Drive Around STUMPTOWN

Article first published as TV Review: STUMPTOWN on Seat42F.

Let’s get this out of the way immediately: broadcast network television does not need another detective show. I’m serious. Please stop. There are way, way, way too many already. I don’t promise not to raise related complaints below, but that’s the first statement that needs to be made here, even though I’m very tired of making it.

All right, with that being said, let’s take a look at the new ABC series STUMPTOWN. Dex Parios (The MCU’s Cobie Smulders) is a traumatized war veteran who splits her time between gambling away her military benefits, drinking, and taking care of her brother, Ansel (Cole Sibus, Spare Room), who has Down syndrome. Then, the daughter of her dead love goes missing, and the hard-headed grandmother (Tantoo Cardinal, Blackstone), also a casino owner, asks Dex to get the girl back in exchange for erasing some of Dex’s debt. Thus, Dex acquires a new hobby.

Smulders is excellent. She proved it as Robin Scherbatsky in How I Met Your Mother, and she has continued to kill it as Maria Hill in the Marvel movies. She does complexity well, and she can be a total badass in action scenes. She has both humor and heart, and deserves to be the lead in a hit show. I just wish it were a Maria Hill series instead of this. Dex herself is even an interesting character that exists in a fleshed out world. But we’ve seen her type before. A lot.

The cast of STUMPTOWN is, as usual these days, stocked with fine performers. Sibus is very good, as is Cardinal. New Girl’s Jake Johnson is Dex’s platonic (for now) friend Grey. Michael Ealy (Almost Human) is Detective Miles Hoffman, who is assigned to work the case of the missing girl for the official police department. Hoffman’s boss, Lieutenant Cosgrove, is played by Camryn Manheim from The Practice. Adrian Martinez (Focus) plays informant Tookie. I have no gripes with this ensemble.

The production also looks good. The lighting and design are a bit unique, embracing Portland as a setting instead of New York or Los Angeles. The action scenes are quick, not too gratuitous, and while they come often, there is care to fit them into the story. Creator Jason Richman (Detroit 1-8-7) certainly knows how to make a quality television show.

But where things begin to fall apart for me is the premise and several key elements. Only on television do the cops decide to work with someone from the private sector on a regular basis, and it’s become a tired cliché in series. Dex is much smarter and better at doing the job than Hoffman or Cosgrove, which doesn’t make a lot of sense. The love triangle with Hoffman and Grey is predictable and trite. Tookie is the expected comic relief. None of this transcends the bounds that other programs have put in place, nor seeks to be startlingly original.

STUMPTOWN is a charming, well-made series. But it’s also a procedural, and to be honest, this type of show has now become so common that it’s gone beyond boring and into solidly annoying. If the focus was on Dex’s PTSD and personal problems, it could make an interesting cable show. Instead, as per usual, it looks like that will be handled in bits and pieces while the A Plot will be a case-of-the-week, easily wrapped up at the end of an hour. You might as well binge one of the dozens of similar programs already out rather than start a new one.

For what it is, STUMPTOWN is good. Smulders et al, and we the viewers, just deserve something a lot better than this.

STUMPTOWN airs Wednesdays on ABC.

Tolman's EMERGENCE

Article first published as TV Review: EMERGENCE on Seat42F.

One of ABC’s newest shows is EMERGENCE. A not-so-slow burn mystery drama that is far less soapy than most of the network’s fare (not that there’s anything wrong with soap), it finds a smart sheriff risking everything, including her family, to save a little girl with no memory and strange powers. Or so she claims. Why did she show up on a beach where a plane had just crashed, and who is the secretive (possibly) government agency who cleaned up the site and want her?

Allison Tolman (Fargo) leads the cast as Jo Evans, the sheriff who finds young Piper (Alexa Swinton, Billions). Instantly drawn to the girl, Jo takes Piper, whom she names because Piper doesn’t even recall her moniker, home to meet Jo’s daughter, Mia (Ashley Aufderheide, The Slap), and father, Ed (Clancy Brown, Thor: Ragnarok and a long list of voice acting roles). As the authorities close in around them, Jo seeks help from recent ex and father of her daughter, Alex (Donald Faison, Scrubs), investigator Benny (Owain Yeoman, The Mentalist), and Officer Chris Minetto (Robert Bailey Jr., The Night Shift).

Tolman is fantastic, as one would expect if they’ve seen her in other shows. She has an ability to express complex emotions in ways that few can that feels totally naturally. She balances the duties and power of her job with her familial bonds and noble qualities very well. She alone is worth watching, even in a lesser show. Swinton is also impressive, and the rest hold their own alongside them.

As for the mystery, it’s intriguing. It feels a bit familiar, as with so many sci-fi attempts on broadcast television, most of which unfortunately fail quickly, often not due to a lack of quality. But it also feels fresh, with a specific story that hasn’t quite been told before, at least not in this exact way. As I like to say, it’s all been done, but it hasn’t necessarily been done the way you want to do it.

With fine actors and a decent concept, it falls to the execution to be the deciding factor. EMERGENCE is compelling and mostly well made. It’s easy to get hooked into it, and little about it feels cheesy. The tone and style are engrossing and done competently, and I enjoyed my viewing of it. I am very interested in tuning in for further installments.

One thing I do hope has a larger explanation in EMERGENCE is why Jo and her clan feel such immediate protectiveness of Piper. I totally get taking care of a helpless kid, but Jo is risking her own loved ones to save Piper, and no one seems to mind. It’s not a decision just anyone could make, with most putting their own family above the welfare of a stranger. Heroic, sure, but with grounded characters, it feels a little off. Unless one of Piper’s abilities is to inspire such devotion.

My other issue with the pilot is why is Jo so confident she can keep Piper hidden when the bad guys tracked her down so easily? Even with Piper removing the mysterious electronic ball from her head at the end of the episode, one would think the agency could still find her, especially with the family staying put. Shouldn’t Jo be on the run, not returning to her home?

I’m not saying the above are minor gripes, because I don’t think they are, but the rest of the hour is solid enough that I’m willing to overlook them or suspend belief for now. The first is easily corrected, and the second, while a glaring plot hole, is necessary for the premise set up. As long as EMERGENCE doesn’t make a habit of such things, one can somewhat forgive this one for now.

EMERGENCE airs Tuesdays on ABC.

KEVIN (PROBABLY Might) SAVE THE WORLD

Article first published as TV Review: KEVIN (PROBABLY) SAVES THE WORLD on Seat42F.

This week, ABC presents the new program KEVIN (PROBABLY) SAVES THE WORLD. Kevin Finn is an awful human being who has valued material things and having money above the feelings of others, including his own family. This obviously isn’t a strategy that is going well for him because, shortly before the series begins, he tries to kill himself. With nowhere else to go, he returns to his hometown while he figures things out. While there, he meets a messenger from God (don’t call her an angel) who tells Kevin he is the last of the righteous, and must improve himself and anoint others to save the Earth.

This premise feels familiar because it borrows from a few others in the past. Touched By An Angel and Eli Stone spring readily to mind, and KEVIN (PROBABLY) SAVES THE WORLD goes for a middle ground of the two. It’s less sentimental and preachy than Touched, but not nearly as whimsical or fun as Eli.

It’s a relatively heavily religious series, though it avoids getting into specific scripture, at least in the pilot. This is a good thing for a time when atheism is on the rise. You may say, “but this show isn’t for those that don’t believe in God.” I think that would be a naïve position for a mainstream network to take, and hopefully the series will continue be as vague as it has been on the deity Kevin is expected to serve.

Like most programs these days, KEVIN (PROBABLY) SAVES THE WORLD has a decent cast. Jason Ritter (Parenthood) is Kevin and JoAnna Garcia Swisher (Better With You) is his sister, Amy. Both performers have done well in ensemble and guest roles, and I think they can probably carry a show as its leads. Kimberly Herbert Gregory (Vice Principals), who is the messenger, Yvette, is not someone I am familiar with, but she immediately stands out. J. August Richards (Angel) has a small part as a local deputy, and India de Beaufort (Jane by Design), Chloe East (Liv and Maddie), and Dustin Ybarra (We Bought a Zoo) round out the group. These aren’t generally household names, but most will at least look familiar, and none seem out of place in the show.

The show itself does seem designed to emotionally manipulate. It may not necessarily be trying to get you to go to church on Sunday, but it definitely is pushing a certain philosophy in a very strong way. And while being good to others is laudable, I’m not sure it will achieve its goal if it comes on too strong. The pilot fluctuates on either side of that hard-to-define line, and it’ll be interesting to see where it lands.

The best parts of the episode are Yvette trying to coach Kevin, especially when she messes up, and the budding relationship between Kevin and his niece, Reese (East). Honorable mention goes to the one real conversation between Amy and Kevin on the porch. Some of this works because it finds humor in the situation, and others because they demonstrate real human connection. Kevin’s interactions with the other main characters are less effective because they don’t feel as natural. So those dynamics will need to be figured out before the show goes on too long.

I am torn on this one. There is some solid potential in KEVIN (PROBABLY) SAVES THE WORLD, and I am curious enough to give it a little time to grow into itself. Especially if what we’re told is happening at the start isn’t what the actual story is. The 10PM time slot means it doesn’t have to stay as tame as it starts out, and it might be a good thing to mix edgy with the source material, as they dabble in sci-fi at the start (more of that please). But if it gets too heavy into evangelism or too cheesy in its emotional moments, that’s where it’s likely to lose some, myself included.

KEVIN (PROBABLY) SAVES THE WORLD premieres this Tuesday at 10 ET on ABC.

THE Merely GOOD DOCTOR

Article first published as TV Review: THE GOOD DOCTOR on Seat42F.

ABC premieres yet another medical drama tonight, one of the most common types of shows made. This one, called THE GOOD DOCTOR, follows a young man named Shaun Murphy, who has Autism and Savant syndrome. Shaun is hired as a pediatric surgical resident at San Jose St. Bonaventure Hospital. Most of the staff, including the head of surgery, do not want him there, feeling his limited ability to recognize and express emotion will make it impossible for him to be proficient at the job. But with strong support from the president of the facility, Shaun is allowed to give it a go.

Shaun is played by Freddie Highmore, a brilliant actor who is fresh off a starring role in the series Bates Motel. Highmore makes Shaun as interesting and well-developed as his Norman Bates was, and it is immediately clear that Highmore will do a great job. Joined by the excellent Richard Schiff (The West Wing) as Aaron Glassman, the aforementioned president, as well as several other capable, sometimes terrific, actors, it seems there is the framework in place for a very solid show.

Furthering the points in THE GOOD DOCTOR’s favor is the creative team behind it. This show is based off of a successful South Korean series, and was developed for the U.S. by David Shore (House) and Daniel Dae Kim (Lost). Shore definitely knows something about making strong dramas in the genre, and Kim is well respected as a performer, which sometimes makes for a good guiding hand in production.

Here’s where the review takes a turn, though. Despite everything working in its favor, THE GOOD DOCTOR is merely the adjective the title uses – good. You may ask, what’s wrong with good? Indeed, many merely good series are watched by a great number of people week after week, year after year. But this is 2017, the era of peak TV, and there are many, many more innovative, complicated, and compelling options available. Good is no longer good enough.

There are plenty of factors working against THE GOOD DOCTOR, starting with how the story is very cliché. Despite being somewhat character-driven, it appears poised to feature mainly stand-alone episodes. The way Shaun’s thought process is depicted is a step above what House did, graphically speaking, but not unusual when compared to other, more recent series. The climax feels forced, and the resolution, unrealistic. Characters are almost two-dimensionally against Shaun for the wrong reasons, and viewers are hand-fed manipulative emotional scenes.

So what could THE GOOD DOCTOR have done better? Well, let’s start with the other characters having more nuanced opinions of Shaun. Why be so certain he’s going to fail before a person has even met him? Or worse, once they see Shaun impressively figure out a tough puzzle, why do they still write him off so quickly? In stark contrast with Highmore’s performance, it’s glaringly bad. It would also be interesting if the show was more focused on communicating Shaun’s experience, rather than using it as set dressing against a more mediocre storyline.

The one thing it probably could not have done better is choose better actors, and that’s probably why I’m so disappointed. We have enough melodrama on TV, and there are plenty of fine thespians to handle those. With people the likes of Highmore and Schiff, far above average, the project could and should have had more weight.

In fact, the thing I would most relate this show to is a formulaic, feel-good Disney film about overcoming diversity, with the struggle simplified to a sugar-coated, nutritionally-lacking, tasty but unsatisfying snack. This is the television version of that. Airing on Disney’s ABC, that might work out for it. But for the discerning viewer who only has time for high quality and freshness, this won’t make the cut.

THE GOOD DOCTOR premieres tonight at 10 ET on ABC.

CONVICTION Vague Title for Messy Show

Article first published as CONVICTION Review on Seat42F.

ABC has a new series coming out called CONVICTION (the third show this millennium to go by the name, by the way). In case that vague title doesn’t tell you anything, although it’s perfectly in keeping with the trend of not-really-descriptive single-word dramas on the alphabet network, this one involves a team in New York City called the Conviction Integrity Unit. Basically, they investigate people who are in jail and claim to be innocent, which would be a daunting task for anyone, given that most prisoners claim they didn’t do the crime. Can they right the world and find justice?

In short, I don’t think so. CONVICTION has one of the weakest pilots I’ve seen this year. Besides being more of a cop show than lawyer show (the difference is the focus is more on gathering evidence than battling it out in a court room, and in my opinion, lawyer shows are almost always better), it’s also a very weak cop show.

The initial installment finds the team gathering evidence on an eight-year-old case. Yet, the experiments they do and the questions they ask are at such a basic level one wonders why they couldn’t just look at the notes from the original file to get their answers. The case is ridiculously fresh and well-remembered for everyone involved, including the detective who screwed it up in the first place. And when our heroes close in on the truth, there is a very clumsy attempt to cover it up.

Look, I know and expect that the CIU people are going to find innocence more often than not; that’s the type of show this is. But they should at least have to work for it. Given the format, how little time they have to pick new cases in the huge stacks of paperwork they receive, and their five-day timeline on all investigations, the premise is hokey, completely unrealistic, and it’s handled in a very elementary way. The last pilot I remember being structured this badly was CSI: Cyber, which thankfully was put out of its misery relatively quickly.

Adding insult to injury is that there are some really great actors in the show. Shawn Ashmore from The X-Men films and The Following plays Sam, the man who should be running the crew but who has been forced to take a back seat. Emily Kinney, a veteran of the excellent series The Walking Dead, is the fresh-faced newbie, Tess, who doesn’t shy away from pig corpses. Manny Montana, who was great in Graceland, is a former prisoner fighting for those locked up because he knows how bad jail can be. Eddie Cahill (CSI: NY) is great as the slimy politician, Conner Wallace, who puts together the team and flirts with the lead. And Merrin Dungey (Alias) is in it, too.

Leading the group is Hayley Atwell, fresh off her brilliant run as Agent Carter, stuck in the confusing role of Hayes Morrison. She is blackmailed by Wallace into taking this job she doesn’t want, but then seems to enjoy with little shown to change her mind. Is she a party girl who wants to keep living a wild life? Or is she a brilliant legal mind who really gets into helping people? I can’t tell, and I don’t think the show can, either. There’s also a convoluted backstory between Hayes and her no-longer-together parents, one of whom used to be the President of the United States. Yeah.

The one good thing I can say about CONVICTION is that the exterior shots in the streets of New York are cool. They may get One World Trade Center in the background a little too often, but at least we can feel the city in the presentation. Well, for those shots anyway. Most of the series is filmed in Toronto, but I give them credit for getting in those key city views.

Anyway, CONVICTION premieres Monday, October 3^rd at 10/9c, and if quality counts, it’ll be off the air before Christmas.

NOTORIOUS Bad?

Article first published as NOTORIOUS Review on Seat42F.

While we impatiently await the return of Scandal, ABC has another show on deck that is along the same lines called NOTORIOUS. It follows a lawyer, a TV producer, and the people around them as they manufacture news stories and deal with real drama, lying to pretty much everybody, and contributing to the public’s false perceptions of reality. It’s very soapy, and is certainly trying to be sexy in an over-the-top way.

Piper Perabo (Covert Affairs) stars as Julia George, the aforementioned producer, while Daniel Sunjata (Graceland) is the second lead, a lawyer named Jake Gregorian. The two of them don’t have a relationship, since Julia dating a judge (Marc Blucas, Necessary Roughness) and Jake is interested in his client’s wife (Dilshad Vadsaria, Greek). But because of the type of show this is, and because of the easy, immediate chemistry between the two, you just know they’re going to be dating, or at least screwing, before long.

Julia seems to be the colder of the pair, having no problem lying to and scolding her on-air talent, Louise Herrick (Kate Jennings Grant, Frost/Nixon), not that Julia has any room to talk. She also treats her new intern, Ryan Mills (Ryan Guzman, Heroes Reborn), poorly, although considering Ryan is thrust upon her through nepotism, I guess that’s understandable. My point is, we shouldn’t like Julia because of how she acts towards those around her, and yet Perabo just can’t play unlikeable so we end up behind her anyway (which is surely the intention of casting the actress in this role).

Jake is a little more sympathetic. Yes, he’s into a married woman, but he really does care about her and he’s at least hesitant about acting on those feelings. Through Jake’s interactions with his brother and legal partner, Bradley (J. August Richards, Angel), we see that Jake is a decent human being, even if his client, Oscar Keaton (Kevin Zegers, Gossip Girl), probably isn’t. So Jake is probably too good for Julia, but that won’t stop the show from pairing them anyway.

None of this in of itself is a bad thing. I’ve enjoyed many shows with similar ensembles and dynamics on broadcast network TV. In fact, most of the best primetime soapy dramas happen to be on ABC, including Scandal, so it seems like NOTORIOUS should fit right in.

But it doesn’t. The level of quality just isn’t there on this one. It isn’t the cast, who is across-the-board good looking and charming; it is the writing. So many things happen in the first hour alone to unnecessarily cause conflict that it stops feeling real and you’re taken out of the moment repeatedly. How unlucky can Julia be? Why must Jake have a young employee, Ella Benjamin (Aimee Teegarden, Friday Night Lights), who is so perfectly matched to Julia’s Ryan? Why does Louise have to be so lecherous, other than to get in the middle of couples and potential couples?

It’s also really hard to trust what we’re seeing when not once, but twice early in the first hour of the series characters reveal how far their lying goes to the audience. Suddenly, I’m not going to believe anything I see in a scene until it’s proven and backed up in multiple other scenes, and maybe not even then. NOTORIOUS shoots itself in the foot by making the characters so dishonest and then somehow expecting us to still like and trust them.

This type of show is something I’d be totally into, and in the past, I may even have looked past the mess and the flaws to give it a chance to grow into itself (cough, Revenge). But there are too many good things on right now to waste your time with a mediocre one that may never be that great (cough, Revenge), and NOTORIOUS, despite having a great ensemble, just isn’t ready for primetime.

NOTORIOUS premieres Thursday, September 22^nd at 9/8c.

Is DESGINATED SURVIVOR Gonna Make It?

Article published as DESIGNATED SURVIVOR Review on Seat42F.

We all know about the DESIGNATED SURVIVOR, right? During the annual State of the Union speech, one member of the administration is chosen to stay behind at a safe location in case an attack wipes out the rest of the government. This unlikely event has never happened, but it’s a worse-case scenario contingency that is ripe with story potential, as shown in the great reboot of Battlestar Galactica a few years ago. But it was only one element of that show; does it have the legs to support a weekly series?

ABC is going to find out as DESIGNATED SURVIVOR premieres this week. Tom Kirkman (Kiefer Sutherland, 24) is the outgoing Secretary of Housing and Urban Development, probably left behind because he’s fallen out of favor with the president and being forced to resign anyway. But when disaster strikes, Tom is quickly sworn in as leader of the free world, thrust into a situation where he must make the tough calls in short order, set the country’s response to the most devastating attack its ever experienced, and assert power from those who don’t believe he can handle the job.

One such critic is Seth Wright (Kal Penn, House, Harold & Kumar), a speech writer for the POTUS that does not think the new guy has what it takes. Nor do any of the military leaders. This is understandable, not just because Tom is not a combative guy, but because the first things we see him do do not inspire confidence in his ability to lead and make the tough calls. It seems like he will not be able to make this work.

But if that were to remain the case, there would be no show, right? Tom is our hero and he will step up to the plate. That’s a given before we even start watching the series.

The problem is, Tom finds his inner strength way too easily. I guess you can take the man out of Jack Bauer but you can’t take the Jack Bauer out of the man. While Kiefer does a fine job finding Tom’s timid nature at the start, he transforms ridiculously quick into what he’ll need to be. Where’s the struggle? This would be a far more interesting show if the focus was on that growth journey instead of moving quickly past it to get to the action.

Funny enough, ABC president Channing Dungey recently said she wished cable series weren’t automatically seen as better than broadcast shows. DESIGNATED SURVIVOR is the perfect example of exactly why this bias exists. Were the series on FX or HBO or AMC, the show would be about the character’s struggle. The cast would likely be smaller, and the story tighter to the immediate situation. Instead, like a lot of ABC shows, it’s bloated and quick moving, wanting to get more action and soapy drama in than worrying about Emmy-worthy performances or fantastic writing.

Though I called the roster bloated, I’m not complaining about the rest of the cast; it’s a strong ensemble comprised of Natascha McElhone (Californication) as Tom’s wife, Alex, Italia Ricci (Chasing Life) as Tom’s aide, Emily, Adan Canto (The Following) as the new president’s, well, tutor seems appropriate though isn’t entirely accurate, Aaron, LaMonica Garrett (Sons of Anarchy) as a Secret Service agent, Mike, and Maggie Q (Nikita) as an FBI agent, Hannah. But most of them are underdeveloped, such as the First Lady being a very bland type, or poorly used, in the case of Q. This could improve over time, but these supporting players are not well established in episode one.

I really want to like this show, and I kind of do. It is exciting, I do enjoy the actors, and I am curious about the mystery that we start with. I just worry DESIGNATED SURVIVOR is not set up for success, and that things will get hokey and insincere as the season plays out, forcing twists where they aren’t needed, and skipping over the potential deep bits beginning to be explored based on the unevenness and flaws of the pilot. I guess we’ll have to wait and see if this one can be great or not.

DESIGNATED SURVIVOR premieres Wednesday at 10/9c.

Not SPEECHLESS About This One

Article first published as SPEECHLESS Review on Seat42F.

SPEECHLESS is a new sitcom on ABC that you may have heard of. As the previews make very clear, this is your typical family sitcom with a mom, dad, three kids, and one outside cast member to mix things up. As you may not have heard, there’s something about the show that makes it not quite your typical family sitcom, and yet, the very way in which this something is handled is what makes it so typical.

The family unit is made up of an overbearing mother, Maya (Minnie Driver, About a Boy, Good Will Hunting), a calm and supportive father, Jimmy (John Ross Bowie, The Big Bang Theory), a competitive daughter, Dylan (Kyla Kenedy, The Walking Dead), and a nerdy son, Ray (Mason Cook, Legends). Sounds normal enough, right?

Where things veer off a little bit is with the other son, JJ (Micah Fowler, Labor Day), who happens to have severe cerebral palsy. We’re talking a condition so bad that the poor kid can’t talk, having to use a laser pointer on a headset to point to the words on a card that he wants to say, on his way towards Stephen Hawking territory. I can’t recall the last time we’ve seen someone like JJ on a broadcast network sitcom.

What’s remarkable and laudable about SPEECHLESS is how little a deal it makes of JJ. Yes, JJ is a driving plot point, the family having to move schools frequently in order to find the best situation for him. And Ray’s first arc is all about feeling overlooked by Maya, who spends so much of her energy doing what is best for JJ. But this is by no means the only thing going on in SPEECHLESS.

The best part is how JJ himself is handled. He bullies Ray a little bit. Jimmy cracks jokes at JJ’s expense. Basically, he’s a part of the family, and no one in this clan treats him any differently on a regular basis. Sure, Maya might go out and fight harder for him, but in their dynamic, JJ is just like Ray and Dylan.

This should not be a revelation; shows have been trying to include more diversity for years. From Parenthood’s Max, who had Asperger’s (though the actor does not), to Glee’s Becky, who had Down Syndrome (which the actress does have), it’s not a completely brand-new thing to see this sort of character on television. And yet, it still feels fresh because so few regular series take the time to include a player with such challenging disabilities who contributes to the story in such a pedestrian way. This is a very good thing.

If JJ was all SPEECHLESS had going for it, I’d dismiss JJ as a gimmick, as sad as that would be. Thankfully, that is not the case. It’s a strongly written, well-acted comedy. Driver and Bowie are absolutely terrific, as they always are, but especially so in this particular setting. Cook, Fowler, and Kenedy are great, too, certainly able to keep up with the adults. Cedric Yarbrough (Reno 911!) rounds out the cast as Kenneth, the custodian-turned-aide for JJ, who easily integrates into the group from the first moment we, and the characters, meet him.

I’m sure the team behind SPEECHLESS doesn’t want to be known as “that family comedy with the cerebral palsy kid,” or at least I hope they don’t. They won’t be able to help that for awhile, and it’s impossible to write up an initial review without dwelling on it. But given the steady quality and amusing laughs, nudging it towards the top of the typical family sitcom heap (of which there are a few too many on right now), hopefully it’ll soon be talked about as “one of the better family sitcoms” period. It deserves that, and I love that I can say that about it. This would be a very different review if I could not.

As Joss Whedon said when asked why he writes so many strong female characters, “because you ask that question,” SPEECHLESS helps us along the path to answering a question about why you include an actor with a disability in the ensemble with “because you ask that question.” The more comfortable viewers can get with a wide variety of people on their screens, the better for it we all are.

SPEECHLESS premieres Wednesday at 8:30/7:30c on ABC.

THE CATCH Is Catchy

Article first published as THE CATCH Review on Seat42F.

SPOILER WARNING: It is impossible to talk about this program without revealing a “big twist” that occurs about a third of the way through the pilot (which is also on the show’s ‘about’ page at abc.com; I don’t watch commercials, so can’t speak to if it’s spoiled in the promos or not). I get to it about halfway down the page, so if you don’t know and don’t want to be spoiled, come back after watching the episode.

This week, ABC presents THE CATCH, which is sort of a Thomas Crown Affair-like series. A private investigator tangles with the con man that conned her, and because this is a weekly television show, lots of others in both of their orbits get drawn into the game. Who will come out on top, and could they ever be a real couple?

Produced under the Shondaland banner, THE CATCH feels like a good fit for ABC’s Thursday night lineup. It features a strong female protagonist, is fully of soapy drama and romance, and while it is hyper-realistic and not quite logical, it’s compelling when performed with a great cast.

Mireille Enos (The Killing) leads THE CATCH as Alice Vaughan, the P.I. She and her partner, Valerie Anderson (Rose Rollins, The L Word), run a very successful firm, which employs, among others, hacker Sophie (Elvy Yost, Bandslam) and the intelligent Danny Yoon (Jay Hayden, Battleground). Together, they accomplish great things professionally, building up an impressive client roster that they offer security to, but also are very close personally, and will support one another over doing their jobs. Think of them as sort of Olivia and her team from Scandal, but with the close bond of the docs in Grey’s Anatomy, hence why the show fits so well on this night and network.

Enter Christopher Hall (not his real name) played by Parenthood and Six Feet Under’s Peter Krause. Christopher is Alice’s fiancé, the perfect man, rich and loving. He’d do anything for her, and also to her as it turns out, considering he steals from Alice’s company and disappears from her life. Working with his lover, Margot Bishop (Sonya Walger, Lost, FlashForward), and friend, Reginald Lennox III (Alimi Ballard, Numb3rs), the trio prove a match for Alice’s group. Unless one of them defects.

Oh, and there’s also an F.B.I. agent (Jacky Ido, Taxi Brooklyn), whom I am highly suspicious of, given the twisty, turn-y nature of THE CATCH.

The reason I am OK with revealing Christopher’s true nature in this review is threefold. One, it’s on the show’s official website. Two, it’s obvious that he’s the villain right from the start to anyone who has watched at least a few examples of modern television, even if the show waits nearly twenty minutes to confirm it. Three, his betrayal is central to what THE CATCH is, at least for now.

The driving reason to watch THE CATCH is the relationship between Alice and “Christopher.” I think it’s clear there is real love there. Christopher has fallen for Alice authentically, and Alice’s passionate rage comes because she cares so deeply for him. I have to think the show is going to spend at least the first season keeping them apart, but they’ll have to be together again before we get too far in.

Now, I’m not saying there aren’t obstacles. But tell the truth: wouldn’t you watch any cat-and-mouse game starring the fantastic duo of Enos and Krause? THE CATCH may not be the best show on television, but it embraces what it is, and with those two leads doing what they do, I will gladly add it to my small list of guilty pleasure shows worth watching.

THE CATCH airs Thursdays at 10/9c on ABC.

Reeks OF KINGS AND PROPHETS

Article first published as OF KINGS AND PROPHETS Review on Seat42F.

As has become very in vogue over the last few years, ABC trots out a new Bible-based series for their spring schedule, expanding the offering from the miniseries and TV movies viewers have been getting recently into a full-fledged series. OF KINGS AND PROPHETS goes for the Old Testament, adapting the Books of Samuel (Joshua, Judges, Samuel, and Kings), or more specifically, the later parts of that story, when Israel was guided by the prophets. Or, around 630-540 BCE.

The series has two main players, as near as I can tell. King Saul (Ray Winstone, Indiana Jones and the Kingdom of the Crystal Skull) is the leader of the Israelites, uniting the tribes for the first time. He’s prone to anger, but mostly trusts in God, whose instructions are relayed to him through the Prophet Samuel (Mohammad Bakri, Laila’s Birthday). Saul is torn between his political aspirations, his family commitments, and what he is told his goals are. Is he a wise enough ruler to balance those forces?

The second key figure is David (Olly Rix, WPC 56), a shepherd. In the first episode, David’s father is set to punished because he has failed to protect his sheep from a lion, so David sets out to kill the lion and restore honor to his clan. Basically, he’s the young, confident hero of the piece.

And really, despite everything else going on, and there’s a lot going on in the first episode of OF KINGS AND PROPHETS, that’s all I can tell you about the plot. The reason for this is because it’s a convoluted mess full of underdeveloped, interchangeable, forgettable characters and bizarre choices.

Take the liberties OF KINGS AND PROPHETS makes from the source, for example. To update the story for modern times, and with the hopes of appealing to the crowd who likes a good sword-and-sandals genre program, a lot of sex and violence are added in, as well as important roles for female characters, especially Ahinoam (Terra Nova’s Simone Kessell, the best part of the show). These things stretch the historical accuracy, especially the relationship drama, which seems tailored to the soapy tastes of present day broadcast networks.

Yet, the strong belief in God is left intact. This would be fine, given that the people who lived in this era likely had a much stronger faith than most people today, except, as in most modern Biblical tellings, their God is real and does affect the course of events, a literal deus ex machina.

I understand that the religion-centric conceit is left in to appeal to the parts of the viewing audience that believe the events of The Bible really happened, and to try to woo the Christian sect. However, that contrasts with the blood and sex stuff I mentioned before. Yes, there’s violence and intercourse in The Bible, but not the way it plays out on screen here. The conflict between the two makes OF KINGS AND PROPHETS feel disjointed and at odds with itself.

About the only thing I can say positive about OF KINGS AND PROPHETS is that it looks pretty cool. Filmed in South Africa, the production achieves the epic feeling it’s going for, and the landscapes are wonderful. It does feel set in a different time and place than just about anything else on the Big Four networks, and sets itself apart from most of what it will air opposite.

That’s not enough, though, to redeem a meandering, shallow story, and unfortunately, The Bible will have to continue to wait for good adaptations of its works, with OF KINGS AND PROPHETS falling in line with the other poor examples from the last few years.

OF KINGS AND PROPHETS premieres Tuesday at 10/9c on ABC.

THE FAMILY Drama

Article first published as THE FAMILY Review on Seat42F.

God love the broadcast networks. Some of them are trying to step up their game in the face of rapidly declining ratings. While many of the programs coming down the pipeline on the Big Four are still crime procedurals and tame sitcoms, the things that are killing them, sometimes you get an attempt at a decent complex mystery drama.

The latest stab at quality is ABC’s THE FAMILY, which premiered last night. Told in two time periods, the present and ten years ago, this show is about a family rocked by the abduction of their son, Adam (Maxwell James), whom they assume to be dead, and rocked again when he seemingly shows back up a decade later (now played by Liam James, The Killing). What went wrong with the initial investigation? Or is the new boy not the son they believe him to be?

The unanswered questions are definitely the draw of THE FAMILY, and the reason to keep coming back. A show usually either thrives on story or on character, and this one has chosen the former. Packed with twists and clues, both real and false, to keep the viewer guessing, audiences will want to know what happens, and it does a decent job of hooking you in that manner.

The characters are a bit less compelling, though the actors are all pretty good. Matriarch Claire (Joan Allen, The Killing, Luck) is the mayor, and she actually uses her son returning as a way to help launch her campaign for governor. Father John (Rupter Graves, Sherlock) doesn’t seem much better, on tour with grief books he’s written and sleeping with the detective, Nina (Margot Bingham, Boardwalk Empire), who may or may not have screwed up his son’s case. Older son Danny (Friday Night Lights’ Zach Gilford in the present, Rarmian Newton in flashback) is a drunk, so of course no one believes his suspicions about ‘Adam.’ Daughter Willa (Alison Pill, The Newsroom and Madeleine Arthur, The Tomorrow People) embraces religion, but perhaps not as fully as people think, being calculating like her mother. Creepy neighbor Hank (Andrew McCarthy, Weekend at Bernie’s) is released from jail, but did he do what he was arrested for after all? And even if he didn’t, would he have, given the opportunity?

None of these are people you can get behind or want to support much, despite the terrible situation. It’s soapy, and that’s fine, but in the best soaps there are usually some redeemable qualities for the core cast. Instead, these are all players in a dangerous game, and one gets the impression they deserve whatever happens to them, at least in the later timeline.

That is probably why THE FAMILY doesn’t connect as well as cable entries in the genre do. Broadchurch is excellent because of its mystery, but also because of the fantastic characters, who struggle with real problems and are sympathetic as people. THE FAMILY is closer to Revenge, which limped along on ABC for a few years before cancellation, where you just want to see what happens to jerks, rather than rooting for a protagonist to win the day.

As such, THE FAMILY is good, but not as good as it could be. It is a great example of what is wrong with the Big Four networks, not willing to fully commit to something new, still mired in what has worked for them in the past. ‘Soapy drama for the sake of drama? Yeah, that’s been a hit before, so let’s add it to a currently winning formula from a cable channel to satisfy both our old audience and win new viewers.’ Unfortunately, that doesn’t work, ending up with a product unsatisfying to some from both camps, and not helping the viewer erosion at all.

However, if ABC and its kin would really give something like THE FAMILY a go, building a slower-paced show on the bedrock of strong characters, they might actually have something. They could even do it with these same actors if they wanted to.

THE FAMILY settles into its regular night and time this Sunday at 9/8c.

"The Bear" of Watching ONCE UPON A TIME

Article originally written for Seat42F.

 This week’s ONCE UPON A TIME, “The Bear and the Bow,” goes easy on the Dark Swan (Jennifer Morrison) plot and gives more screen time to Rumple (Robert Carlyle), Bell (Emilie de Ravin), and Merida (Amy Manson). What does it take to make someone a hero is a question where the answer depends on the individual, and throughout the hour, we get to see each of the three confront it.

Back in Camelot, Merida kidnaps Belle to have Belle use magic to save Merdia’s brothers from rival clansmen who seek to steal away Merida’s power. Belle thinks Merida has it in her to help herself, and with Belle having seen the steep price that magic extols on a person, she shies away from giving Merida the sort of help Merida requests. This does make for a dangerous situation, but as Belle predicts, Merida rises to the occasion and saves the day, finding the hero within herself.

It’s too bad Merida doesn’t remember this. In Storybrooke, she tries to kill Belle in order to make Rumple step up and be a hero. Merida isn’t confident that Rumple will do so, but feels she has no chance of defeating Dark Swan herself. If only Merida remembered the lesson that Belle taught her, she would probably be able to fight back. Whether she could win or not is debatable, but she should try.

Rumple also wavers in his own heroism. With the Dark One removed from him, Rumple reverts back to the coward he was oh so long ago. Belle reminds him that he overcame the Dark One’s negative influence in order to be a hero, but Rumple doesn’t see it that way. Without the power that the Dark One gives him, he can’t find anything inside of him that allows him to be a hero.

That is, until Belle is in danger, of course. Rumple does everything he possibly can do to run away, but when Belle refuses and Merida (as a badly animated bear) goes after Belle, Rumple steps up, just as he has done in the past for his son. Rumple’s love is what makes him great, just as others in ONCE UPON A TIME have found their best sides because of love.

The greatest hero in “The Bear and the Bow” is Belle. She doesn’t slay any beasts or overcome her own doubts, but instead inspires the best in others. She is brave and true and does what’s right, having faith that others will come along and do the same. It takes someone with a very strong sense of courage and certainty to this, and because Belle can see the good in people, she possesses this in spades. She is the real protagonist of the hour, and I think that’s pretty obvious to most people paying attention.

Despite all of these efforts, Dark Swan does get Rumple to pull Excalibur from the stone, despite Merlin’s (Elliot Knight) warning and presumably dire fate. What Emma will do with it remains to be seen, but one can assume that it’s not good if Dark Swan was willing to do something horrible to Merlin in order to get to it.

But it gives me great hope that Belle and Rumple will now be firmly joining the rest of the good guys in Storybrooke. I still think Rumple’s arc these past couple of seasons has been shaky. He earned heroic status halfway through season three, and as awful as it was that story veered off for him these past two years, it suddenly no longer feels earned that he has it again now, considering where he was very recently (almost as bad writing as Arthur (Liam Garrigan) trying to dispose of the mushroom in the fire). Despite that, I look forward to seeing Rumple face off against Dark Swan, and his knowledge of the Dark One might just be what the team needs to defeat the evil spirit once and for all.

ONCE UPON A TIME airs Sundays at 8 p.m. on ABC.

Wicked, WICKED CITY

Article originally published as WICKED CITY Review on Seat42F.

Anthology series seem to be all the rage these days. Cable started things off with the extremely successful American Horror Story, followed soon by Fargo and True Detective. But ABC has gotten into the game, too, with American Crime and WICKED CITY, the latter of which premieres this week on the alphabet network.

WICKED CITY’s first season tells the story of a serial killer on the Sunset Strip of L.A. in 1982. Kent Grainger (Ed Westwick, Gossip Girl) is the smooth-talking man that seduces ladies by telling them exactly what they want to hear, then stabs them to death and has sex with the bodies. He’s a psychopath who happens to love children, and can be quite scary, indeed.

Now, that description of what Kent does is pretty disturbing, but ABC doesn’t get too graphic, nor would anyone expect one of the broadcast networks to do so. The sex side of the crimes is handled without showing too much, barely any skin, and certainly none of the actual corpse desecration. Instead, it’s more about the seduction game, which Westwick does very well, talking the worst sides of his former character, Chuck, and making them bigger and more dangerous.

Several women come into Kent’s orbit in the first episode alone. There’s Betty Beaumontaine (Erika Christensen, Parenthood), a desperate single mother who quickly falls hard for the smooth fellow. There’s also Karen McClaren (Taissa Farmiga, American Horror Story), a wannabe reporter. And these are just the two I think might survive awhile; there are victims in the pilot.

Their best hope at staying alive is Detective Jack Roth (Jeremy Sisto, Suburgatory), who is on Kent’s trail. Given that this miniseries will last ten weeks, it’s surprising just how much Jack finds out in the first installment. Yet, Kent is smart, and I’m sure some of the information Jack gleans will soon become outdated and useless. The cat-and-mouse dynamic set up between Kent and Jack is immediately interesting.

Jack doesn’t work alone, of course. He has a new partner he despises, Paco Contreras (Gabriel Luna, Matador), as well as a romantic liaison, who happens to be an undercover officer, Dianne Kubek (Karolina Wydra, True Blood). These two may just serve as collateral damage as the case goes on, as they certainly are taking a back seat to Jack initially.

In an attempt to make Jack grittier and more complex, Dianne is the mistress, as Jack has a wife, Allison (Jaime Ray Newman, Mind Games), and teenage daughter, Vicki (Anne Winters, Tyrant), at home. But honestly, this doesn’t do as intended, as Jack seems like a typical hero even when he’s cheating on his wife. It’s like there are two separate Jacks, both equally noble, that happen to co-exist. This may be cynical on my part, being able to segment his life without judgment, but that’s how the show feels as it plays out, with Jack otherwise not being the least bit edgy.

WICKED CITY is engaging. There are a number of scenes in the first episode where I find myself on the edge of my seat, wondering what will happen. While it is done in the ‘true crime’ style, I’m not sure if it tells a real tale, like the inferior Aquarius, or a false one, like Fargo; I am not able to confirm this is based on a real killer. As such, it feels like anything can happen, and I hope ABC makes sure it stays that way, instead of settling into a comfortable pattern, as the broadcast networks usually do. If the rest of the episodes are as good as the pilot (and continue to have catchy music), I’ll be quite happy to continue watching.

WICKED CITY premieres Tuesday at 10 p.m. ET on ABC.

ONCE UPON A TIME "Dream" On

Article originally published as ONCE UPON A TIME Review "Dreamcatcher" on Seat42F.

This week on ONCE UPON A TIME, Emma (Jennifer Morrison) frees Merlin (Elliot Knight, Sinbad) from the tree in which he is trapped, but far from resulting in a happy ending, it only raises more questions. Weeks later, in Storybrooke, Regina (Lana Parrilla) uncovers Emma’s treachery against their son, Henry (Jared S. Gilmore), in a “Dreamcatcher,” bringing the heroes closer to figuring out Dark Swan’s plans, but driving a wedge between mother and son.

Where Regina and Henry and Emma and Henry are now is almost completely reversed from where they are at the start of ONCE UPON A TIME. Is Henry destined to never have both of his mothers be on the right side at the same time? Is the show really about the balance of light and dark, rather than about good triumphing over evil? If so, the ending will surely be a tragedy for everyone, the core characters too intertwined at this point to cast one as a pure villain.

How much is Emma to blame for what she is doing? When Rumple (Robert Carlyle) is the Dark One, he manages to let his love shine through and even engage in self-sacrifice in the name of love. Yet, he is consistently drawn back to his fiendish ways, the good in his heart never taking hold. Knowing this, can anyone truly blame Emma for anything she does, and isn’t she as much of a victim of the Dark One as anyone else? So by that logic, Rumple should be forgiven for everything, right?

Well, this is where free will versus mind control come into play. The question is whether Emma is being corrupted or if she’s been replaced in her own body. ONCE UPON A TIME keeps saying it’s the former, but actions seem to point to the latter. “Dreamcatcher” muddies the waters more by bringing a child in this, as while Henry is rapidly growing more mature, he can’t possibly instantly forgive Emma when she’s cured, which she must be. It’s a very depressing plot to consider.

The way Emma hurts Henry is by turning Violet (Olivia Steele-Falconer) against him in order to get a tear. Look, Henry is 13 years old, so only in a fairy tale would he end up marrying Violet (though, admittedly, this is kind of a fairy tale). Also only in a fairy tale would Violet be as taken in by Henry as he is by her, which actually makes her rejection of him feel more real than it ends up being. But whether Violet is the one he’s meant to be with or not, it’s a hard thing to lose a first love. So what Emma does is cruel.

I think all of this helps identify a fundamental issue with ONCE UPON A TIME. It wants to be set in the real world and also in the fairy tale world, but the two don’t mix well when it comes to rules governing reality. Things can either magically work out and heroes can always triumph over villains, or we can live in complex shades of grey. By never making up its mind which is going on, ONCE UPON A TIME is constantly contradicting itself and feeling authentic to neither.

Which isn’t to say that “Dreamcatcher” is an entirely bad episode. Despite some issues with the things happening above, the poignant story of a mother breaking a son’s heart does engage viewers. Rumple’s struggle to become a hero, and Merdia’s (Amy Manson) frustration when he fails, is also interesting. The concept of the pensieve dreamcatchers in the show is a cool conceit, even if it’s nothing new, and uses Regina’s past well. And I’m still invested enough in the characters to care what happens.

At least ONCE UPON A TIME hasn’t totally fallen apart in sense and continuity as some past arcs have done. Hopefully, it can still pull out a decent ending from this. It remains enjoyable and good, if not as deep or cohesive as it should be.

ONCE UPON A TIME airs Sundays at 8 p.m. on ABC.

Is ONCE UPON A TIME "Broken"?

Article originally published as ONCE UPON A TIME Review "The Broken Kingdom" on Seat42F.

ONCE UPON A TIME - "The Broken Kingdom" - (ABC/Jack Rowand) JOSH DALLAS, GINNIFER GOODWIN

Tonight’s ONCE UPON A TIME, “The Broken Kingdom,” is very Camelot-heavy. Viewers get the story behind the Arthur / Guinevere / Lancelot love triangle, and the search for the dagger during the missing weeks in Camelot. While it does put our main characters’ arcs on hold, it is an enjoyable installment with some intriguing story.

We already know Arthur (Liam Garrigan) is a villain prior to this hour, but that portrait flies directly in the face of the legend. “The Broken Kingdom” helps connect the disparate pieces. We see how insecure and obsessed Arthur gets. He cannot be happy without the full sword from the stone, but it has always remained out of reach. Feeling incomplete without it, he neglects his kingdom, his best friend, even his marriage, in order to pursue what he thinks is his destiny. He doesn’t see himself as evil; his narrow-vision just fools everyone, including himself, about what he’s doing.

Similarly, we already know Lancelot (Sinqua Walls) is noble, but how does that square with coveting his best friend’s wife? “The Broken Kingdom” adequately answers that as well, showing how Lancelot and Guinevere (Joana Metrass) grow closer as they try to save Arthur. Then, Arthur casts a spell on Guinevere that shuts down the true love between the pair in order to maintain an illusion.

Illusion is a key component of ONCE UPON A TIME this year. In the present day, which is not shown this week until the very end, everyone’s memories are gone, and the characters can only believe what they see. In the past, magic often disguises the truth, from the aforementioned stories, to Mary Margaret (Ginnifer Goodwin) and David (Josh Dallas) being cursed as well, made to trust Arthur when they shouldn’t. At least they see through Arthur’s plan to distract David with a title and a seat at the round table early in the installment.

In the B story of “The Broken Kingdom,” Hook (Colin O’Donoghue) tries to break Emma (Jennifer Morrison) of her own delusions. No, not the fact that Henry (Jared Gilmore) is too young to love; that bit just results in a fun scene. But Hook tries to help Emma remember the love they share and access the good parts of her brain. This succeeds in dispelling the hallucinations of Rumple (Robert Carlyle) that Emma has, if only temporarily.

In all of this, true love seems to be the most likely answer to break all the spells, as has been the case in the past. A true love’s kiss might bring Lancelot and Guinevere together and break Arthur’s hold on them. It might help Mary Margaret and David and the others get their memories back. And it just might save Emma from herself, even if love never quite manages to save Rumple when he is the Dark One.

The question remaining is, how does Merida (Amy Manson) fit in? Seen early this season, she re-appears in Arthur’s dungeon, when Lancelot is locked up with her, as well as in the present day when Dark Swan gives her a forced mission. Right now she is the X factor that could sway the outcomes of many a storyline. Without knowing why she’s involved or what she will do, there’s no telling what role she may play throughout this fall season.

Some fans of ONCE UPON A TIME get frustrated when the focus shifts to guest characters, away from the core cast. I understand that attitude, and for those viewers, “The Broken Kingdom” will likely be a disappointment, with Merida’s likely key part only heightening that. Personally, I am just glad for a mostly plot-hole-free hour and some promising teases of what is to come. I like this one.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

"Perilous" ONCE UPON A TIME

Article originally published as ONCE UPON A TIME Review "Siege Perilous" on Seat42F.

ONCE UPON A TIME - "Siege Perilous" (ABC/Jack Rowand) JENNIFER MORRISON, MICHAEL COLEMAN

This week’s ONCE UPON A TIME, “Siege Perilous,” finds several characters dealing with sneaky types. David (Josh Dallas) bonds with Arthur (Liam Garrigan) while on a quest, but is the bromance mutual? Emma (Jennifer Morrison) seeks to reignite her relationship with Hook (Colin O’Donoghue), but he’s reluctant to get involved with the Dark One. And Mr. Gold (Robert Carlyle) finds himself facing the darkness once inside of him.

You can tell Jane Espenson wrote this episode because even where the larger arcs don’t quite make sense, she makes it work by getting into the complexity of the characters. I often complain about ONCE UPON A TIME failing to follow through or taking short cuts with stories, and some of that is present in “Siege Perilous.” But Jane, always talented and with an extraordinary strong grasp of the players, seems to reign it in the craziness, remarkably managing to make some of the weak spots gel, and deliver an overall enjoyable episode. Any flaws present are likely not her fault, and the solid performances absolve the cast of wrong-doing, as well.

The story in which David accepts not only a seat at Arthur’s Round Table, but the primary seat, for the knight of purest heart, could easily be hokey. After all, David is a hero who has been through a lot and should see through such a blatant ploy. And the fact that Lancelot (Sinqua Walls), whose rumors of death have been greatly exaggerated, tells Snow Mary Margaret (Ginnifer Goodwin) the truth means that Arthur won’t trick the couple for long, making the ploy meaningless.

However, the way “Siege Perilous” approaches things is to play up David’s best qualities and show he he longs to be something more than just a charming face. This David is insecure as to who he is, so Arthur nudges him perfectly in order to manipulate his emotions. Arthur presents himself as a like-minded individual to David from a similar background, so David assumes Arthur is like him and immediately trusts the king.

All of which makes Arthur a great villain, especially scary as he forces a loyal aide to drink poison. ONCE UPON A TIME hasn’t really targeted David for quite awhile, and by making him the one easily fooled by Arthur, it sets David up to be the hero of the season. I think he can rise to the occasion, and Arthur is a worthy adversary, clearly smart and capable. I’m not sure what is behind Arthur’s motivations, but at least it feels surprising and interesting to have David go up against him. And how about that scene with David in the truck? Pretty cool, eh?

The other bad guy this season is Emma, of course. She tries to pretend she’s not all bad towards Hook. Rumple’s affections for Belle (Emilie de Ravin) always shone through when he was the dark one, so it’s believable that Emma would still want the former pirate.

One might wonder why Hook doesn’t go for Dark One Emma, given his villainous past. The only reason he seems to change is for Emma, so why not change back when she turns? The thing is, though, Hook fell for Savior Emma, not Dark Emma. He knows Savior Emma is in there somewhere and considers her in need of a rescue. In that context, it makes sense for Hook to resist this woman.

The plot in which Emma intends to make Gold pure enough to pull the sword from the stone is very intriguing. Gold has been a poorly-handled character for awhile now, but the removal of the Dark One gives him a chance for a complete reset. For him to become a hero now would not be earned, as it was before his character was ruined, but it could still be a rich way to play him. If nothing else, Belle will finally get the man she deserves, but might she loose interest a bit if Rumple is back to being a coward without an edge?

I am impressed by the way things fall into place in “Siege Perilous.” As I’ve said, I think it would be super easy for certain elements, such as Arthur’s reveal, to not make sense and feel cheap. Yet, in this script, they work, and I came away feeling pretty good about this installment.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

"Purpose" in MARVEL'S AGENTS OF S.H.I.E.L.D.

Article originally published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review "Purpose in the Machine" on Seat42F.

MARVEL'S AGENTS OF S.H.I.E.L.D. - "Purpose in the Machine" - (ABC/Kelsey McNeal) IAIN DE CAESTECKER, HENRY SIMMONS

On last night’s MARVEL’S AGENTS OF S.H.I.E.L.D., Fitz (Iain De Caestecker) struggles to find the “Purpose in the Machine.” More accurately, he wants to rescue Simmons (Elizabeth Henstridge) from her imprisonment on an alien world. Thankfully, with some help, he manages to do so.

Where Simmons has been is a big part of the mystery so far in MARVEL’S AGENTS OF S.H.I.E.L.D., and rescuing her has to only be the beginning. While the portal is now destroyed, meaning it doesn’t seem the team will get to travel to where she’s been, we still don’t know what happened during her time there. It will surely affect her even more than her undercover mission in Hydra did, and I’m curious about her life these past months. Hopefully it won’t derail a romantic relationship with Fitz, which seems even more necessary now that he rescued her. And hopefully the show won’t just drop this plot and move on now that she’s back.

How Fitz convinces Coulson (Clark Gregg) that Simmons is still alive, and how Coulson tracks down Professor Randolph (Peter MacNicol, last seen in season one) to help open the portal really isn’t important. Admittedly, it is the meat of “Purpose in the Machine,” but it’s really minor in the scheme of things, which seems odd to say for an entire installment. I enjoyed this week’s episode, and there are some great moments for the team as a whole, but the hour just didn’t matter all that much to the larger arcs, save that a missing team member was recovered.

Daisy (Chloe Bennet), whom Coulson still keeps calling Skye, something that will eventually need to be dealt with, goes along with Fitz and saves the day, but her real plot this week is trying to put together her team, which she gets no movement on. Dr. Garner (Blair Underwood) has yet to approve any of the Inhumans that Daisy has recovered for field duty. Dr. Garner has a point that these people need time to adjust, but given Daisy’s impatience, I look for her to make another approach on Lincoln (Luke Mitchell), who probably wouldn’t need the cool-down period the newly turned have.

“Purpose in the Machine” catches us up with Ward (Brett Dalton), who has become quite the dangerous ruler of Hydra. It’s a shame to see how far Ward has fallen, but really, there are no redeemable qualities left in him, and I applaud MARVEL’S AGENTS OF S.H.I.E.L.D. for his two-season arc thus far. I don’t know exactly when or how Ward will make a move against S.H.I.E.L.D., this episode giving us little except the beginning of an undercover assignment, but it’s imminent.

I say that even knowing that Hunter (Nick Blood) has recruited May (Ming-Na Wen) to kill Ward. It’s not that I think May has gone soft during her months living with her father (James Hong, Mulan, Blade Runner), though it’s nice she sort of got to relax. But I don’t see such a powerful villain could be taken down by two agents on a rogue mission, no matter how capable they are or how many reasons they have to want him dead. The suspense comes not from whether they will succeed, but from if they themselves will be hurt or killed in the process. (I doubt they will be killed; Hunter has his own spin-off coming and May is too valuable to die in a small battle.)

So, in summary, “Purpose in the Machine” is an enjoyable episode that moves along a number of characters, but really isn’t important. That’s not necessarily a bad thing, as not every episode can be a vital linchpin, but it’s also a tad bit of a let down this early in the third year’s run. I expect things will pick up in the very near future.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.