every Archer review I've ever written. Article first published as TV Review: Archer - "Lo Scandalo" on Blogcritics.

Love for Cougar Town ain't strange

2012-02-16T17:59:00.000-05:00

ABC's Cougar Town returns this week with "Ain't Love Strange," the long delayed season three premiere. Jules (Courteney Cox) asks Grayson (Josh Hopkins) to always surprise her. In that vein, he "sharks" her car, and stages an elaborate ruse that leads to her TP-ing a vacant house, where he gathers her friends and proposes. Shocked and happy, she accepts. Meanwhile, Ellie (Christa Miller) and Andy (Ian Gomez) worry their son is a monster, while Bobby (Brian Van Holt) tries to get Travis (Dan Byrd) to take custody of Dog Travis.

It is hard to express in words how great it is to have Cougar Town back. It's also hard to express how much this series needs to stay on the air. So, before delving into the episode's details, here is a passionate argument to watch the show, and tell your friends about it. It's not about an older woman hitting on younger guys. Its hasn't been since, like, episode five. Yes, the title sucks, and everyone involved in the show freely admits that. But it's kind of like Friends, but with much more drinking, and more relatable characters. Plus oodles of friends-as-family love.

Not only that, but the creators, cast, and crew have worked their booties off these past months to promote the series in every way possible, from becoming active on twitter en masse, to staging viewing parties across the country where they even picked up the bar tab! The dedication and love of this series among the types who make it is unprecedented, and for that alone, they deserve a second look from those who are dismissive of the initial premise. It will be well worth your time, guaranteed.

Now to "Ain't Love Strange." All of the best comedic elements are back, full force. This week's running gag is that Jules is highly predictable, and over and over again her friends prove that to her. What they realize, though, and what Jules doesn't, is that predictability isn't necessarily a bad thing. It's good to have someone to count on, and whom you share affection with. Which makes even the funny parts of Cougar Town incredibly heartfelt.

Grayson singing the Jules morning routine song is hilarious. Their romance has blossomed naturally and with grace over the past couple of seasons. While some shows may put off hooking up two major characters, Cougar Town boldly went for it in season one, and the fact that things have worked out so nicely speaks volumes for the writing and acting talent on the show. Ending "Ain't Love Strange" with Grayson's proposal is extremely rewarding for those who have invested time in this couple's relationship, characters and viewers alike. A+

Andy and Ellie's child, Stan, has been mostly ignored thus far in the show's run. But now he's come back with vengeance, acting out in serious ways. Is this a cry for attention from his often-imbibed, always-with-their-friends parents? Or is it a deeper problem? Does it matter, when the sight of a young child walking down the street with a hammer, malicious intent implied, is freakin' funny?

But, of course, there is great character development to this story, too. Laurie (Busy Philipps), who has slowly been backing off on hating Ellie, compliments her parenting. It's a real, genuine moment between the two. It's been clear that Laurie kind of likes Ellie for awhile, and spending time playing with her child sort of backs that up. Laurie isn't the type to be overly affectionate, and their bickering is one of the joys of Cougar Town. But that doesn't mean there isn't a sisterly type of bond between them, as well.

However, why is Laurie wearing an ankle bracelet? Is that story she told about her fight the reason? And how come she can still hang out all of her favorite places with it on? Isn't the point of one of those things to monitor people on house arrest? Jules's house and the vacant property could be contrived as work related, but what about Grayson's bar?

Finally, Bobby gets a little father-son interaction. What he shares with Travis is special, and the two have a good relationship. Sure, sometimes there's a bit of a reversal on just who is the wise, nurturing one, but it works for them. Bobby is trying, and that really shows. It's hard for him to ask his son for a favor, like taking his dog. But Travis is willing to do things for his dad, so it's all good.

Cougar Town is back in high form, and should definitely be watched. It airs Tuesdays at 8:30 p.m. ET on ABC.

MORE: If you like my reviews, please follow me on Twitter! Click here to buy DVDs and streaming episodes of Cougar Town.

Doctor Who's latest Christmas special on Blu-ray and DVD

2012-02-15T16:38:00.000-05:00

Christmas specials are an honored tradition in the rebooted Doctor Who franchise, and the holiday season of 2011 was no exception. Now, on Valentine's Day, comes the DVD and Blu-ray debut of that episode, "The Doctor, the Widow and the Wardrobe."

The special starts with the good Doctor (Matt Smith) fumbling around in 1938. A kindly woman named Madge (Claire Skinner, Outnumbered) helps him out. Three years later, the Doctor returns to repay that kindness.

In 1941, Madge receives word that her husband, Reg (Alexander Armstrong, The Sarah Jane Adventures), has gone missing in the war. Fearing the worst, she keeps the news from her children, Lily (Holly Earl, Casualty) and Cyril (Maurice Cole), as they travel to a relative's house, outside of threatened London, for Christmas.

The house that they stay in has a strange and very festive caretaker, who is actually, though unrecognized by them, the Doctor. Cyril goes into a glowing Christmas present, and the Doctor and Lily follow him. The trio are in a snow covered world inhabited by wooden creatures. These beings wish to escape their world, but deem the visitors too weak to help them.

In the meantime, Madge goes after her missing kids, and learns that this alien planet is about be pulverized by a mining company. She finds her children and rescues them and the wooden race. But to escape, she must think of memories of home, including the bad news about Reg, which the kids witness through her. Luckily, when they do return home, Reg is there, too, safe and sound! The Doctor leaves them their happy Christmas, and makes a visit to loved ones of his own, Amy (Karen Gillan) and Rory (Arthur Darvill).

Honestly, the story in "The Doctor, the Widow and the Wardrobe" is a little hokey. Many of the performers hired to join this adventure have comedic backgrounds, and while Doctor Who does often incorporate humor, that is not the focus of the show. Also, there are a few things, plot-wise, that don't quite add up, and the villains don't build that much suspense.

However, those things are minor, and pale in comparison to the joy that this special brings. It is stuffed to the gills with Christmas cheer. The Doctor has always exhibited a fondness for the December holiday, and it's readily apparent that this emotion is firmly in place here. His enthusiasm is infectious, and the adventure has a magical quality often associated with this time of year. The spirit and the tone are such that the episode seems to rise above the sum of its parts, and is thoroughly enjoyable.

One reason for this is the childlike wonder present. The Doctor goes off with the kids, not with the mom, and he fits right in, personality-wise. The adventure isn't too dangerous, and safety and happy endings are almost guaranteed right from the beginning, a strength in this kind of story, rather than a weakness. The special effects and sets add to this feel-good tone, and what is left is something that tastes very good going down.
There are references to other works in this special. The most obvious, of course, is C.S. Lewis's The Lion, the Witch and the Wardrobe, from which the episode title takes its name. Both involve children traveling through portals onto winter worlds. However, Doctor Who does not get overly religious, and the focus is certainly not preachy.

There's also the joy fans of Doctor Who will get in seeing Amy and Rory again. For them, it has been two years since the Doctor faked his death and left them, though those episodes aired only a few months ago in reality. Thus, it answers the question of, will their characters ever know the truth about the Doctor's fate? It's a heartwarming reunion many will be glad to see.

The extras are quite nice, actually taking up much more time on the disc than the special itself. A prequel to the special shows just how the Doctor ends up where Madge finds him. It's short and sweet. Plus, included are three "The Best of Doctor Who" specials that aired recently: "The Best of the Doctor," "The Best of the Companions," and "The Best of the Monsters." None are particularly impressive, but will satisfy those just wishing to relive Doctor Who moments. Plus, since each is almost as long as "The Doctor, the Widow and the Wardrobe" itself, it makes the price a little easier to swallow.

Also cool is a teaser for the online video game, Doctor Who Worlds in Time. It looks like a really neat way to waste some time! There are stickers and a code to unlock a reward inside the packaging, which is a good bonus.

Buying the Blu-ray over the DVD is highly recommended. After all, like any Doctor Who special, there are lots of special effects. Those sorts of things are always more enjoyable with a crystal clear picture and wonderful surround sound. It's well worth the extra couple of bucks.

Buy "The Doctor, The Widow and the Wardrobe," on sale now.

The Walking Dead staggers back

2012-02-15T06:06:00.000-05:00

After a mere two and a half month hiatus, AMC's The Walking Dead returns for the second half of season two with "Nebraska." Hershel (Scott Wilson) is deeply upset by the events of the previous episode, ordering the group off of his farm, then disappearing himself. Rick (Andrew Lincoln) and Glenn (Steven Yeun) find him in the local bar, drunk, even though he gave up alcohol years ago. But just when they have Hershel ready to return home, two threatening men (Aaron Munoz and Michael Raymond James, Terriers, True Blood) show up and press them for where they are staying. Meanwhile, Lori (Sarah Wayne Callies) goes after Rick, and crashes her car.

It's amazing how, in a zombie apocalypse, the biggest threat is not the undead, but the living. This isn't surprising, given that fighting off one's own kind is a common element in end-of-the-world drama. But as the first major encounter with such in The Walking Dead, the events of "Nebraska" are sure to be memorable. The two interlopers act friendly enough, but it's immediately apparent to anyone that their intentions are not pure, and that they should not be trusted. Rick cannot let the pair find Hershel's farm, or more bad things will happen.

Hershel's break down really highlights the difference between himself and Rick. It's hard to imagine Rick ever running off like Hershel does, abandoning those he is in charge of. If Lori were to die, it might be a possibility, so perhaps Hershel isn't so different. But that isn't the case at this time. Instead, while Rick doesn't deny that, like Hershel, he knows that there is no hope left, Rick chooses instead to keep up the charade of belief for the others. This is what a leader does.

Rick gets a hero moment in "Nebraska." It quickly becomes a likely scenario that, seeing Rick as the strong leader here, and therefore the biggest obstacle in their way, the strangers could kill the cop and force Hershel and Glenn to take them home. Faced with this, Rick's instincts kick in, and he strikes first, killing both men. Could the situation have ended peacefully? Probably not. One of the men is drawing his weapon when Rick shoots. Rick has less than a second to act, and he comes through it successfully. It really hammers home to viewers that Rick is a natural and capable leader, no matter what Shane (Jon Bernthal) thinks.

How will Hershel react to Rick's actions? Hershel is already upset enough at Rick and his friends for killing the barn Walkers, though even Hershel now admits that they were already dead. But to see Rick take the lives of two living, breathing humans right in front of him is surely a different story. Inebriated and lacking Rick's law enforcement-influenced assessment of the situation, will Hershel protest their deaths? Will he think that Rick acted rashly? If so, The Walking Dead could be setting up more of Hershel asking the group to leave, something that has been done enough at this point.

Poor Lori. She is understandably upset that Rick keeps running off, especially given the fact that she is pregnant. However, she needs to be less selfish, and realize that, as the guy in charge, Rick will have to put his neck on the line many more times in the future. At least Rick knows what he is doing. Unlike, say, Lori, who tries to read a map while driving, hits a Walker, and flips her vehicle. It is unlikely that The Walking Dead will choose to kill its main female star off so soon. But as "Nebraska" comes to an end, no one knows about the accident, or is even looking for her. It's not a good situation to be in.

Might Lori lose the baby from this accident? And would that be such a bad thing? She worries about bringing a child into this dangerous world, and how the events they've seen so far are turning her son, Carl (Chandler Riggs), cold. Because of this, keeping the child is a very tough decision for Lori. Are the fates so cruel as to take the choice out of her hands?

In "Nebraska," Glenn is taken aback when Maggie (Lauren Cohan) says she that loves him. It might seem a little off that he's the hesitant one, given how much more attractive she is than him. But he's not wrong in his feelings, either. Sure, the world is coming to an end, and she could fall in love quickly, in part motivated by the lack of time she perceives that they have left. At the same time, they haven't known each other very long. Glenn is very fond of Maggie, but love is a deep emotion that can take awhile to develop. He is also taken by surprise when she says it, so he can forgiven for needing time to process this development. Hopefully, Maggie will be patient and understanding while waiting for Glenn to be ready to say those three little words back to her. Despite his hesitations, she probably won't have to wait long, as he will soon realize how lucky he is to be with her. And she's lucky to have him, too.

Dale (Jeffrey DeMunn) is bound and determined to ruin Shane. He tells Lori flat out that he thinks that Shane killed Otis. Dale isn't wrong, and what Shane did will be hard for others to grasp. After all, murdering an ally isn't something any of them would have done. But Shane wasn't exactly wrong in his actions, either. If Shane hadn't shot Otis, Carl would have died. Shane made a tough choice, but it was one that saved a life, regardless of the coldness it would take Shane to stick to his decision. Also, Otis is the one that shot Carl, albeit accidentally, so Shane might be forgiven for weighing Carl's life over Otis's. It's actually surprising that these events are still relevant so long after they occur.

The question now is, will Dale get off his high horse and admit that Shane may have been right? Or, by hanging on to this thing he thinks that he knows, will he ruin Shane's relationship with the rest of the group? Shane deserves many things, but being kicked out, left on his own, his chances of survival slim, is not one of them. Killing is arguably wrong, no matter how right Shane's reasons are for doing so. But that does not mean that Shane doesn't deserve a second chance, given how much he has done for everyone. He may also deserve thanks for sacrificing his soul, when others could not, as his detachment could save more lives than just Carl's, down the road.

Daryl (Norman Reedus) is a little disappointing in "Nebraska," isolating himself from everyone else. However, he does not do so without justifiable reason. He takes Sophia's death pretty rough, given how much blood, sweat, and possibly tears he puts into trying to find her. Daryl makes it his entire mission, his life's purpose, to find the little girl, only to learn that she is already dead. No wonder he is left despondent and directionless! It's just sad that Daryl pulls away, when this is a time that the group needs to come together. It may not be in his personality to hug it out, but hiding out on the fringes of the property, alone, isn't the answer, either.

Carol (Melissa Suzanne McBride), similarly, pulls away, skipping Sophia's funeral, and wondering into the woods by herself. It's too bad that The Walking Dead doesn't choose to show what Carol is doing out there, but she comes back dirty, so she wasn't just walking. This will probably stay a mystery, not being integral to events moving forward.

What is totally surprising is that Shane is the one that offers Carol comfort when she returns. Washing her hands and talking gently to her, it's an awkward scene, the only such one in "Nebraska." Shane does make the conversation about himself, as he is growing more and more selfish as the others ostracize him for his behavior, which he thinks is in their best interests. But Shane isn't completely gone if he takes the time to help Carol. It's a weird moment, and one that is hard to dissect completely.

Overall, a very strong return for The Walking Dead. Enough action to keep things interesting, characters growing, changing, and dealing with things, and some exciting twists. Great job!

The Walking Dead airs Sundays at 9 p.m. ET on AMC.

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Todd Margaret "Conclusion" bombs, literally

2012-02-12T11:30:00.000-05:00

IFC's The Increasingly Poor Decisions of Todd Margaret brought its run permanently to an end this Friday after twelve episodes. The finale, entitled "Conclusion," finds Todd (David Cross) on trial for the various crimes he has committed over the show's two seasons. Brent Wilts (Will Arnett) acts as his (inept) lawyer, until things turn south, and he flees, leaving Todd alone. Alice (Sharon Horgan) finds the evidence needed to clear both her and Todd, but Todd accidentally blows her up with a truck bomb. Luckily for Todd, Dave's father (Mark Heap, Friday Night Dinner, Lark Rise to Candleford) shows up and calls off the entire scheme. Todd is allowed to leave England, but stupidly chooses North Korea, where he sets off an atomic bomb.

The end is a huge disappointment for a pretty funny series. Having written themselves into a corner, the show chooses to just blow things up, rather than try to solve or explain anything. In fact, just before the bomb goes off, the character of Doug Whitney (Spike Jonze, Being John Malkovich) muses that things don't make sense, and the story isn't tied up at all. It's a tongue in cheek joke, as if the writers, in an attempt to distract, are saying, "Yes, we know, we screwed up. Look! Explosion!"

There are not many series that would have the guts to do such a thing. And for that, The Increasingly Poor Decisions of Todd Margaret's "Conclusion" deserves some credit. Never has a television show thumbed its nose at convention and its audience in such a blatant, uncaring manner. Which totally fits the tone of the titular character, and most of the series. In that respect, it's a fitting way to finish things off. But that doesn't stop it from being ridiculous, and "Conclusion" will likely anger many fans, this reviewer included.

Yet, even before the final moments of the series, "Conclusion" isn't doing so well as an episode. Arguably the worst half hour of the show, much of the action takes place in a courtroom. The problem is, the events are completely unrealistic. While The Increasingly Poor Decisions of Todd Margaret isn't a show whose characters are much in touch with reality, there's always the feeling that the authorities will eventually catch up to those who deserve it, and things will be righted. Instead, under the watchful, controlling eye of Dave (Blake Harrison), who has orchestrated this entire thing to get even for Todd and Brent being rude to him in a bar, the judge sits back and lets the two make a mockery of the justice system. It's completely unacceptable, uncomfortable, and just plain doesn't make sense.

Worse still, the delightful Alice is killed off for no reason other than to follow up on a loose thread. And she looks perfectly fine and attractive in the morgue, rather than being a decimated, burnt, ripped apart mess, as she would be, considering the situation. Granted, at least the truck bomb is given some closure, unlike many other subplots, but how did it get from being parked at a restaurant closed down as a health hazard to being in front of the courthouse? Surely, the bomb would have been discovered and deactivated, and the truck impounded, when the department of health discover it next to The Molecule?

Not to mention, how and why is Todd recruited by North Korea, put in charge, and made to set off an atomic weapon, all in two days?

The Increasingly Poor Decisions of Todd Margaret does provide some great entertainment, such as the twist reveal that the character Jon Hamm (Mad Men) is playing in the show is himself. But because of such a faulty, lazy ending, it will not be remembered as a terrific series, if it is remembered at all. And that's a shame, because the first eleven episodes are really great. But screwing up the ending ruins the entire deal. Some may discover the show on DVD, but it will not be through recommendation or word of mouth from anyone who finishes watching it.

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Grimm's outlook quite grim

2012-02-12T09:41:00.000-05:00

NBC's Grimm continues its freshman run with "Tarantella." A mummified body is found, organs liquefied with acid and sucked out through the abdomen. The police suspect a ritualistic serial killer, but Nick (David Giuntoli) knows better. He researches the spiders of the supernatural world, and learns of a deadly kind that must kill three people every five years to stave off rapid aging. This explains the real killer's (Amy Acker, Angel, Dollhouse) motivation, and allows Nick to find her before she can take a third victim.

Amy Acker's presence is a must on sci-fi fantasy shows, second only to Summer Glau. It is not surprising that Grimm recruits her, too. Though it is too bad that she is stopped so quickly and tossed in jail, doomed to never be seen again. Even should the show find some reason to bring the character back, an older actress will likely be called upon to play her, given the encounter that Nick and Monroe (Silas Weir Mitchell) have with another of her species, who doesn't kill. It's a waste, then, to use such a talented actress in the genre in such a bit role.

However, there should be little regret on Acker's part to being regulated to a single episode. After all, Grimm is not exactly at the top of its game. The focus of the series so far has been police procedural with a slight twist. While this formula does appeal to some viewers, it does not do so, on its own, for many of Acker's fans, who are used to much more intelligent television. Acker is better used in stories that take more than an hour to play out, and by not repeating on Grimm, it leaves her open to better jobs.

Grimm's biggest mistake is going for the procedural path. Many other shows on the air currently do the same, only better. Instead, Grimm should be focusing on its characters. Why hasn't Nick told Juliette (Bitsie Tulloch) his secret yet? Why drag it out over so many episodes? What are Captain Renard's (Sasha Roiz) goals? Why hasn't Renard revealed to Nick that he knows what's really going on? Wouldn't that make their police work more effective? These are the interesting plots that should be explored, rather than spend such a major focus on the case of the week junk.

Nick's character is poorly fleshed out. He wants to hold on to his normal life, or so he says, yet he fully delves into this new line of work as a Grimm, too. It's a flawed attempt at compartmentalization. Yet, it would be so much easier to manage his time if he told Juliette about his activities. It would be understandable if Nick was afraid to tell her, for fear of losing her, or her having a very negative reaction. But these things are mentioned, at best, with almost no time spent looking at the feelings of the characters involved. There is much wasted opportunity here.

Even worse, in "Tarantella," Nick threatens some peaceful creatures that have been watching his house. Their curiosity is understandable, given that they have never encountered a Grimm before. But rather than help them to know him, so they aren't scared, and stop bothering him, Nick threatens and intimidates. Perhaps he is worried for Juliette's safety and wants to keep those types away from her, but again, this isn't really explored. And Nick should know better than to run off people who could be helpful. Surely, through his interactions with Monroe, Nick has learned it is good to make friends with the supernatural? Not only that, but what is these peaceful types have less peaceful friends, and, feeling scared, send those baddies to deal with Nick?

All of that aside, "Tarantella" is mostly a fine, stand alone story. Acker is great as the suburban mom who kills because she has to. The clues are laid out fairly realistically, other than the stretch involving the watch, and how it ends up in police hands. Nick's hunt for the killer plays out with excitement.

The only serious complaint about this particular case-of-the-week plot is that Nick totally ignores the fact that the killer's daughter is also a spider creature, and will soon be killing, too. There is no conversation to deal with the girl, nor is any attempt made to stop her before she acts. In this ending, it kind of ruins a lot of what "Tarantella" does right, spoiling the one story in the episode that works.

Perhaps Grimm will get its act together, perhaps not. Grimm airs Fridays at 9 p.m. ET on NBC.

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Nothing is wrong with 30 Rock

2012-02-11T15:33:00.000-05:00

NBC's 30 Rock presents a special, one hour, holiday-themed episode this week entitled "Hey, Baby, What's Wrong?" Liz (Tina Fey) thinks that she may get her first ever happy Valentine's Day with new boyfriend, Criss (James Marsden, X-Men). But derailment occurs during an ill-fated trip to IKEA to pick out a dining room table together. Meanwhile, Jack (Alec Baldwin) battles his primal urges when Avery's mother, Diana (Mary Steenburgen, Bored to Death, Curb Your Enthusiasm), comes to town, and finds himself attracted to her. The feeling is mutual.

"Hey, Baby, What's Wrong?" may be the most disturbing episode of 30 Rock ever written. This falls squarely on the fault of Jack's plot, which is horrible. Jack sees many of the same things in Diana that he sees in kidnapped wife, Avery (Elizabeth Banks), so it's natural that there might be some connection. But raising that attraction to a sexual level is beyond wrong. While it's true that Jack and Diana are closer in age than Jack is to his wife, and Diana is just as lonely as Jack, that doesn't excuse anything. The fact that the two characters struggle so hard not to hook up is just plain icky. Forget trying to be funny, at least just be decent. There is something incredibly wrong with Jack's marriage if he considers sleeping with his mother-in-law under any circumstances. Ditto for Diana's mothering ability.

That being said, the rest of the episode is not bad. Liz's relationship with Criss is actually quite a nice development. Criss isn't perfect, having little ambition and no job, but he cares about Liz. He also pulls some weight, cooking a romantic dinner for her, and building a table when they can't agree on one at the store. Liz isn't used to a healthy, balanced relationship, and doesn't know how to act. Yet, with Criss, she just might get to be happy. This is fantastic, and should be explored further. Hopefully Marsden's schedule will stay open for awhile so he can continue to appear on 30 Rock.

Liz's joy comes at the best moment for her, given that she has just realized that she is the female version of Lutz (John Lutz). Both are awkward, and do not know how to react towards the opposite sex. While Liz is a tad bit more graceful, and certainly more attractive, both of their personalities do share some similar characteristics. For "Hey, Baby, What's Wrong?" to end on that realization would be beyond depressing. Thank goodness Criss salvages things for Liz in the end.

Why does IKEA allow 30 Rock to treat it so poorly? Are fighting couples really a standard for the retailer? Having never shopped there personally, it's impossible to know, but it seems unlikely. IKEA just comes across so badly in this episode, it is sad. To make up for it, go watch some Easy to Assemble, a funny, pro-IKEA web series. Speaking of, how could 30 Rock, given its penchant for tons of guest stars and insider-style jokes, do such an IKEA heavy episode without bringing in a single actor from Easy to Assemble in a cameo role?

Pete (Scott Adsit) is perhaps the most underused character on 30 Rock. Luckily, this is not the case in "Hey, Baby, What's Wrong?" Not only does he prove himself worthy of the producer's job that he does, but back story is given, too. It turns out that Pete used to be an Olympic-level athlete. While this isn't exactly realistic, any chance to see Pete out of his element, or in a new light, is welcome. Adsit is a capable comedian that should be better utilized in this series on a regular basis.

Lastly, where is 30 Rock going with the creepy, Liz-obssessed Hazel (Kristen Schaal, Bob's Burgers, The Daily Show)? She is somewhat humorous, but it's a bizarre turn for the character, and only dark things can come from her continued presence. Surely 30 Rock wouldn't go so far as to kill off a character, even Criss, would they? As delightful as Schaal is, and as much potential as Hazel could have on 30 Rock as a recurring character, whether used as a replacement or companion for Kenneth (Jack McBrayer), new direction needs to be given if she's going to last.

"Hey, Baby, What's Wrong" is a rare, disappointing outing for the show. Watch 30 Rock Thursdays at 8 p.m. ET on NBC.

MORE: If you like my reviews, please follow me on Twitter! Click here to read every 30 Rock review I've ever written. To catch up on 30 Rock with DVDs and streaming episodes, please go to amazon.com.

Glee americano

2012-02-09T09:20:00.000-05:00

This week's installment of FOX's Glee is called "The Spanish Teacher." Figgins (Iqbal Theba) tells Will (Matthew Morrison) that he is up for tenure, but that he should probably learn some Spanish if he wants to be considered for the position. Will is, after all, a Spanish teacher. Enrolling in a night class taught by David Martinez (singer Ricky Martin), Will realizes just how little he knows, but tries to correct that by bringing a Latino flair to glee club, as well as his normal teaching duties. In the end, remembering what passion is all about, Will opts for a transfer to the history department, leaving his old job open for David. Emma (Jayma Mays), who is already comfortable in her position, is chosen for the tenured position over Will.

While Glee has never shied away from camp, exposing Will as a fraud of a Spanish teacher crosses the line. Will says that Spanish was the only teaching position open at the time he was seeking employment, so he took the subject. And that was how many teachers settled into their jobs decades ago. However, such hiring practices have not been realistic in Ohio, or almost any other state, in quite some time. There is no way that Will would be hired to teach a foreign language without majoring in it in college and passing tests. The educational process in Ohio is pretty strict, and he could not teach a subject he knows nothing about. As such, the entire thing is completely ridiculous.

And that's not even getting into the outdated system of tenure shown in this episode.

Does McKinley not have a choir director position? It is understood that glee club is an extracurricular, but most high schools of any size have a teacher devoted just to vocal music. McKinley certainly qualifies as such. If there is a teacher already holding that position, why haven't they been seen on the show before? It would make sense, given the musical focus. And if there is not, why aren't Will and the club lobbying for a levy to pass to restore their music program to normal, basic standards? Certainly this is something that they could get people in the community behind.

Those involved in the educational system have plenty of reason to be offended by "The Spanish Teacher," but those of Latin descent may have even more beef. Will and the guys massacre "La Cucaracha" in a silly performance. Later, Will's "A Little Less Conversation," an Elvis number by the way, is not any better. Both have mediocre vocals and unacceptable costumes. Adding bulls into the dance in the latter song is terrible.

But "The Spanish Teacher" does have a handful of redeeming qualities. For one, Santana (Naya Rivera) is as angry at the racism and the injustice as any viewer, and she shows it. She puts Will in his place, and tells him just how wrong what he's doing is. In this, she serves as the voice of the audience. Thank goodness Glee chooses to include this position.

Also, most of the Latin music is actually quite good, owing mainly to the fact that Rivera and Martin perform it. Their "La Isla Bonita" is exciting, and Martin's "Sexy and I Know It" lives up to its title. By showing an alternative to the bad performances, Glee somewhat salvages the plot, even though it can't save the character of Will this week.

Martin does pretty well in his acting gig. There really is nothing to complain about in his character of David, nor the way he plays the role. While it is regrettable that David did not sing any Ricky Martin songs in "The Spanish Teacher," perhaps this can be corrected in a future appearance. And if David starts dating Holly Holiday (Gwyneth Paltrow), it could be a perfect match up!

Other plots in "The Spanish Teacher" come out better than the A story. Mercedes (Amber Riley) and Sam (Chord Overstreet) go to Emma for advice, and after giving them some very funny pamphlets, Emma advises them not to talk to each other for a week. They sort of break this rule when Mercedes sings "Don't Wanna Lose You," and Sam comes back with "Bamboleo / Hero." If there is anything Glee delivers as a recurring message, it's that music can speak louder than words. But the pair does not have any actual conversation for seven days.

The problem is in the way this story ends. After a week, both appear anxious to talk to one another. But then Mercedes leaves with Shane (Lamarcus Tinker). Based on every physical and stated clue in "The Spanish Teacher," one would assume that Mercedes would dump her boyfriend to be with Sam. And maybe she still will. But she certainly doesn't tell the devastated Sam that as she walks away. It's an interesting story that drops the ball at the last moment.

Will and Emma's romance is given a happier ending. Will gets annoyed with Emma's pamphlets when he is stressed out by the tenure issue. Seeing that he is wrong to criticize, and that the pamphlets are a wonderful achievement, he apologizes. It's pretty inexcusable that Will treats Emma so meanly, but at least he understands that he is in the wrong and tries to make up for it. And Emma getting the tenure, totally justifying her career performance, overshadows her boyfriend's bad behavior.

Rachel (Lea Michele) tells Kurt (Chris Colfer) and Mercedes about her engagement to Finn (Cory Monteith). Kurt is supportive when Rachel asks him to think about his relationship with Blaine (Darren Criss, taking a short break from Glee to do Broadway), but later, Kurt confronts Finn. Kurt tells Finn that he is getting married for all the wrong reasons and selling himself short. It gives Finn something to think about, and Kurt is completely correct in his assertions. The question is, can Rachel and Finn survive as a couple after calling off their engagement? And how much have things been set into motion for the nuptials already? If next week's preview is any indication, the marriage plans have hit the ground running.

Finally, Sue (Jane Lynch) has the strangest scenes this week. For some, her character is extremely erratic, first chewing out Santana for reporting her misbehavior to Figgins, then saying to Becky (Lauren Potter) that Sue understands why Becky turned her in. So Becky is the culprit, and because Sue likes Becky, Sue is willing to consider motivation behind the act. However, is that any excuse for the drastically different reactions Sue has towards the two students? Or for her misbehavior in the first place, which involves asking high school boys for their sperm?

Yet, there is a really sweet bit between Sue and Emma where Sue explains why she is asking for Will's swimmers. Sue's words are sincere and heartfelt. While Emma is still not comfortable with the arrangement, suddenly fans can get on board with a Sue/Will baby. Then the plot is abandoned without explanation, when Sue says that she has found another donor. She gave up so easily? Who's the new daddy? So, again, erratic, and strange.

If the writers can decide which version of Sue they'd like to right for, please let us know. It would be nice to have a consistent character. There is a difference between have a layered persona, and acting contrary to established behavior patterns, and "The Spanish Teacher" definitely achieves the latter.

Which means between the music, Sue's story, Will's character, Mercedes's decision, and everything else going on, "The Spanish Teacher" comes across as a garbled mess. Not one of Glee's best efforts, unfortunately, though it contains a handful of solid moments.

Watch Glee Tuesdays at 8 p.m. ET on FOX.

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "The Spanish Teacher" on Blogcritics.

Northern Lights The Complete Collection now available

2012-02-08T11:03:00.000-05:00

As of today, Northern Lights The Complete Collection is now out on DVD from Acorn Media. This set includes the original 90-minute Christmas special, Christmas Lights, the six-episode followup series, Northern Lights, a six-part sequel series called City Lights, and another Christmas special, Clash of the Santas. Though it may sound like four different shows, each features the same characters, and are all part of the (somewhat) same story. Don't ask why the title for this collection is taken from just one of the four, because that isn't clear.

It begins with Christmas Lights in 2004, the story of two best friends and rivals at Christmas. Colin (Robson Green, Wire in the Blood, Being Human) and Howie (Mark Benton, Scoop, Land Girls) care very much for each other, and couldn't be closer pals. Their wives, Jackie (Nicola Stephenson, The Chase, Holby City) and Pauline (Maxine Peake, Little Dorrit, Shameless), are sisters. They are all neighbors. The guys even work for the same company. Which could be why they are driven to out do each other, whether it be in competition for a promotion, which Howie wins, or in decorating their homes for the holidays, which could be Colin's attempt to even the score. Too bad they don't notice that their single-minded focus on one-upmanship is hurting their lives, both personal and professional.

Northern Lights continues the story. Colin is fired from his job. Finding work as a taxi driver, he tries to replace Howie with a new co-worker, but just doesn't find the same chemistry. Colin is offered his job back, but strives for more. Meanwhile, family drama is paramount, as kids begin dating, fathers die, affairs occur, and secrets come to light.

Unlike Christmas Lights, Northern Lights stops itself from making Howie and Colin's relationship the focal point. This is probably a good thing, as what works for one special isn't as easily drawn out over six episodes. The characters and their relationship are still central to the heart of the story, of course, but there's more going on than that, too, which allows the series to be funnier and more sincere in portraying the lives involved. Well rounded plots lead to better character development.

City Lights goes in a different direction entirely. After witnessing a crime, Howie, Colin, and their families are put into Witness Protection, and move to London. They suddenly have to build new lives under new names, a task easier said than done. But Colin's past comes out, and Howie's marriage crumbles, leading to a pretty serious batch of episodes. In the end, they can't hide forever, and the bad men catch up with them for a final showdown.

City Lights almost feels like another series. Sure, the characters are the same, but the situation is so different, that it bears only a casual resemblance to Northern Lights. There is a much darker feel. Some of the themes, such as infidelity, recur, and the tone doesn't undergo a complete transformation, surprisingly. City Lights is definitely more Psych than Southland. However, much respect must be given to the writers for taking such a bold step for the second batch of episodes, which is likely why it carries a different title.

Finally, in 2008's Clash of the Santas, things get even more surreal. Howie, who hates Christmas, is sent to represent the UK in a Santa convention in Lithuania. Colin, insanely jealous, tags along as Howie's elf. But while there, the pair uncover a German terrorist cell who would like to stop the commercialism of Christmas by making a big statement in the form of death and destruction. With no other choice, Colin and Howie must put their differences aside and try to take down the evil Santa once and for all.

Clash of the Santas is the goofiest and most outrageous of the bunch. While these characters go toe to toe with criminals in City Lights, adding an international and holiday flair back into the mix really makes for a very funny special. Again, the overall tone is kept similar to previous incarnations, but the plot is different enough to really set this story apart.

In short, Northern Lights The Complete Collection brings together an inspired, humorous run from two actors who obviously really enjoy the characters that they play. They make a lot of unexpected choices, especially in the set ups, which keeps things interesting, and the flow is smooth. While not the best of British comedy, it's originality should earn it a spot on any sitcom fan's shelf.

There is only one special feature included. Entitled "Behind the Scenes of Northern Lights," it goes, you guessed it, behind the camera as the show is filmed. It originally aired just before City Lights premiered, so it does not include a look at the entire set. Rather, it focuses on just Northern Lights. It's a relatively standard featurette, with nothing particularly surprising or insightful. But it is interesting enough.

Other than the lack of extras, the biggest complaint about Northern Lights The Complete Collection will be about audio and visual quality. It clearly isn't made with the highest resolution, and little effort appears to have been expended to correct that. As such, one gets what is likely the same stuff that aired, just transferred to another format. This isn't necessarily a terrible thing, but with all the remastered and cleaned up shows being released, it's a bit of a disappointment. It's not horrible, but it's nothing great, either.

Still, this DVD set is worth a look, and thankfully, it's priced rather modestly. There is enough here to justify the purchase. Buy Northern Lights The Complete Collection, on sale today.

Article first published as DVD Review: Northern Lights – The Complete Collection on Blogcritics.

The devil is Justified

2012-02-08T07:25:00.001-05:00

In tonight's episode of FX's Justified, "The Devil You Know," Raylan (Timothy Olyphant) hunts for Dickie (Jeremy Davies) and Dewey (Damon Herriman), who break out of jail with the help of a guard, Ash (Todd Stashwick, The Riches, Men of a Certain Age). Figuring that the trio (which is actually a sextet at first) is heading for Dickie's family money, Raylan goes after the holder of said money, Ellstin Limehouse (Mykelti Williamson, 24, Forrest Gump). Which results in misguided machinations, leaving Ash nearly dead and Dewey killed. Dickie, with some help, takes out two more of the group, and escapes.

Robert Quarles (Neal McDonough, Despeate Housewives, Tin Man) goads Devil (Kevin Rankin) into standing up to Boyd (Walton Goggins). Devil gets Johnny (David Meunier) behind him, but that doesn't stop Boyd from killing Devil first as soon as Devil makes a threat.

While Justified has been back on the air for three weeks now, it's a hard series to review, and getting harder all the time. That's because episodes, including "The Devil You Know," aren't about a certain event or complete story anymore. As the series goes on, plots get more and more serial, with each week just adding a piece to the larger framework, rather than standing alone. This is certainly not a complaint, as only the best shows are able to successfully do this. But it makes it quite difficult to review an hour at a time.

Justified reaches some awesome new levels in season two with the Mags story, and it's gratifying that there are continuations of that still occurring in season three. Yes, Mags is dead, but her money sets the sights of many a bad dude on her son Dickie. Dickie is now out of prison, but Limehouse tells him that there is little money left. Too bad that's not something that the people after the cash are likely to believe, especially with how untrustworthy Mags turns out be towards her neighbors. Dickie is still, and will continue to be, a wanted man.

The best thing that Dickie could do is let Limehouse keep the money. Now some may keep coming after Dickie, but it buys him time and leverage to not have the stash with him. Ash learns the hard way that it's not so easy to get Dickie's family's fortune. Others could repeat the mistake. Boyd, for one, is likely to try. But maybe by not keeping any of it, and possibly still having business with Limehouse, Dickie will have a little flexibility and protection from his enemies. Of course, Dickie is still hunted by the law as a fugitive, so there's that...

Speaking of season two faces, in "The Devil You Know" Raylan pays a visit to Loretta (Kaitlyn Dever) to ask for information. Fans get to see what has become of the girl. She may not be happy, but she's leading an honest life, helping with a family. This should teach her the right things and keep her on the straight path. That's really the most important bit of this small scene, as Loretta isn't getting involved in this season's issues, so she's not important anymore. That's good for the safety of her character, but bad for the viewers who enjoy her.

It's wonderful to see Dever again, even in this tiny, insignificant role. She has been wasting away on the sitcom Last Man Standing lately, and any reminder of what a terrific actress she can be is welcome on the TV screen.

What is Boyd going to do now? Presumably, he still wants Dickie's money, not realizing that it's gone. But knowing that others are going after it, Boyd is probably wise to lay low. Especially after a betrayal by a close lieutenant, which doesn't exactly put Boyd in the best position to go after any large score right now.

But the bodies are piling up around Dickie. So something is going to have to break in this plot soon.

What does Robert want with Boyd? By approaching Devil, is Robert looking to get into business with Boyd? Take over Boyd's territory? Is Robert testing the waters? Or trying to undermine Boyd? Does Robert want Boyd's cooperation, or want him out of the way? It's a real mystery. All that is known is that Robert represents an organized crime group, which wants to make at least part of Kentucky theirs. To what end? Well, we will have to wait for the rest of the season to play out. But he certainly a threat, even if an undefined one.

Which means that Raylan's job is quite a challenge lately. Raylan knows the score with Boyd. But he's just met Robert, and been thoroughly unsettled by him. And surely Raylan isn't comfortable with all of these familiar faces, such as Devil and Dewey, winding up dead. Sure, some casualties are to be expected on a series like Justified, but it seems that the herd of recurring characters is really being culled as of late. Which leaves room for something big and, likely, unpleasant. Even with the plot remaining murky, the anticipation level is building as viewers are left to wonder what Raylan's main challenge will be this season, and how he will cope with it.

Watch Justified Tuesdays at 10 p.m. ET on FX.

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Article first published as TV Review: Justified - "The Devil You Know" on Blogcritics.

Bringing down the House

2012-02-07T09:59:00.000-05:00

FOX's House last night delves into a case gone wrong. Dr. Walter Cofield (Jeffrey Wright, Quantum of Solace) interviews each member of House's (Hugh Laurie) team to determine who is at fault for a horrible accident. The doctors rally around House, being honest, but also trying to leave things out that they know will make their boss look bad. Cofield pushes, getting to the heart of the matter, as the case unfolds in flashback. Cofield looks like he is about to rule against House, which will send the titular doctor back to jail. But then the patient's wife (Audrey Marie Anderson, The Unit) interrupts the verdict to thank House for saving her husband, and Cofield has a change of heart. He decides that it's "Nobody's Fault."

House is known for special episodes that are very high quality in drama, writing, and acting, and that verge from the typical formula. "Nobody's Fault" is the latest in this line, and is as fantastic as the others. Seeing things in pieces, watching how the doctors talk about House behind his back, both positively and negatively, is great. No one wants House to go away. He is not just the other characters' key to staying in a unique job, but also brilliant in the way that few people are. His team (and fans of the show) realize that, and want to protect him.

"Nobody's Fault" really examines House's process. It's messy, granted, but it is also effective, as Cofield comes to see. House pushes the boundaries of what should be done, but if he didn't, patients would never be cured. House creates a very competitive environment for his staff, and that fighting, along with his pranks, and his efforts to keep everyone on their toes, leads to the wonderful results that they get. If House were to back off, it would be safer for everyone except the person the doctors are there to help. Thus, House's techniques are justified.

The case of the week is relatively common. A science teacher (David Anders, Alias, The Vampire Diaries) collapses, and it is revealed that he is also in a chemical accident at school earlier. This combination leads to varying symptoms that have the characters guessing wildly. The team, of course, disagrees over what is wrong and how to treat him. Chase (Jesse Spencer) disobeys House's decision because he thinks that Adams (Odette Annable) might be right.

But things take a turn for the worse when Chase, who is glaringly not part of the interview process framework story up to this point, is stabbed by the patient during a mental break. The scalpel goes into Chase's heart. His life is saved, narrowly, but he comes through the surgery paralyzed. Thanks to another genius leap beyond the expected, House is able to tell the others how to fix Chase. It will take therapy, but Chase will be able to walk again.

Which means that the question of the episode is, who is at fault for Chase getting hurt? No one comes out and blames House, even though it's the negative environment that House creates, as well as the risky methods of diagnosis he uses, that lead to the circumstances that cause the patient to freak out on Chase. Cofield questions this, yet even House and Chase say that they would do the same things again. It's the way that the team works. Chase getting stabbed is unfortunate, to be sure, but it is an accident. The way things are being done is sound, in that it leads to a way to help the patient. There is no reason to change that because of one unexpected occurrence. As House says multiple times this week, "Good things usually happen; Bad things sometimes happen."

What is amazing is that Chase refuses to blame House. He has every right to, because Cofield is correct in thinking that Chase would not be hurt if another doctor led the diagnostics department. However, as Chase understands, their patient would not be cured, either. How Chase manages to hang on to logic and reason through his trauma is impressive. Until one considers that it's emotion that is really driving Chase. He is convinced that, deep down, House cares about him. This certainty is proven when House apologizes. Chase is not going to waste time being mad at House, or getting him in trouble, when the benefits of what House does helps so many people. And gives Chase himself the chance to walk again. House saves Chase as much as any other sick person. Chase is glad to benefit from that.

The fact that House apologizes does show some growth. House's signature attitude is ambivalence. He strives for objectivity by not caring about the patients, thinking it makes him a better doctor. As his fellows say, "He's not wrong." It may not be the way most people want House to be, but it's hard to argue with results. But with Chase, someone that House has worked with for nearly a decade, on the table, House does care. He can't show it, except in a private moment, which Chase responds to gruffly to allow House to save face. But he really does, genuinely, care about what happens to Chase.

Does House feel responsible? Maybe. After all, when Cofield absolves House of the blame because of how House helps his primary patient, House reacts angrily. He calls Cofield a coward and storms out. Clearly, House has guilt. House still insists that he is right, but somehow, right is wrong in this instance. Cofield doesn't understand this because he doesn't know House as well as viewers who have watched him these past eight seasons. The clues are there for one willing to look for them.

The big question going forward is, will House change? He is definitely affected deeply by the Chase incident. Now admitting, at least to himself, that he cares, he may be less willing to risk the lives of his team. This could be a disaster for House's reputation and career. He has allowed the same fellows to stay on too long, and now it could end up ruining him. If House can't act like he does, and he can't diagnose, then he has nothing. How much will the events of "Nobody's Fault" color the forthcoming episodes? The last effects will be something to highly anticipate!

Watch House Mondays at 8 p.m. ET on FOX.

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Smash should be able to prove its name

2012-02-06T19:03:00.000-05:00

NBC's Smash premieres today, though many have already had the opportunity to view it, as it has been posted online for some time. If you are coming across this review before watching the "Pilot" and do not want anything spoiled, please check back after watching the first episode.

In the NBC Smash "Pilot," Julia Houston (Debra Messing, Will & Grace, The Starter Wife) is taking a break from Broadway to adopt a baby. That is, until her writing partner's, Tom Levitt (Christian Borle), new assistant Ellis (Jaime Cepero) suggests that the two do a show about Marilyn Monroe. Caught up in the idea, Julia and Tom can't resist writing a number, much to the chagrin of Julia's husband, Frank (Brian d'Arcy James). But it's soon out of everyone's hands when Ellis posts that early recording session online, and it goes viral, putting the gears in motion for a full production.

Eileen Rand (Anjelica Huston, Medium, The Royal Tenebaums) is first on board, looking for something to produce while her other project is tied up because of her nasty divorce from husband Jerry (Michael Cristofer, Rubicon). Eileen would like to hire Derek Wills (Jack Davenport, FlashForward, Pirates of the Carribean) to direct, but Tom hates him. Unfortunately for Tom, Derek puts together a fantastic rendition of a musical number from the show-in-progress, and Julia comes 'round. Which means, it seems, that Derek is in, too.

Now, the next challenge is to pick the girl who will be Marilyn. Tom argues for Ivy Lynn (Megan Hilty, Bitter Feast), a chorus singer whom he thinks has lots of talent, and looks perfect for the part. Ivy gets a leg up by recording the viral demo, and assumes that the part is hers. However, the others, especially Derek, are also entranced by fresh faced Karen Cartwright (Katharine McPhee, American Idol). Which will win out in the end? The question is left hanging as the "Pilot" culminates in the girls' call back audition.

And, there are, of course, love stories. Will Julia and Frank work out their issues? Their marriage seems to have a solid foundation, despite this rocky time. Eileen and Jerry are definitely over. Karen gets supports from her beau, Dev (Raza Jaffrey, Mistresses, MI-5), who believes in her dream. But then, Derek seems like he'd be willing to cross the line with Karen. Will she reciprocate if her career is on the line? Instinct says no, but then again, one never knows how situation might change circumstance...

Any comparison of Smash to Glee is premature and pretty much dead wrong. While both involve singing, Smash has a much more serious tone, and isn't about high school. Additionally, while popular music will be used in the series, every episode isn't packed full of it, with the musical numbers spread out more, and only when the characters need to sing for the plot, at least in "Pilot." Original music will be written for Smash (some is already in the first episode) as the characters work on the Marilyn musical. Unlike Glee, this means that some songs may be repeated many times throughout the show's run. The basic difference can be boiled down to one thing: Glee is a musical, while Smash is about a musical.

Is Marilyn Monroe tired subject matter? Julia suggests that this might be the case, as she mentions recent books and movies. Yet, Smash takes the icon in a different direction. It's immediately obvious from the "Pilot" that this show will not be like anything else in production. It's why Julia and Tom agree to pursue it, and the new take should keep audiences from growing bored. And Monroe is an icon for a reason, so there's plenty of substance to build upon.

The acting and singing in Smash is phenomenal. Right out of the gate, Hilty and McPhee carve out their place in the series. Which other characters may sing remains fuzzy, but these two will be the powerhouse voices that carry the show. And they are up to the challenge. What's more, they're good enough in the acting department that they don't appear out of their depth alongside veterans like Messing, Davenport, and Huston. Yes, their characters don't seem as experienced, but that's the point, and the girls are good at making that feel authentic.

The staging is great. There is definitely a feel for the world of Broadway, at least, it appears so to an outsider who is not rooted in that culture. The characters and settings are very natural in this environment. Thus far, the musical numbers are presented in a bare bones style, but as Julia, Tom, and the others are just beginning to work on the show, this is appropriate. Hopefully the stage sets will grow with the rest of the series. All in all, "Pilot" is a very well orchestrated production.

There will be haters of course; those who don't care for musical theater, or appreciate it on television. But Smash should have a broad appeal as a story, as well as a music-related piece. Time will tell if it works out, but the first episode has plenty of signs to promote optimism.

Watch Smash Mondays at 10 p.m. on NBC.

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Article first published as TV Review: Smash - "Pilot" on Blogcritics.

The Song of Lunch coming to DVD tomorrow

2012-02-06T07:56:00.000-05:00

BBC's The Song Lunch is the story of two former lovers who get together for a meal fifteen years after they last saw each other. It originally ran in the states a few months ago as part of PBS's Masterpiece series on Sunday nights. "He" (Alan Rickman, Harry Potter, Galaxy Quest) is a miserable, lonely book editor, and narrates the piece. "She" (Emma Thompson, Nanny McPhee, Last Chance Harvey) is happily married and living in Paris. The two come into the meeting with very different expectations, and as the afternoon wears on, much is laid out on the table, so to speak.

Rickman and Thompson are fantastic performers. Besides both playing professors in the Harry Potter movies, they also play a couple in Love Actually, so they aren't exactly strangers. Yet, The Song of Lunch is also not a redo of their previous work. It's something new and fresh, and the actors really inhabit the roles completely. Viewers will quickly forget they are watching Rickman and Thompson, and instead be completely taken in by the story unfolding, and the complicated parts being performed.

The Song of Lunch is based on a poem by Christopher Reid. And it feels like a poem. Most of the spoken word in the fifty minute production is done with His narration, rather than dialogue. This voice overspeaks in flowery language that is very clearly more than standard prose. Given His attempts to make it as a writer, but stuck in a dead end publishing job instead, the style of language is perfect for the character. Whenever the colorful words get too dramatic or ridiculous, one only needs to remember that He has failed at being a writer, though he fancies himself a wordsmith, and it's all right. As such, the presentation of The Song of Lunch is really perfect for what it is trying to do.

If one has suffered failure and setback, it will be easy to relate to Him. Miserable, longing to be with Her again, but realizing He has no chance, getting drunk, mourning over the state of his existence. It's pathetic, and it's the kind of thing that happens more often in the mind, as various scenarios play out, than in reality. Yet, the sheer rawness of the emotion, and the power of the emotions expressed are gripping, and dully fascinating. The ending is both surprising, and fitting, after watching this desperate scene play out.

There will be sympathy for Her, to be sure, even if He is the main character. She shouldn't have to sit through this. She may regret ever being with Him, seeing what He has become. She wants to stop Him, but also knows it's too late to save him, nor is it Her job to do so. There is frustration, and perhaps regret for Her as well, having played any part of this downfall. When She walks away, though, there is no blaming Her. It's regrettable that She will leave this encounter haunted by His destroyed visage, when She could have continued to live in blissful ignorance.

The setting is like Him. It's familiar, a place the two of them used to frequent when they were a couple, but has undergone much change. As much as He wishes it were how it used to be, it's a pointless wish, as time marches on, and nothing stays the same. She doesn't seem to mind the differences, but then, She is more comfortable with the path Her life has taken than He is. Putting them in this specific restaurant, instead of a random eatery, only adds to the tension, and the beauty of the story.

It's a good thing this story is so great, because the DVD release has zero special features. Honestly, it's hard to imagine what features one would want with The Song of Lunch. Perhaps the two stars discussing the roles? Yet, it's such a work of art that should stand alone, anything additional might take away from the piece. People who collect DVDs and are obsessed with extras will be disappointed. But the target audience for The Song of Lunch should have few complaints about it.

The Song of Lunch goes on sale on DVD this Tuesday, February 7th at retailers everywhere. It is also available to download streaming on amazon, or as a paperback.

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Person of Interest searches in vain for the "Root Cause"

2012-02-04T13:34:00.000-05:00

CBS's Person of Interest's newest installment is "Root Cause." The latest number to pop up from the machine is for a man named Scott Powell (Myk Watford), who, after losing his job and lying to his family about it, wracked by debt, and pushed to the breaking point, sure looks guilty. But Reese (Jim Caviezel) realizes, almost too late, that it's a frame job, set up to make it look like Powell assassinates a Congressman, through Powell is really innocent. Finch (Michael Emerson) looks for a way to prove that innocence, relying on Carter's (Taraji P. Henson) inside info, and bringing in a previous P.O.I., Zoe Morgan (Paige Turco, Damages, April O'Neal from the early '90's Teenage Mutant Ninja Turtles movies), to help. But he is thwarted by an expert hacker, the woman behind the frame job, who calls herself Root (Rachel Miner, Californication, Guiding Light), and knows Finch's name.

Person of Interest is shaping up to be a mostly procedural series, but with enough serial elements to keep things interesting. For instance, the Congressman that is killed in "Root Cause" has been seen on posters and in the background during other episodes. Which leads one to believe that Root is involved in other events in prior episodes, but has just never been seen before this week. What is her connection to Finch? How does she know him? Does she have a grudge, or fancy herself in competition with, the fellow computer whiz? Or is he merely just crossing paths with her because her goals run contrary to his? There are so many questions, and so few answers. It seems Person of Interest will likely continue to dole out information in small, tantalizing pieces, thus keeping interest high.

Which is good, because the initial arc, that of Finch and Reese clashing with Carter, seems to be at an end. She still doesn't completely trust the pair, but seems to have acknowledged that they work for the greater good. Until they cause something really bad to happen, or betray her trust in a very serious way, she will probably stay on board. She is actively helping them a little, keeping the lines of communication open, and has stopped hunting them. She's kind of unneeded in "Root Cause," but it's been better in other episodes.

While her turnaround does seem a little too easy, and a waste of a great dynamic, it's also nice to have things resolved. Of course, that basically makes Fusco (Kevin Chapman) expendable, and true to that form, he does not appear in "Root Cause." Of course, this story may be reawakened if Fusco and Carter, who each do not realize that the other knows Finch and Reese, ever come to odds. Will they be the pawns in a Reese versus Finch battle?

That is a whole other ongoing story that is barely touched on this week. Reese is secretly investigating Finch, as Reese is more suspicious of his partner than Carter is of either of them. It really makes sense for Reese's character to be paranoid, despite the ways that Finch has been shown to earn Reese's trust. Still, as Finch's past remains unclear, it would not be surprising if Reese uncovers something very bad that leads to a (temporary) falling out between the two. Which could be a heck of a story.

As Person of Interest continues to take shape as a series, it's inevitable that recurring characters get added to the mix. Zoe looks to be the first one, and is a fine choice. Turco hasn't been in the Hollywood spotlight all that much lately, so she seems like a fresh face. She serves as a love interest for Reese, someone Finch is intrigued by, and a wild card, as she has her own agenda and past, as well as a murky job description. The character is great, and is welcome as much as the writers can find ways to use her.

As for "Root Cause" itself, and the case of the week contained within the episode, it's a thrilling, tightly played out plot, with some terrific twists, and wonderful action sequences. The case of Powell being framed and hunted is intriguing, and Reese crossing a major line by breaking Powell out of federal custody in the way that he does is fantastic. There really can be no complaints about this story, making "Root Cause" another excellent installment in a series that is quickly becoming a favorite.

Watch Person of Interest Thursdays at 9 p.m. ET on CBS.

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"If/Then" introduces an entirely new Grey's Anatomy

2012-02-04T10:01:00.003-05:00

On this week's episode of ABC's Grey's Anatomy, "If/Then," Meredith (Ellen Pompeo) wonders what her world would be like if her mother, Ellis (Kate Burton), didn't get Alzheimer's, and if Richard (James Pickens Jr.) left Adele (Loretta Devine) for Ellis all those years ago, thus raising Meredith as his own daughter. So during the hour, her world is seen drastically different than in the normal run of the show. Ellis is Chief at the hospital. Meredith is happy, bright, and cheerful, wearing pink, and best friends with April (Sarah Drew). She is also engaged to Alex (Justin Chambers).

But it's far from an ideal life. Meredith feels suffocated under the high pressure that her mother exerts. And she's not the only one. Alex can't help but stray with April, which crushes Meredith when she finds out. Ellis is not sympathetic. Bailey (Chandra Wilson) is so why that she gets fired for not speaking up at a critical moment. Derek (Patrick Dempsey) is still married to a pregnant Addison (Kate Walsh), but miserable, especially when he learns that the baby isn't his. Callie (Sara Ramirez) is pressured into cardio and marries Owen (Kevin McKidd), with whom she has several children. Meredith doesn't even know her half sister Lexie (Chyler Leigh), who is a coked up criminal. And Cristina (Sandra Oh) is shunned by all after the Burke incident.

"If/Then" is a classic "be careful what you wish for" episode. Meredith thinks that her life would be better with a more nurturing upbringing, but in truth, the obstacles she overcomes shape her into the great woman and surgeon that she is today. Why the others have to be miserable, too...? Well, that is just to make fans glad that everything is the way it is in "reality." Though, to be fair, if Ellis would have become Chief, things would definitely be quite a bit different at Seattle Grace. Just maybe not so different as they are shown in this episode. The message is clear: everyone is better off the way things are.

But are they really? After all, the beloved characters go through a number of dark, drama-filled experiences in the "real" world. Sure, Callie is happier married to Arizona (Jessica Capshaw), and Lexie has a much better existence when not living as a junky, but that doesn't mean that everyone's paths are easy, and that they all get happy endings. Which leads one to think, what if this different world were the series? It can easily be imagined as such, with the characters dealing with separate, but equally engrossing, challenges. Perhaps Ellis may have stifled the cast as the star, but perhaps not. The others would all still get their angsty stories, just in a different way. So really, either world is an acceptable one for Grey's Anatomy to explore.

Which does not mean the universe as it is in "If/Then" should be revisited. Grey's has chosen the series it wants to be, and it's too late to change that now. "If/Then" is just a fun little side trip to show another version of things, if different paths had been taken. In that, it's an amusing, welcome little experiment, but certainly not all that important in the overall arcs of the series.

The ending of "If/Then" seeks to restore balance. Despite everything that happens differently, Meredith eventually stands up to her mother. She also finds friendship in Cristina. Derek wakes up and realizes that he is completely unhappy, and should try to change things. Callie has a sweet moment with Arizona. Mark (Eric Dane) shows up at the hospital carrying Lexie, their lives intertwined. In this, the writers want viewers to believe that these people are destined to be together. It's a naive, and probably unrealistic, view of existence, but for a television series, it's a fitting ending.

Now, anticipation build up to get back to the normal timeline. After all, there is still much drama to work out there. Can Cristina and Owen's marriage be saved? Will Mark ever be back with Lexie? And, as heartless as it sounds, at least the not-so-great character of Charles (Robert Baker) is no longer around.

Grey's Anatomy airs Thursdays at 9 p.m. ET on ABC.

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Michael Jackson inspires latest Glee

2012-02-03T13:14:00.000-05:00

The latest installment of FOX's Glee is titled "Michael." To serve that title, the episode's various plots are threaded with songs from the late King of Pop. And what plots they are!

Blaine (Darren Criss) is injured when Sebastian (Grant Gustin) tampers with a slushie thrown in his face. Everyone is upset, especially Santana (Naya Rivera), who wants revenge. Kurt (Chris Colfer) is accepted into NYADA, while Rachel (Lea Michele) assumes she's been cut when she doesn't get a letter. Which leads to her accepting Finn's (Cory Monteith) marriage proposal, only to later regret it when she does get her notification.

Where to begin? Oh so much to discuss! How about letting the music be the guide? Unlike in other tribute-heavy episodes, "Michael" feels like the story drives the songs, rather than great music forcing plot to bend around it. It's a marked improvement over earlier efforts, and will make the episode a fan favorite for a long time to come. "Michael" isn't perfect, of course, but some fantastic numbers from the Michael Jackson song book, featuring both popular choices and some less so, really build a solid episode.

"Michael" opens with an awesome, Blaine-fronted "Wanna Be Startin' Somethin'." The choreography is fantastic, including some heavy leaning, and the entire cast gets involved. It's good to see Blaine featured again. He hasn't exactly disappeared into McKinley's larger group, but many miss his frequent Warbler solos. Thus, any chance to let Blaine take center stage is more than welcome, especially when done as well as in this instance.

Soon after, "Bad" is just as good, highlighting a showdown between the New Directions and the Warblers. Much of it echoes the original music video, and it culminates in the fateful moment where the slushie is thrown. Finally, there's a villain to really hate! Sure, the mean jocks have been tossing slushies at the glee clubbers forever, but only someone truly evil would add rock salt to the mix. Blaine's injury is regrettable, but will provide a good excuse when Criss disappears for a couple of episodes to sing on Broadway.

The other full group number is "Black and White," which is when Santana, Kurt, and the others expose Sebastian as a slimy devil to the rest of the Warblers. As the Dalton Academy students, one by one, begin taking to the stage to join the main cast in another great song, Sebastian sits there and stews, before storming out after being totally exposed. Will the Warblers kick him out? Will they forgive him? Or will they just decide they need him to compete? And why is Glee considering making Sebastian a main character next year? Sure, he's intriguingly bad, but that doesn't mean he needs to stick around for multiple seasons.

Blaine may have his eye (heheh) opened about Sebastian now, but there will be lasting effects to their battle. The rock salt is meant for Kurt, not Blaine, of course, as Sebastian expresses a desire to steal Blaine away from his boy. But Sebastian also shows no regret for his actions, considering Blaine acceptable collateral. So how deep do those feelings really run? And how Sebastian expects to still woo Blaine after this is a mystery.
An even bigger mystery is why Blaine's closest friends, Rachel, Finn, and Kurt, choose to cheer him up with "Ben." By far the worst song in the episode, the characters have much better taste in music than that. A huge disappointment.

In a charged moment, Artie (Kevin McHale) jumps out of his wheelchair for the fantasy sequence "Scream," a duet with Mike Chang (Harry Shum Jr.). While Artie is not the best character, for sure, and has been getting more focus than he deserves, it's also always nice to see the annual moment when he stands on his own two feet. "Scream" continues that proud tradition. Leave it to Glee to inspire with something so sympathetic and cool, despite the character not living up to those adjectives. Plus, Mike Chang always makes everything better.

That's not all, though. Another musical highlight of "Michael" is "Smooth Criminal," which is a confrontation between Santana and Sebastian, backed up by some wicked cello playing. Sebastian claims he is better, but fans will probably agree with Santana's opposite assertion. In truth, the whole thing is fantastic. From Santana bragging about her cleverness in taping an audio recorder to her "underboob," to her circling threateningly around the bad guy, it all works. "Michael" needs a Santana moment, and this is it.

"Human Nature" is almost as good, with Sam (Chord Overstreet) romancing Mercedes (Amber Riley) the way she should be romanced. Though, Mercedes being unable to walk away from the song does bring to mind Community's fantastic Glee parody from this past December. Run, Mercedes! But not really. She and Sam should totally be together. Even if Glee has been completely unfair to the actor cast as her boyfriend; one wonders how he might have developed in the second half of this season if Sam hadn't returned...

Quinn's (Dianna Agron) "Never Say Goodbye" is a small step down from those other numbers, but does deliver a powerful message. Alone of the glee club members, Quinn wants to leave this town, and everyone in it, in the dust. Others may seek bright futures outside of Ohio, but Quinn just wants escape. Which she will get to do because, somehow, she kept straight A's during her pregnancy, which earns her a spot at Yale. Stretching reality pretty thin, to be sure, but also giving her a windup for her final arc. One cannot help but root for her to get away, no matter how much fans love McKinley. It's the right thing for her.

Finally, there is the Rachel/Finn love story. Rachel is driven into Finn's arms when he serenades her with "I Just Can't Stop Loving You," an acceptable, if far from awe-inspiring, number. But what really drives her is the fear that she will be left with nothing after high school. Assuming she isn't going to get a NYADA acceptance letter because hers didn't come as quick as Kurt's, Rachel is striking out for something stable to hold on to. Not unlike Finn is as he is proposes. It's an understandable emotion, but her reaction when Kurt points out to her that Rachel rushes to share her good news with her bestie instead of her fiance cements it. Rachel is too young and not ready to marry Finn.

How can she get out of the engagement without screwing up everything between the pair Glee is building? There is a very delicate balance that must be achieved in the final ten episodes. Rachel does not necessarily have to end up with Finn. But their feelings must be acknowledged as genuine, and she must truly regret breaking his heart, as she has to soon do. They cannot go through with a wedding anytime soon. What a twist! And so well handled thus far. There is optimism that the writers will pull this off.

One last, small complaint about "Michael." Why does Burt (Mike O'Malley), when celebrating Kurt's acceptance, blurt out a request to tell Blaine the good news? It's great that Burt likes Blaine and is supportive of the relationship, but really? Dumb line, especially from such a terrific character, otherwise.

Watch Glee Tuesdays at 8 p.m. ET on FOX.

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Article first published as TV Review: Glee - "Michael" on Blogcritics.

Don't bring your children to The Office

2012-02-03T08:27:00.000-05:00

This week's outing of NBC's The Office is called "Jury Duty" because that's what Jim (John Krasinski) says he is doing when he misses a week of work. But Dwight (Rainn Wilson) grows suspicious, and goes on a quest to get his nemesis fired. Knowing he's in trouble, Jim confesses the truth to Andy (Ed Helms), that he was at home with his kids, who only makes things worse by trying to continue the cover up. Luckily, before Dwight can get corporate involved, he stops by the hospital and sees Angela's (Angela Kinsey) baby, who looks an awful lot like a Schrute. Suddenly, Dwight has the much more important thing of fatherhood to worry about than a feud with Jim.

It's long been known to viewers that Angela's husband, The Senator (Jack Coleman), is gay. But until the baby is born a "month early," at over nine pounds, it's unclear whether somehow he impregnated her or not. Why the Senator remains oblivious to the truth of the matter is unknown, but perhaps he is so caught up in his lie that he doesn't question it. Presumably he does have sex with Angela at least once, so it could be his, right?

Angela and Dwight's relationship has been a very slow burn over the years. Never getting too much focus in The Office, there has always been something special between them. Even as Angela tries to push Dwight away, it's hard not to hope that they will be together. They are strange in very different ways, and yet, their pairing works somehow. Both have taken turns being in pursuit of the other. This baby born in "Jury Duty" changes everything, and could possibly set up a happy ending for the two. Which would be ideal. Though, given how The Office has handled things so far, it could be years before Angela even acknowledges publicly that the baby is Dwight's. That would be a shame, because it's likely that The Office will be off the air by then.

Unless Dwight is wrong. However unlikely that possibility seems, it is a possibility. While the timing lines up much better for the child to belong to Dwight, there is always the chance that, in the end, he could be wrong. Dwight surely sees what he wants to see in the child's features, and often thinks he knows things that he doesn't. Mightn't the more unexpected and exciting option be that the baby is not Dwight's?

Nah.

Being a daddy finally gives Dwight a way to connect to Jim. Dwight always has a fondness for Pam (Jenna Fischer), but it's not until he learns he is a father that he shows any respect towards Pam's husband. Now, this stuff in "Jury Duty" will not herald a new dawn between the two; they will always hate each other. Dwight is only kind in a moment of weakness because of his own excitement. But a new understanding could crop up, and that could change their interaction in a way that no one quite knows yet. It would be an interesting cap to a long-standing rivalry.

Lots of laughs this week, too. Some "Jury Duty" comedy highlights: Kevin (Brian Baumgartner) begins calling Angela's baby "Little Kevin." Oscar (Oscar Nunez) once more is shown to be ridiculous in how he "prepares" his co-workers to see the "premature" baby. The staff's anger at Jim for lying turns to distaste for his kids, whom they can't wait to send away. Ryan (B.J. Novack) agrees that Angela having a black baby would be slightly more exciting than a Chinese one. Creed (Creed Bratton) thinks Pam has brought in Angela's baby, or possible that Pam is Angela. Wonderful episode!

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New Girl deals with another new girl

2012-02-01T10:41:00.007-05:00

FOX's New Girl this week deals with the conflict between "Jess & Julia." Jess (Zooey Deschanel) asks Julia (Lizzy Caplan, Party Down, Cloverfield) for help getting out of a traffic ticket. Julia agrees, but isn't all that nice about it. So Jess betrays Julia's insecurities to Nick (Jake M. Johnson), whom Julia is dating. Meanwhile, Winston (Lamorne Morris) realizes he doesn't have, and never had, game with the ladies when meeting up with an old flame (Kali Hawk, Bridesmaids), and Schmidt (Max Greenfield) obsesses over his perpetually damp towel.

It's cool that New Girl finally dwells on female relationships. Much of the premise and early episodes involve Jess and the boys. Which is fine. But now viewers get to see Jess hanging out with Cece (Hannah Simone), their lesbian friend Sadie (June Diane Raphael, NTSF:SD:SUV), and even interacting with Julia! Yes, Cece is a main character, but she's been barely used, like Stephanie (Kellee Stewart) was at first in the excellent sitcom My Boys, certainly a forerunner to New Girl. Unlike The Big Bang Theory, New Girl decides to expand the other gender earlier than expected. Only time will tell if it's a wise move or not, but for now, it's welcome to see some other sides of Jess as she deals with her fellow women. It also takes a little of the shine off her alluring, adorkable ways, a good thing.

Girls can be catty, which seems to be a theme of "Jess & Julia." It's not without merit in the real world. However, watching girls acts like "Mean Girls" can also be very uncomfortable. The discussion Sadie, Cece, and Jess have about the games women play will hit a little close to home for many viewers. Some may laugh, and some may cringe. This reviewer tends to fall into the latter category. Why can't they just be straightforward and honest? It will certainly allow for more getting along, understanding, and an easier time of life, in general.

That being said, the resolution of "Jess & Julia" is very satisfying, as Julia is drawn into Jess's gal circle. That's not to say that every female must sit and gossip and crochet, or even that Julia enjoys such things. Hopefully no one will take it as a commentary against the career-driven, less emotionally open woman, who is a perfectly valid type that needs no excuses. The series likely isn't stating that. But it's also good to see Jess and Julia getting along given their mutual affection for Nick, who surely wants his roommate and girlfriend to be civil to each other. Jess and Julia both make effort, and thankfully, they seem to find a way to work things out.

Might Jess's clash with Julia point to some hidden feelings for Nick? Jess and Nick definitely have chemistry, but New Girl has yet to explore this in any meaningful way. It's early in the series, and no one really expects the two main characters to hook up yet. But a jealous streak would explain Jess's initial dislike of Julia, and if Julia picks up on it, her hostility back. Of course, the girls could just be having a personality conflict.

Lest one complain that New Girl is treating women unfairly in "Jess and Julia" and painting a better picture for men, one only needs to look as far as Winston's subplot to disprove that. It's refreshing that a series pokes fun at athletes getting girls just because they're athletes, and explores what happens when the playing stops. Too often egotistical jocks get away with more than they should, a serious societal imbalance, though admittedly, not one that applies to every sportsman. Being a lower level on this hierarchy, Winston gets a harsh dose of reality relatively early on in life. This is great, because it gives him time to change, which he tries to. Winston is a likeable character, and having him figure out how to treat women will only add to that positive image.

And Schmidt is just damn funny. The whole towel debacle is classic Schmidt. He is easily the most laugh-inducing character on New Girl, and there can never be enough humor at the expense of his neurosis. True, it is gross to learn he has been sharing an (unwashed) towel with Nick. But the hilarity of Schmidt's reaction throughout "Jess and Julia" is well worth that punch line. Wonderful!

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HBO has all the Luck

2012-02-01T06:50:00.000-05:00

The pilot episode of HBO's Luck, a new horse racing series, introduces a lot of characters, and isn't always clear on their role in the story. Most central may be Ace (Dustin Hoffman, I Heart Huckabees, Tootsie), who is released from a three year prison stint, in which he took the fall for an entire organization. Whether Ace is on the up and up with his old colleague (Alan Rosenberg, The Guardian, Cybill) is unknown, but Ace is definitely not keeping his activities legal, pursuing the secret purchase of a racetrack, and using his assistant/pal Gus, a.k.a. The Greek (Dennis Farina, Law & Order, Snatch), as a front to buy a horse. Ace also seems angry.

Hoffman has never starred in a television series before, and it's amazing to get someone with his level of talent on the small screen every week. Ace is a fuzzy character, a man of few words, but Hoffman conveys much with a glance or a tone. He's a tortured character whose motivations are incredibly murky to the audience, and thus, should be a rich, rewarding, role for Hoffman to play. With Rosenberg and Farina on board, too, both of whom are great with finding the comedy in dramatic moments, this is probably going to be the most central storyline, and a good one at that. It also, after just the first episode, draws one in quite completely.

Ace's, or rather, the Greek's, horse is trained by Escalante (John Ortiz, The Job, American Gangster), who is definitely not a nice man. Unlike Ace, Escalante wears his temper on his sleeve. He is well respected as a trainer, so perhaps his ability to do a great job is what draws people to work with him; it's certainly not a sunny disposition. But then again, it's entirely possible, given the circumstances around which his anger occurs, that perhaps Escalante isn't a bad guy. He could just be driven, and take his job very seriously. It's hard to tell. Though, going by gut, the first impression of him, as a world class jerk, will probably pan out.

The subject of Escalante's rage in the pilot of Luck is a jockey named Leon (Tom Payne, Waterloo Road), who somehow stays cheery despite getting it from both sides. The other side being the stereotypical, foul-mouthed, bully of an agent named Joey (Richard Kind, Spin City, Burn Notice). Joey and Leon are polar opposites in their outlook on life and how they treat others. As challenges arise, it will be interesting to see if either ones' outlook rubs off on the other or if they can continue to work together despite such a major personality clash.

Also competing in the racing arena is an old horse owner named Walter (Nick Nolte, Warrior, The Thin Red Line) who thinks he has found himself a new prize winner. While the animal is not yet ready to race, Walter has high hopes. What is Walter's story? Not many clues are present in the episode. He is shown talking to horses and employees, indicating a long history at the track which lends viewers to trust that he probably knows the game quite well. But that's about it. Will his steed be a rival for Ace's horse? Or will Walter's story progress in a different direction?

Finally, there is also a group of gamblers who take a long-shot and win big in the pilot. The ringleader of the gang seems to be Marcus (Kevin Dunn, Transformers, Samantha Who?), though the luck and genius brain that chooses said victors is all Jerry (Jason Gedrick, Desperate Housewives, Backdraft). The other two, Lonnie (Ian Hart, Dirt, Finding Neverland) and Renzo (Ritchie Coster, The Dark Knight) have less obvious roles so far in Luck. But it seems like their story hasn't even started yet, as the four don't cash in their winnings by the end of the hour. Likely, the point of these guys is to dwell on what good luck and instant wealth does to people, and so they are not yet well defined or predictable.

Luck has a lot of things going for it. For one, it's on HBO, so it will be allowed a lot of freedom to do what it wants. If past series are any indication, Luck will be big and showy, but have plenty of nuance, and unexpected happenings. Secondly, the cast is terrific. Looking at the credits of just those listed above, plus all of the smaller parts that cannot be covered in a reasonable length review, means a lot of interesting, deep characters. Surely, their skills will be put to good use, and the tools are here for a lot of rich stories.

The world of Luck is also very vivid. It is painted with detail, all of it seemingly authentic. Even without experience in the world of horse racing, it's easy to see that a lot of care and research goes into the setting and roles. It's definitely very tuned into a specific place and time, with the actors easily inhabiting the world like they've always been there. Which makes it seem that the realism level is high, a big draw.

However, this last plus is also a weakness, at least in the pilot. It is nice that Luck trusts viewers to think on their own, but a little more exposition would be nice. Instead, the story begins with everyone and everything already in place, and spends little time walking potential fans through it all. It's very confusing, taking at least a half hour to even begin to grasp what is going on. The lingo is a mystery, and the rules of the race track and the betting that goes on there are not obvious. The characters understand everything so well that they have no need to explain it to each other, and by extension, the audience. Luck presents a nut very hard to crack into.

This could excite viewers. HBO has an intelligent group of subscribers who expect a lot from their programming. The Luck pilot could be a gamble that will pay off, if enough people are motivated to give the show the effort needed to get into it. As there are so many high quality aspects of the production, there is motivation to give it a chance. Repeat viewings and further episodes will probably make things quite a bit clearer. So despite a confusing start, Luck will be a winner, if viewers choose to turn into fans.

Any review of the Luck "Pilot" would be remiss without taking a moment to dwell on the animals so central to the story. In the first episode, Leon's steed breaks his leg and must be put down. The camera lingers on the horse's eye, allowing viewers a peek into his soul. Perhaps the audience won't have the personal connection the character of Leon has with the death, but the director's choices bring them pretty darn close. It's incredibly moving.

This could actually hurt Luck because that sequence calls into question the morality of horse racing as a sport. With fans caring about the horses so early and so deeply, will they be able to watch them pushed to their limits week after week? The scene above certainly makes this reviewer want to campaign for banning the entire industry on the grounds that it seems like cruel torture. Will Luck be about characters that must be despised? Or will the other side be presented?

Overall, the series is off to a great start, and gets better the more one dwells upon the episode. New installments will first run Sundays at 9 p.m. ET on HBO and the show has already been renewed for a second season.

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Article first published as TV Review: Luck - "Pilot" on Blogcritics.