Don't Quite "Love" MARVEL'S AGENTS OF S.H.I.E.L.D.

Article originally written for Seat42F.

Last night on MARVEL’S AGENTS OF S.H.I.E.L.D., two people find “Love in the Time of Hydra.” Maybe. At the same time, another relationship or three nearly completely dissolve and things continue to build towards a semi-unknown showdown. What does the rest of the season hold for the team? I certainly don’t know.

Ward (Brett Dalton) finally shows back up, in the company of Agent 33 (Maya Stojan). Ward decides to take 33 under his wing, and step one is to nab Bakshi (Simon Kassianides) and torture him. The problem is, Bakshi is still in Talbot’s (Adrian Pasdar) custody and 33’s face replicator isn’t working. These are surmountable tribulations, and it isn’t long before 33 is trying to repay Ward for his help by allowing him to finally have sex with Skye (Chloe Bennet). Well, have sex with 33 wearing Skye’s face and possibly May’s (Ming-Na Wen) voice, though Ward may just be over Skye and ready to move on with the real 33.

33 and Ward make a creepy pair, and if Ward’s affection for Skye has really and truly evaporated, they are dangerous foes. I’ve been pleased at MARVEL’S AGENTS OF S.H.I.E.L.D.’s decision to keep Ward around full-time, even if he’s not in every episode, and the set up for him in “Love in the Time of Hydra” elicits a general feeling of fear and uneasiness. It’s not clear what this duo’s plans are, but they are definitely up to something sinister.

S.H.I.E.L.D. has more than Ward and 33 to worry about, though. They also must fear S.H.I.E.L.D. Or, the other S.H.I.E.L.D. See, Robert Gonzales (Edward James Olmos, Battlestar Galactia), Agent Weaver (Christine Adams, Terra Nova), Agent Calderon (Kirk Acevedo, Fringe), and others decide that Nick Fury keeps too many secrets, and that Director Coulson (Clark Gregg) is going down the same wrong path. Bobbi (Adrianna Palicki) and Mack (Henry Simmons) apparently agree with them, and because they’ve infiltrated our heroes so fully, this could spell trouble, especially if they act at the same time Ward does.

Hunter (Nick Blood) might be able to warn Coulson and company, but will it be in time? He manages to escape his captivity on a ship in the middle of the ocean, twelve hours from land by the sub he steals. Bobbi says she only needs six hours to do whatever she’s going to do, which doesn’t exactly point to the outcome Coulson’s S.H.I.E.L.D. will want. But considering Bobbi says her affection for Hunter is true and she does let him escape, might she be a double double agent, working for Coulson while pretending to work against him?

Let’s hope so, because Coulson is distracted by what’s happening with Skye. He takes her to a cabin where she and the rest of the team can be safe, separated, while they figure out what to do with her. The “vacation” is not punishment, even if she kind of feels like it is. It makes logical sense to isolate her, given how Skye shakes the base down repeatedly, a barely controllable Hulk in their midst. But if there really are two dangers coming at S.H.I.E.L.D., Coulson may regret sending away his best weapon, as Skye has talents none of his other agents have. Although most of alt-S.H.I.E.L.D. seems ineffective, Hunter easily overcoming the whole group of them, Bobbi is anything but, and we still don’t know for sure whose side she is on.

“Love in the Time of Hydra” has all of the moving pieces mentioned above, but those aren’t the only threads weaving through MARVEL’S AGENTS OF S.H.I.E.L.D. Something the show does well is balance a variety of segments who all have their own motivations, letting them clash at the perfect, sometimes unexpected, times in spectacular showdowns. Roughly two-thirds of the way through this season, it seems likely that will happen again soon.

In the meantime, this installment does serve various characters well. The scenes between Hunter and Bobbi, between Ward and 33, between Coulson and Skye, and between Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge), the last of which are still on the outs, make for compelling personal drama. What more could you want?

Well, something. I love this show, but lately it’s felt like there’s just a little something missing for me. I can’t quite pinpoint what it is because all of the stuff I talk about above is exciting. Maybe some of the characters are a little flat or the pacing is slightly off, but season two has just not quite been clicking like the latter half of season one did. When I figure out exactly why that is, I’ll surely let you know.

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

MARVEL'S AGENTS OF S.H.I.E.L.D. Mends a "Fracture"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 6 A Fractured House on Seat42F.

This week’s MARVELS AGENTS OF S.H.I.E.L.D. on ABC runs the gamut of emotion and alliances. The episode, “A Fractured House,” begins with the U.S. government declaring war on S.H.I.E.L.D. after an attack on the U.N., executed by Hydra agents pretending to be S.H.I.E.L.D. Our heroes scramble to clear their names and protect their people. By the end of the hour, though, Coulson (Clark Gregg) strikes a deal with Senator Christian Ward (Tim DeKay, White Collar) that should end their need to hide, unofficially sanctioned once more.

The relationship between Christian and his younger brother, Grant Ward (Brett Dalton), has been touched upon on the show before. Grant talks of Christian as a manipulative bully, forcing Grant to cause pain for their youngest sibling. Christian says Grant is the king of liars, and nothing coming out of the double agent’s mouth can be believed. Who should we trust?

“A Fractured House” does a terrific job of setting up the complex Ward dynamic without revealing too much. We see Grant and Christian talking simultaneously, both telling their side of the story, but their narrations do not match up. The show doesn’t let us know who to believe, though. My inclination is to trust Grant because, despite being evil and insane, he is very insistent that he only speaks the truth, and we’ve known him longer. But Christian is a respected U.S. senator, never having worked for terrorist that we know of, who seems reasonable, even if there’s something in his face that feels off. It’s nearly impossible to know which brother we should be rooting for.

I think it will be very telling when we see how Christian reacts to Grant’s escape at the end of the hour. Christian could come down hard on Coulson, claiming Coulson never delivered the prisoner, thus their deal is void. If he does, that makes him more circumspect, putting personal feelings before what’s best for the country. If he continues to work with S.H.I.E.L.D., helping them hunt down and recapture Ward, then he’s probably a good guy.

I really want the deal to work. S.H.I.E.L.D. has not been in hiding that long and they seem to be able to stay ahead of the game easily enough, but it’s still frustrating. When Christian publicly renounces Hydra, simply saying S.H.I.E.L.D. no longer exists, he’s giving tantamount approval for their continued operations. It’s extremely satisfying to see the group and their hunter, Talbot (Adrian Pasdar), on good terms, and they will certainly be able to accomplish more together than apart. It’s been hard to watch characters we love butting heads with people who should on the right side.

Part of this conflict in MARVEL’S AGENTS OF S.H.I.E.L.D. exposes new villains in the espionage game. S.H.I.E.L.D. agents are lured to a safe house, which ends up being a trap ripe for slaughter. The way the drama unfolds keeps one guessing, never quite knowing what’s going on or who might turn out to be untrustworthy next. That’s a good thing for the viewer, making the show one that begs the audience to pay attention.

At the safe house, we get some really kick-ass combat from May (Ming-Na Wen), Hunter (Nick Blood), and Bobbi, a.k.a. Mockingbird (Adrianne Palicki). As enjoyable as that is, though, I am much more drawn into the relationship between Hunter and Bobbi, which is dealt with during the fight scenes. Hunter backs off from his “she’s an evil witch” stance, signaling he’s probably more hurt than angry with her. Bobbi, on the other hand, is very forgiving. We see why they once worked and why they don’t now, but it seems like there could be a nice balance struck, should she stick around. I hope she does. Not only is she awesome, but their dynamic is entertaining and different than anyone else’s on the show.

The other couple featured in “A Fractured House” is Simmons (Elizabeth Henstridge) and Fitz (Iain De Caestecker). She wants to be there for him, but doesn’t know how, he seemingly getting worse when she’s around. It’s a complex bond, one that can’t be easily sorted out, and while it’s natural to root for them to be together, it’s much more compelling to see them struggle like this, at least for now.

“A Fractured House” is full of great moments, from Ward unbalancing Skye (Chloe Bennet), to Skye tricking Ward, to Ward’s walk of shame out of the base complete with a death threat from Simmons, to May bantering with Hunter in the field, to the intense conversation between Coulson and Christian. A lot happens in the narrative structure, but not at the expense of the characters. MARVEL’S AGENTS OF S.H.I.E.L.D. seems to have found an excellent balance between moving scenes and scenes that move.

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

MARVEL'S AGENTS OF SHIELD "Face" Another Challenge

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 4 Face My Enemy on Seat42F.

On MARVEL’S AGENTS OF S.H.I.E.L.D., in an episode titled “Face My Enemy,” Coulson (Clark Gregg) and May (Ming-Na Wen) go undercover to obtain an artifact that has the same strange markings Coulson has been carving. They are hampered by a familiar face with unknown motives. Meanwhile, Fitz (Iain De Caestecker) may be the only one who can save the rest of the team when The Bus is sabotaged. But with his mental problems, is he up to the task?

“Face My Enemy” isn’t a relatively big episode, by any means. There are some nice character moments, but little movement on the larger arcs, the script mostly focused on a mission-of-the-week. This is disappointing as AGENTS OF S.H.I.E.L.D., like most shows, works best when it favors the overall story, rather than a procedural format. Hopefully, as in some of the rough episodes early in season one, the seeds planted this week will blossom into something more enticing as the year unfolds.

In looking at the characters, Fitz has the best plot. He is still stammering, still hallucinating Simmons (Elizabeth Henstridge), and growing very frustrated that he is no longer valued. I think he’s wrong that the others don’t care him, as they will do whatever they can to help, but he’s right that his importance is minimized, with a new lab being built without consulting him. These decisions may make sense logically, but Fitz’s feelings should be considered, too.

Fitz is determined to prove himself to be valuable once more. It’s no easy task, but an excellent opportunity presents itself when several lives, including his, are put on the line. Operating under pressure and strict time limits is a constant part of the job, and that’s when it’s most vital that Fitz step up. Thankfully, he does, working with Hunter (Nick Blood) in a couple of moving scenes that show Fitz not only getting better, professionally speaking, but starting to form new bonds of friendship, which will serve him well in his re-integration to the team.

At the same time that everyone on MARVEL’S AGENTS OF S.H.I.E.L.D. is able to stop worrying about Fitz, they need to start worrying about Coulson. Coulson clearly wants to help himself, going out into the field personally to recover the artifact in “Face Me Enemy,” rather than just sending his people. Yet, he himself wants to discuss contingency plans, naming May heir apparent, a mantle she doesn’t want to shoulder, as she’d rather devote her resources to taking care of Coulson.

How much should one really be worried about Coulson? He keeps saying he doesn’t want to end up like Garrett, but Garrett was part of Hydra long before he took the medication. His issues went far deeper than the connection he shares with Coulson. Coulson may lose his judgment and reasoning skills, but as long as May is able to help him step down from the Director job, he doesn’t need a bullet in the head, Coulson’s suggestion for dealing with the problem. Why is he thinking in such extremes?

I sincerely hope MARVEL’S AGENTS OF S.H.I.E.L.D. doesn’t remove Coulson from the game. It’s hard to imagine the show without him, the writers already bringing him back from death to star in it. The characters on this show are not static, but there are plenty of directions to take Coulson in without killing him. Whether he is healed or descends into madness, there’s no reason to get rid of him any time soon.

Besides, Coulson will be needed. Whitehall (Reed Diamond) is demanding Raina (Ruth Negga) give him back the mysterious obelisk, and it looks like she’ll have to if she wants to live. In Whitehall’s control, there is no telling what the strange device will do. We’ll need all hands on deck, including Coulson’s.

Is it just my imagination, or is something sparking a little bit between Skye (Chloe Bennet) and Triplett (B.J. Britt)? There’s nothing overt, but an underlying tension seems to be present, and I’ll take this pairing. They are both young, hot, and capable. Why not?

There are plenty of enticing things in “Face My Enemy,” from the “reveal” of Talbot (Adrian Pasdar) to be Hyrda, to the reveal that he’s not actually Hydra, to May fighting a woman disguised as May (both played by Wen), to some lovely dialogue between May and Coulson. For an episode that really doesn’t go far enough into the mythology, it’s still pretty entertaining.

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

MARVEL'S AGENTS OF S.H.I.E.L.D. Getting "Heavy"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 2 Heavy Is the Head on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. continues its new-found darkness in this week’s episode, “Heavy is the Head.” Reeling from the deaths of Hartley and Idaho, Hunter (Nick Blood) considers making a deal with Talbot (Adrian Pasdar) that will not only keep him from being hunted, but also leave him living comfortably, though it means betraying S.H.I.E.L.D. Meanwhile, Skye (Chloe Bennet) grows suspicious of what Coulson (Clark Gregg) may be hiding, and Mack (Henry Simmons) makes a break-through with Fitz (Iain De Caestecker).

MARVEL’S AGENTS OF S.H.I.E.L.D. wastes no time in exploring the new main character of Hunter. While it is a fast-paced series with an expanding cast, Hunter is firmly established as a lead this year with a major focus these first two weeks. Some viewers will be disappointed that he’s more central than established favorites, but it’s a way for the show to help him immediately take root in the action, and it works for that purpose.

Hunter is forced to choose between S.H.I.E.L.D. and Talbot. What we know about the character so far is that he’s a mercenary, and while we’re told he’s been with the team for awhile, we haven’t witnessed that. But Coulson obviously trusts him to some extent, allowing him to work with his people, and even when Hunter proves untrustworthy, putting the good guys to sleep so he can go after Creel (Brian Patrick Wade) for revenge, Coulson still trusts him. That says something about him, as does his obvious care for his fallen comrades, and should earn him the benefit of the doubt in the future.

However, is Coulson trust-worthy? Skye doesn’t think so, sensing there is something off about him, more so than just trying for the detachment of a leader. She may be a S.H.I.E.L.D. agent now, and thus more apt to follow orders, but there’s still some of the old Skye in there, a girl that won’t let go of something nagging at her. Coulson does right by his job in not coming clean to her, even with his new emphasis on sharing information, eliminating the old levels system, but I can’t help but feel that’ll bite him in the butt in the end.

At least Coulson has let May (Ming-Na Wen) in on the secret. His judgment is iffy, that much is clear, especially when he hasn’t had a crazy wall-carving session in awhile. Thankfully, May is present to watch and document it when it does finally happen, and make sure Coulson stays on track in general. She still defers to him in the field, but she’s also aware of the entire situation, more so than the rest of the team. It makes one feel a little better to know that she has Coulson’s back and can probably stop him if he goes too far.

I really like the scenes between Mack and Fitz. They have a completely different dynamic than Fitz has with the still-absent Simmons (Elizabeth Henstridge). It works, though. And the more Fitz speaks with Mack and comes to rely on him for feedback, the less he hallucinates Simmons. This can only be good for Fitz’s recovery, and the breakthrough he makes in adapting a device to stop Creel is a sign that the genius is still somewhere in there. Fitz’s road back to normal may be a long one, but Mack’s patience and help has allowed it to progress.

So now the question is, where is Simmons?

Fans of MARVEL’S AGENTS OF S.H.I.E.L.D. are likely excited to see the return of Reina (Ruth Negga) in “Heavy Is the Head.” No longer a member of Hydra, she’s still up to no good in her theft of the artifact. But what are her motivations? She’s working with a mysterious man (Kyle MacLachlan, Portlandia, Sex and the City) who is Skye’s father. What are they up to, and how will that affect S.H.I.E.L.D.?

The chaos of this season of MARVEL’S AGENTS OF S.H.I.E.L.D. is terrific. Reina and the man add to the already jumbled field of play where Hydra, S.H.I.E.L.D., and the government battle. With more references to the 1940s and a large cast of frequently recurring players, the show is now on a larger scale than most of season one, and is telegraphing another big event. I don’t know what’s coming this season, but there’s definitely something in the works, given all the components and hints that are constantly coming out. How can watch and not be super excited, even if slightly frustrated that we only get little bits and pieces at a time? It also helps that there are a number of terrific scenes along the way, such as the confrontation between Coulson and Talbot in “Heavy Is the Head.”

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

S.H.I.E.L.D. Comes Back From the "Shadows"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 1 Shadows on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. is back! Airing last night, the second season premiere, “Shadows,” picks up several months after the shocking events of last spring’s finale. Director Phil Coulson (Clark Gregg) has stepped away from the team to run the entire new S.H.I.E.L.D. agency. Everyone, which includes quite a few more people than the original team, now works out of the secret base known as The Playground. And some characters are much-changed.

The episode begins with a glimpse of Agent Peggy Carter (Hayley Atwell) and the Howling Commandos in 1945, a welcome connection to the upcoming miniseries, Agent Carter, that will air when MARVEL’S AGENTS OF S.H.I.E.L.D. goes on winter hiatus. Peggy and her crew are capturing an artifact from Hydra officer Daniel Whitehall (Reed Diamond, Franklin & Bash, Dollhouse). In the present day, S.H.I.E.L.D. and Hydra (including a still-youthful Whitehall) hunt the same object, which is now controlled by the government and Brigadier General Glenn Talbot (Adrian Pasdar).

The dynamic between the three organizations, S.H.I.E.L.D., Hydra, and the U.S. military, will definitely be giving the show plenty of legs to run on this season. As it stands now, Hydra is winning, with the larger, globally-expansive network, while S.H.I.E.L.D. is rebuilding desperately. One would think it makes sense for the American government to side with S.H.I.E.L.D., but those in charge of the troops, specifically petty Talbot, have been burned when S.H.I.E.L.D. collapsed, and are justifiably wary about getting in bed with them again, especially after such a public campaign against them. It’s an unstable mix, which can only result in entertaining showdowns.

Poor Coulson is stuck in a terrible situation. Not only is he struggling to recruit enough reliable people to help build the organization Fury has entrusted him with, but now he has to look at the bigger picture, which means weighing his personal feelings for his agents against what has to be done in the war game. This means he has to endanger people he cares about, as well as send them into extremely uncomfortable situations they don’t want to be in. Coulson still isn’t a bad guy, but he’s sure to tick off some of our heroes when putting the world ahead of them, which will spark good, authentic drama.

Skye (Chloe Bennet) is now a full-fledged agent, working under the tutelage of May (Ming-Na Wen). That doesn’t mean she’s ready, though, when Coulson sends her to pump Ward (Brett Dalton), imprisoned in The Playground, for information. She’s still deeply wounded by the turncoat, and can’t stomach to look at him long, even as he tries to promise her secrets on her origin. She’s much better at the physical stuff, surprisingly.

Ward is very different now. His driving purpose seems to be his love for Skye, which she is certainly not returning. His suicide attempts and unkempt appearance indicate he’s given up on rejoining Hydra and may not care about it at all, now that his mentor is dead. I’m not sure where MARVEL’S AGENTS OF S.H.I.E.L.D. is going with him, but I’m very glad he’s been kept around and allowed to be a dynamic character. His psychosis is a delicious thing for the actor to play, and he’s doing a fine job of it so far.

Even more startling than the new Ward is Fitz’s (Iain De Caestecker) mental state. We know he’s injured, but for most of “Shadows,” it just seems like he stutters a bit. It isn’t until the end of the episode that viewers are clued in to the fact that Simmons (Elizabeth Henstridge) left the base some time ago, and her appearances in the hour are hallucinations. This indicates far deeper problems, with no one quite trusting Fitz to do his job any more, but still keeping him around out of loyalty. How long will it take Fitz to recover, or will he ever? (I’m going to guess he’ll return to form by mid-season.)

“Shadow” brings a lot of new blood into MARVEL’S AGENTS OF S.H.I.E.L.D., and that’s a good thing. The structure of the show has changed, and by necessity, we need more faces to fill it. Lucy Lawless (Battlestar Galactica, Xena: Warrior Princess) is fantastic as Agent Hartley, and I’m very sad she is killed off so quickly. But we still get another appearance of a Koenig (Patton Oswalt), whom I hope sticks around as much as possible. Triplett (B.J. Britt) deserves a promotion to central cast, a full part of the team by this point. There’s also a mercenary named Lance Hunter (Nick Blood, Trollied) and a mechanic named Mac (Henry Simmons, Man Up, NYPD Blue) in the season premiere.

Interestingly, the ABC press site still only lists the six core main characters, while Blood’s name is in the Starring portion of the opening credits. The way all these new people are handled, it’s easy to be unsure about who’s a main character and who isn’t. However, given Joss Whedon’s connection to the project, I recommend not worrying about that, as he has a tendency to heavily use good performers over a long period of time, even if they are not added to the principal cast.

As you may have surmised from the above review, there’s a lot going on in MARVEL’S AGENTS OF S.H.I.E.L.D. this year, and I feel like I’ve barely scratched the surface. Of note, we also got to see a man who can change his substance, a cool jet that can turn invisible, and more glimpses of the doodle lines crazy Coulson draws. With so many balls in the air, fans are sure to be in for a heck of a fall run, jam-packed with action, story, and continued character development in TV’s current best superhero series, and that’s saying something, given the suddenly-crowded field.

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

Fire Goes Out On BURN NOTICE

Article first published as DVD Review: 'Burn Notice - Season Seven' on Blogcritics.

USA’s Burn Notice came to an end last summer after seven seasons. The story of Michael Weston (Jeffrey Donovan), a burned CIA spy, wrapped itself up relatively neatly as Michael and his friends faced some of their most difficult challenges yet. Now, those last thirteen episodes are available in a four-disc DVD set.

Season Seven begins with “New Deal.” Michael has negotiated the freedom of his compatriots in exchange for serving the government. Specifically, Agent Andrew Strong (Jack Coleman) tasks Michael with going undercover to report on an old friend, Randall Burke (Adrian Pasdar). These Heroes alum are Michael’s final mission, sort of, as doing this job will supposedly earn back the life Michael has longed for all these years, as well as protect the people he cares about.

Of course, Michael is strongest when he is with his friends. Season Seven begins with Mike off on his own, separated from those who love and ground him. It doesn’t take long for Fiona (Gabrielle Anwar), Sam (Bruce Campbell), Jesse (Coby Bell), and Maddie (Sharon Gless) to find out what’s going on and get involved, but from the start, there’s a level of distance between Michael and the crew that is sure to make long-time fans uncomfortable and the plot unpredictable, especially as this new dynamic continues well past the first few hours.

Besides identifying and stopping the bad guys, Michael has some personal challenges to get past in season seven. Maddie is still angry at Michael for the death of his brother, Maddie herself taking on the responsibility of raising her grandson. And Fiona, Michael’s true love, has moved on with someone else, Carlos (Stephen Martines), who seems a good match for her. All of this makes coming home hard for Michael, and puts his loyalties in doubt, especially as he suffers the effects of long-term, deep-undercover work.

Unlike the first six season, the final season has a very serial format, trying up some loose ends and giving closure. However, given series format of serial chapters and mini-arcs, the final season isn’t really a culmination of the entire seven years. Only two returning guest stars, Tim Matheson and Garret Dillahunt, figure into this plot, and only in limited ways. But these 13 episodes do tell a tale that feels like a fitting ending for the characters.

The series finale itself, “Reckoning,” is fairly solid. There’s some disappointment, such as the unnecessary death of one of the main characters, and the very small, far-too-late role the great Alan Ruck is given, but overall, most Burn Notice viewers should nod and smile and anxiously await the rumored TV movie or movies that could continue the tale. Plus, Sharon Gless delivers another memorable moment, and Donovan surprises everyone by showing some real acting chops.

I watched Burn Notice from the beginning, and although I considered giving it up a few times in the middle of the series, I do think season seven is some of the best work the actors and writers delivered over the whole run. I did find the ending a little hollow, but no more so than fit the tone of the rest of the show. It’s popcorn entertainment, it never pretended to be anything else, and it ended in the same vein.

As far as extras go, there’s a great audio commentary for the episode “Forget Me Not,” which is the second episode of the season and the 100th episode of the series. A featurette about the ending of the show is present, and a gag reel and deleted scenes round out the bonuses. One could justifiably wish for more, but there’s enough here to avoid complaints that fans were robbed.

Burn Notice Season Seven is available now.

After THE AFTER

Article first published as After THE AFTER on TheTVKing.

Nearly a year after releasing its first batch of comedy pilots, Amazon.com finally posted two dramas free to stream on their website. One of these pilots is The After, which is from Chris Carter (The X-Files), a suspenseful series send after a post-apocalyptic event. Eight strangers, bound by fate, not coincidence, must come together to survive, fleeing from the rest of the world.

The X-Files was a seminal show for science fiction television, and some of the creepy mystery that seeped through that program is repeated here. There is a creature (Sam Littlefield) with weird tattoos in the woods, and no one can explain to our protagonists what is happening. Even after viewing the entire "Pilot," the long-term plot still seems murky.

But the mistake comes by making The After about a "random" group of strangers thrust together by circumstance. This concept has been done to death, and with much better ensembles. Those that make up the cast are mostly familiar faces, and none of them are bad actors. But neither is this the next Lost, and the layers that begin to peel away in the "Pilot" are predictable and formulaic.

Our central heroine is Gigi Generau (Louise Monot, The Avignon Prophecy), an aspiring actress with a thick French accent, currently stuck far away from her beloved (Jason Lewis, Sex and the City) and their child. She is joined by an 'innocent' ex-con (Aldis Hodge, Leverage), an asshole lawyer (Adrian Pasdar, Heroes), a likely prostitute (Arielle Kebbel, The Vampire Diaries), a gay clown (Jamie Kennedy, Ghost Whisperer), a senile millionaire (Sharon Lawrence, NYPD Blue), a foul-mouthed drunk (Andrew Howard, Hatfields & McCoys), and a cop (Jaina Lee Ortiz, The Shop).

This grouping is a lot like that assembled by broadcast network series with a similar format, such as The Nine and Lucky Seven. There isn't any single actor who stands out as amazing, and though they play their parts well enough, we're taught not to take the characters at face value, which makes it hard to trust any of the players. None of these other shows lasted, so why should The After?

What will set it apart from that category is the gratuitous nudity and frequent dropping of the F-bomb. But don't mistake The After as being HBO or Showtime level quality, as the writing is far less smart. There are some intriguing elements, to be sure, but it's not looking like the next must-see serial drama.

This is evidenced by the other people we see. While the cast is escaping from a parking garage to a mansion to the forest, the general public riots, tries to flip their vehicle, offers no assistance, even from law-enforcement, and tries to rob Lawrence's character's home with guns. The rest of the world's population is shown as a two-dimensional menace, with only the main players getting any development at all. This doesn't bode well for sustainability.

While I do have very mixed feelings on The After, enjoying it but not really respecting it, I probably will watch if it goes to series. After all, at least it's not another police procedural, and it's trying a few new things. Plus Carter's involvement gives me hope there are some bigger, well-thought out arcs that could be brought into the fold down the road. But as a "Pilot," it lacked authenticity and any real, lasting draw. Very disappointing, considering Amazon has only ordered two drama offerings versus eleven comedies so far.

The After is available now on Amazon.com.

"New" BURN NOTICE

Article first published as BURN NOTICE Review on Seat42F.

Grade: 90%

As USA’s final season of BURN NOTICE begins this week with “New Deal,” Michael Weston (Jeffrey Donovan) hasn’t been heard from by his loved ones for nine months. He’s deep undercover in the Dominic Republic, and all they know is that they were released from federal custody without a trial and haven’t seen Michael.

It isn’t hard to do the math that Michael has made a deal to protect those closest to him, and they are smart enough to realize this. Which might be why they don’t hate him, and when a creeper comes to town and questions them on Michael’s current status, they do what they can to not give the guy any information.

The bad guy does manage to get the drop on Michael’s friends, as, like him, they work best in a united team, and their team is missing one of its number. The slip up is regrettable, but understandable, and certainly not done to hurt Michael. Yet, it happens all the same. This is evidence that the gang must be put back together.

BURN NOTICE has moved from procedural to serial as it ages, ramping up the stakes and excitement. Uncovering who burned Michael may no longer be the primary premise of the show, but Michael is not free and clear, and every new story development only pulls him deeper into the muck. In this last run of episodes, it’s certain that Michael will once and for all try to get away from his past, which should make for some serious action and a few nasty explosions, just what the fans want.

But in order to clear his name, Michael is going to need some help. No man is an island, and while Michael likes to try to go it alone sometimes, in the name of being a protector, he is strongest when he has Fiona (Gabrielle Anwar), Sam (Bruce Campbell), Jesse (Coby Bell), and even his mother, Maddie (Sharon Glass), around him. What that tells viewers is that we should not expect Michael to remain isolated in a foreign nation forever. He will eventually make it home.

Not that coming back will be entirely easy. Sam seems to have settled into a sort of easy retirement, while Jesse runs a security company. Both would probably either give those things up for Michael, or at least make some time for him on the side, as they do, without his knowledge, in “New Deal,” but they aren’t just hanging around, waiting. And while Maddie is fighting to get custody of her grandson, who has no capable parents left, she probably wouldn’t be opposed to assisting her son, as long as it didn’t endanger the child.

Fiona remains the sticking point. Fiona was once closer to Michael than anyone, having lived with and loved him. His departure, along with other actions, feels like a betrayal to her. Fiona being Fiona, she hasn’t just rolled over and cried; she’s too tough for that. She has moved on both professionally and romantically, and while she’s fine with supporting Maddie, has no intention of helping Michael anymore.

Can Michael win her back? He does what he does with good reason. But, in the past, she hasn’t excused good reason when it means lying and abandoning people. Fiona has a fiery temper and cannot be messed with. Michael should know her well enough to realize this by now. I predict their reconciliation will happen (because the fans really want it to), but it won’t come quick or smoothly.

Michael is a bit busy, too, getting close to a former “friend” (Adrian Pasdar, Heroes). This is the spy side of the episode, and it’s pretty enjoyable, especially because it isn’t a typical mission. We know that Michael has been deep undercover in the past, but “New Deal” is the first time BURN NOTICE explores this scenario, usually operating in limited-run missions. I would like the series to let this play out for a while, if for no other reason than it gives us a glimpse of a component the spy life that has been unexplored up until now. Even with the end of this installment, which points to a break from this arc, I think this is possible.

“New Deal” continues the improved BURN NOTICE delivered the last couple of years, a step above what the show once was. It also sets up some juicy conflict and potentially rocky run-ins. It’s a great way to begin the season.

BURN NOTICE airs Thursdays at 9 p.m. ET on USA.

Political Animals need not be caged

The season finale of USA's limited series event, Political Animals, aired this week. The title of the episode is "Resignation Day." But to whom does this refer? Is it Elaine's (Sigourney Weaver) last day as Secretary of State, having promised President Garcetti (Adrian Pasdar) that she would step down? Or will Douglas (James Wolk) be the one quitting, having leaked sensitive information that will make him untrustworthy, and thus unemployable, in his chosen field? Or perhaps Susan (Carla Gugino) will be forced to leave the paper, having crossed more than one line in the pursuit of a story?

Thankfully, although a second season had yet to be ordered, none of these come to pass, so all of the characters can stay around and relevant. A shocking tragedy resets everyone's priorities, ending several arcs succinctly, and kicking off a couple of new possibilities for the future. Should another go-round be ordered, there is plenty more story to ell, and given the tease at the end, with Elaine smiling at Bud's (Ciarán Hinds) insistence she run for president herself, the writers already have some ideas mapped out.

Let's back up a second. As Political Animals' freshman run plays out, Elaine considers taking on Garcetti, worried he isn't sticking to his guns the way he should be. But Garcetti comes 'round when Elaine calls him on the carpet, and ends up offering her the Vice President position in his challenge for a second term. However, before she can make the decision about whether to accept, Garcetti is seemingly killed in a plane crash, and sleazy V.P. Fred Collier (Dylan Baker) is put in charge instead, necessitating Elaine's own run, rather than leave a cad like Collier in power.

Had Garcetti survived, and as his body had not been found yet, he still could be alive, Elaine would surely have stood by him. Political Animals has done a good job making politics neither black nor white, and at the end of the day, Garcetti was the man Elaine hoped he would be. Yet, Collier is much more a villain, providing a delicious antagonist for season two, which points to Garcetti most likely being deceased. After all, the more drama a series can muster up, the better, right? Though a last minute reveal of finding Garcetti alive after Elaine and Collier battle it out, while stretching reality to the breaking point, could be even juicier.

Thankfully, Political Animals does not thrive on unnecessary drama, delivering a good story without venturing too far into that television trope of forcing antagonism. Yes, Douglas does cheat on Anne (Brittany Ishibashi) with Susan, but that's the only real misstep I can find in this first batch of episodes. There is upheaval and scandal, to be sure, but it almost always stops before going too far, keeping true to the characters, as they have been established.

One moment from "Resignation Day" really stands out, and crystallizes something this show does very well. Susan tells Douglas that, despite cheating on his fiance and betraying his mother, he is still a good guy. And somehow, as hard as it is to accept on paper, she's right! Not only that, but after writing Bud off as a womanizer who can't keep his mouth shut, Political Animals goes out of its way to prove he also loves his (ex-, for now) wife, and has willingly sacrificed himself for her career. This is the mark of a compelling character, who, likes the others on this show, lives in the fuzzy gray world of reality, rather than being shelved as either hero or villain. Very cool.

Another sweet point in "Resignation Day" is when Elaine tells Susan the truth of the whole power struggle. The friendship between these women is a real highlight of Political Animals, and what keeps the political world from coming across as too slimy. Providing a relationship both hang on tight to amidst the turmoil givens each a strong foundation they can stand on, and provides viewers with ways to root for them. Who needs mean girls when nice works so much better?

I would be remiss if I didn't praise the fantastic Ellen Burstyn, who plays Elaine's mother, Margaret. Whether making her daughter consider what her decisions do to the family, or confronting Anne and T.J. (Sebastian Stan) about their demons without judgment while struggling with her own, she is a powerful force on the series, and one that drives along a number of stories that could stall out without her assistance. She is doing some seriously brilliant work here.

Then there's the scene where Barry (Roger Bart) comes to make up with Elaine, his priorities put in order by what happens to Garcetti. These kind of pathos help the show thrive, and thrive it does. The cast has been signed for multiple seasons. Let's hope Political Animals gets that chance.

First posted on TheTVKing

You can't cage these Political Animals

Grade: 86%

USA decided to take a risk with its new show, POLITICAL ANIMALS. The network has actually taken several risks in the last few years, each progressively braver than the one before it. There’s nothing wrong with how the network made its name, with a number of similar shows, each using the trademark formula. Still, it’s nice to see something new, and this show resembles its peers not at all.

POLITICAL ANIMALS is easily the biggest departure from USA’s tried and true formula yet, and it’s a big success, at least creatively. The writing is very smart, the acting is fantastic, and the scope is much broader than the average basic cable drama. The “Pilot,” which aired last night, is a superb story, wonderfully setting up each character, as well as telling a tale or two or three.

Created by Greg Berlanti (Brothers & Sisters, Everwood), many will immediately assume he is a fan of Hilary Clinton. That’s because the central character of POLITICAL ANIMALS, Elaine Barrish (Sigourney Weaver, Alien, Avatar), is a former first lady of the popular, two-term 42nd president, who, after losing a presidential race to a charismatic newcomer (Adrian Pasdar, Heroes, The Lying Game), accepts the position of Secretary of State. Elaine is bold, principled, and suddenly more popular than ever, hugely successful as the nation’s top diplomat.

But as the “Pilot” unfolds, it is clear that Hilary may just have been a starting point. There are definite differences. Some are cosmetic, such as the fact that Elaine has twin sons instead of a daughter, while others, including divorcing her husband, Bud (Ciaran Hinds, Rome, Munich), are perhaps wishful thinking. But what it really boils down to is that Hilary is a public figure, and none of us will ever know what goes inside of her head. Ellen is a television character, who will do things to keep the show interesting, such as sleeping with her ex-spouse. Not only that, but Elaine must be fully fleshed out, filling in those details missing from the general consciousness about Hilary. As such, a lot of creative license is taken, and the character will quickly stand apart from her inspiration.

A number of things happen in the “Pilot.” Firstly, the family celebrates the engagement of Elaine’s son, who happens to also be her chief of staff, Douglas (James Wolk, Happy Endings, You Again), to Anne Ogami (Brittany Ishibashi, Ghostfacers, Eagle Eye). It looks like the perfect pairing, and they do seem to get along pretty well, despite the family tensions. But Anne is secretly bulimic. Is this condition a result of the pressures of marrying into such a powerful family? What kind of girl chooses this kind of life? These are questions only barely begun to be explored.

Other son, Thomas James, or TJ (Sebastian Stan, Gossip Girl, Kings), is a homosexual with a drug problem. Having previously attempted suicide, he is not well suited to this particular family, finding the spotlight painful and grating. He is still loved, at least by his mother, but that isn’t enough to keep him in line. What kind of trouble will he cause her and the others?

In fact, TJ sets up the other major thread of POLITICAL ANIMALS. In the “Pilot,” Elaine is being followed around by a reporter named Susan Berg (Carla Gugino, Watchmen, Californication, Entourage) who made her name by exposing Bud’s cheating ways, and is now using the story of TJ’s screw up to blackmail her way into an interview. Of course, this being TV, Susan’s life is just as messed up, as her boyfriend / boss betrays her in more ways than one, and she begins to feel Elaine’s pain.

There is a very nice parallel between Elaine and Susan. They are similar types of women, to paraphrase the episodes, bitches who don’t like being called bitches. They are driven, intelligent, sexy, and get what they want through hard work and tenacity. Sometimes they may be shamed by others, but there is a lot to be admired in both women. And by the end of the “Pilot,” they begin to see that in each other, too.

In the first episode, amid all of this other stuff, there is also a hostage crisis in Iran, a great example of how POLITICAL ANIMALS mixes the big picture and the intimate family moments. This is a winning formula, showing how the people in charge cope with everything thrust upon them, a look that most people don’t generally get into their lives. Sure, the episodes will be trumped up for dramatic effect, but they also feel fairly real because the series gets the details right.

There are lots of things going on, but none of it feels rushed, especially in the hands of a terrific cast. These include supporting actors like Ellen Burstyn (Big Love, The Exorcist) as Elaine’s drunken mother, Dylan Baker (Damages, The Good Wife) as the Vice President, and Roger Bart (Desperate Housewives, The Producers) as the president’s chief of staff. All of this combines to make a fantastic show.

This is definitely a can’t-miss series of the summer, and presented as a limited run, it won’t be a major time commitment to check it out. POLITICAL ANIMALS airs Sundays at 10 p.m. ET on USA.

Castle: The Complete Third Season on DVD

     ABC's Castle: The Complete Third Season comes to DVD this Tuesday, September 20th, the day after season four premieres. These episodes aired from September 2010 until this past May, the most recent season to air. Season three provides many of the stand-alone mysteries viewers have come to expect from Castle, as well as a handful of episodes that play into larger arcs.

     As season two ends, Castle (Nathan Fillion) heads off to the Hamptons with his second wife and editor, Gina (Monet Mazur), just after Beckett (Stana Katic) breaks up with her boyfriend. Season three finds Castle dating Gina for awhile, before the relationship implodes. But the time that it does, Beckett finds a new guy to date. So, of course, the two lead characters never do find the opportunity to hook up. However, in the season three finale, Castle tellz Beckett that he loves her, so it will be interesting to see what the ramifications of that moment will be.

     Though Castle and Beckett don't get lucky in love, they seem to be the only ones. Among the other relationships that play out during the third season, Alexis (Molly C. Quinn) gets serious with her first real boyfriend, Ashley (Ken Baumann, The Secret Life of the American Teenager), so much so that, after a fight, they decide to try the long distance thing as he goes off to college. Ryan (Seamus Dever) proposes to his girlfriend, and she says yes. Esposito (Jon Huertas) and Lanie (Tamala Jones) try to sneak around, and for awhile, their friends allow them to believe it's working. Martha's (Susan Sullivan) beau dies just as she is about to decline his marriage proposal.

     But romance is a small part of Castle, while murder is a much bigger part. There are a number of cool, memorable cases that Castle, Beckett, and company solve during this third season. The team works with Agent Mark Fallon (Heroes's Adrian Pasdar) to stop a dirty bomb in a gripping two parter. Actress Natalie Rhodes (Laura Prepon, October Road, That '70s Show) helps out on one case while studying Beckett, as she will be playing Nikki Heat in a film based on Castle's books. Beckett's old mentor, Royce (Jason Beghe), returns, only to be killed, and Beckett and Castle have to travel to Los Angeles to find his murderer.

     Of course, the biggest episode of Castle's third season is the finale, "Knockout," which continues the investigation into Beckett's mother's murder, an arc spanning the series thus far. Esposito and Ryan learn that Captain Montgomery (Ruben Santiago-Hudson) is part of the cover up conspiracy. Montgomery faces the hired killer himself, losing his life, but saving Beckett's. There is also much examination by Castle over his feelings for Beckett, while trying to convince her to stop digging before she gets killed. "Knockout" ends with Beckett being shot as Montgomery's funeral, and Castle professing his love, as mentioned above, before her head lolls back. What an exciting cliffhanger!

     Interestingly, unlike other ABC releases, Castle's bonus features are spread across each disc in the set, rather than packing them all onto one disc. This certainly makes sense for the audio commentaries, which are provided for a few of the more memorable episodes. It's also convenient for the deleted scenes, too, keeping them near the episode that they belong with. Those are all pretty standard, nothing shocking or exciting to set Castle's apart from any other show. Though it is fun to see Castle bumble in front of Beckett's father (Scott Paulin). You can skip watching them, and won't miss anything. The longer features are all on the final disc, so the setup works pretty well.

     One three and a half minute feature examines how the twelve murder boards on set are used to film each episode, as told by Kurt DeFilipps, the man in charge of doing so. A just over two minute music video called "Get On the Floor" comes from an episode during the season, expanded with scenes from the show added in. The obligatory four minute blooper reel begins semi-seriously, giving it a fun, unique spin. It also exposes the cast's potty mouths.

     "Castle Goes Hollywood" is an eight minute short about filming in Los Angeles for one episode. Actually, Castle always films in L.A., but the cast and crew talk about how they had to adapt, since usually they are concerned with making L.A. pass for New York, and this time, they can embrace the city where they live.

      Finally, "Murder They Wrote" is a twenty-two minute roundtable discussion with series creator Andrew Marlowe, executive producer Rob Bowman, author Michael Connelly, graphic novelist Brian Michael Bendis, and star Nathan Fillion. The guys discuss the writing process and the realism of the show. They also go into detail about the books and graphic novel that have been released in conjunction with the series. Fillion talks about his experience on Firely, always a treat. Plus, they remember Stephen J. Cannell, author and former guest star.

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

     To order the Castle DVD, or purchase streaming episodes, please click here.

Article first published as DVD Review: Castle: The Complete Third Season on Blogcritics.

Heroes finally finding footing

     Way back in October when I last wrote about NBC's Heroes, I lamented that the show was struggling, but celebrated a few bright spots on the horizon.  After having just viewed Monday's two-parter, I am happy to report that Heroes has found it's stride again.  If you had written Heroes off, now is the time to get back on board.  Catch up online, then read on.

     As before, there has only been limited Hiro (Masi Oka) and Ando (James Kyson Lee), who used to be just about the only part of the show worth watching.  As their names did not even appear in the latest installment's opening credits, one must assume that the plummeting ratings forced the main characters down to limited episode counts.  Not that Hiro has become uneccessary to the show.  He still should have a hand in the showdown, and he has not yet resolved his plot to rescue Charlie (Jayma Mays, Glee).  However, I am gratified to see Heroes mess with time travel and changing the timeline, but not have things go disastrously wrong, as is the norm for science fiction, and have to have it put back.  Ando's new standing is welcome.  There has also been very little seen on Mohinder (Sendhil Ramamurthy), who popped up only briefly in the fall, before disappearing again.  Similarly, another less popular character, Tracy (Ali Larter, Final Destination, Varsity Blues) has appeared in just five of the first thirteen episodes this year.

     Meanwhile, while Claire (Hayden Panettiere, I Love You Beth Cooper) has not gone into lesbianism, as I thought she might, she has gone through a lot, being lied to by her adopted father, loosing her biological father, and almost falling prey to a cult.  She is staying interesting and relevant to the plot.  Speaking of her biological father, it appears that Nathan's (Adrian Pasdar, Judging Amy) plot, months after his death, has finally played out and he will no longer be a part of the show.  This is mostly welcome, though he had gotten more engrossing last season.  The character I most miss at this point is Matt (Greg Grunberg, Alias), who had a hell of an episode battling the villain in his brain, but hasn't been seen since.

     Speaking of villains, has Sylar (Zachary Quinto, 24, Star Trek) finally met his match in newest main cast member Samuel (Prison Break's Robert Knepper)?  Their showdown this week gave me chills, and made me yearn for more.  If the two ever fought head on for long, or teamed up, it would be quite a show.  Samuel is easily the most complex, compelling enemy to grace television screens in quite some time, and his carnival slash cult has given much drive to Volume 5: Redemption, the title for this fourth season.  The place had introduced a slew of new heroes with unusual abilities, and brought a few old ones back out of the woodwork.  Plus, what the heck was up with Sylar's new tattoo of a familiar face?  With only six episodes left, Heroes doesn't have much this spring, but what it does offer will surely be worth tuning in for.

Heroes down but not out

    Many fans of NBC’s Heroes have fled, claiming the show will never be as good as it was in the first season. Truthfully, I feel the first season was ok, but the second season was the zenith. That was when Kristen Bell (Veronica Mars) and David Anders (Alias) joined the cast. They were signed to become full time characters, but a shortened season, because of the writer’s strike, and failing ratings interfered, and both ended up leaving early in season three. I agree, that the show has floundered unevenly since then, but don’t give up hope yet.

      This week’s episode, “Strange Attractors”, proved that the show can be good, and not just when Hiro and Ando are the focus, as the popular Japanese duo sat this one out entirely. Look for more of them next week when Hiro goes back in time save his love, Charlie (Glee’s perky guidance counselor, Jayma Mays). Anyway, Claire has FINALLY become interesting, trying to lead a normal, college life and possibly falling in love with the wonderfully understanding Gretchen (Madeline Zima from The Nanny and Californication). I hope Gretchen sticks around, and Claire goes for it. The comparisons between her and one Buffy Summers have been quite evident, but unlike Buffy, Claire’s lesbianism should stick.

      Nathan and Peter have had much reduced plots, which is welcome, as they both tend to make the plot drag. As the real Nathan is dead, one can only hope that the actor will be leaving the show soon as well. Of course, Zachary Quinto’s Sylar, living in two different places at once, is richly enjoyable. That show will never shortchange that actor if they know what’s good for them. Plus, I am really digging Robert Knepper, fresh off a fantastic four year stint on Prison Break. It’s not certain what is going on with him and his mysterious circus, but he is acting the hell out of the role.

      Unfortunately, not all is clear skies. HRG is actually trying to do good, and not doing very well at it. He has always been a favorite character, and after the dissolution of his marriage and the loss of his job, does he keep having to get beat on? Also, Mohinder has been missing for quite awhile, though word is he will be back soon. But will he be back full time, or just as a guest star? Lastly, the less they focus on Ali Larter’s character(s) the better. I think it’s time she leaves for good, though I wouldn’t object to her son, Micah, returning to the show.