UnLOCKE With a KEY

Article first published as TV Review: LOCKE & KEY on Seat42F.

Netflix now has season one of LOCKE & KEY, a new drama adapted from a graphic novel series. After the horrific murder of the Locke family’s patriarch, the rest of the clan move all the way across the country to their family estate, Key House. The house is old and mysterious, and is soon discovered to host a bunch of magic keys, each with their own special property. Magic can be wonderous, but it also be dangerous, as the Locke children soon find out.

The tone and style of this show makes clear even before the scary elements show up that horror will be a major part of the show. It’s highly stylized, like a number of strong horror contenders of recent years, with the fantasy component overlaid. This combo isn’t everyone’s cup of tea, for sure, but to my sensibilities, if you can mix these two in a quality manner, you’ve got a solid starting point for a series. LOCKE & KEY succeeds on this front, instantly being a show that draws you in and makes you want to learn about its world.

Children-led programs are a whole other can of worms, and in my opinion, harder to make work, Lemony Snicket and Stranger Things aside. However, LOCKE & KEY does this decently well, too. It might help that the two older children, Tyler (Connor Jessup, Falling Skies) and Kinsey (Emilia Jones, Utopia), are teenagers. It might also help that Jessup, at age twenty-five, is actually well into adulthood, and Jones will be eighteen by the time a second season is filmed. They play younger characters convincingly, but also have some prior experience that has helped them become good performers. The youngest Locke, Bode (Jackson Robert Scott, It), is also pretty decent.

The rules LOCKE & KEY have for children and adults are confusing, though. After experiencing the effect of a key, their mother, Nina (Darby Stanchfield, Scandal), quickly loses all memory of the thing. And yet, it’s pretty clear that their father, Rendell (Bill Heck, The Ballad of Buster Scruggs), remembered, as does their uncle Duncan (Aaron Ashmore, Killjoys), who is still around. Other adults do, too, so it’s not just a bloodline thing. Perhaps the inconsistency will be explained eventually, but in the first few episodes, it detracts from the believability of the world.

The primary villain revealed so far is Dodge (Laysla De Oliveira, The Gifted), who was introduced as Bode’s echo in a well before tricking him into letting her out and giving her a key that can take her anywhere. She seems convincingly sinister, even if she doesn’t kill the child right away, and her connection to the Locke kids’ dad’s killer leaves many unanswered questions. I think it’s hard to strike terror without being cartoonish when dealing with a bad guy who battles kids, but De Oliveira does it, delivering a stand-out performance in the show.

I will say, LOCKE & KEY doesn’t overall feel like a kids’ show, and that’s to its credit. It’s certainly not geared for young children to watch, with actual harm and violence. I could use a little more development for Nina and Duncan, but while watching, I often forget that most of the characters on screen are minors. The story is compelling enough to stand on its own in the genre, and doesn’t feel like it needs that extra hook, and so doesn’t put any great focus on it. I appreciate that.

I’m slightly torn on LOCKE & KEY, mostly because of the major weakness pointed out above. But it has a lot going for it, and like I said, the specific style of it appeals to me very much, so I’ll keep going. If you’d like to join me, you can stream all ten episodes of the first season now on Netflix.

KILLJOYS Not An Accurate Title

Article originally published as KILLJOYS Review on Seat42F.

KILLJOYS is the latest SyFy drama. Following three bounty hunters who operate in a four-inhabited-planet system, it’s a post-apocalyptic look at humanity’s future. This system is owned and run by a corporation, and everyone works for them. If you don’t play by their rules, you get in trouble. The bounty hunters aren’t exactly company men, their order remaining unaffiliated, but operate as an independent, reliable body tasked with hunting down those who anger someone enough to buy a contract on their kill or capture. The company allows this, and gives them a wide reach with which to perform their duties.

At the start of the pilot, there’s a lot of action. Too much action. It gives the impression of a low-quality program that is going to rely on visual fast food to tell its story, and the characters and plot seem flat and uninteresting. It’s not the type of thing that will hook those looking for intelligent science fiction, but it will certainly appeal to a certain segment of the audience. For those who it does appeal to, I hope you also appreciate the more complex, layered, character-driven type of show, because that’s what KILLJOYS morphs into in the second half of its first hour.

Dutch (Hannah John-Kamen, The Hour) and John (Aaron Ashmore, Smallville, Warehouse 13) are partners, operating a small ship, and going after the less dangerous jobs. Enter D’Avin (Luke Macfarlane, Brothers & Sisters), John’s estranged brother and PTSD-sufferer that has a kill order out on him. John risks everything to save his sibling, who quickly takes an interest in Dutch, and the team is born.

Each of these three are developed individuals with their own secrets and backstories, all of which play a heavy role in the main arcs. KILLJOYS could be just a procedural, with the trio tracking new query all the time, but I don’t think it will be because the first hour sets up a lot of dense stuff to flesh out the world and the trouble already bubbling over in the political structure. It seems poised for a big rebellion adventure, a la the original Star Wars trilogy, more so than a science fiction version of Dog the Bounty Hunter.

This program could be set in the Firefly universe. The short-lived, still-popular Joss Whedon show is not the only one that presents an outlook such as this, but the themes present and the atmosphere are similar. KILLJOYS lacks much of the humor and the Western sensibilities, both hallmark traits of Firefly, but other than, I could see this being another part of the same world, with these bounty hunters fighting the same common company that seeks to control everyone and use them for its own gains, albeit in a smaller neighborhood.

This gets me quite excited about KILLJOYS. All three of the performers are fantastic in the pilot, each given a chance to shine, and the rapidly-deepening story is intriguing. While a certain amount of status quo is maintained for now, it can’t possibly stay that way, and they are poised to be on the front lines when all hell breaks loose, prepared more than most to make a difference for an oppressed people due to their unique skillset.

I admit, there’s a chance I could be wrong about where KILLJOYS is going, and the story I’m looking for may be teased out only slowly, over a long period of time. I don’t think so, though. The way the first episode unfolds is solid, and it just seems like there will be more. As long as too many of the hours don’t rely on combat rings and fist fights, both present early in the first installment, I’m on board.

KILLJOYS premieres Friday, June 19^th at 9 p.m. ET on SyFy.

WAREHOUSE 13 Not "Endless"

Article first published as TV Review: 'Warehouse 13' - Series Finale on Blogcritics.

SyFy‘s Warehouse 13 is always a little cheesy, like most USA programs of the last decade, but with a science fiction bent to it. However, it has also always exhibits heart in the bond that holds the agents of the titular facility together. In its series finale, “Endless,” the writers decide to double down on the emotion instead of giving the team any more peril to overcome.

The conceit is that the Warehouse is reaching the end of its days, ready to move on to Warehouse 14, so the agents gather together to offer their defining moments to King Arthur’s round table, a gift to them as much as to the Warehouse. Instead of a clip show, however, the memories offered up are pretty much all new footage, showcasing some of the talents of those involved, without becoming repetitive.

I have to admit, I have a problem with this set up. I like that the series doesn’t just recycle old material in the end, but if the scenes shown are really that key to the characters, shouldn’t they have been fully fleshed out adventures we get to witness along the way? Instead, “Endless” feels like a forced conclusion, adding extra elements that are never mentioned before, in order to give the characters a sense of completeness not built into the established narrative arcs.

That being said, they are really good, if underdeveloped, scenes. We find out Artie (Saul Rubinek) has a son, whom he keeps in contact with, but never mentions to his co-workers. Artie also gets a personal goodbye from Warehouse 13, something definitely earned. Claudia (Allison Scagliotti) gets some fatherly advice from Artie when she has doubts about becoming the next caretaker, but in the end, she decides to fulfill her destiny and be forever tied to the place. And Jinks (Aaron Ashmore) and Mrs. Frederic (CCH Pounder) become bosom buddies through scenes we only catch the tail end of, except for a moving memorial to departed cast member Leena (Genelle Williams).

None of these things are explored fulled enough. Sure, the 42nd Street number is a fun sequence, and who doesn’t want to see Mrs. Frederic laugh or learn Artie still has another big secret? But all of this deserves to be delved into, not delivered last minute, when it’s too late to mean much. Warehouse 13 could have at least spent its final six episodes serving these plots, but it holds them until the final hour, not giving viewers time to see the ramifications.

Where this feels like the biggest loss is in the finally realized romance between Myka (Joanne Kelly) and Pete (Eddie McClintock). Pete already figures out his feelings in a previous hour, so it’s Myka’s turn to open her eyes while Pete freaks out about losing the life and people he loves. But, of course, it all comes together, far too late for anything but a couple of satisfying kisses. Now we’ll never seen how things work out between them as an actual couple.

What feels even more like a cheat is the last scene, set “several decades later,” in which three new agents who clearly are stands-ins for Artie, Myka, and Pete interact with Claudia, now the caretaker. So Warehouse 13 didn’t move after all? A cheeky line is not an explanation. And what happened to the main cast? When did they leave? There is no mention about what they are doing now, or if they’re even still alive. I understand this is supposed to let fans known the mysteries and missions of the Warehouse are “Endless,” but instead it highlights what the show does wrong.

Don’t get me wrong, “Endless” is a feel-good hour, even carving out a natural bit for everyone’s favorite recurring character, H.G. Wells (Jaime Murray). The emotion it evokes is great. However, like the series itself, it falls far short of its potential, and comes across as shallow. I’d hoped Warehouse 13 would redeem itself with a perfect capper. In a way, this finale is what the show deserves, but on the other hand, there exists an opportunity to raise the game considerably, leaving a better legacy, and it is squandered.

Still, Warehouse 13 is entertaining, right to the end, and we can be grateful for that.

WAREHOUSE 13 Not "Endless"

Article first published as WAREHOUSE 13 Review on Seat42F.

Syfy’s WAREHOUSE 13 has only six episodes left to air. This week’s season five premiere, “Endless Terror,” doesn’t have much time for final arcs, though, as it is mostly concerned with tying up the loose ends from the previous season’s cliffhanger. Looking at the episode descriptions for the final five, it sounds like this show will go out with some character development, rather than a major villain that must be defeated, so the understated premiere could be part of the design.

As “Endless Terror” begins, there is still a bad guy to take down. Paracelsus (Anthony Stewart Head) has control of the Warehouse and, by extension, Claudia (Allison Scagliotti). Pete (Eddie McClintock), Myka (Joanne Kelly), Artie (Saul Rubinek), and Jinks (Aaron Ashmore) try to break past the building’s defenses and get inside before Paracelsus can put together a couple of artifacts and carry out his dastardly plan.

Our heroes don’t succeed right away, of course, and the result is an action-packed hour full of time travel and alternate timelines. This conceit allows WAREHOUSE 13 to parade through quite a few familiar faces, including some characters that are no longer alive, a fitting tribute to the final year. Plus, we get Rebecca Mader (Once Upon a Time) as Lisa DaVinci, so that’s fun. It’s a pretty solid story in terms of the premise, and a good way to being a victory lap, even if it left me wishing this particular arc filled all six episodes, not just a single one.

The major problem in “Endless Terror” isn’t in the big picture; it’s in the details. It’s been awhile since WAREHOUSE 13 was on the air so I don’t remember exactly if it has always been as cheesy as this entry is. If anything, the episode seems much heavier on the schmaltz, more concerned with delivering zingers than making a cohesive tale with developments that make sense. As such, it certainly isn’t among the best of installments.

WAREHOUSE 13’s charm has always relied pretty heavily on humor. The funny things the characters say are a main draw, and that element is intact as ever. Nothing has changed about the writing or the chemistry. However, while the plot may have had a few instances of deus ex machine or happy coincidence in the past, it isn’t built heavily on them, and the characters are often in real danger, even if they try to play it off as if they aren’t. “Endless Terror” abandons the toehold on reality, laughing off potentially deadly circumstances is such a way that makes the show seem hollow.

If this is how the players will be treated, it may be a good thing that WAREHOUSE 13 focuses on growth and development of its central cast, rather than an epic battle. Claudia is still upset with Artie for hiding her sister, Claire, from her. Myka’s brush with death has to be weighing on Pete even more than he lets on. Those are things that beg further exploration, and will hopefully drive this last half-dozen adventures.

Will fans be disappointed if WAREHOUSE 13 goes out quietly? I think so. After all, the series has tackled large arcs before, with evil geniuses who are not easily dispatched. One would expect the final leg to take this quality to the next level, not to ignore it altogether. Yet, “Endless Terror” is seemingly the wrap up of the last of these, choosing a different path to go down now.

Of course, the main thing the series will be judged on this year will be the last episode ever. If they can manage to nail that, giving us emotional closure and a fitting conclusion, fans will forgive any missteps along the way. I’m cautiously optimistic because the writers have done some cool things in the past, but this first episode back is so uneven as to make me a little nervous. We’ll have to wait and see how it goes.

WAREHOUSE 13 airs Mondays at 9 p.m. ET on SyFy.

Warehouse 13 Tries to Save "The Living and the Dead"

Article first published as Warehouse 13 Tries to Save "The Living and the Dead" on TheTVKing.

SyFy's popular series, Warehouse 13, returns from a nearly-seven-month hiatus this week with "The Living and the Dead" to begin the second half of its fourth season. "The Living and the Dead" picks up where the previous episode left off, with a deadly virus swiftly infecting everyone on the planet, and Artie (Saul Rubinek), the releaser of the disease, in a coma.

Because there are two urgent matters, saving the world and saving Artie, who may soon be lost forever, the four agents of the Warehouse split into the two teams. I love that there are two work-couples now, which allows for plots like this one, encapsulating both the large scale and the personal dangers that the agents must face at the same time.

In the Warehouse, Jane Lattimer (Kate Mulgrew) sends Claudia (Allison Scagliotti) and Jinks (Aaron Ashmore, now a series regular) into Artie's mind. It's a tad predictable that the inside of Artie's head looks like the Warehouse, which also saves on set cost. I love that opportunity for recurring cast members, like James MacPherson (Roger Rees) and Vanessa (Lindsay Wagner), to pop up and try to stop Claudia and Jinks. However, the fact that the artifacts still work the same way in Artie's mind as they do in reality pushes the believability, and the fact that Jinks is able to stop permanently whatever part of subconsciousness is fighting them doesn't really add up.

That being said, the scene where Claudia does find Artie, living in denial with the recently deceased-by-his-hand Leena (Genelle Williams), is very moving. We get to see what Artie means to Claudia, and the depths of Artie's shame and frustration. What happens is not really Artie's fault, but he remembers it, so he feels guilty. The sequence is perfectly in keeping with the characters, and it works that Claudia has to force Artie out, a technique she would use before getting too mushy.

Now what will Mrs. Fredericks (CCH Pounder) do with Artie? He doesn't deserve to be punished, so much, but he does need help. She's the wise overseer, so presumably his rehab will be up to her.

I don't think I will miss Leena much. No offense to Williams, but I rarely saw the point of her character. She only occasionally mattered to a plot, and never seemed to contribute anything to the missions. I hope she is replaced, with someone else coming in to run the house, but by a person developed more, or who is, at least, funny.

While the stuff with Artie goes down, Pete (Eddie McClintock) and Myka (Joanne Kelly) search for an artifact that can put the orchid back together, thus staving off the plague threatening to kill many, as Vanessa reports on television. As usual, they run into trouble, bicker a bit, but end up saving the day. It's a predictable formula, but one that seems to work for Warehouse 13, as long as the journey to get to the predictable end stays interesting.

"The Living and the Dead" concocts a somewhat interesting story for Pete and Myka to investigate involving Marie Antoinette, but the more intriguing part of their tale is the two new characters we are introduced to. Seemingly hundreds of years old, and once romantically involved, Professor Sutton (James Marsters, Buffy the Vampire Slayer, Smallville) comes across as the charming and noble scallywag, and Charlotte Dupres (Polly Walker, Caprica, John Carter) is his suffering target. However, the end of the episode hints at something more between them than we currently know.

The apparent death of Sutton isn't much of a fake out. Marsters crafts too-perfect a character in his first hour, and it's clear that he needs to return at least a few more times. Walker is less memorable, until the end, where we glimpse a peek at a larger life than first glances tell. I look forward to seeing more of these two amazing actors, already well known in the genre, and wonder what they will bring to the dynamic of the cast going forward. I will even be so bold as to say Sutton could prove as popular, and hopefully appear as often, as the fan-favorite H.G. Wells, given the excellent first impression that he makes.

At the end of the day, Warehouse 13 returns things back to "normal," for the most part. It's a series that pretends to take big chances, but usually allows the status quo to return. It remains entertaining, though I wish the stakes were a bit higher, and the drama a bit darker.

Warehouse 13 airs Mondays at 10 p.m. ET on SyFy.

Hope flows through Warehouse 13

Grade: 85%

SyFy’s WAREHOUSE 13 begins season four with “A New Hope.” Picking up right where season three left off, with the Warehouse destroyed, and Mrs. Fredericks (CCH Pounder), H.G. Wells (Jaime Murray), and Steve (Aaron Ashmore) dead, Artie (Saul Rubinek) has an inkling of a plan that might reverse time and give them another chance.

This quest of Artie’s takes him, Claudia (Allison Scagliotti), Pete (Eddie McClintock), and Mya (Joanne Kelly) first to France, then to the Vatican, as they follow a series of clues that point to a Knights Templar conspiracy. They have a scant 24 hours to globe trot and solve the mysteries, as well as break into a couple of semi-well guarded areas that are, perhaps, a bit too easy to get in to. Along the way, members of the team are lost, including one fatally.

It will come as no surprise that (SPOILER!) Artie wins the day, Pete, Mrs. Frederick and H.G. live, and the Warehouse is restored as if nothing ever happened.

The countdown and the race, with a team member dropping off every few minutes, gets the blood pumping enough to keep the lack of freshness in the story from being too obvious. There aren’t any real stakes in “A New Hope,” as fans don’t believe for an instant that the Warehouse, Mrs. Frederick, and especially Pete, are gone for good. But the urgency of the characters’ actions, and the total commitment by the actors to the proceedings, do make the episode exciting. While a similar formula has been used plenty of times on television before, the episode maintains the unique, WAREHOUSE 13 flavor that keeps fans engaged week after week, so most won’t mind.

Even if there isn’t a lot of real suspense in the episode of the week, a quick story to restore the status quo, a number of really neat arcs kick off in “A New Hope.” Claudia is intent on bringing Steve back, no matter what it takes, which, going by past experience, both on this series and others, will not go well. Cheating death comes with consequences. Steve may return, a welcome development, but will it be the same Steve? Will he be changed? What cost might there be to Claudia’s soul to achieve her goal?

What’s more, Artie is being hunted by a dark evil. The leader of the knights (Brent Spiner, Star Trek: The Next Generation) warns Artie that using the artifact to reverse time at the end of “A New Hope” will have grave repercussions. By the end of the hour, Artie has a dream of Claudia stabbing him. While Claudia’s quest to bring back Steve may have already been put in motion, it seems like these two stories will tie together nicely.

Claudia grew up a bit of an outsider. She has welcomed the chance to have a family while working at the Warehouse. Now that she has established a life and grown into herself, she is going to do anything to hold onto it. Losing Steve, her first field partner, is a huge blow, and the motivations behind her mission are not a mystery. She is a damaged girl just trying to hang onto the bit of stability she found after years of searching.

Artie is older and should be wiser. He has lost friends before, and knows he will again. Yet, he cannot stomach the huge cost that comes just prior to “A New Hope,” and rather than taking the advice the misfortune. Even had it just been Pete’s life, and not the Warehouse, he still may have acted. As much as Artie likes to pretend to be gruff and try not to get too attached to his team, he cares too much for his own good. Maybe he can use these life lessons and experiences to help Claudia?

Another interesting bit of “A New Hope” is when Artie convinces a couple of the Regents to recommend a pardon for H.G. Obviously, Artie witnessed her sacrifice herself to save the others in last year’s season finale. And H.G.’s motivations are always varied and layered. But will Artie consider this a repayment of debt to her for her willingness to die to save him, or has he changed his opinion of her? And will his faith be proven justified, or did H.G. have yet another reason for acting the way she did? The good news is, she gets to stick around so we can find out!

There is a reason WAREHOUSE 13 is so popular. It’s funny, charming, and fast paced fun. Tune in Mondays at 9 p.m. ET on SyFy.

Warehouse 13 makes a "Stand" with "Emily Lake"

    SyFy's Warehouse 13 did a special, two hour season finale this week. The episodes were titled "Emily Lake" and "Stand," and featured a major showdown with Walter Sykes (Anthony Michael Hall, Dead Zone, The Breakfast Club). The team discover that Skyes is going after H.G. Wells (Jaime Murray), and try to beat him to the punch. They do, but Sykes's guys take H.G. from them before they get very far. One of those guys is Jinks (Aaron Ashmore), who is secretly undercover for the Regents. H.G. is living under a different identity, but soon her memory is restored. Sykes kills Jinks, blows up Warehouse 13, and Mrs. Frederic (CCH Pounder) dies as a result. Only time will tell if Artie (Saul Rubinek) has the power to put things back together.

     "Emily Lake" and "Stand" are the two best episode of Warehouse 13 yet. Abandoning the case of the week format, these two hours concentrate on this season's larger arcs, including a showdown with a major villain. There is some heavy emotional stuff, and some really moving deaths. The stakes are high, and the writers aren't afraid to rain destruction down upon this wonderful world. As such, throwing convention out the window, the series manages to be more exciting and unpredictable than ever before!

     Well, not completely unpredictable. Anyone could see Jinks being a double agent coming from a mile away. It was an obvious move for viewers, so it's a little surprising that Pete (Eddie McClintock), Myka (Joanne Kelly), and especially Claudia (Allison Scagliotti) lose faith in him. In fact, that one part does destroy the credibility a little bit. But perhaps they are just too close to it all to see the bigger picture, so it can be overlooked. Sykes doesn't overlook it though, or he's just a very bad dude. Again, Jinks's death doesn't come out of nowhere, but the rest of the showdown, including the Warehouse being blown up and Mrs. Frederic dying, and completely surprising!

     Moving on from here, it's hard to say where the series will go. As "Stand" ends, Artie holds a watch and says that it might not be too late. Fans of Warehouse 13 may remember that Artie blew up at the end of season one, and an artifact allowed him to survive. Let's hope that this clock will not set everything back to status quo, but may be used to prevent such a total, devastating fall out. Like, the destruction of the Warehouse. Even though morphing into Warehouse 13 would be mighty cool, allowing a new setting and lots of fresh ideas.

     As far as who will stay dead, that's uncertain. Sykes's guy, Marcus (Sasha Roiz, Caprica, Grimm), was able to stay alive through anything, until Claudia stopped his metronome. She intends to use it to bring back Jinks, and she should. Not only will that keep Ashmore around, a welcome addition to the cast, but give Warehouse 13 a character with a very special ability - he cannot die. As long as the metronome stays safely locked in the Warehouse.

     But might Claudia feel pressure to use the artifact instead for Mrs. Frederic? After all, she is a more vital member of the team, as far as hierarchy goes. However, it is also possible that Mrs. Frederic perishes because the Warehouse does, and only stopping that will save her. Or she could be reborn, in the same body or with a different performer, when Warehouse 14 goes into operation. Pounder is fantastic, but a new boss could also be pretty cool.

     Wells proves herself a hero once and for all with a heroic self-sacrifice. Her survival could go either way. A planned spin-off is in the works for her. If said second series takes place in her past, when she was a Warehouse agent, than she can stay dead with no consequence, and fans won't mourn too heavily because they will still get their fix of a terrific character. but should the spin-off take place in the present day, she must be saved somehow. Either way, at least she dies a hero, redeeming her completely.

     Finally, Jane's (Kate Mulgrew, Star Trek: Voyager, NTSF:SD:SUV) ending is very open ended. It certainly seems like something more will happen there, but there aren't any clues as to what. Awesome!

     Warehouse 13 will present a special Christmas episode, likely outside of the current story arcs, like last year, and then will return for season four later in 2012.

     If you like my reviews, please follow me on Twitter!

     Please click here to catch up on Warehouse 13 DVDs and streaming episodes.

Warehouse 13 trapped on "The 40th Floor"

     "The 40th Floor," the latest episode of SyFy's Warehouse 13, finds the agents tracking down, and trapping, Sally Stukowski (Ashley Williams, How I Met Your Mother, Saving Grace). Unfortunately, Sally's boss's plan is already in motion. Artie (Saul Rubinek) and Myka (Joanne Kelly) soon find themselves protecting some Warehouse regents in a building that is rapidly being destroyed around them. Pete (Eddie McClintock) and Claudia (Allison Scagliotti) try to assist by looking for the artifact that is causing the trouble. Mrs. Frederic (CCH Pounder) decides torturing Sally might be the best option, but Jink (Aaron Ashmore) disagrees most vehemently, even pulling a gun to stop her. Which distracts them enough for Sally to escape.

     Of course, Myka does manage to rescue the most important regent, Jane (Kate Mulgrew, NTSF:SD:SUV, Star Trek: Voyager). As Jane now holds the key to Warehouse 13's last line of defense, it is essential she survive, though just about every other, less important figure, dies in the process. Which is a lot more death than is typical for the series to tackle. Thankfully, the amazing Mulgrew is slated for three more episodes, so whatever plot is unfolding in "The 40th Floor" is far from over.

     Pete lends a hand in a big way by halting the damage the dangerous artifact is doing. This is yet another example of Pete and Myka's great teamwork paying off. While Warehouse 13 shies away from hooking up its leading couple, the chemistry between the two is fantastic. They have come to know each other so well that they are a perfect match, both on the job and off. It's a shame the show hesitates to take the bold step of putting them into couple status, even though it's not unexpected. Yet, it's hard to complain too much, when Warehouse 13 is willing to ditch the typical procedural set up for episodes like "The 40th Floor."

     The big twist, of course, is that Jane is actually Pete's mom. Which means she probably has something to do with why Pete is now working at the Warehouse, even though he doesn't seem to know that she has that position until this episode. This adds a deeper layer of plot for the show to explore, giving serious back story to a central character. Good job!

     It is a real shame that Warehouse 13 kills off Sally this week. Williams does a fantastic job playing the baddie, and she is most enjoyable in the scant episodes that she does. Even worse, Jink's actions lead to him getting fired. While this may make sense on a personal level, considering the moral code that is being broken, Ashmore is even more welcome than Williams, and it is a strong hope that he does not leave the series after this episode.

     For Mrs. Frederic to commit torture in the first place is surprising. She exudes threat, but has never been seen purposely hurting anyone up til now. It's a new low for her. Perhaps her actions can be forgiven, given her position and the situation, but that doesn't make them right. Will she be allowed screen time to recover from "The 40th Floor," or is it now only a matter of time before she is killed off? Hopefully it will be the former, as Pounder is exemplary, and there is so much more she can do for Warehouse 13.

     If anyone should leave, it's not Jinks, Mrs. Frederic, or Sally; it's Leena (Genelle Williams). It continues to baffle why such a small character, who rarely gets anything of substance to do, is still a main character. This is not a criticism on Williams, as there hasn't really been enough of her to judge. Rather, if the writers are not going to use her, set her free. She serves no purpose at present.

     Watch Warehouse 13 Monday nights at 9:00 p.m. ET on SyFy.

     If you like my reviews, please follow me on Twitter!

     Please click here to catch up on Warehouse 13 DVDs and streaming episodes.

Article first published as TV Review: Warehouse 13 - "The 40th Floor" on Blogcritics.

Warehouse 13 meets "The New Guy"

     Season three of SyFy's Warehouse 13 begins in "The New Guy." With Myka (Joanne Kelly) still refusing to return to the Warehouse, a replacement is hired named Steve Jinks (Aaron Ashmore, Smallville), who can tell when someone is lying just by looking into their eyes. Pete (Eddie McClintock) at first clashes with his new partner, but they have a mission, so he buckles down. Perhaps a little too much, as he is missing Myka terribly. When the investigation uncovers a literary angle, Pete is quick to get Myka's help on it. She saves the day. Mrs. Frederic (CCH Pounder) arranges for the still reluctant Myka to have a chat with H.G. Wells (Jaime Murray), who alone convinces Myka she should return to her odd job. Ironic, since Wells is part of the reason Myka left.


     What an opening! The whole Jimi Hendrix guitar going haywire is a perfect Warehouse case, complete with their trademark brand of humor. It also introduces "The New Guy," Jinks, appropriately enough. Despite only seeing a sliver of this adventure, nothing feels missed. Following it up with one of Mrs. Frederic's creepy dark surprises gives fans everything they've been looking forward to from Warehouse 13 in the first few minutes.

     It also sets up the new Pete, who is a lot more changed by Myka's leaving than many would expect. He is now immune to the charms of women. Similarly, Myka seems to have undergone a transformation into more of a geeky bookworm than when we first met her. The two cannot thrive without each other, reduced to something less than their potential. Not only does this satisfy everyone who wishes them to remain partners, but it proves the depth of the feelings they harbor for each other. Fantastic!

     Warehouse 13 could use some fresh blood, and choosing Ashmore, a sci-fi vet, is a smart decision. While Jinks gets a little annoying early in the episode with his frequent "You're lying"s, as soon as he stops saying it every five seconds, he melds well into the current ensemble. His inability to get Peter's humor at first (and really, who would?), coupled with his eagerness for the new career combine to make a valuable asset to the Warehouse. The only question is now, with Myka back, what is there for "The New Guy" to do? Will the Warehouse be sending out a team of three from now on?

     Interestingly, Claudia (Allison Scagliotti) isn't too happy about Jinks's presence, but not because of the man himself, who she seems to be fine with. She obviously wants Myka's job and feels she is qualified. Her past performance indicates that she likely is, and is probably being held back because of Artie's (Saul Rubinek) fatherly care for her. Which begs the question, that will surely soon be answered, what will it take Artie to get over this? Will an increase in weird activity prompt Artie to partner Claudia and Jinks, and send them out in the field? Or should he split the veterans with the newbies, which would be a smarter decision, albeit rob fans of much great Myka / Pete interplay, at least temporarily?

     Having an extra pair of hands not only sets the scene for a lot more action, since there can be field agents in multiple places at once, but also allows Leena (Genelle Williams) the possibility of more story. After all, if Claudia starts going out, Artie will need some help back at base. More importantly, with more agents, Warehouse 13 can handle greater challenges and more complex villains, something that will make the series even better than it already is. Also, the show can afford to kill a main character off in an emotionally moving way. Might I nominate Leena, the only truly expendable one?

     There is already a new threat brewing. The bad guy of the week gets away, but is killed under orders of a mysterious figure sitting in shadow. Committing the actual murder is an FBI agent (Ashley Williams, Saving Grace, How I Met Your Mother), who obstructs Pete and Jinks during their mission. Setting aside why Pete doesn't just whip out credentials to get past her, as he has done with others, how might she figure into future episodes? And what evil plan is behind it all?

     Myka's absence for the first half of the episode is regrettable, but some of the tension is immediately removed because Kelly's name still appears as a starring cast member. While mucking with the opening credits probably would require some new contract negotiations, it would have been worth it to build suspense for the fans. Had Kelly's name been saved for the ending credits, then properly restored next week, it might have caused viewers to wonder if she will ever come back, even after she returns to assist on the latest case.

     The case itself is pretty cool. Anytime Shakespeare can come alive as a serious, fatal threat is an accomplishment. His plays are full of death and violence, but so often, modern cinema makes him seem tame. The average American does not seek out Shakespeare's works for leisure reading or theater or movie viewing. Warehouse 13 reminds us that the bard is still very relevant, and has a lot to offer, should one take the time to peruse his pages. If "The New Guy" spurs a dozen people to read a bit of Shakespeare this summer, it has done its job.


     Watch Warehouse 13 Monday nights at 9 p.m. ET on SyFy.

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Article first published as TV Review: Warehouse 13 - "The New Guy" on Blogcritics.

Smallville presents the series "Finale"

     Ten years in the making, the CW's Smallville finally comes to a close this weekend. Clark Kent (Tom Welling) realizes that to become the Superman the world needs him to be, he must embrace the past and both of his fathers, as well as what they have taught him. It is not a realization reached easily, but once discovered, his destiny is achieved hard and fast, in time to stop Darkseid from destroying the world. As Clark is doing this, Oliver (Justin Hartley) searches for Darkseid's minions, Lois (Erica Durance) tries to stop the government from making a horrible mistake, and Tess (Cassidy Freeman) squares off with Lex (Michael Rosenbaum) for the family legacy. And there's a wedding.


     There can be much written about what is not in the "Finale" of Smallville (the other heroes in the Justice League, for example), but that would be counterproductive. The most important thing that has to happen in the series finale, as known since the show began, is Clark embracing his destiny once and for all, so of course, a very large part of the hour is about that. And that is done incredibly well, leaving nothing to complain about.
     Since Clark must look to his fathers for who he is supposed to be, bringing back Jonathan Kent (John Schneider) seems a no brainer. While it is never clear how exactly Jonathan appears, it can be assumed that Clark thinking about him being there is represented by a visual image for television viewing audiences. Jonathan isn't a ghost, and he isn't resurrected. Clark can imagine the words his father would say to him in his head, and to make that more digestible to viewers, Smallville gives a physical man in place.

     Martha Kent (Annette O'Toole) also comes to town, a real, life person, to attend Clark's wedding to Lois. Having both of Clark's parents sit together in the front row is a nice treat, and a pleasing image. They are both a very big part of who he is, so it is appropriate to have them there for his special day. As such, she doesn't bring her boyfriend, who it would have been nice to have a cameo from, but it is understandable that he would not fit into this scene.

     Jor-El (Terrence Stamp), by contrast, must remain a voice in a cold, ice prison. It's what he's almost always exclusively been, and so it is the best way for Clark to relate to him. It doesn't make his advice less pertinent, or his words less meaningful. In the ultimate show of cohesion, Jonathan and Jor-El, who have been at odds plenty over the years, come together to give Clark the costume that he will wear when saving the world. It's a big moment, symbolizing all of Clark's experiences coming together to make him Superman.

     Once Clark puts on the suit, there's a little too much CGI, but the point is made. We then see Superman in action. While many wondered what rights Smallville would get to show the caped crusader, since DC has another movie currently in the pipeline, clearly, they were given carte blanche. John William's historic score cinches the moment, and there is no doubt that the figure on screen is the legendary Superman. Ten years, and oh such a satisfying pay off!

     Less satisfying is the payoff of the Clark/Lois relationship. Much of the first hour of "Finale" is spent as each have their doubts about the marriage. Those doubts are soothed by reading each other's vows. They belong together, and that is as plain as day to viewers and characters alike. The jitters are calmed, and they go to the chapel, where, interestingly, the vows are read again. Perhaps repeating those words of love drills it into fans' heads that yes, these two feel very strongly and must be together, despite what is about to happen.

     Then, right as the rings are going on the fingers, disaster strikes, and the wedding guests flee. Clark is able to save the day, and the chapel remains only partially destroyed, a triumph compared to other, similar disasters in like series. Yet, after all is said and done, the ending reveals it take seven more years before Clark and Lois make it back to the altar. Why!? Sure, Clark probably gets a little busy as soon as he becomes Superman, but seven years seems pretty excessive to not be able to find time to make it down to the courthouse. The pair are in love! It just doesn't make sense they would wait so long! The best theory is that it puts the characters more in line with the comic book timeline. But it doesn't make it any less frustrating.

     That being said, the rest of the seven years later glimpse is nearly perfect, with Clark and Lois at the Daily Planet, a screaming Perry White (Michael McKean), who we sadly never see, and young Jimmy Olsen (Aaron Ashmore) being told he has big shoes to live up to (his brother, also played by Ashmore, was a beloved central character on Smallville before being killed off). Also, a mention on TV of Lex becoming president in 2018 (that's not an election year!). Only thing missing is, no Cat (Keri Lynn Pratt)? Then one last look at Superman as he takes off to save the world.

     One quick note about Ashmore's cameo. While it is more than welcome to see another Jimmy played by the same, very talented actor, it would have been nice if the surprise were not spoiled in the opening credits. Once Ashmore's name pops up on screen, it isn't hard for long-time fans to summarize just why he is here, especially since the episode begins with the seven years later framework, so it is likely to end in the same time frame. Couldn't Ashmore's name have been saved for the ending credits?

     Chloe (Allison Mack) gets the honor of opening the show, reading to a little blond boy who has to be her and Oliver's son, seven years in the future. She is reading him a story called Smallville, about Clark's journey into becoming the great superhero. As a participant in most of the journey, it is an appropriate story for Chloe to be sharing with her child. It's also nice to know that she gets a happy ending, as she has had plenty of pain in her life.

     It is unclear if Chloe and Oliver stay together, though they must have at least had a child together, because the resemblance in the kid is uncanny. In comic lore, Chloe has been added late, after her popularity among Smallville fans, as she is a character created just for this TV series. Oliver, who is the Green Arrow, has a relationship with Black Canary, who has been seen on Smallville, but not in "Finale." Not establishing that Oliver is with Chloe, while leaving room to stay comic canon, does hang a slight bit of sadness over Chloe's happy ending, though.

     Oliver isn't seen in the future sequences at all, but he is more than triumphant in the present. He has been marked with the Omega, a symbol for Darkseid, for awhile, which causes Oliver to betray his friends. While much of Oliver's struggle for redemption in the series is self-driven, this time, Clark comes to Oliver's rescue. Because Oliver is a hero, too, with his own story, this would have been a very unsatisfying end for him. It is nice that Clark can help a friend out, but fans of the show need to see Oliver being personally triumphant, too.

     And so he goes after Darkseid's three minions, and single-handedly takes them down with one shot. It's actually three separate arrows fired at the same time, but still hella impressive. Would Darkseid's minions be quite so easy to take out? It almost seems a cheat, though Oliver already got his fight sequence with Clark, so another is not necessary. It's a slightly weak sequence if over thought, but if emotion is allowed to rule, Oliver is served well.

     Perhaps the second most anticipated thing about "Finale," after Clark putting on the Superman suit, is the return of Lex Luthor. While longtime Superman fans knew that Lex would have to return at some point as Clark's greatest foe, the detaile were sketchy. In Smallville, the writers chose to have the new Lex assembled from the best parts of imperfect clones, then given life by Darkseid in exchange for Lex's father, Lionel's (John Glover) soul. That'll do.

     Lionel himself is dispatched with. Darkseid takes him over, zombie like, and in an encounter where Clark learns to fly (another momentous moment!) Clark destroys both Lionel and Darkseid. At least, that's what appears to happen. The real Lionel's death several seasons ago was shocking and moving. This Lionel has never been more than a shadow than the other one, and he deserves no less than a quick ending, without frills. Which is what he gets.

     Sadly, Tess also meets her fate, as she confronts her brother, Lex. Tess has struggled with her goodness after learning she is a Luthor. In the end, she proves herself on the right side, though that is little comfort as Lex guts her with a knife. She manages to rub something on his face first that wipes his memory, thus making her death heroic, though regrettable. Presumably, since Tess was created just for Smallville, and not part of comic lore, the writers wanted to remove her from play. That's too bad, because she has been a complicated, interesting character, and could have had plenty of story left.

     Lex and Clark's conversation, before Lex's memory goes, is everything Smallville needs for a scene between the two. Lex tells Clark they are connected, and one can only be as great as the other. They do not physically fight, as this Lex is not ready for their first battle yet, and Clark doesn't seek one out. But there is a real sense of set up between the two, a hint of their shared destiny. It's chilling, and perfectly executed between two wonderful actors. Thank goodness Rosenbaum agreed to return for "Finale," as losing this small bit would have weakened the overall episode noticeably.


     All in all, a very strong "Finale" for Smallville. At times, it has the epic power of a movie. Others, it resorts back to a long running, successful TV show. Clark Kent, the boy on his journey will live on on DVD, but Superman has a lot more adventures to come. Is it too soon to start campaigning for a Tom Welling / Erica Durance / Michael Rosenbaum starring full length feature?

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Article first published as TV Review: Smallville - "Finale" on Blogcritics.

Smallville "Masquerade": Clark, Chloe, Villains, and Weddings

     This being Smallville's final season, after ten long years, I am paying a bit more attention to it than I usually do, and than I do to other shows. As the series ramps up to the two-hour May finale, important pieces of the Superman puzzle keep falling into place. At first, I considered not covering this week's episode, "Masquerade", because overall it was just another run-in with one of Darkseid's minions, Desaad (Steve Byers). Sure, a good chapter in the season-long villain arc, but not particularly noteworthy. However, interspersed within that main story, there was a lot of interesting and important milestones in the Superman saga, and so I feel compelled to address them.

     First of all, Clark Kent is the disguise. Lois (Erica Durance) tried to make The Blur's outfit more costume-y, adding dark sunglasses and a hood. Clark (Tom Welling) didn't really go for that. However, his monologue near the end about how The Blur is who he really is, and that he needs to stay true to himself, was perfect. It really encapsulated who Superman is, and revealed a deep understanding of the character that hasn't always been immediately evident in Smallville. Of course, now that can be excused, as it was all part of the journey of Superman's origin, building to the hero he will become.

     Never has an origin story been told over ten years before, at least not one that I can remember. Usually, the origin is a quick beginning, maybe thirty minutes or less at the start of a movie. At most, a pilot episode of a series. What is so interesting about Smallville is that we finally saw Superman's entire climb to who he is. I've thought for awhile that Clark was getting too old to still be learning about himself, he should be defined by now, but looking back, the progression has been mostly natural and thrilling. Anticipating seeing a true Superman come out in the show in the next few months is incredibly exciting!
 
     I really enjoyed the modern spin as to why The Blur / Superman / Clark needs a disguise. When the character of Superman was first introduced, many decades ago, the glasses and hair costume was plenty. In the age of internet and cell phone cameras, it is a miracle that the Clark / Blur connection hasn't been solidly broken yet. One can only assume that it is because of the great care Clark takes to protect his secret, as well as Clark's relative mid-Western obscurity, that he has managed. Lois is right. It's time to make a change.

     In that same vein, it may seem odd that glasses and a hair style, the latter of which he hasn't even adapted yet, will be enough to disguise Clark in the 21st century. Thus, Clark and Lois rightly agreed that attitude makes all the difference. Perception is reality. Clark Kent's mild mannered-ness is as much a part of the costume as the glasses are. The immediate effect of the new Clark was stunning, but not totally out of left field. Act like a mouse, and thou shall be treated as one. Brilliant handling of a tricky subject!

     Chloe (Allison Mack) has some soul searching to do. No one has undergone more change than her in the course of the show. There have been times when Chloe's story has been far more interesting than Clark's, and as the only other original cast member left, I was sad that she signed for a reduced number of episodes this year. I worry when her latest arc is up that she won't return for the end. That would be highly unacceptable.

     But Chloe was right when she admitted to always defining herself by who or whatever was around her. She was the friend that Clark needed in high school, as well as the different friend that he needed after. Her part in Watchtower was more about him and Oliver (Justin Hartley) than about herself. She was drawn into their world and has embraced it, but almost always in a supporting role. Even her brief stint with powers was used not for herself, but for others. Yeah, that's what heroes typically use them for... most of the time. But usually they get a little help for themselves, too.

     Which is why I understand her hesitancy to commit to Oliver. She doesn't want to fall into the same traps that she always has. She wants to have her own identity. She already achieved that, though, whether she realizes it or not. Fans of the series could tell her so, and so should her friends on the show. Oliver offers support, but his protecting her from battle with Desaad this week shows that he still thinks of her as a less capable combatant than himself.

     This is simply not the case. Chloe is a hero in her own right, for oh so many reasons. Her brain allows her to do many things none of the others can. Plus, she can hold her own in combat, as we saw this week before he benched her. Why did she let herself be benched? Why didn't she leap up after him? Once she gains the confidence to do that, she will no longer need to worry about losing herself. And that is at the top of my list of things I want to see before the series goes off the air for good. This week's episode, at the end, was a decent start.

     What a huge twist at the very end, was it not? If you haven't watched the episode, go watch it before you read further. I am, of course, referring to the revelation that Oliver has been marked with the Omega symbol. The set up was perfect. Of course Oliver would give into base emotions right after being told that Chloe was dead. Despite how far Oliver has come in improving himself, he can be forgiven for the lapse because of the circumstances. Anyone would have done the same thing.

     The question is, what will that mean for the show? Will he soon be joining forces with Darkseid's minions? Will Clark have to battle him? Considering that the Green Arrow has his own comic series, and his own great adventure outside of Smallville (though not shown as a televised show for this incarnation), I find it hard to believe that Oliver Queen is at risk of being killed off. That seems highly disrespectful to the character, and as a fan, I would be pretty upset with the show. The gigantic mythology for these heroes shown in Smallville should make them safer than main characters in other series. But after losing Jimmy Olsen (Aaron Ashmore) a few years ago, explanations to the contrary, I worry that no one is safe. Except for Clark, of course.

     As it is the final season, I do love that the show has chosen to go not with one villain, but several. It can be argued that Darkseid is the driving force behind the season, and he is, to some extent. But between the VRA supporters, the alternate Lionel Luthor (John Glover), Alexander (various actors), and Darkseid's minions, as well as the announced upcoming returns of Zod (Callum Blue) and Lex Luthor (Michael Rosenbaum), Darkseid is not the be all, end all of season ten. Given this is the last chance to see the show, I highly support that decision.

     A last bit: I very much enjoyed the scene where Lois worried about the wedding seating. I didn't think of it before, but of course Lois's father's military buddies would recognize some of Clark's more super power-endowed friends! Even with the Vigilante Registration Act dead, many military personnel spent a great deal of time and effort looking into the vigilantes. My mind spins with the possible ways Lois will solve this problem. Elaborate disguises? Two weddings? Make the heroes sit in the church loft?

     Also, a brief complaint. Part of tonight's episode was ripped straight from the feature film Date Night starring Tina Fey and Steve Carrel. Really, Smallville? You chose to rip off that movie? Really?


     Smallville's final season continues Friday nights at 8 p.m. on the CW.

Article first published as TV Review: Smallville - "Masquerade" on Blogcritics.

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