24's LEGACY Intact

Article first published as 24 LEGACY Review on Seat42F.

24 is back tonight! OK, so it’s not classic 24, as our hero, Jack Bauer, is nowhere in sight. But other than missing Jack, this version is pretty much the same thing. There are terrorists and sleeper cells, betrayals and moles, CTU agents and politicians, people who just won’t listen even though their deafness gets in the way of saving the day, and, of course, the ticking clock as events unfold in real time.

Our new protagonist is Eric Carter (Corey Hawkins, The Walking Dead, Straight Outta Compton), the leader of an elite CTU squad that took out a major terrorist six months ago (think SEAL Team Six and bin Laden). Back in the states, Eric is trying to move on with his wife, Nicole (Anna Diop, The Messengers). But he isn’t doing a good job of it, Nicole even hypothesizing that Eric misses the killing and the danger. Can he settle into suburbia?

24: LEGACY quickly proves he doesn’t have to. The son of the assassinated terrorist is in town with a squad, and begins picking off Eric’s team one by one. With only Eric and mentally unstable Ben Grimes (Charlie Hofheimer, Mad Men, Black Hawk Down) left, Eric has to go on the offensive, trying to stay alive and stop the son from recovering his dad’s sleeper cell list. This means Eric is like later-seasons Jack, already violent and willing to do what needs to be done, even if it’s against the law, so yeah, I’m sure he can do it.

Of course he can. That is never in doubt. This is 24, so the bad guys will get to kill some people along the way, but not as many as they’d like. In fact, the blood starts flowing (in a not-particularly-gory way) only moments into the first hour. There are always casualties in war, but 24, taking its queue from the superhero genre, always makes sure that our hero wins the day, albeit with some cost. 24: LEGACY looks to follow that same format.

Also, as in other seasons of 24, high-level politicians enter into the story. This time we have Rebecca Ingram (Miranda Otto, Homeland, The Lord of the Rings), the former head of CTU, whose husband, Senator John Donovan (Jimmy Smits, Sons of Anarchy, The West Wing), is running for president. This dynamic allows for the in-agency stuff to tie in to election drama in a satisfying way.

Having watched two hours so far, 24: LEGACY almost makes me forget about Jack Bauer. They wisely have brought in a heavy cast, which also includes Dan Bucatinsky (Scandal), Teddy Sears (The Flash), and Gerald McRaney (This Is Us), who along with those above, make the story gripping and well-acted enough that, even with the popcorn-style, unrealistic plot, it’s a lot of fun. So much going on with so many fine performers, and family drama tossed in, too, keeps us from dwelling on what we don’t get.

Which isn’t to say that 24: LEGACY isn’t without its ties to past seasons. One of the new CTU staff members is Mariana Stiles (Coral Pena), the cousin of Edgar Stiles, whom this new version reminds us was one of the best the organization had to offer. But it also stands enough on its own that new viewers could jump right in without missing a beat.

Like the last Jack-led season, 24: LEGACY will only present twelve of the twenty-four hours in this all-important day. This is a wise move, as most seasons of 24 suffered from dragging or vamping in the middle, and the twelve hour format (with hours skipped to still cover an entire day) is a tighter, more enjoyable one. 24 banks on intensity, and the shorter season makes it easier to keep up the adrenaline.

My overall impression of 24: LEGACY is that the franchise is resilient and will fare just fine without its lead. As much as I hope Jack does return for future installments, the rest of the 24 ensemble has always been rotating, and the format works as long as the cast stays strong, which it does here. 24 isn’t the best show on TV, not by a long-shot, but it’s action-packed entertainment that gets your blood pumping, and as a fan or the original, I’m not disappointed at all by the latest incarnation.

24: LEGACY premieres tonight after the Super Bowl, then moves to its regular timeslot tomorrow at 8/7c.

Made (Not) in America

Article originally published as Made (Not) in America on Blogcritics.

It seems like there’s nothing new any more. The number of old shows being rebooted has skyrocketed in the past year (Coach, The X-Files, The Muppet Show, Full House, Boy Meets World, and Twin Peaks, to name just a few). But while restarting canceled American series is the current fad, the lack of originality is not confined to this arena.

Not long before this trend, remaking foreign shows had been the rage, too. Some of the more famous examples are Homeland, which was adapted from the Israeli series Hatufim, American Idol, based on Britain’s Pop Idol, The Killing, from Denmark’s Forbrydelsen, The Office, which became The Office, and Gracepoint, a remake of Britain’s Broadchurch, which even starred the same actor. Less successful examples abound: Life On Mars, Skins, Kath & Kim, and multiple attempts at Coupling. Even the U.S. classic All in the Family can trace its roots overseas, as it owes its DNA to the UK’s Till Death Do Us Part, not to mention Sanford and Son!

Although conventional reboots tend to copy the source material pretty directly, with series of foreign origin creators often get a little more creative. Americans don’t tend to watch other countries’ broadcasts (although the rest of the world watches our shows), and those not in English acquire even smaller U.S. followings. When American shows adapt, it tends to be with an eye toward bringing the series in line with “our own sensibilities,” or whatever executives think those are this week.

This has me wondering: what if other countries did the same thing? What if Lost was reset in Scandinavia? Or 24 in the Middle East?

So, without further ado (note: yes, these play on stereotypes, and no offense is intended.)

Lost: Denmark Style ~ A bunch of strangers are thrown together on an island. They don’t know each another, and their actions are steeped in mystery. The plot is often dense and confusing. Come to think of it, with darker lighting and slightly less humor (like, say, removing Hurley), the remake would be pretty much the same as the American version.

Law & Order: UK Style ~ This police and courtroom procedural is just like the American version, except with powdered wigs and fewer episodes per season. Each week, officers of the law work together to put a common criminal away. I don’t think anyone has done yet, right? I’d better run a Google search to make sure. (Oh, and fewer guns involved!)

Grey’s Anatomy: Mexico Style ~ At a hospital, a group of unnaturally hot doctors spend more time sleeping with one another than treating patients. Some of their number die in freaky, unbelievable accidents, and others learn of unknown siblings or hidden affairs at inconvenient times. Actually, just add a filter and some more dramatic music, and they can reuse the footage from ABC.

24: Israel Style ~ A single-minded hero goes after the enemies of the state, who are portrayed as flat, one-dimensional villains. Politicians get in the way, but the writers know what the viewers really want to see is action and torture in the name of patriotism. So it would differ from our 24 because, oh, um…

Hmm. Maybe we’re not so different after all.

All kidding aside, though, there are as many differences as similarities, if not more so. When Everybody Loves Raymond was sold internationally, changes had to be made to the material in order to make the laughs translate. Can you believe that the Russian writers didn’t even understand what a restaurant booth was because they don’t have them there?

American dramas tend to sell better than comedies overseas. Everyone can understand deep emotions, laughter, tears, and romance because these are universal concepts. Humor is much more subjective, and much of what we watch contains pop culture and societal references that aren’t echoed in other lands. If you’ve ever spent any time with British sitcoms, you’ll see what I mean. You may enjoy them, but it’s pretty obvious there are layers going on that we just don’t get with our frame of reference. Or, at least most of us don’t.

Globalization has started to blur or erase these lines. Every country has internet and every country has cell phones, at least to some extent. Developed, first-world nations have similar life styles, with shared technology and products. We are becoming more homogenous overall.

And yet, I Survived A Japanese Game Show, in which citizens of the U.S. underwent crazy challenges that would seem run-of-the-mill on Asian television, didn’t play well here. Residents of a country share a history that built world views a certain way and drives interests. As much as we may think we’re shaping our national conversation, its shaping us, too. People like the familiar, and if we’ve always done one thing a certain way and some place else has done it differently, there’s a fundamental chasm that must be bridged before understanding can happen.

Why bring this up now? On recommendation, I recently checked out Smartling, a translation software company, and they have a very cool service for businesses and websites. (No, they're not paying me to say this.) Connecting with people the world over has never been more important. Even more than finding a way to translate a humorous point of view, it's vital that the customers you're communicating with understand the words you are saying. Smartling can help with this, and as we get more and more global, this is definitely the type of help we all need in order to bring our services and products to a variety of places and people. They help drive this incredibly pertinent conversation.

I look forward to international television enjoyed the world over, but we have a long way to go before we really reach that point. For now, American studios rarely even give us the chance to get used to foreign styles, preferring to just remake a solid story with a bend towards what is already popular and known in this country. I don’t think TV is the medium that will bring us together, but will be very helpful to spread artistic masterpieces once that common mindset is found.

For now, I’d just settle for BBC America airing more than a small number of British programs and more foreign networks joining my cable package. If our producers can’t find a new idea, let’s try looking else elsewhere in the world, not just for inspiration, but to actually see what other people think. I think this is the easiest path back to freshness, at least for awhile. And it would do some of us good to read a few more subtitles.

24 LIVEs ANOTHER DAY

Article first published 24: LIVE ANOTHER DAY Review on Seat42F.

Jack is back. This week brings the revival of the popular series 24, four years after it went off the air, in a twelve-episode miniseries, 24: LIVE ANOTHER DAY. Set in London, Jack Bauer (Keifer Sutherland) emerges from hiding to stop a threat on the president’s life, as only Jack can.

WARNING: The following contains some spoilers, but does not ruin any big twists, concentrating mainly on things revealed in the first thirty minutes or in already-released press. Please read this article in real-time.

Anticipation is high for the adrenaline-fueled show, and I have to admit, watching the two-hour premiere is a bit like getting a fix of an excellent drug, or so I imagine, not being a drug user myself. That’s because 24: LIVE ANOTHER DAY releases the same endorphins and chemicals in your brain that 24 always has, scratching an itch in a spot that no other television program quite reaches.

Right from the start, it’s the same show. Keifer’s voiceover of the “events occur in real time” line and the ticking clock are there. While some installments will skip hours, this day being only half the number of episodes as previous ones but still covering a full twenty-four hour period, the premiere is from 11 AM until 1 PM, providing an unbroken starting point. And while CTU is gone, the CIA office featured and the people that staff it seem exactly like CTU, tonally and stylistically. I’m still waiting to hear if the phones share the iconic ring tone.

The opening act is intense, just as it should be. An American CIA office led by Steve Navarro (Benjamin Bratt, Private Practice) closes in on a suspect. It will come as no surprise to those who remember 24’s series finale that said wanted man is Jack, hiding among the homeless. He’s a high value target and Steve is ecstatic to get him, or as ecstatic as Steve probably gets, being a pretty mild person, emotionally speaking.

Quick to catch the attention of viewers is new player Kate Morgan (Yvonne Strahovski, Chuck). In the process of being forced out of her job because of something her husband did, Kate is the new Jack of this CIA branch, smart and wanting to make up for past wrongs. She is the only one that figures out what Jack is up to, and she butts heads with her would-be replacement, Erik Ritter (Gbenga Akinnagbe, The Wire), much to Steve’s dismay. Plus, there’s a tech guy, Jordan (Giles Matthey, True Blood), who likes Kate, but also doesn’t want to lose his job. Here is our familiar, messy dynamic.

Jack is brought into the CIA, but as soon as the president’s office is notified, Chief of Staff Mark Boudreau (Tate Donovan, Damages) orders that Jack be handed over to a special squad that is more versed in torture. Mark has a personal stake in the matter at hand, being married to Jack’s former love, Audrey Raines (Kim Raver), now released from the mental hospital. Mark is also serving under Audrey’s father, President James Heller (William Devane), who is losing his mental abilities. But what is Mark’s plan for Jack? Is Mark a good guy protecting his family or a bad guy manipulating vulnerable people?

It’s gratifying to have Heller and Audrey back on 24: LIVE ANOTHER DAY. Audrey is a loose end for Jack, someone he hurt and who suffers a lot. 24 likes to bring recurring players onto the scene over and over again until they die, so admittedly, their re-appearance could spell danger for them. But considering Jack’s history here, Heller and Audrey are ripe for exploration.

It’s also a nifty way to tie in the POTUS, whose office has almost always been a part of 24. Sure, 24: LIVE ANOTHER DAY could have staffed the place with a bunch of newbies, but there are enough fresh characters already, and the pacing doesn’t have time to introduce all new people in every aspect. On these two, we can just jump back in.

Jack is beset by many personal concerns. His return is for a mission, of course, but who he cares about hangs so heavily on these first two hours, promising pathos. Chloe (Mary Lynn Rajskub) does figure prominently in this premiere, though for the sake of preserving some mystery, I won’t reveal how she plays a role, other than to say she currently works for an Anonymous-esque hacker organization.

The politics of 24: LIVE ANOTHER DAY feel a bit more liberal than past seasons, which have skewed conservative. In the opening, the morality of killing people with drones and whether it’s OK to release classified government documents is debated. The writers may ultimately come down on the protectionist side of things, of which Jack has always played a part, but by casting people Jack respects on the other side of the debate, and I’m talking about more than just Chloe here, it is sure to make Jack and the audience at least consider their stances.

To be honest, the London setting isn’t much used yet. We meet Prime Minister Alastair Davies (Stephen Fry, QI), who will likely figure into the political proceedings, and the initial villain, Margot Al-Harazi (Michelle Fairley, Game of Thrones) seems British, but that’s it, the flavor of the city barely glimpsed. One wonders if moving the production overseas is important or a gimmick, as the answer is not made clear in the premiere.

A lot happens in these two hours, but I’ve said more than enough. Suffice it to say, 24: LIVE ANOTHER DAY continues the proud tradition of a great series. If you liked 24, you’ll like this, and if you’ve never seen 24, it seems accessible enough for newbies to jump in at this point. 24: LIVE ANOTHER DAY premieres Monday at 8 p.m. ET.

ABC's Split Season

Article first published as ABC's Split Season on Blogcritics.

In the never-ending quest to combat ratings erosion, ABC has decided to swing big, presenting several of its one-hour dramas in split seasons this coming year. I don’t know if it’ll be successful or not, but I think fans will appreciate it.

The idea seemed to begin with Once Upon a Time. Frustrated by falling viewer numbers after off-weeks, a plan was hatched to divide the installments into two “mini-seasons” (or regular-sized seasons for a cable network), and develop Once Upon a Time in Wonderland as a limited-run filler, bridging the gap between the two, thus ensuring nearly-constant Once Upon a Time goodness streaming to our televisions from September through May.

Unfortunately (or possible fortunately), Once Upon a Time in Wonderland was deemed too good to be mere filler, and got its own berth on the fall schedule. But the plan for Once Upon a Time was preserved, as the stories had already begin to be structured with this schedule in mind, and another mid-season show will be tapped to mind the gap.

Once Upon a Time isn’t the only show getting this treatment. It has been announced that fellow popular ABC dramas Grey’s Anatomy, Scandal, Nashville, and Revenge will follow suit. All of these are serial and mostly soapy, so this will fit better for their story arcs. Fans won’t have to wonder if their favorite show will air a certain week, and momentum can be built for months at a time, rather than constantly being interrupted by reruns.

This is not a new concept. ABC discovered Lost also worked better uninterrupted, splitting one season in two parts, and then doing a reduced number of episodes in one blast for the rest of the show’s run to stay cohesive. FOX also switched 24 to a straight January through May run for the last several years of that show’s life.

Given that this method worked for those two shows, it’s a little surprising it’s taken this long to try it again. Perhaps the networks thought it was something that should only be reserved for special event shows. Whatever the reason, though, doing it so widespread, with series that lots of people watch and engage with, should be a true test to the durability of the concept.

It’s also smart that ABC plans to fill the holes in the middle with new shows. For one, this should give good exposure to freshman series, with fans of established dramas tuning in to their normal time slot and possible willing to consider giving a chance to something fresh. Secondly, new fare is always preferable to reruns, a much-less-relevant idea in the age of DVRs, Hulu, and Netflix.

I don’t see this being adapted across the board, though. Television is not a one-size-fits all medium, as we’ve already seen in this new era of streaming services and internet shorts. There is a lot of room for different experimentation. And procedurals and sitcoms, which don’t typically build tension week-to-week, don’t need something like this to keep them going.

What I wonder is, will this prompt cable to try the same thing? USA already splits sixteen to twenty-episode seasons of many of its shows. And AMC presents The Walking Dead in a pair of eight-episode morsels. If ABC can deliver what basically amounts to two complete cable runs in a single year and keep quality up, AMC, FX, Showtime, HBO, and TNT might feel pressured to do the same.

The key there is quality, though. I absolutely adore Grey’s Anatomy and a couple of the others listed above, but I would not say they are as good as The Walking Dead, Game of Thrones, The Newsroom, and a number of other cable offerings. Many believe that writers for the cable shows can deliver a higher bar with the extra time off, and show runners can certainly be more involved in each episode. It doesn’t matter how episodes air if they aren’t up to a certain standard.

Bottom line, there will probably be a place in the future for any kind of television show, running on any schedule, that networks care to make and viewers care to tune in for. The split-season idea is a very good one for these shows, but it won’t solve the larger issues broadcast TV faces, and it won’t help in every case. It’s just heartening to see effort put into an inventive, smart idea. We need more of this.

TV Neglects Independence Day

Article first published as TV Neglects Independence Day on Blogcritics.

Think of all of the best television holiday specials of your favorite shows. Christmas will spring to mind, for sure, as will Christmas and Halloween. Possibly, a little Valentine’s Day thrown in for good measure. But who celebrates the 4th of July?

Despite being a major national holiday, the 4th of July falls in the summer months, when network television is taking a break, and so is rarely, if ever, covered on scripted television. True, series in the United States don’t actually air fresh episodes on Christmas or New Year’s, either, but they get close enough to make it work. Besides a few weirdos like this past season of Community, though, most of television tends to keep the action in the appropriate season that the story airs.

Why? A year doesn’t equal a year in many series, and Christmas episodes get the rerun treatment all year ’round. Why is 4th of July so off limits? It’s a celebration of our nation’s birth, and deserves recognition along with the others.

Next year, broadcast television is making inroads into the warm months by airing new episodes of Glee and 24 past the end of May. Combined with the growing popularity of summer cable shows, there is plenty of opportunity to celebrate our country’s independence. Here are some possible ideas on what could be done. Television writers, feel free to run with them, royalty free. Readers, feel free to toss in your own ideas in the comments below.

24 – Jack Bauer is an American hero fighting the terrorists who seek to harm America. What better day for the bad guys to strike to ruin our spirit and morale than the 4th of July? Perhaps next season, which will unfold over the course of a day, could be set on July 4th. Jack is being honored for his deeds, which have come to light after a media hacking scandal, but the party is cut short when a bomb is found on the Washington Mall. And then bio weapons are released in the Capital. And then a mole is found inside CTU. And then the president’s daughter is kidnapped. And then…

Community – In the January season premiere, Greendale is invaded by City College and conquered in an episode set in June, shortly after most of the students (save all of our favorite starring and recurring players) have left town. Then, in February sweeps, it’s the 4th of July, and the study group leads the fight for independence. The Dean dresses as Rosie the Riveter to support the suppliers, and Chang goes undercover as a spy for both sides. In the end, though, it’s Jeff’s big speech that saves the day, evoking much swooning from Nurse Annie.

The Daily Show / The Colbert Report – Have the week off.

Falling Skies – Aliens are attacking on July 4th, which coincidentally is also the New United States’ birthday, honoring the formation of an official rebel army. President Tom Mason tries to enjoy the day with his family, but not only can’t sit still when the perimeter is breached, but leads the attack personally, in which one of his sons is injured, but survives. A couple of supporting characters are killed, then laid to rest in a public funeral, complete with a new style of American flag.

Glee – The New Directions have won Nationals and come home to celebrate with a patriotic theme. Alumni return, mashing up the traditional tunes with modern pop. For some reason, the cast is still hanging out in the school building. Unfortunately, Sue, fed up with our government and authority in general, joins the Tea Party and tries to bring her own values to McKinley, unless they kids warm her heart with some Woodie Guthrie.

The Newsroom – Tired of the way the political parties are bickering and causing strife, Will broadcasts an emotionally moving monologue that laments the way things used to be and encourages everyone to get back into the patriotic spirit. Leona is furious because Will slams a couple of major sponsors during his tirade, the Republicans are furious because he trivializes their positions, and the Democrats are furious because he isn’t hard enough on the Republicans. Sloan is asked in an interview about the treatment of Asian Americans during World War II, and when she complains it hasn’t gotten much better, there’s serious blow back that could cost her her job. Jim and Maggie slip away and have a romantic time watching the fireworks on the roof, until Don shows up and ruins the mood.

True Blood – Arlene and Terry take the kids to a 4th of July parade, and Terry notices something strange that he doesn’t mention to anyone. And that’s the only part of the hour that even vaguely touches on the holiday, as the rest of the episode is spent on the season’s eight large arcs, spread out among the thirty main characters.

Out of Touch

Article first published as Out of Touch on TheTVKing.

FOX's Touch completed its two-season run with the series finale "Leviathan" last week. Aster Corps kidnaps Jake (David Mazouz) and Amelia (Saxon Sharbino), hoping to use them to finish the sequence before a financial report ruins the company. Unfortunately, with time being limited, Farington (Frances Fisher) orders a dangerous method to extract those digits from their brains that could kill them.

Jack Bauer Martin (Kiefer Sutherland) goes a bit crazy in trying to track down the children, torturing Tanner (D.B. Sweeney) for a lead. We know Martin's overriding motivation has always been protecting Jake, but we've never seen him like this before. He's violent and irrational, getting the job done, but at cost to both his soul and his ability to stay within the limits of the law.

Thankfully, not only do Martin's efforts pay off, but he's made a friend in the police force, Detective Lang (Mykelti Williamson), who is able to protect Martin from the ramifications. It's not exactly realistic, but it is satisfying that Martin gets off without trouble, while making the villains pay. This is the episode where Touch ventures into 24 territory.

Which seems to be exactly what FOX wants. Shortly after cancelling Touch, it was announced that 24 will be returning next spring for a twelve-hour season, solving the difficulty of making a feature film. Kiefer fills the role of Jack very well, and it's funny that Touch works best when he is allowed to revert to that part. I look forward to Jack Bauer's return, even if that means the end of Touch, which was a decently enjoyable series.

Touch season two is quite a bit different from the first year, containing a large, compelling arc in the battle between our heroes and the evil corporation, which fits more into the action genre, something Touch did not start out in. Over the course of thirteen episodes, the back and forth between the two sides keeps escalating, until is ends in a climatic showdown. As that run-in concludes this week, "Leviathan" serves as a pretty neat series-ender.

That's not to say that there aren't more stories that could be told, of course. While season one shows us the numeric patterns in the world, and season two seeks to protect abuse of those patterns, there are still a number of directions this story could go in. Sadly, it will not get the chance.

We also get the conclusion of a couple of other hanging tales in "Leviathan." First, Calvin (Lukas Haas) has to pick a side, staying loyal to Aster Corps or saving the kids' lives. He chooses correctly, but only after influence by others. It makes him a weak character who hasn't earned a reprieve from his wrong-doings, and thus does not get one. I like that his decision is not simple, and that his earlier actions have consequences, even if that makes his redemption incomplete.

We also find out what has happened to Avram (Bodhi Elfman). His story isn't nearly so exciting, having been abducted by his own people, who hope to set him back on the right path. But because Avram's boss is Ron Rifkin from Alias, it not only makes a cool couple of scenes, but there's also a level of possible evilness lurking just below the surface of the organization. This could have made a wonderful season three plot.

In the end, I'm glad Touch was able to bring their story to a close, with no huge, hanging threads, even if it didn't feel like it got enough time to explore the possibilities. It's a series I probably won't think about enough to really miss, but enjoyed it while it was around.

Homeland makes "The Choice"

Homeland -"The Choice"
Grade: 99%

Showtime's Homeland handled their second season finale, "The Choice," which aired last Sunday, in a very unexpected way. The action of the season completes in the penultimate installment, giving lots of time for characters-driven moments in the final episode. Until the big shocker rocks everything, and reignites the intensity.

Homeland is about terrorism, yes, but it's even more about the characters, and their relationships with one another. Obviously, a driving dynamic of the show is the one between Carrie (Claire Danes) and Brody (Damian Lewis). They have flitted around each other since day one, alternating between enemy and lover. As season two draws to a close, though, they are ready to admit their love and commit to a long-term relationship, with Carrie even willing to give up a promotion to be with him.

Is this professionally inappropriate? Absolutely. Is their relationships dysfunction? That's an understatement. But they have seen each other at their worst, or at least are aware of the flaws, and they still want to be together. Carrie understands that the reason Brody almost becomes a terrorist. Brody knows about Carrie's mental illness. Neither is perfect, but both want to be happy. And they can be themselves together, which is a huge check in the plus column.

Do they have a chance of making it work? I think so. Brody's marriage to Jessica (Morena Baccarin) is over because he came home a different man, and the bond between them has been broken. Trust is gone, and he can no longer relate to her as he once did. The same issues won't arise with Carrie, so barring anything completely unexpected and soul-altering (again), Brody's next gal may be the one for him for the foreseeable future.

Except, Carrie doesn't realize that Brody murdered Vice President Walden (Jamey Sheridan). It isn't an act likely to come to light, and most viewers will probably find Brody's actions forgivable and understandable, given Walden's sleazy nature. But should this ever be known to the public, it could pose a major stumbling block between Carrie and Brody, if Carrie thinks he has crossed a line.

It's interesting that Brody goes to Mike (Diego Klattenhoff) in "The Choice" and basically tells Mike that he can have Brody's family. There are a lot of reasons that go into this, but I think it isn't just a selfish out so that Brody can be with Carrie. In fact, it's a bit selfless. Brody has demonstrated that he cares about his kids very deeply, and by sending them Mike, who was already taking care of the clan before Brody comes home, he knows that Jessica and their children will be in good hands.

Of course, one assumes that Brody still expects to be involved where the kids are concerned, and the events at the end of "The Choice" make that pretty difficult. But we'll get to that in a minute.

Brody has a different and unique relationship with each of his kids. He seems more open about his affection for Chris (Jackson Pace), but he does want to stay good with Dana (Morgan Saylor), too. I think Dana scares Brody just a bit because she challenges him, she's intelligent, and she doesn't take things at face value. She is the one that learns some of Brody's secrets.

I hope that, even at the conclusion of "The Choice," Dana can continue to see her father for who he is, and put the pieces together. She could definitely be his window back to the world. Which could complicate things with Carrie, dividing Brody's attention.

Continuing to speak of relationships, while Brody has a family, the closest person in Carrie's life to her is Saul (Mandy Patinkin). Yes, her dad and sister are around, but we don't see them much. Saul is a father figure, but like Brody's love ones, doesn't quite know Carrie as well as he thinks he is. Saul is very upset with her when he learns she plans to put Brody ahead of her career. But this is a typical parent reaction; Carrie and Saul aren't equals, and his concerns come from a place of love. Which means, no matter how much he may disagree with the choices Carrie makes, they probably still have a good connection, and he will continue to watch out for her.

So a little over two-thirds of the way through "The Choice," everyone is on the right path, and a happy ending is in sight. We even see Abu Nazir's (Navid Negahban) body thrown into the ocean, leaving no doubt that the terrorist is dead.

The thing is, though, terrorism is not about one person. Sure, there is a face to many organizations, but the mission of the group is driven by a passion and surety of belief. Nazir recruits others who feel as he does, and just because Nazir is taken out doesn't mean that one of his followers isn't prepared to step in and take his place. Which is why Brody's car is used as a bomb to kill hundreds at Walden's funeral.

The difference between Brody's car bomb and the rest of Homeland's action thus far i,s there is little doubt this time that Brody is innocent. He already got his revenge on Walden, and while most of those killed are CIA, and so not "innocent civilians" in his eyes, it seems pretty clear that Brody is well past the point of attempting something like this. Maybe this is naive, taking his surprise at face value, and trusting Carrie's judgment of him (she is usually right), but I don't think so. I really don't think Brody did this. Though I concede that I, like most people, are almost always one twist away from being proven wrong.

The genius of the "The Choice" is that is fairly neatly ties up a number of arcs, but also sets up the action to continue threads already begun. The characters have theorized about a CIA mole before. Now, it looks like there definitely is one, and the mole's choice to use Brody as a scapegoat keeps all of the main characters involved in the drama.

I love 24 dearly, but Homeland is the next step in the evolution of that show's story and themes, making it a more intelligent version. 24 rebooted constantly; Homeland realized a full reboot isn't quite so necessary.

Carrie's decision not to run away with Brody is a sad one. She has good reason, intent on clearing his name, something she can do much more effectively working on the inside. It may be hard to convince Saul believe her this time, but he's a lot more sympathetic to Carrie that David Estes (David Harewood), who died in the blast, would be. Plus, Saul knows he doesn't listen to Carrie at his own risk, because her instincts are sharp. The seeds are sown for a very interesting plot here.

One last musing about "The Choice:" I absolutely loved the scene where Quinn (Rupert Friend) threatens David Estes. Quinn has been a fascinating character this season, and I really, really hope he returns full-time next year. Whether he goes on the hunt for Brody, or the mole, or both, he lends a driving force to the series that works incredibly well. Plus, he has issues himself that have not been explored. He seems like a character who should be there to stay, enriching the world, giving Carrie a friend and peer, and possibly even a second love interest, should Brody stay away too long, or be painted too dark for Carrie's taste.

So many good moments, and nary a single complaint that I can think of. "The Choice" is an amazing piece of television, and a real shining example of what a smart series can be, and can do. Awesome work.

Homeland has been renewed for a third season and will return to Showtime next fall.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on TheTVKing

"Let's Dance" with Covert Affairs

USA's Covert Affairs sort of reaches their mid-season finale this week, with three weeks off before returning to finish up the third year. The episode is called "Let's Dance," and takes place a significant amount of time after the previous installment, with Annie (Piper Perabo) somewhat healed from her gunshot wounds. Filled with rage at Nina Lena (Sarah Clarke) because Lena not only shot Annie, but killed Jack's Annie's love, Terri Simon (Richard Coyle), Annie takes off for Russia, where Lena is holed up.

I almost wish the previous week had been the mid-season finale. It would have been a neat ending, with Annie unconscious, dream-like sequences, and Auggie (Christopher Gorham) wrestling with his feelings by her bedside, while the CIA hunted an elusive Lena. Instead, "Let's Dance," which feels like a premiere, adds a coda with a different tone.

"Let's Dance" is a revenge story, pure and simple. Annie is filled with some dark emotions, and wants to make the woman who caused them pay dearly. This isn't a good idea, as is obvious to viewers. Auggie and Joan (Kari Matchett) tell her so. Heck, even the Russian named Dmitri, who she asks for help, tries to talk Annie out of her mission when he realizes how much hate she has flowing through her. Bottom line, if you can't turn off your emotions enough to keep a cool head, you will make a mistake that will likely cost you your life.

But Annie doesn't make a mistake. Our super hero spy not only finds Lena, despite Dmitri's betrayal (he falls in love with Lena... again), but shoots her dead. This is only slightly disappointing. After all, it feels good to watch Nina Lena be killed again. No one can argue that she didn't deserve it.

The lingering thought remains, though. What kind of episode would this be if it stayed more realistic, and Annie had screwed up? Not that Annie could be killed off; she's the main character. But there are other ways to show how everyone else is right in this situation, and Annie is wrong. Not only would that reveal a vulnerability that I'd really like to see in Annie, it could also keep Lena as a foe for, say, two more seasons (OK, I'm done with the 24 references)?

We also see that Annie can play the piano in "Let's Dance." This seems to stretch believability just a little too far. Annie has never been seen playing an instrument before, and she is supposed to be good enough to convince Dmitri to help her? Maybe she studied just for this trip, but come on! Even Annie can't learn that fast. It doesn't gel with what we know about the character.

That being said, despite a few things I would have liked to see changed, "Let's Dance" is a great episode. It's exciting, there are a couple of twists, plenty of action, some tender moments between Annie and Simon's old flame, and we get to see Annie being totally bad ass, which is never completely a bad thing.

At first, it seems odd that Auggie would choose now to try to tell Annie about his feelings for her, which he seems ready to do in this episode. However, upon reflection, this might be an OK time. True, both are still smarting over losing someone they loved, which might not leave them ready to start a new relationship. However, this is also the type of thing that can bond them, as they each understand how the other one is feeling. And fans are ready for Auggie and Annie as a couple to happen.

Joan has great moments, too. Even though Annie has requested a transfer from her department, and things have been strained between them lately, Joan sticks her neck out for Annie. She can't allow official CIA assistance to Annie's mission, of course, but she does offer some help and tries to convince Annie only to take a picture (which, admit it, is never going to happen), rather than risk her life. Joan is accused of favoritism for this, and the charge is probably accurate. That doesn't stop me from rooting for Joan anyway.

Covert Affairs will return in four weeks to USA.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Firts posted on TheTVKing

Missing misses the mark

On this week's episode of ABC's Missing, "Ice Queen," the plane lands without Michael (Nick Eversman, Vampires Suck, The Runaways) on board. The CIA questions the woman who is on the plane, Sloane (Victoria Smurfit, Trial & Retribution), but she plays dumb. Giancarlo (Adriano Giannini, L'ombra del destino) gets Becca (Ashley Judd, Sisters, Heat, De-Lovely) out of CIA custody. However, before Becca can get information from the also-released Sloane, Mary (Aunjanue Ellis, The Mentalist, Ray) shows up, making herself a pawn in the game. Meanwhile, Michael is placed in seemingly comfortable surroundings.

Missing would like to be a cross between Alias, 24, and Taken, but it fails to reach those aspirations. The action is pretty exciting, and Judd excels at her performance, as always. The overall tone is enticing, and the pace is fast enough. In short, it's fairly enjoyable.

It is more than a simple spy show, or a basic kidnapping story. Given the format of series television, Missing can afford to toss in back story, mystery, and some twists. But it does it so clumsily that it fails to live up to its potential. The fault of Missing is not with the actors, who are all at least adequate, or the locale, which is usually beautiful, if CGI-enhanced. No, the real issue with Missing is the plot. There are so many plot holes and developments that just don't make sense. It becomes incredibly distracting for those trying to enjoy the story.

For one thing, why doesn't Becca just come out and tell Mary the truth? She wants to protect Mary and maintain their friendship, fine. Then confessing her past to Mary would not only spare Mary's feelings, other than a bit of betrayal for not having been told sooner, but would get Mary home safely and not force Becca to act like an "Ice Queen." Instead, by lying at first, Becca sets Mary up to keep digging until she is taken by Sloane, putting her in real danger. Not to mention, Becca asks Giancarlo to pose as her lover, but then doesn't give him the chance to until after Mary doesn't follow through with Becca's wishes. So Becca knows Mary well enough to know that she just won't go home? Then why even attempt that route?

The scene in "Ice Queen" where Becca and Sloane have their final confrontation is also weird. A sniper takes out Sloane to keep her from spilling the beans after Sloane tells Mary that the man who killed Becca's husband, Paul (Sean Bean, Lord of the Rings, Game of Thrones), has Michael. The sniper is in position long before he pulls the trigger. It's understandable that he doesn't shoot while Ashley Judd holds the diamonds over the water, but only if he then goes after the diamonds, which he doesn't do. It's unlikely this shooter can hear the girls, anyway, so why doesn't he kill Sloane sooner? The timing is strange.

Additionally, Dax (Cliff Curtis, Trauma) keeps telling Becca and Giancarlo that he will help. Yet, he seems perfectly willing to let the CIA send Becca home until Giancarlo breaks her free. Then he changes his mind and decides to intervene, though he claims total support for her. So which is it? Is Dax following CIA orders or assisting Becca? Because those two purposes do not run parallel.

Lastly, it doesn't make any sense for the Big Bad to be consulted about shooting Michael to warn versus harm in "Ice Queen." Clearly, the plan is already in place to have Oksana (Tereza Vorísková, Znamení kone) tell Michael that he will be injured if he attempts escape again as part of the plan to get Michael to trust her. It's a solid scheme, but it makes the early scene unnecessary and weird. If the scheme isn't developed until after the warning shot, which seems unlikely given the level of planning the villains show in Missing, then the logical thing to do when the Big Bad orders the next shot to hurt Michael would be to tell him this immediately.

In summary, Missing could be good if the writing gets smarter. Until then, it's popcorn fluff, with story continuity taking a back seat. Missing airs Thursdays at 8 p.m. ET on ABC. In Columbus, ABC is found on channel 6 (antenna), 386 (satellite), or 1006 (high definition cable).

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The Event Fall 2010

     NBC's The Event delivered an exciting pilot, though initially it seemed like the first half of what was intended to be a two hour episode. Having now viewed all 10 episodes from the fall run that no longer seems to be the case. Though the first episode was light on explanation, episode two, when combined with the first, doesn't make the story seem any more complete. Instead, it they are the beginning of several much larger arcs, some of which wrapped up in a few weeks, and some of which are still open. The biggest question still is: what is the Event that the title refers to? If network promos can be believed, it hasn't happened yet.

     Overall, this is a pretty cool show. It has elements of Lost, 24, and a little bit of V. Large parts of several episodes have been done in flashback, revealing different things in the main characters' pasts. It's a storytelling method that has not been implemented in every episode, and it has not been overused. Sometimes the backstories are there to inform us about present events, and sometimes they're just about revealing traits of the characters. Very few of those flashbacks are superfluous, the rest of the story has needed them to better illustrate some points. The one that does seem unnecessary, as far as the rest of the episode is concerned, is when Sean (Jason Ritter) met Leila (Sarah Roemer) for the first time. But it was incredibly sweet and completely welcome.

     The cast is excellent, and almost every character is layered nicely. This is best demonstrated by the three Washington D.C.-based main characters. First there is President Martinez (Blair Underwood), who seems so idealistic but has participated in covering up some of the recent events, opening himself up to being blackmailed by his slimy Vice President, Jarvis (Bill Smitrovich). Jarvis fancies himself a patriot despite his having been complicit in the attempted Presidential assassination.  Despite showing a political convention, the show dances around which party each character belongs to, but I think it's pretty clear that Jarvis is GOP and Martinez is Democrat. That does paint the series with a liberal lean, even though a lot of the action and anti-terrorism stuff traditionally appeals to a more conservative audience. An interesting choice.

     Director Sterling (the always perfect Zeljko Ivanek) at first seemed duplicitous, and he sometimes is. But he is the true patriot, willing to do anything reasonable for his country, and not willing to endanger its citizens. He may have disagreed with Martinez's decision in the pilot, but he would never have gone to evil lengths to stop it.

     However, finding out that Jarvis was the mole within the President's circle doesn't make sense. Jarvis all but accused Sterling of being the guilty party early in the season, in private. If he had wanted to remove suspicion from himself, surely that confrontation would have gone down in front of at least the President and some aides. In retrospect, it was only meant to fool the viewers, and doesn't make much sense for it to have happened. There have been a few other moments like that, but this is the most glaring example.

     Obviously, the main story is about the aliens who came to earth in 1944, lead by Sophia (Laura Innes).  Many of them have been in a prison in Alaska for the last 66 years. Their motivations, or even how they ended up here, is still unknown. What has been shown is that there are factions within the group, as there very likely would be in the real world, who don't agree with their leader. The biggest faction is lead by Sophia's son, Thomas (Clifton Collins Jr.), who ended the season deploying a communications satellite to send a message home. This is a twist I didn't see coming, and have no idea what he's really up to.

     Thomas has been the least consistently written character.  He spent a whole episode being berated by his mother for not being a capable enough leader, even though in the rest of the stories, he has shown independence and the ability to command others enough to be a serious threat. However, as he is also my least favorite actor of the group, and he is involved in some of the biggest, action-packed plots, I am focused enough on other things to not notice this issue most of the time. I think his character was certainly not really fleshed out when the series began, and we're seeing on screen the different writers' different approaches to figuring him out.

     One major problem with the show is that there are a lot more aliens in the meeting hall with Sophia than previously shown escaping their crash site in 1944, even taking into account limited camera angles. What's up with that? Do their children age quickly, and then stop? Is that how the population grew? I didn't see any kids among them. What about half-breeds? Surely, marrying and having kids would have raised suspicion, since they don't age, and would have had to leave their families at some point or risk exposure (that was dealt with to some extent, though not fully, when trying to explain the drastically different numbers of aliens).

     One of my favorite characters is Simon Lee (Ian Anthony Dale). One of Sophia's group who escaped imprisonment, Simon currently works for Sterling. A few episodes into the series, it seemed certain his cover was blown, but some pretty clever writing kept his job intact. Simon is loyal to Sophia, but also to the men with whom he serves. He seems to have the ideals of morality and the sacredness of human and alien life in hand more than any other character. While playing both sides, he wants the greatest good for both and is not motivated by selfishness. The episode where we saw him in love with a woman in the 1950s, and his later encounter with her in her old age, demonstrated as much. He is a truly good man (being?).

     While Simon is an example of great character development on the show, sadly, not every character is used to their full extent. However, given the changing amount of screen time Sean, Sophia, Martinez, and the others get, and depending on who is involved with the major plots moving the story forward, I would bet that won't stay true for long. I can't imagine right now how Christina (Lisa Vidal) could really be worked in more, but maybe with Vicky's (Taylor Cole) greatly reduced role in the last few episodes of the fall run it could be in the works. And why Martinez didn't do much important in the last few episodes, even though he was still a presence, is something I definitely wonder about.

     Most cheated at this point is Leila's father, Mike (Scott Patterson). As the pilot who almost flew a plane into Martinez and Sophia, as well as the father of another main character, Mike has spent most of this run locked up by the government and his screen time has been scarce. As a Gilmore Girls fan, I want more for Patterson, and the finale left me with hope that will be coming down the line. With a twist I saw coming from about hour three, I was nevertheless excited when Sean and Leila realized that Mike is an alien. I wonder if Sterling and Martinez know yet. They should with all the medical work done on Mike at the CDC and if not, there will be another huge plot hole for the writers to plug.

     The action during the run has been intense, and the story has kept me guessing--there are so many threads unraveling at once, it's impossible to be bored. But, the stories aren't so numerous as to be very confusing either. While it does not (yet) live up to Lost or 24's legendary status, there is enough here that, if handled right, it could be a great show with at least four or five seasons worth of interesting tales. The current stories will probably only take us though one or two as the series has chosen to keep the revelations coming fast, rather than dole them out slowly. I think that is the right decision in this case, and I, for one, am interested in finding out what happens next. So far though it's pretty good. We'll see what comes next, and whether that will push the series to greatness, or condemn it to mediocrity... if it doesn't get canceled first.

     The Event will return to NBC on Monday, February 28th. A little too long between episodes for my taste, and after Sweeps--which isn't a great sign--but here's hoping that it does well.



For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

Article first published as TV Review: The Event - Fall 2010 on Blogcritics.

Top Shows to Buy for Christmas

     While television is flooded with terrible offerings, such as Jersey Shore, $#*! My Dad Says, Two and a Half Men and The Mentalist, there are plenty of great things out there that not enough people are watching. By not enough, in some cases, almost everyone would be enough, because they are truly awesome shows.  Though not a complete list, here are a few recent triumphs to add to your Christmas lists for any loved ones that love TV:

24 The Complete Series ~ Here's something to tide you over until Jack Bauer makes the leap to big screen. Even more fun, watch each season in one day. You can probably do it in about 18 hours without the commercials.

Battlestar Galactica: The Complete Series ~ If you saw the old version of this show from 30 years ago, you may have been disappointed by the cheese. This newer series has none of that, and it amazing with the questions it raises. Check it out.

Caprica: Season One (1st half on sale now, 2nd half December 21st) ~ Sadly this Battlestar Galactica is already canceled. In fact, a lot of the 2nd half hasn't even aired. But it is a mixture of terrorism, religion, and beliefs in general that deserves attention. A new Galactica prequel has already been ordered.

Cougar Town Season One ~ Yeah, yeah, yeah. The worst titled show on TV. But after a rocky start, the series ditched the old woman dating younger man concept and became something more in the vein of friends, a group of close people who love each other and drink far too much.  Give it another chance.

Glee Season One ~ Although season two has been much sharper, this first season really had us going with the musical numbers and teen drama.

 Lost: The Complete Series ~ Did you tune out after several years of not knowing what was going on? That's ok. Now the complete series is available in one collection, and you can watch it straight through. It will make it easier to understand, and no less exciting.

Parks and Recreation Season Two ~ After a wildly unstable first season, the series settled into consistent funny in season two. It is one of the smartest written shows on TV, and will have you rolling.  Too bad NBC kept it off the air this fall, though season three will begin in January.


     Some shows are just so good, that even though they currently aren't available on DVD, pre-order them a put an IOU note in a giftbox. You will still be loved for it:

Justified Season One (releases January 18th) ~ This fascinating surprise about a Kentucky marshall, which is not a crime-of-the-week show, but instead, a wonderfully detailed and nuanced character study deserves any attention it gets.

Nurse Jackie Season Two (releases February 22nd) ~ Season two had Jackie's secrets threatening to burst at the seams, and though she tried to break off the affair with Eddie, he struck up a friendship with her husband.  Great stuff.

The Walking Dead Season One (releases March 8th) ~ If you missed AMC's zombie show, you are really missing out. It was about so much more than monsters. It was about people surviving. And morality. And sacrifice. And yes, zombies that ate you alive.

Is Outlaw Just Another Legal Drama?

    Last night, NBC aired the pilot of Outlaw, several nights before its Friday night time slot. It stars Jimmy Smits (Dexter, The West Wing) as a Supreme Court judge named Cyrus Garza who resigns the bench so he can fight for people getting screwed by the system. The first 20 minutes of the show showed Garza agonizing with a moral dilemma of playing by the rules, or overturning a death penalty on an innocent man. Of course Garza did the right thing, then promptly quit.

     After that, the show felt very rushed, trying to get to the typical legal procedural. Garza was able to find a law firm to hire him, and put his name on the letterhead, in one scene. He maintained the staffers the audience has already been introduced to, and then recruited the defense attorney named Al (David Ramsey, Dexter).

     And that's the problem with the show. I loved the opening. I love Jimmy Smits. I think the premise is interesting, but it certainly feels like plenty of other legals shows. In fact, it's most like the former series Shark. Garza's team includes the smart blonde trying to prove that she has brains as well as beauty (Ellen Woglom, Californication), the stuck-up guy who won't admit to his co-workers that he actually respects his boss, all along working to please him (Jesse Bradford, The West Wing), and the dangerous outsider who doesn't seem to belong, but gets things done (Carly Pope, 24).

     Clearly, between the star power and the unique setup, there are the makings of a good show somewhere in here. Sadly, the writers don't want to seem to find it. I don't know if the show will do well or not; plenty of same-thing-every-week crime and legal dramas thrive on television. But if it doesn't get better soon, even Smits won't be able to keep my TiVo season pass going.

     Outlaw will re-run the pilot tonight (Friday night) at 10pm on NBC, which will be its regular time slot.

Article first published as TV Review: Is Outlaw Just Another Legal Drama? on Blogcritics.

Life Unexpected tries too hard to be unexpected

Before you begin reading this review, you may want to re-read my season finale review from last April.

     Last year, the CW presented a little-watched show that was a surprise pick-up for a second season this year. Life Unexpected was incredibly charming, and I was thrilled when it got renewed, well after I thought it dead. I was even more surprised, and disappointed, to watch the season premiere, "Ocean Uncharted." It wasn't that it was a terrible hour of television; it's just that I know from past efforts that LU can do so much better than this. My biggest complaint is that the show just feels like it's trying too hard. It's stunt storytelling to bring in ratings. The show needs more viewers, but it won't get them if it replaces good writing with shock factors.

     The three most important characters all face earth-shattering events in the premiere. Baze (Kristoffer Polaha) is wondering what would have happened if he had only shown up at the church earlier. Would Cate (Shiri Appleby) have left Ryan (Kerr Smith) at the alter if Baze had arrived before their vows were exchanged? The self-reflection isn't bad, and actually shows Baze's maturation. Nor do I fault him for looking twice at the hot new waitress at his bar, Paige (Arielle Kebbel, Gilmore Girls). It's what happens because of Paige and why Paige will be sticking around for a while that I have a problem with. Don't worry. I won't spoil the surprises.

     Cate and Ryan have just returned from their honeymoon when the premiere episode begins. They took Lux (Brittany Robertson), so that she could have a vacation. Obviously, this did not allow them a traditional post-wedding trip, and we'll see if that has any consequences. Back at work, they learn that a new co-host will be joining them in the mornings, author Kelly Campbell (Amy Price-Francis, 24). She gives marriage advice, without being married herself. And Kelly is there to do more than just join the pair. Not only that, but Ryan seems to be hiding something significant from Cate. I know there needs to be suspense, hooks, and shakeups to get people to watch, but look how many things I mention in that short paragraph for just one episode. Trying way too hard.

     Lux doesn't have it any better than her parents. As soon as she arrives back in town, her boyfriend Bug (Rafi Gavron) wants something very big from her. As Lux has done before, she starts to fall for another boy (Shaun Sipos, Melrose Place) while pulling away from Bug. Even though the guy was new, the plot felt stale. And his twist has been done on many television shows before.

     There is a bright spot on the horizon, though. Emma Caulfield (Buffy the Vampire Slayer, Beverly Hills 90210) will soon be joining the cast as the new boss of one of our main characters. Emma sure brought a breath of fresh air to Buffy when she joined the show mid-run. Let's hope she can deliver the same for Life Unexpected.

     Life Unexpected premieres this Tuesday at 9pm on the CW

Article first published as Life Unexpected Tries Too Hard to Be Unexpected on Blogcritics.

   

Less than impressed with Nikita

     What can I say about the CW's Nikita? 'Lots of potential, slow start' sums up the pilot pretty good. Nikita is a character many audiences are familiar with, having been the subject of a movie and a cable series. But now she's back in an updated series, complete with action and espionage. And, surprisingly for the CW, a lack of teenage angst.

     Maggie Q (Mission: Impossible III) carries the title character in this incarnation, and it's hard to argue that she's not bada**. In the highpoint of the pilot, which was unfortunately spoiled in the trailer, Nikita confronts her enemies in a crowded party, and has an escape plan good enough that she can do so with confidence. What said enemies don't know is that she already has an hook in their organization, besides once being a part of it, but I'll leave that surprise for you.

     Nikita's foes are a government organization that train young people to do their bidding, whatever they decide it is. Nikita was once a member of that organization, but now wants to take them down. Fans of the previous versions already know that. This new series also stars Lyndsy Fonseca as a new recruit in the group named Alex, just beginning her schooling. Lyndsy is a fairly big television star, having had substantial roles already on How I Met Your Mother and Desperate Housewives, as well as appearing in the movies Hot Tub Time Machine and Kick-Ass. Shane West (ER, Once and Again) plays her trainer, Michael, who also has a history with Nikita. The cast also includes Xander Berkeley (24) and Melinda Clarke (The OC). So the new show brings a bit of star power with it.

     I can't put my finger on why I didn't love this pilot. Perhaps when I see it a second time, I will. There's obviously some great driving motivations, and there are a number of twists that surprised me, which I won't spoil for you, just in the first hour. But I will say check it out and make up your own mind.


     Nikita premieres tomorrow night at 9pm on the CW.

Hellcats about to raise some hell

   By now you've probably heard the bad reviews of the CW's Hellcats. I certainly had, and that's why I never got around to watching the preview DVD they sent me at the beginning of the summer. However, I got a second version of the pilot from them last week, and I'm happy to report, it was pretty good.

     The show stars Aly Michalka as Marti Perkins, a smart girl studying law who loses her scholarship. Desperately searching for a way to stay in school, Marti finds out that cheerleading offers a scholarship. Despite considering all cheerleaders brainless groupies, she decides to put her past gymnastic skills to work and tries out. She can't quite keep up with their routines, but with a little improvisation, she impresses the coach and captain enough to earn a place on the squad.

     Speaking of the captain, she is Savannah, played by Ashley Tisdale, star of the High School Musical series. The quote that best personifies her is, "If we're going to improvise, shouldn't we make some kind of plan?" She's uptight, but dedicated to her team, and willing to do whatever it takes to win, even if that means befriending Marti after the blond trash talked everything that she loves. This part shows that Tisdale does have acting chops beyond Disney movies, and she was my favorite part of the pilot.

     The cast also includes a love triangle, naturally. Robbie Jones (One Tree Hill) is Lewis Flynn, Marti's new cheerleading partner. Dan (Matt Barr) has been Marti's best friend since childhood, although she doesn't seem him as anything more. Both are definitely into her, and both would make a good pairing, although I'm learning towards Team Lewis. I also enjoyed Sharon Leal (Dreamgirls, Private Practice) as the coach and the always fantastic D.B. Woodside (Buffy the Vampire Slayer, 24) as her boyfriend slash team doctor. Not so thrilled with the villain of the piece, Alice (Heather Hemmens), whom Marti replaces after her injury. But perhaps that's because she's doing a good job being unlikeable. Nor did I like, surprisingly, Gail O'Grady (Boston Legal, American Dreams) as Marti's alcoholic mess of a mother. But again, I'm not sure I was meant to.

      Hellcats premieres tomorrow night (Wednesday) on the CW at 9pm.



Article first published as TV Preview: Hellcats About to Raise Some Hell on Blogcritics.