"Departure" of Another ARCHER Season

Article first published as TV Review: 'Archer' - 'Archer Vice: Arrival/Departure' on Blogcritics.

FX’s Archer ended season five this week. Subtitled Archer Vice, it is a huge, splashy showdown, and a return to normalcy. The dictatorship in which the team is hiding collapses into itself, and probably would have even if the U.S. government hadn’t been bearing down on it, which it is.

At the same time, Lana (Aisha Tyler) goes into labor, of course, dividing the attention of Archer (H. Jon Benjamin), who has made the effort to become a doula and wants to be supportive in this situation. Archer and Lana’s romantic arc has been more funny than sweet. They are definitely in love with one another, but Lana is a tough broad, hating to allow any emotion to crack through her hardened exterior. Archer, by contrast, is an immature man-child who can be faithful, but tends to not act like an adult most of the time. Luckily, both have slowly gotten better, keeping enough of those cores to stay true to the characters and remain funny, but also exhibiting a level of growth over the course of the past few seasons.

This comes at an opportune time because Lana’s baby is also Archer’s. Not the result of a sexual hook up, Lana learned a cache of Archer’s sperm was frozen and she took some to make her child. It makes sense because, despite their issues, Archer is a fine physical specimen, and he’s someone Lana cares about. But one gets the sense in this episode that Lana did not intend to tell Archer the truth until she does, a raw moment for her after giving birth, and seeing that Archer is trying to be there for her.

Can these two move forward as a couple? Maybe. Archer doesn’t have to worry about the messy baby wrangling on set, being an animated series, and clearly the writers are going to find fun ways to use the infant, such as when she holds up a single finger to put Archer off while breast feeding. Archer is not a procedural and usually not stuck in any type of mold, so season six could find new territories to explore when two top spies have a baby on the hip.

It does look like they will return to being spies. In this season finale, Malory (Jessica Walter) blackmails Special Agent Hawley (Gary Cole, Veep) into cooperating, thus ensuring ISIS, absent during almost the entire thirteen-episode Archer Vice run, will return to form. It has been kind of cool to leave ISIS, this season being a big ol’ road trip with our favorite characters, who are always best when forced to spend lots of time together. But it will be great to get back to the office, as Archer is as much a workplace comedy as it is espionage adventure.

While I do note that Archer does kowtow to convention, this final episode of the season, more than most, actually doesn’t. A shoot-out as a regime falls and a main character giving birth at the same time feels very sitcom staple-y. Huge events are always mashed together inconveniently, especially at the close of a year. Yet, Archer‘s trademark humor and charm remains firmly in place, so while the story may seem dumbed down a smidge, the characters and dialogue do not.

The focus this week is on Malory, Archer, and Lana, all of them wrapping up their various threads, but that doesn’t mean the supporting players are ignored. Cheryl (Judy Greer) discovers she doesn’t have a chip in her brain, and her country music stardom, which she is likely to give up because she gets bored easily, comes from within. Pam (Amber Nash) gets a few last cocaine jokes in, but her withdrawal symptoms are starting to show, indicating a break away from the new her, too. Cyril (Chris Parnell) loses his position of power. Krieger (Lucky Yates) gets and protects a biological weapon. Ray (Adam Reed) has a few nice ne-liners, and recurring guest stars Slater (Christian Slater, Mind Games) and Juliana (Lauren Cohan, The Walking Dead) don’t go out quietly. The ensemble is well served.

Which means all there is left to do now is wait impatiently for another batch of one of the most consistently funny and original comedies on television. While no premiere date has been announced, Archer should be back in early 2015.

Blu-ray Review: ‘Archer – The Complete Season Four’

Article first published as Blu-ray Review: ‘Archer – The Complete Season Four’ on Blogcritics.


Archer is FX’s hilarious animated series about the employees of ISIS. Part James Bond spoof, part workplace comedy, it follows the zany adventures of some moronic people who, somehow, always seem to get the job done, despite being constantly sidetracked by their inane and selfish whims. It’s fantastic.

Season Four, recently released on Blu-ray and DVD, begins with “Fugue and Riffs.” Archer (H. Jon Benjamin) ran away on his mother’s wedding day, months ago, and hasn’t been seen since. Lana (Aisha Tyler) finally finds him living with a wife and kids and running a burger joint.

If that sounds familiar, it’s because Benjamin also is the titular character on the FOX series Bob’s Burgers, and “Fugue and Riffs” seems to be a demented, ultra-meta crossover, with Archer having become Bob (albeit with the children being his step kids) and John Roberts reprising his role as Linda, Bob’s wife. The fact that Archer would do something like this should tell you just about everything you need to know about the tone of the series.

“Fugue and Riffs” isn’t the only great installment in this two-disc set, which comprises 13 episodes. “Once Bitten” has Archer dying in the desert as Cyril (Chris Parnell) and Ray (Adam Reed) ineptly try to save him. “Live and Let Dine” features the spies undercover at a restaurant working for a mean chef, Lance Casteau (voiced by real celebrity chef Anthony Bourdain). And in the two-part season finale, “Sea Tunt,” the gang goes with Cheryl’s brother and his girlfriend (Bob’s Burgers stars Eugene Mirman and Kristen Schaal) to Sealab to stop the crazy Captain Murphy (Jon Hamm, Mad Men, playing the character from the Adult Swim series Sealab 2021).

This stuff is outrageous and will make you laugh out loud, but honestly, my favorite parts of Archer usually just involve the cast hanging around together. Malory’s (Jessica Walter) alcoholism, Pam’s (Amber Nash) crazy sex and danger obsessions, Cheryl’s (Judy Greer) twisted fantasies, Krieger’s (Lucky Yates) creepy experiments, and the rest blend together for a very pleasing batch of witty dialogue and humorous conflicts.

Archer is great because it knows what it is and wants to be and allows the characters to develop. It is a goofy animated sitcom, to be sure, but the players are much better fleshed out and dynamic than on, say, Family Guy. There are serial arcs and many recurring actors who pop up from time to time. What happens in one episode may have consequences down the road. It’s a show that should be watched in order, not just a random episode here and there, which is a rare thing for a cartoon.

There are, sadly, only two special features in this set. “Fisherman’s Daughter” is a movie that Krieger and Pam are making. Don’t worry, it isn’t tentacle porn, though it probably would be if we got to see all of it (only three minutes or so are present), and it does come awfully close to that line.  “Archer Live” features twenty-minutes edited out of a live stage show, which includes scene readings and goofing off with the audience.

Both of these extras are great. My complaint isn’t with the content itself, just that there isn’t enough of it. It seems there’s been a trend recently to slim down the bonuses on DVD sets, as I’ve commented on many being sparse this year, and while not every fan wants this stuff, it is valuable to some who could just digitally download a set if the draw for the physical media isn’t there.

Oh, and Archer has a mustache on the cover that you can take on and off, which sounds simple, but is much more fun than you’d expect.

Overall, this is a good release because the episodes are fantastic and the featurettes are enjoyable. Archer The Complete Season Four is available now.

The "White Elephant" In ARCHER's Room

Article first published as TV Review: 'Archer' - 'White Elephant' on Blogcritics.

FX’s Archer just returned with the season five premiere, “White Elephant.” A lot happens in the half hour, and it will change the format of the series for some time to come, if not forever. It’s an action-packed installment that stays true to the characters, even while altering the setting and circumstances, a bold move that few animated shows ever attempt. Well done!


“White Elephant” begins with a weird sequence in which Sterling Archer (H. Jon Benjamin) enters the ISIS office and his co-workers dance around him. Archer typically has a certain set of rules for its universe, and this defies them. At first, I assumed it was a dream, but moments later, reality sets in as ISIS is attacked by armed gunman and the headquarters is half destroyed.

Might the opening have been a clue that “White Elephant” and the rest of the season are all in Archer’s mind? We know he has a vivid imagination, and that would allow Archer to reset things later without having to literally blow up their premise, as they do this week. But honestly, I’d prefer to chalk up the first scene as a bit of whimsy that means nothing, and hope the story continues on from here.

The other hint that Archer Vice, as this season is dubbed in future episode title sequences, might not be real is that late in this episode, after the crisis is resolved, Archer imagines a series of scenes, which then play out over the next installments. These are jumbled and out of order, but after watching an additional four half-hours (all excellent!), they are definitely glimpses of future episodes. Perhaps the full installments are as much imagined as this quick montage is.

Should the events of “White Elephant” turn out to be real, though, there is some wonderful character development, and the program keeps its tone consistent. It makes absolute sense that Malory (Jessica Walter) would run afoul of the U.S. government, just as it does that she has the connections to get everyone out of trouble. She is selfish and doesn’t think the rules apply to her, and she seems to have lots of friends in high places, most of whom she has slept with.

One thing that may be missed is Archer’s enhanced tenderness towards Lana (Aisha Tyler) in this episode. He’s a little cruel, too, such as in the integration room, but that seems to be because of a lack of maturity, rather than because he doesn’t care. We see Archer want to be there for Lana and the baby, and this is a step up for him, putting someone else ahead of himself.

There’s always been an odd relationship between the two. I think Archer desperately wants to love, but having never really experienced it before, not even from his mother, he doesn’t quite understand. And Lana is a tough nut to crack, which makes it hard for her to fully commit to anyone. Perhaps, in time, they may be developed enough as individuals to have something real, but they’re not there yet.

Viewers learn a secret about Cyril (Chris Parnell) in “White Elephant.” Apparently, he used to be a defense attorney. Often, when a series brings up a past career in this manner, it seems forced and false. In Archer, though, given that everyone pretty much ignores Cyril, and Cyril insists he’s talked about it at length lots of time to Lana, it just works.

Dr. Krieger (Lucky Yates) has been promoted to full-time cast member in season five, his image added to the theme song. Honestly, it’s about time this happens. He is in the series most weeks, anyway, and he’s an interesting, weird character, adding something unique to the overall dynamic of the cast. He also has played a vital role in a number of past happenings, being the resident medical-y person. Plus, he’s funny, perhaps as funny as the rest of the stellar cast.

Archer may now be Archer Vice, but the characters, which also include Cheryl / Carol (Judy Greer), Pam (Amber Nash), and Ray (Adam Reed), are by far the best reason to tune in, no matter what they do. Whether spying or selling drugs, the essential things that make Archer so good remain, and because of that, whether Archer Vice ends up being a flight of fancy or an actual turning point, my optimism is high.

Archer airs Mondays at 10 p.m. ET on FX.

ARCHER Season Five Preview

Article first written for Seat42F.

FX’s ARCHER is back! Well, it will be back on Monday, January 13^th at 10 p.m. EST. But having already viewed the first five episodes of the fifth season, it’s easy to get excited. This is definitely one of the most creative, funny animated series for adults out there. The high quality of the first few years has been maintained, even as the show makes a bold effort to reinvent itself before it has the slightest chance to grow stale.

***As usual, spoilers will be light, but present. Because of the nature of this season, this review may be a little more revealing than most, and those who wish to be completely surprised should reading stop now.***

As one may have surmised from the artwork advertising season five, the season has been subtitled ARHCER VICE. While previous posters have little to do with the story, the most recent ones actually do herald a change. This time, it’s not just a marketing technique. By the end of week one, viewers will know what I’m talking about.

The premiere, “White Elephant,” begins with a normal day at ISIS - if a normal day for the spy organization involves roses and dancing to sweet music. But then, that tranquil scene is shattered when ISIS is attacked by the FBI. All of the employees are quickly arrested for treason.

Why? Well, I don’t want to give away everything. True to ARCHER fashion, though, the showdown is large and violent, while also still giving us some good gags. After all, Archer (H. Jon Benjamin) and his friends face peril every day, so a few bullets don’t necessarily ruin their moods completely.

From there, “White Elephant” sets up the rest of this year’s very large arc. This season will not be business-as-usual, with a bunch of stand-alone spy missions. Instead, the cast embarks towards a much larger goal, which will play out well past the two and a half hours released to reviewers. ARCHER will never be the same.

Believe it or not, though, a major story twist doesn’t change ARCHER all that much. As much as I like the new stuff, the plot has always been secondary to the characters. Fans enjoy watching Archer, Lana (Aisha Tyler), Ray (Adam Reed), and sometimes Cyril (Chris Parnell) going toe to toe with villains. But even better are the workplace dynamics, which includes those back at the office, such as Malory (Jessica Walter), Pam (Amber Nash), Cheryl / Carol (Judy Greer), and Dr. Krieger (Lucky Yates, deservedly promoted to main character this season). Those relationships, sometimes good, sometimes bad, always close-knit, are the major draw.

“White Elephant” removes these people from the familiar setting, but keeps them together, as it must. Sure, they may split up for little bits of time into small groups, but primarily, they stay close to one another. This makes sense, as they aren’t good people and their skills are limited, so who else would want to be around these flawed individuals? Still, it makes for very entertaining television.

Now, there are some changes that do affect the group as a whole. One of the players develops an addiction to an illegal substance. Another starts a career as a country music singer. A third is pregnant. A fourth matures just enough to put someone else first, mostly. A fifth takes control of the mind of one of his co-workers. A sixth reveals a past career that becomes relevant again, though it’s not the first time the job has been mentioned, just the first time anyone paid attention. All of these are threads that extend through multiple installments, which makes for some fresh plot.

The characters in ARCHER don’t exist in a bubble, and events and people from past seasons do return, sometimes in unexpected ways, sometimes just in passing mentions. This really gives the feeling of authenticity to the proceedings. Even though ARCHER is animated, it’s a developed world that feels sort of real, even as it goes over the top.

In short, “White Elephant” is a terrific episode, and judging by the first five installments, it’s going to be another hilarious year.

Archer - "Sea Tunt: Part 2"

Article first published as TV Review: Archer - "Sea Tunt: Part 2" on Blogcritics.

FX's Archer completes its fourth season with "Sea Tunt: Part 2." Archer (H. Jon Benjamin) and the other ISIS agents journey to Sealab to stop crazy Captain Murphy (Jon Hamm, Mad Men) from firing weapons at the United States and other world powers.

How appropriate that Archer's fourth season, which begins with a major play on Bob's Burgers, ends with another cartoon spoof, this time of Sealab 2012. While the first three seasons didn't have winks at other shows this blatantly, this new element has slipped in effortlessly, especially as cartoons with a similar type of humor are single out as the targets. I hope next year sees more of the same kind of gag.

While the man who voiced Captain Murphy on Sealab 2012, Harry Goz, was not available to reprise the role, having died before Sealab ended, Hamm does a fine job. For those doubting Don Draper's comedy chops, have no fear. As he did in 30 Rock and Childrens Hospital, Hamm hangs with the actors more accustomed to getting laughs, and does so with skill and charisma.

Murphy is killed off in this episode. This may be a bit satisfying for fans of Sealab, as the character never got a proper send-off, and the series was considered inferior after that. Now, they finally get their closure.

"Sea Tunt: Part 2" actually corrects a slight from the first episode of this season. Kristen Schaal (The Daily Show) and Eugene Mirman (Delocated), both main characters in Bob's Burgers, did not lend the voices to the season premiere. Both get to guest star in "Sea Tunt: Part 2," as well as the first half of the two-part episode, making up for their previous absence. Now, if only a role can be found for Dan Mintz next year, the  crossover be complete.

As for the story of "Sea Tunt" itself, it's a pretty good one. Archer, Lana (Aisha Tyler), Cyril (Chris Parnell), and Ray (Adam Reed) go after Murphy. The half hour is full of their bickering and personality clashes. It's a pretty typical episode of the series, because of the way they interact, and how it gets in the way of doing their job. The mustache bit is funny, as is Archer's incessant alcoholism. Classic Archer.

In the end, Ray loses the use of his legs. Again. Will there be no end to his suffering? Actually, I hope not. The fact that this is something continually solved and then becoming an issue again, over and over, is very funny.

I am undecided over the twist of learning that Lana is pregnant. Sure, it will be interesting to watch someone who is the opposite of maternal take care of a child. But Archer thrives on the chemistry of the cast, and despite some character development prior to this, a baby may shake things up in unexpected and major ways, unprecedented for the series. I worry what it could do to the show.

At least neither Cyril nor Archer are the father. By using a donor, Lana does avoid much typical sitcom fodder as the guys try to guess who the baby daddy might be. Though, knowing Archer, the donor may still end up being someone we've seen before. Which could be fun, if done right. Since this is Archer, I'm relatively certain that it will be.

While the mission plays out, Malory (Jessica Walter) searches for booze, hanging out, though not really by choice with Pam (Amber Nash) and Cheryl (Judy Greer). Again, the interactions between the characters make this series, and while nothing major happens with these three, every moment they are on screen is joyous.

I like that Cheryl's family is worked into the episode, and we learn more about her. Any chance to uncover the backstory of any of the characters is welcome, and Cheryl's is done in a cool and clever way. And of course, her last name, teased in the episode title, makes for the punchline of many jokes, though Archer wisely avoids overdoing it.

I am glad that Cheryl's brother (Mirman) ends up getting his own money back, though, so he isn't a recurring villain. He works better as an amusing side character, rather than a bad guy.

The fourth season of Archer maintains the comedy's quality, and I will miss it until it returns for season five next winter.

Archer dines out

Article first published as Archer dines out on TheTVKing.

In the next episode of FX's ARCHER, "Live and Let Dine," the team goes undercover at a fancy restaurant when an Albanian diplomat is threatened. To make matters even more fun, the dining establishment is the setting of a reality TV series entitled Bastard Chef. Of course, there are a couple of twists, and when it's all said and done, the staff of ISIS is just proven as incompetent as ever.

I like that ARCHER is always searching for new ways to spice up their comedy. The way that they excel in fresh settings and unexpected originality, even while doing a sort-of parody, is great! "Live and Let Dine" capitalizes on the recent craziness of celebrity chef television shows, but also gives it enough of its own flavor to avoid being a copy. An exquisite recipe, if I do say so myself!

The Bastard Chef himself is Lance Casteau (voiced by real celebrity chef Anthony Bourdain). He's a tool to everyone except Archer (H. Jon Benjamin) because, apparently, Archer has some newly discovered culinary talents. If only Archer would stop dropping bowls in the kitchen, ruining food and making a mess.

As with most of ARCHER's satirical guests, Bourdain deserves credit for not being afraid to make  fun of himself and what he does for a living. He definitely takes the joke in stride, even going for the promo lines on purpose, and being a extra big jerk.

ISIS could never be a real spy agency because they screw up too much. From the real story behind the threat, to the way they keep blowing their own cover while being filmed, it's often downright ridiculous. I find it highly enjoyable for a comedy, just not very realistic. It's a good thing believability isn't a selling point for ARCHER.

"Live and Let Dine" has all of the elements of a classic ARCHER episode: Archer hitting on Lana (Aisha Tyler); Lana being too aggressive and defying female stereotypes; Archer (and everyone else) picking on Cyril (Chris Parnell); Malory (Jessica Walter) acting inappropriately as the company head to get her own way; Pam (Amber Nash) being somewhat disgusting, but always hilarious; Cheryl (Judy Greer) being somewhat disgusting, but always hilarious; a sex joke that is as disturbing as it is hot; a reference to a recent episode, this time calling back Archer's time running a burger restaurant; and a recurring reference that doesn't quite make sense, this time Spain in the 1930s.

Then, just when you least expect it, ARCHER ties "Live and Let Dine" into a larger, season-long plot. ARCHER hasn't always paid so much attention to continuity, but as it ages, it has to keep doing things to reinvent itself and make sure that the quality doesn't suffer. This year's story involving Barry (Dave Willis) and Katya (Ona Grauer) fits nicely, calling back to previous plots, and deepening the characters.

Of course, comedy is the main goal of ARCHER, and this episode, like just about every other, delivers the laughs in spades. Which is why I continue to anticipate new episodes every Thursdays at 10 p.m. ET on FX. Also, Archer was just renewed for a fifth season.

ARCHER Bitten By the Comedy Snake

Article first published as ARCHER Bitten By the Comedy Snake on TheTVKing.

Grade: 89%

In tonight's episode of FX's ARCHER, "Once Bitten," Archer (H. Jon Benjamin) is bitten by a deadly snake in the middle of the desert. His jeep is stuck in the sand, and Ray (Adam Reed) and Cyril (Chris Parnell) can't get it out. Can they find help for Archer before he dies?

Yes, yes they can.

Sure, killing off the title character is certainly not going to happen, so their eventual solving of the problem is a given. That doesn't make the journey any less fun, as Cyril, Ray, and Archer bicker. It's like a boys night out in the middle of nowhere, and with one of them dying.

We actually get a lot of character development for Archer in "Once Bitten." We not only learn that his bucket list includes eating one of the biggest foods, but also murdering Cyril. OK, so he is most likely joking about the second thing. But that's just his relationship with Cyril, and while he is slamming Cyril, we know Archer is OK.

More importantly, Archer revisits his past in the company of deceased actor James Mason. Why? Who knows? The point is, we get to see pieces of Archer's childhood, why he is who he is, what he used to be, and even a glimpse of his real father. Who Archer's father is is a big mystery on ARCHER, and "Once Bitten" stops short of solving it. Yet, it does seem like the bit of him that we do see also has influenced Archer to this day, so it's important.

Surprisingly, we also get some small, but deep, insight into Lana (Aisha Tyler) when Cheryl (Judy Greer) zings her good, perhaps sparked as a metaphor for the meat being grounded up in front of them. Cheryl often says things without thinking, but seldom do her words ever cut as deeply as they do here. It obviously affects Lana, and while her subplot in the episode is small, it's a side of her we have not seen before.

Malory (Jessica Walter) is, unsurprisingly, the cause of many of the problems that arise. Her selfish use of ISIS for her own personal gain, and her uncaring attitude towards others and the world, continues. Will she ever learn her lesson? Would ARCHER be as funny if she did? The answer to both questions is probably no, as she is the catalyst for many of the stories, and her character is a favorite of mine, despite how unlikeable she is.

Ray cannot stop himself from getting injured, can he? Once more, he hurts himself in this episode and removes himself from being a contributing member of the team. I feel like ARCHER misses having him in a wheel chair, and the writers will not stop until they put him back in one.

I have occasionally wondered why Krieger (Lucky Yates) isn't a more central part of the cast. But, in "Once Bitten," as Malory tries to make him run some control panels and help out, he keeps secretly putting together a rat wedding. Seeing this, I finally realize he is just too bizarre and different to be a member of the core group, nor does his character have any interest in being included. Which is fine. He's still good for a periodic gag.

An element ARCHER often makes use of is switching scenes mid-line, so that a different character in a different place finishes another character's sentence. "Once Bitten" has numerous examples of this. It seems like such a simple thing, and ARCHER isn't the only story that does this. However, it has kind of become a trademark, being owned by the show, and every single time, I still enjoy it.

"Once Bitten" is a fine installment, with plenty of amusing bits, such as Ray forgetting that he has bionic legs, much discussion about venom and taints, a goofy hat, a fish fight, and a camel wreck. ARCHER never goes too deep into the players in the series, but this episode tries to a bit, and still manages to be funny at the same time.

Watch ARCHER Thursdays at 10 p.m. ET on FX.

Archer doesn't even know what "Fugue and Riffs" means

Grade: 91%

WARNING! SPOILERS AHEAD!

FX’s ARCHER is finally back this week with “Fugue and Riffs.” Archer (H. Jon Benjamin) has not been seen since his mother’s wedding, having run off, traumatized. But he soon surfaces down by the shore, living with a wife and kids, and running a greasy restaurant…

I can’t discuss the opening of “Fugue and Riffs” without spoiling something incredibly special, so I am just going to ask right now that you watch the episode and then come back to this article, because I just have to reveal the twist: The episode opens with Archer thinking his name is Bob, and he owns a place called Bob’s Burgers.

That’s right. Archer is living in the world of the FOX cartoon Bob’s Burgers, in which the titular character is also voiced by H. Jon Benjamin. All of the touches of Bob’s Burgers are there, including Jimmy Pesto’s across the street, Mort’s funeral parlor next door, the children and their goofy clothes, and even John Roberts voicing Bob’s wife, Linda. The only major changes are the animation style, which stays with what ARCHER viewers are accustomed to, and that Bob is the kids’ step-dad, having only lived there for two months.

I cannot express how awesome this mash-up is. It’s always been a little weird to switch back and forth between the two programs (both excellent and hilarious) and hear that same, distinctive Benjamin voice. I only wish that the conceit had been kept up, and maybe we would find out that, somehow, Archer had long been sneaking off to this secret family of his. Of course, that wouldn’t really work, plot-wise, and I’m grateful that this has been allowed to happen under any circumstances. Still, it’s quite a tease…

This isn’t the first time that ARCHER has referenced things, tongue in cheek, outside of the series itself. Jeffrey Tambor, who plays Jessica Walter’s husband on Arrested Development (new episodes coming to Netflix in May), has guest starred in four ARCHER episodes, so far, as a love interest for Walter’s character. It’s a bit meta, but meta is incredibly in right now, and has yet to grow stale.

The rest of “Fugue and Riffs” isn’t nearly as good. How can it be? There are plenty of signature ARCHER elements, a KGB attack (that starts in the burger joint), fun banter between Archer and Lana (Aisha Tyler), uncomfortable moments with Malory (Jessica Walter), some terrific Pam (Amber Nash) / Cheryl (Judy Greer) hang time, and tons of great one-liners and visual gags. Even the ending of the episode, discovering that Barry (Dave Willis), still up in his space station, is behind all of the trouble this week, is so unexpected and fun.

It feels wrong to complain about the rest of the episode because, if the opening hadn’t been so big, it would have been a typical ARCHER outing, and not at all a let down. The issue is, when an episode chooses such an explosive first few minutes, there has to be follow through, and there just isn’t here. Maybe the Bob’s Burgers stuff should have been worked into the finale of the episode, rather than the beginning. Maybe it just needed to start a larger story. Whatever the reason, it makes this episode slightly uneven.

Luckily, I’m sure that won’t be the case in the coming weeks. As I said, most of the episode is perfectly in keeping with the rest of the series, and ARCHER remains one of the best half hours on television. Its witty humor, smart writing, and delightful cast chemistry combine to make something really special. “Fugue and Riffs” has proven that these elements remain intact, after we get over the distraction of a brilliant initial sequence.

ARCHER airs Thursdays at 10 p.m. ET on FX.

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

Article first posted on Seat42F

Glee, Actually not that great an episode

Doing five separate vignettes that come together at the end, reminiscent of Love, Actually, is a solid idea for an hour-long television Christmas episode. Sadly, Glee's attempt, "Glee, Actually," falls short, not just because of the lack of a serious romance (other than for our favorite gays, on which we don't get any real movement anyway), but because things don't tie together in the end. Not that "Glee, Actually," is a bad episode; it just doesn't fulfill the mission statement given for the hour.

The first section goes to Artie (Kevin McHale). In what has pretty much become a Christmas tradition, Artie wishes he could walk. I don't know why this comes up mainly around the holidays, but once more, it does. So what we get is a dream sequence in which Artie has always had the use of his legs.

I could spend much time picking apart the plot in this part of episode, especially concerning the status of certain other characters, but there's no point, because the entire thing happens in Artie's head. This isn't what life would really been like had Artie not been in a wheelchair; it's what Artie imagines it might be like. Of course, he is more important in his fictional version of the world than he is in reality, and his friends stay close by, instead of moving on with their lives.

Stylistically, it works pretty well. A segment called "Feliz Navidad" is a fun, if not overly exciting, piece, and the black and white It's A Wonderful Life play looks good. Artie is still a somewhat annoying character, but the echoes of previous seasons, like Tina (Jenna Ushkowitz) stuttering again and Terri (Jessalyn Gilsig) popping in, make it worth it. I love, love, love that Rory (Damian McGinty) is Artie's guide, and wish that he would return to the series. Overall, I would rank the quality of this sequence right in the middle of the five presented.

Moving on, Burt (Mike O'Malley) pays a surprise visit to Kurt (Chris Colfer) in New York. At first, it just seems like a nice gift for his son, but Burt's real motives are soon revealed; he has cancer. He thinks it's been caught early, and he'll be fine, but given the sappiness of the plot, and Burt's past medical ailments, "Glee, Actually" kind of feels like a goodbye for the character. Not that he dies during the hour; that would ruin Christmas. But it would not be surprising if this plays out tragically in the near future.

Not only does Burt bring along his fun family traditions, but he also invites Blaine (Darren Criss) to join him. It seems that Burt, like most Glee fans, know that the two boys are meant to be together. He happily watches while they ice skate and sing "White Christmas," providing a sweet winter portrait, and hope for the kids' future after he's gone. One gets the impression that Burt's passing, and Blaine caring for him in the end, might actually be what pulls Kurt pack into Blaine's arms. Though this remains to be seen.

Next come the two weakest parts of the episode. Don't get me wrong; I am glad that Jake (Jacob Artist) and Noah (Mark Salling) have found real brothers in each other, even if the elder Puck looks every bit the actor's 30 years, spoiling the close-in-age factor. The Breaksticks scene with their mothers (Hung's Gina Hecht and Aisha Tyler from Archer, Friends, 24, etc.) is satisfying, and the siblings perform "Oh Chanukah" from my favorite band, the Barenaked Ladies.  Yet, the entire thing still leaves a little something to be desired, possibly because Salling's acting is only so-so, more glaringly obvious now that he is placed side by side with Artist.

Then we get Sam (Chord Overstreet) and Brittany (Heather Morris) getting married because they think the world is going to end, per the Mayan calendar. Not only are we supposed to believe that these bimbos are already this much in love, but that they both fully think life is about to cease as we know it. And Sam chooses to celebrate that end with "Jingle Bell Rock." Very cheesy.

Thankfully, Beiste (Dot-Marie Jones) intervenes and saves them from a legally binding union, thought not from days of teenage sex that they clearly have. This point actually isn't too bad, since Sam is a former stripper, and Brittany is named the school slut early in the show's run. But their arc stretches believability far too much, and should we suspend reality enough to buy them together, the two will still never be able to function in society, whether living in the TV universe or not. It just goes beyond the realm of what most people can accept. Things between the couple need to end right away, and Brittany can go back to being protected by a loving Santana (Naya Rivera). Until then, I'm glad that Beiste has her back.

Finally, there's Sue (Jane Lynch) playing Santa Claus once more, this time to Marley (Melissa Benoist) and her mother, Millie (Trisha Rae Stahl). The Roses are quickly becoming favorite characters, and deserving of any help that they are given. Marley's sweet rendition of "The First Noël" for her mother is emotionally moving, for viewers and for the cheerleading coach.
It may be expected for Sue's heart to melt in late December, as this is far from a first-time occurrence, but it's nice to see Marley and Millie be on the receiving end this year, benefiting from the thaw. Predictable story, yes, but done well enough to avoid feeling old and done to death.

The ending, with Marley getting some of her glee club friends to perform "Have Yourself a Merry Little Christmas" for Sue, is mixed with characters at Breadsticks and in New York, which is supposed to be the unifying piece of "Glee, Actually." Aside from the weirdness of Blaine singing at the dinner table while being ignored by Kurt and Burt, it comes across pretty well as a stand-alone number. It just doesn't necessarily feel like a culmination of the different stories, but instead, a fairly standard number that could have been placed anywhere within the hour. Or in any other episode, for that matter.

The good news is, if "Glee, Actually" is as low as season four of Glee is destined to fall, this could still be the best season of the show since the first one. The bad news is, the weaknesses of this episode are also parts of larger arcs, which are taking this year's stories in unwelcome directions.

Should you decide to buy the soundtrack for this episode, Glee: The Music, The Christmas Album Volume 3, you will get four additional tracks not included in the television program. I have no idea what they are for, if there is story behind them, or if they are just randomly recorded.

Glee will return in 2013, airing Thursdays at 9 p.m. ET on FOX.

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

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

XIII Series Premiere Review

Reelz tries its hand at a regular series by running the Franco-Canadian-made XIII, which premiered this weekend. A top agent known as XIII (Stuart Townsend, Night Stalker), a name tattooed on his body, is ensconced in an Eastern European prison. He is broken out, he soon discovers, by the former president of the United States, who would like a memory chip that XIII hid away in a safety deposit box. The current president is also involved, behaving as a friend to XIII, but putting country first. However, XIII isn’t one to play nice, either, especially when he isn’t sure who to trust, and people are trying to kill him.

XIII is a continuation of a 2008 miniseries, which originally aired on NBC in the United States. Those who are unfamiliar with this miniseries will probably find themselves a bit lost. XIII is about a conspiracy and a mystery, with the main character not sure what his previous life is, and a power game at the highest levels of government. It’s kind of hard to unfurl a story like this when the first couple hours of clues are missing. As someone who did not see the miniseries, it felt like I jumped in halfway through a novel, and the show was not accessible.

However, even as the pieces begin to fall into place, and viewers catch up with what’s going on, sort of, it’s still not an easy show to get into. The former president got XIII out of jail, but for what purpose, really? What are his motivations? What are XIII’s goals, given that he is sort of hanging around, following some orders, arguing others, but not really stating any purpose? Is he trying to stop the bad guys, whoever they may be? Doesn’t he want to discover his own forgotten past, which he shows signs of doing, but doesn’t commit to? These characters just aren’t defined very well, and neither are any of the other supporting players. It’s one think to have shady individuals who keep an audience guessing, but this isn’t that. These are just confusing, often contradictory, roles.

The dialogue isn’t any better. XIII and the people he encounters ask the most predictable questions. For instance, waking up in the hospital bed, XIII has an exchange about asking questions, which seems trite and pat, also not making much sense in context. And the sequence of actions don’t quite line up, with an unnecessary fight scene that accomplishes nothing.

Another obvious screw up is how easily XIII gets into the White House. Are viewers really expected to believe that, with all of the cameras and agents, he can sneak around like this? And that he knows only Jones (Aisha Tyler, Archer) will find him? Her discovery is mentioned almost as a joke, but it actually serves to better draw attention to a glaring misstep. Yes, XIII is more clever than the average spy, but this just stretches believability too far, making the writers seem lazy for not developing a plausible break in scheme. Time is limited on a series, but certain things cannot just be glazed over without pulling viewers out of the story.

Much of the cast of this XIII is different than the miniseries. XIII himself is explained away when he reveals he changed his face, since the last one became a liability. This works, and is one of the few things the hour gets right. But why does Jones look different? Why would the show offer a reason for one character’s different look, but not others?

XIII is, overall, much like a Bourne movie. Confusing plot, conspiracies that seem a bit half-baked, characters who don’t always act in their own self-interests when they should, and a jumpy directional style designed to accommodate action bits and fight sequences, including those packed in gratuitously. It’s a specific type of show that will appeal to a specific type of viewer. But good quality television, it is not.

XIII airs Fridays at 9 p.m. ET on Reelz.

Archer engages in a 'Space Race'

In the two-part season three finale of FX's Archer, the ISIS team is asked to travel into space. Told by Commander Drake (Bryan Cranston, Breaking Bad) that a mutiny has taken place on board a space station, the field agents and Malory (Jessica Walter) attempt to subdue the bad guys. Which kind of back fires when they learn that Drake is real the villain, planning to take them all to start a colony on Mars, with Lana (Aisha Tyler) slated to make the babies for the new settlement.

Sometimes the show has to stretch things a bit to keep the entire cast together. After all, the field agents all have their roles on this mission, but why Malory comes along is kind of a mystery. She's a little old to be popping out children. Archer's (H. Jon Benjamin) plot to sneak Pam (Amber Nash) on board for sex works, but wouldn't it make even more sense for Drake's plan if he insisted that Pam and Cheryl (Judy Greer) come for some reason, so there are more women available?

That aside, the two part "Space Race" is fantastically funny, as usual. When Archer delays saving the day to have a quickie with Pam, or Cyril (Chris Parnell) discharges his weapon wildly, or Ray (Adam Reed) ends up back in his wheelchair, or Lana runs down the hall with stickers on her boobs, laughs abound. Not to mention, an extended Animal Farm gag that seemingly comes out of nowhere, and avoiding a Star Wars trash room bit. In terms of humor, this episode works very well.

"Space Race" is an original situation for Archer. The spy series has gone many places and done many things. Eventually, they may run out of scenarios to put the characters in. But space is not one that they have done before, and it provides so many curiosities, such as zero gravity, that the series takes two full episodes to explore it. Other spy genre adventures have left the planet, so it's not completely coming out of nowhere, but Archer's take seemed fresh enough.

As the series has been doing from time to time for awhile now, "Space Race" sneaks in some emotional depth for the titular character. Just as everyone is about to go home, recurring thorn-in-the-side Barry (Dave Willis) shows up and begins taunting Archer into a fight. Now, normally Archer would give Barry just that, and in this case, it would put everyone's safety at risk. As Cheryl already does earlier in this story, opening the door for Drake so that she can be Queen of Mars. But instead of falling for the taunts, Archer sucks it up and acts mature. It's a pivotal moment for the character, and it shows a little bit of growth without sacrificing who Archer is. It is moments like these that really set this show above its peers.

Also, Pam has become the most transformative character on Archer. She started as a walking, crass fat joke, and was used mainly for gross effect. Now, she has become a strong, empowered woman, who can not only take care of herself, but is a good comrade to have in dangerous or questionable situations. She even comes off as sexy at times, almost completely erasing her original image. Pam is, in a word, awesome.

"Space Race" is a great capper to a terrific season. Though, it could have been done without the vomit jokes.

Archer has been renewed for a fourth season. It will return next year to FX.

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