BROOKLYN NINE-NINE "Charges" Into Season Finale

Article first published as BROOKLYN NINE-NINE "Charges" Into Season Finale on TheTVKing.

FOX's Brooklyn Nine-Nine has proven to be a very entertaining series, a conclusion that does not lessen going into the final episode of its freshman run, "Charges and Specs." Despite starting the story at the end, a terribly overused TV trope in recent years, this installment manages to tell a surprising and compelling story, taking several of our characters in new directions while allowing their fun, bumbling energy to come out along the way.

As "Charges and Specs" begins, Jake (Andy Samberg) is being pressured by his boss's boss, Deputy Commissioner Podolski (James Michael Connor), to stop investigating a rich donor. Jake continues anyway, even after Captain Holt (Andre Braugher) orders him not to. When Jake finds some evidence to support his theory, Holt and Santiago (Melissa Fumero) get on board. That is, until Holt asks Jake to trust him and get himself fired.

We all know what a great detective Jake is, in spite of his lackadaisical personality. If he says the man is dirty, he's dirty. And Jake continuing to pursue his case long after he's threatened only proves even more how dedicated he is to the badge. It's not a new thing for a hero cop to go off book and doggedly follow his leads, but this is a pure comedy, not the drama most police shows are made up of, and it's still integral to the character.

Holt likely thinks that Jake is right from the start, but as captain, has to play the politics of the department. As the man in charge, he can't just buck his superiors at will or none of the officers under his command would have jobs. To Holt's credit, he doesn't turn a blind eye when Jake brings him actionable evidence. But he's a sympathetic man, balancing the responsibilities of the job with justice.

Any annoyance at Holt for not getting behind Jake sooner is tossed out as soon as the trio go undercover at a dance competition. "Charges and Specs" gives Holt a chance to show his lighter side, something glimpsed occasionally on Brooklyn Nine-Nine, but never more so than in this episode. I do think if Holt were allowed to come out like this more often, the novelty would soon wear off and it wouldn't be half as amusing, so as much as I love this, it's good the writers dole it out in dribbles, rather than letting it flow.

In the end, their work takes them across an FBI case and Jake must get fired in order to go undercover for the feds. Holt does the right thing by not telling Jake the full story ahead of time, as Jake can be his own worst enemy, and could have spoiled a rich opportunity. It's telling how well Jake and Holt have come to know and trust each other when this plays out exactly the way it should, and it's gratifying they will have that bond going forward, their dynamic a centerpiece of the program.

Santiago gets to show a different side, too, bucking the rules to help Jake. Is it because she has feelings for him, as he does for her? Or does it just feel good for once to get caught up in the mission, forgetting about the rule book she usually worships? Whatever the reason, this version of Santiago feels a little awkward, as she hasn't been developed yet, but really works.

Jake confesses his feelings for Santiago in a very appropriate way just before he leaves. Setting aside Jake's public discussions of covert affairs, which is dumb, the scene between the two is sweet and perfect. Samberg doesn't abandon who Jake is, finding his own unique way to say what he wants to say, not going over the top or getting too gushy. And Amy is fittingly shocked, giving them both plenty of time to mull this confession over.

Charles Boyle (Joe Lo Truglio) has love troubles of his own. Dumped by Vivian (Marilu Henner), he settles into a Matrix costume and consumes only eggs for sustenance. It's pathetic, and it's a shame; the couple is so good together. However, they found one another at the wrong time in their lives, professional considerations pulling them apart.

Boyle's co-workers do their best to cheer him up, especially Terry (Terry Crews), Gina (Chelsea Peretti), and Rosa (Stephanie Beatriz). They don't make much headway, none quite getting the depth of what Charles is going through, but at least they offer companionship and drinks. I think that's all friends can really do in such a situation. Boyle needs time to heal.

One suggestion brought up repeatedly is that Boyle should engage in some meaningless sex to bounce back. For a time, it looks like Rosa is being encouraged to step up, but Boyle's emotions towards Rosa will come back, and it would be a shame to waste them now. Besides, Rosa has definitely developed some real compassion for the man, which could lead to her wanting something real, too, besides a one night fling. So Gina boinks Boyle.

As long as Gina and Boyle are one-and-done, this works. It will cause tension and an obstacle between Rosa and Boyle making a go of things, but it also serves the purpose for now. Gina isn't girlfriend material for someone as earnest as Boyle. Overall, the romance on Brooklyn Nine-Nine has been handled with care, not allowing Rosa to fall into stereotypical jealousy when Boyle is happy with Vivian, either. I'm impressed by the nuance in what is, on the surface, a broad comedy.

Brooklyn Nine-Nine has exceeded expectations. It's a whacky group of players, to be sure, but also a complex gang. It does the unexpected from time to time, and somehow puts forth a layer of authenticity over the goofball antics. A stellar cast and terrific writing combine to create a series I look forward to watching for years to come.

Brooklyn Nine-Nine has been renewed and will return on FOX next fall.

"Party" With BROOKLYN NINE-NINE

Article first published as "Party" With BROOKLYN NINE-NINE on TheTVKing.

FOX's Brooklyn Nine-Nine got the sort-of cushy show-after-the-show-after-the-Super Bowl-slot this week, meaning a new episode aired following New Girl late Sunday night. Unfortunately, by then many viewers were going to bed and turning off their television sets, so the ratings weren't as over-the-top better than a typical week as one might expect. But hopefully it still got the program a few new viewers. It's original, charming, and creative, and deserves the eyeballs.

Last night, Brooklyn Nine-Nine aired their second fresh episode of the week. Called "The Party," Captain Holt (Andre Braugher) and his husband, Kevin (Marc Evan Jackson, Parks and Recreation), host a fancy gathering at their home and invite the squad to attend. Granted, the 9-9ers aren't the most dignified of people, which leads to some awkwardness, but the main problem isn't Kevin's stuffy academic colleagues, nor Holt's eccentric ones. It's that Kevin doesn't want them there, and makes that pretty clear, even if he isn't overtly rude.

Kevin is introduced as an unlikable character from the start, which is weird, since Holt is such a well-developed person himself. It's sweet to see Kevin and Holt interact, but when Kevin looks down his nose at the cops, it becomes downright uncomfortable. Had "The Party" left the situation at that, I would have been confused as to how the relationship worked, and disappointed at Brooklyn Nine-Nine's choice. I also didn't want to believe that Kevin really thought Jake (Andy Samberg) had read The New Yorker because the man doesn't seem that gullible.

But Jake sees what no one else, including the viewers, see - Kevin hates the NYPD because of how they've treated Holt. In retrospect, it makes total sense, and once that piece of the puzzle is revealed late in the half hour, the episode really comes together. Besides being funny, Brooklyn Nine-Nine sneaks in a pro-gay rights agenda where one might least expect it, a definite check mark in the plus column for it. Perhaps the show could have been a little more obvious about the plot, rather than allowing it to come out so subtly. But I appreciate that they don't make Kevin a stereotype, didn't necessarily copy the tale from other series, and in the end, Kevin seems a worthy companion for Holt.

That's why I'm diggin' Brooklyn Nine-Nine; it brings something new to the table. There are classic sitcom elements, to be sure, but it also has a unique voice you can't find in any other program currently running. It does things its own way, celebrating oddity and embracing skewed perspective. Holt's husband, Kevin, is only a small element, having just been introduced, but "The Party" is in keeping with the larger tone and spirit of the show.

"The Party" is also great because it gets to showcase the rest of the ensemble, who have terrific chemistry, and can each stand on their own. Jake craves approval but acts like he doesn't, his target in this episode being Kevin. Gina (Chelsea Peretti) is certifiably insane, earning her a crowd of head docs gleefully analyzing her. Boyle (Joe Lo Truglio) is more cultured than his fellows, and so clicks well with Kevin's foodie friend (Marilu Henner, Evening Shade, Taxi). Terry (Terry Crews) is the father figure who tries to make them all behave. And Santiago (Melissa Fumero) likes to believe she's the well-adjusted one, but her sneaky antics to get to know Holt better prove otherwise. Even Scully's (Joel McKinnon Miller) talent for opera and his weirdly close relationship with Hitchcock (Dirk Blocker) gets screen time.

Only Rosa (Stephanie Beatriz) is not highlighted in "The Party," but that's OK because there's a big cast to serve. It's impressive how all of these people can get their moments and subplots in such a short running time, each more than pulling their weight. They're oddballs, but they're specific oddballs who exist in a well-fleshed out world and have found their place. Brooklyn Nine-Nine is tightly written and knows how to effectively use its people.

Another cool thing about "The Party" is that Kevin's friends come to see the value of the squad, too. At first, there's a definite divide in the house, but once our heroes split up and interact, there is acceptance and appreciation for them. They may not have earned any new best friends, but Kevin's teacher pals don't look down on them, either, which is heartening to see. While some shows might go for the easy conflict in the clash of worlds, Brooklyn Nine-Nine plays something smarter, teaching us about human nature and the individuals themselves who star in the piece.

Overall, I'm highly impressed with Brooklyn Nine-Nine. I'm not a fan of dumb, base comedy, and while some commercials may lead one to believe that's what this show is, it couldn't be further from the truth. The fact that I could write a similar glowing review about basically any episode that's aired recently in their run is even better. I chose this one for convenience, having missed the window post-Super Bowl, but it really doesn't matter; the series consistently delivers. It definitely deserves the Golden Globes it recently brought home.

Brooklyn Nine-Nine airs Tuesdays at 9:30 p.m. ET on FOX. If you haven't done so yet, do yourself a favor and check it out.

Calling BROOKLYN NINE-NINE

Review first published as BROOKLYN NINE-NINE Review on Seat42F.

Grade: 88%

After watching the premiere of the new FOX sitcom BROOKLYN NINE-NINE and ruminating on it for a day, I am still not sure if I truly believe it is a great series. There are funny jokes, and it’s not predictable or rote, but it’s also a very odd tone that is hard to pin down. There is a terrific cast assembled for it, and the “Pilot” necessarily contains a lot of set up, so it seems to deserve the benefit of the doubt for now, until more installments can be viewed.

As the “Pilot” opens, the Ninety-Ninth precinct gets a new leader, Captain Ray Holt (Andre Braugher, Men of a Certain Age). Holt has an interesting back story, not revealed until late in the half hour, but who Holt is and what he has endured informs how he treats his new command, and the department, used to a different style, reacts poorly to the change.

Well, at least one detective does. Jake Peralta (Andy Samberg, Saturday Night Live) is a very effective, but highly immature officer. He scoffs when Holt insists he wear a tie, and has no problem goofing around at a crime scene. Yet, we also see how he puts together the pieces of puzzles that others cannot, so we know he has talent, and it does feel like a believable character, especially able to get away with how he is given the past captain we are shown.

Jake and Holt are the two obvious leads of BROOKLYN NINE-NINE, and the make for a very unusual pair. Even in the first half hour, one can tell they are both looking for ways to understand one another, and that will make them stronger. However, since a lot of the comedy in the “Pilot” is their clash, and one presumes that they will soon grow not to fight against each other so much, one wonders what the rest of the show will be like. After all, Jake can’t just grow up, or he wouldn’t be the character created here, but Holt does see Jake’s talent, and already knows how to mold it, so can’t give Jake too hard a time for too long.

Braugher is exactly what one would expect from him, given his resume: cool, layered, and intriguing. Samberg has kept the goofiness that has earned him a following, but honed it into a less cartoonish character, someone who could exist in real life, not as over-the-top as he has been. When his character does cross that line in taste, the other players are there to make him feel foolish, so it does come together nicely.

My favorite member of the main cast in the “Pilot” is second-in-command Terry Jeffords (Terry Crews, The Newsroom). Terry is a big, tough cop who shaped his fat into solid muscle, only to suddenly grow very afraid of the job after fathering a couple of adorable twin girls. This is something many a dad should be able to relate to, but also seems unique, at least when taken to this extreme, for a man who looks like Crews. Because Crews, as usual, has perfect delivery and timing, Terry is a great character I am missing whenever he is not on screen.

Jake’s partner is Amy Santiago (Melissa Fumero, One Life to Live), a by-the-rules woman who has many brothers and thinks she is better than Jake, even though Jake has a slightly better record. In the “Pilot,” there isn’t much interesting going on with Amy, who kisses Holt’s butt a lot, but still takes a back seat to the central pair. One wonders if she will step up and hold her own, or be a forgettable second banana.

The other two main detectives are Rosa Diaz (Stephanie Beatriz, Short Term 12), a seemingly emotionless, scary woman, and Charles Boyle (Joe Lo Truglio, Burning Love), a wimp of a man who is in love with Rosa. These two seem destined to be stereotypes, milked for a laugh, at least for the foreseeable future. I like the performances, Lo Truglio playing more earnestly than I’m used to seeing from him, and Beatriz being a blank slate, but I can’t really get behind the characters yet.

There’s also Gina Linetti (comedian and writer Chelsea Peretti), who is a little bit obnoxious initially, but I like Peretti’s stand up, so hopefully she will be able to channel some of that into the role.

This strange combination of personalities makes for an ensemble that is hard to figure out. With a setting that allows for recurring parts, too, such as Scully (Joel McKinnon Miller, Big Love), BROOKLYN NINE-NINE could paint a rich, full world, making a successful cop comedy for the first time in a long time. Or, it could be too inaccessible for a mass audience, scratching their heads and wondering what they’re supposed to be laughing at. I cannot predict at this time which is the more likely outcome.

BROOKLYN NINE-NINE premieres Tuesday, September 17^th at 8:30 p.m. ET.

Last Resort a haven for TV

Grade: 98%

For a few years now, networks have searched for the next Lost, a television show popular and unique that will engage audiences in ways big and small. Nothing can ever truly replace Lost, and it’s going to take another groundbreaking, original series to reach those heights again. Recent attempts have fallen far short. In ABC’s new drama, LAST RESORT, we may finally have found something that comes close.

As the “Pilot” begins, Captain Marcus Chaplin (Andre Braugher, Men of a Certain Age) is in command of the U.S. Navy submarine, Colorado. He receives orders to fire nuclear weapons at Pakistan on a secondary channel that is only supposed to be used if the primary communication system is taken out. Not seeing any problems with Plan A, Chaplin questions the order. The White House immediately relieves him of command and tells the first officer, Sam Kendal (Scott Speedman, Felicity), to obey the directive. When Kendal hesitates, another sub fires on the Colorado, nearly sinking it.

What an auspicious start for a series! There is already mystery, political intrigue, a band of heroes who must bring a crooked government to light, and some very exciting action sequences. These early scenes are done incredibly well, both visually, and in how the actors do their jobs.

The implications of the Colorado being struck are swiftly brought to light. The U.S. government blames Pakistan for striking the submarine and bombs the Middle Eastern country. What would have been the excuse for starting a war if the Colorado had just done what they had been told to do? Why do Americans need to get dragged into another conflict of this nature? Who is really behind the plan? Will Chaplin and crew be able to expose what’s happening to the naive public?

Viewers are treated to some of the going-ons in Washington, even if we don’t see the president. The Colorado has an experimental system on board, and the creator of this technology, Kylie Sinclair (Autumn Reeser, No Ordinary Family), is not about to just sit by and let her work be lost. She immediately runs to her contact, Admiral Arthur Shepard (Bruce Davison, X-Men), to find out what has occurred. Shepard has his own reasons to be concerned, unaware until now that his daughter, Lieutenant Grace Shepard (Daisy Betts, Persons Unknown), is on the Colorado.

Adding this D.C. layer to the show is nice because we actually get to see what is being done outside the isolated world of the Colorado. While the crewmen on the sub are a large focus of the episode, they would not by privy to much that is happening between their leaders, which would make the mystery pretty obtuse. Through Sinclair, viewers can understand who is making a move, and perhaps even find out why.

Not that Sinclair gets many answers. She is shut down quickly, as is anyone else who might expose the government’s actions. Even crewmen’s families, like Kendal’s wife, Christine (Jessy Schram, Falling Skies), have official agents in their homes, watching their every move. Clearly, a lid is being kept on things, which does limit what anyone can do to help the stranded crew.

Thankfully, we live in 2012, so there’s a little invention called the Internet. Chaplin drags his sub to a nearby island. The military tries to bomb them again, and Chaplin shoots a missile at D.C. to show he means business. The missile is allowed to miss the capital once the bombers turn away from the island. But Chaplin isn’t done. He shoots a video laying out what he knows and posts it for all to see. Will anyone believe him? Does his cache of weapons protect him against further strikes, meaning he can do whatever he wants? How much will be allowed to upload online before the government decides taking Chaplin out is worth some collateral damage? And will his video be enough to stop a war, or just incite more violence?

What Chaplin wants to do is take over the island and start a new society, away from the United States politics that have brought them to this point. He fancies himself a founding father, but has a number of challenges to this goal. His crew have friends and family back home they’d like to see again. Locals already inhabit the island, and it is run by a thug named Julian Serrat (Sahr Ngaujah, The Signal). A SEAL team is present among the sub’s crew, and they may or may not have further orders from high command.

Braugher delivers a masterful performance. He is a man on the edge, pushed too far by the people he trusted. He is somewhat loyal to his crew, but he also has selfish motivations, and probably a messiah / dictator complex. The glint in his eyes could be something heroic, standing up for ideals and principals. Or it could just be insanity. This makes him unpredictable and dangerous, sometimes surprising (not necessarily in a good way) his own men.

Speedman is the everyman whom we are going to root for. Even when Chaplin goes off the hook, Kendal seems grounded enough to know what the right thing to do is. He will have to weigh the faith he has in his commanding officer with keeping everyone else below him safe. He balances out the leader, which should make for a tenuous, interesting dynamic.

LAST RESORT has a sprawling cast. Among those not mentioned in this review so far are Daniel Lissing (Crownies) as the leader of the SEALs, Camille De Pazzis (La vie est a nous) as a French NATO worker on the island, Robert Patrick (The Unit) as the sub’s Master Chief, and Dichen Lachman (Dollhouse) as a local bar owner. This makes for quite the large world to play in, and leaves the story a lot of directions to go.

It’s hard to find any fault at all with the first episode of LAST RESORT. It sets up a compelling plot, with lots of moving pieces, visually enticing settings, engrossing characters with some very different personalities that will clash terrifically, and many mysteries to explore. If the rest of the installments do as good a job as the first one in playing out this adventure, it should be the next must-see series.

LAST RESORT premieres Thursday, September 27th on ABC.

"Everybody Dies" in House series finale

As "Everybody Dies," the series finale of FOX's House opens, Dr. House (Hugh Laurie) is lying next to the dead body of his patient of the week (or, POtW) in a burning building. Throughout most of the hour, House converses with hallucinations of some important people in his life, as he tries to decide whether he should live or die.

"Everybody Dies" is dark. There is no denying that. It's obvious when the first image House sees is Dr. Lawrence Kutner (Kal Penn), a fellow who killed himself. Strangely, though, Kutner is trying to talk House out of suicide, while House is the one arguing that life is pointless.

Then Amber (Anne Dudek) appears. Her death is more tragic, but she still argues for life. Stacy (Sela Ward) wants House to try to find happiness again, but he continues to resist. Finally, though, Cameron (Jennifer Morrison) tells him to just lie down, letting the choice be taken from him. This House does, before thinking better of it.

These people are House's subconscious, and as such, he appears to be waging a war within himself. It's thrilling to see these former characters reappear, but besides being a gift to viewers, who they are isn't so important as what they say. House knows that death is the easy way out. He is not going to be able to enjoy the sort of life he has been enjoying much longer, even though his life hasn't been all that fun. Soon, his best friend will be dead, and even sooner, House will be back in jail, wasting Wilson's (Robert Sean Leonard) final moments on earth. So why not end it all?

Even in this darkest of moments, though, House fights on, as he always has. By making the people from his past appear to him, he talks himself out of such a deed. It's telling that he starts with the most tragic figure, and builds to the ones that love him the most. The trajectory is an upswing, and in retrospect, House moves closer to life with each passing moment. But viewers are tricked into missing this by the POW scenes, which are of a more depressing nature.

While House is battling his inner demons in an extremely slowly burning building, he is not left to die alone. The two people he leans on most, who enable all of his crap, are desperately searching from him. Wilson and Foreman (Omar Epps) know that House is missing, and giving the desperateness of the situation, fear the worst. They even interrupt Dr. Nolan's (Andre Braugher) group therapy session to ask for advice. Eventually, they are able to put the pieces together and get to the building where House is.

But they arrive too late. House has decided to live, and is heading towards the front door, visible through the window to Foreman and Wilson, when the ceiling collapses. Gone in a rush of flame, a body identified as House is pulled from the wreckage. It's a tragic ending.

Or is it? House's wife Dominika (Karolina Wydra) and former colleagues, including Thirteen (Olivia Wilde), Taub (Peter Jacobson), Adams (Odette Annable), Masters (Amber Tamblyn), and Park (Charlyne Yi), wax poetic about him at his funeral. But Wilson alone lashes out in anger, instead, calling House a selfish idiot, which, of course, he is. Then Wilson is interrupted by a text message. He doesn't tell the others, but he goes and finds House, who has faked his death so that he can spend Wilson's final five months doing whatever Wilson wants to do. They ride off into the sunset together on motorcycles, great music playing, the ultimate happy ending.

Is this House's plan all along? Or is this something he comes up with at the last minute? It seems a little unrealistic that he is able to escape from the collapsing building, but at the same time, it's hard to complain about the perfect build up of suspense and twist. Not to mention, the metaphors of purgatory and hell are thrown in to make things even more surreal. "Everybody Dies" is a brilliant piece of art, and any inauthenticities can be chalked up to artistic license, not fretted about needlessly.

House has gone to dark places before, but the titular character has always emerged triumphantly. He argues that no one changes, but his growth over the years proves otherwise. Perhaps there have been backslides, as he is self-destructive. But in the end, the goodness within him wins out. This could be because of Wilson. The person House cares about most, the one who sticks by him through it all, needs him, and House wants to be there.

What will happen in five months when Wilson dies? House will not be able to just return to his former life. He gives that up for Wilson. Will he he hide out in a foreign land and practice medicine? Return and take his punishment so that he can honestly go back to his job? Who knows? Who cares? "Everybody Dies" is very satisfying and uplifting.

Before the credits roll, viewers are reminded of the positive impact House has had in the lives of his fellows, too. Cameron is married with a baby. Chase (Jesse Spencer) has taken over House's department, with Adams and Park staying on under him. Taub enjoys spending time with his daughters. These may not all be House's doing, but he has certainly played a role in who they are. Freeing them from himself by his death actually helps them to move on from his crap, and so it is a favor to them, too. Though he deserves credit for teaching them to how to live.

Well, everyone but Cuddy (Lisa Edelstein). It makes sense that she doesn't appear, seeing as how House caused her more pain than anyone, and she has the least reason to still care about him. But to bake anything, there will always be a few broken eggs, and she qualifies as this.

The only person besides Wilson who learns of House's survival is Foreman. Foreman is the only one this information would make a positive impact on. Gone from the team, Foreman has already found his happy career. He might blame himself for not controlling House better if he is allowed to continue to believe the lie. By sending him a signal, as House does, Foreman can go on, knowing that he has nothing to feel guilty for. Plus, of all the fellows, Foreman is the one least likely to tell on House.

Thank you to the cast and crew of House for eight mostly amazing years. It is a series that will not soon be forgotten, and one that has, at times, touched viewers just as much as House himself touches the other characters. House reminds us that a procedural doesn't have to just be a procedural, and there is plenty of mystery still to be found when examining the human spirit. We appreciate the lesson!

I highly recommend you read Barbara Barnett's review of "Everybody Dies" when it posts, and also pick up a copy of her book about House, Chasing Zebras. She has been a brilliant House expert over the years, and who has spoken with wonderful insight and wisdom. Going by her past work, and her thoughts during her live online chat party last night, her article will definitely be something worth reading for every House fan.

One last bit of trivia. The POW in "Everybody Dies" is played by James LeGros. LeGros starred in the short lived medical drama Mercy, and, besides guest starring in the House finale, he also appears in this year's season finale of Grey's Anatomy, which aired last week. Talk about success in the fictional medical community!

If you like my reviews, please follow me on Twitter! To purchase House DVDs and streaming episodes, please click here. Article first published as TV Review: House - "Everybody Dies" on Blogcritics.

"Hold Your Finish" Men of a Certain Age

     TNT's Men of a Certain Age brings its second, far too short, season to a close with "Hold Your Finish." The men all face new challenges. Joe (Ray Romano) competes in the Senior Golf Tour, and after a bit of luck, makes it to the next round. Terry (Scott Bakula) quits his job as a car salesmen to pursue directing as a new career path. Owen (Andre Braugher) is disturbed to learn Owen Sr. (Richard Gant) has decided to sell the dealership, after Owen has been working so hard to dig it out of the debt his father left it in. What is next for these guys?


     Poor Owen keeps getting set back over and over again. He tries to do things his own way when taking over the business, but the nasty surprise of deep debt that his father leaves him prevents him from doing much. Then Owen embarks on a new marketing strategy of cheesy commercials and free car washes to lure potential customers onto the lot. He even comes clean with the staff, letting them know exactly what is going on with the company. Owen Sr. doesn't approve, but Owen knows he has to be his own man and do something, or it's not likely Thoreau will survive. It is too early to tell if it's working from a business stand point, but Owen has certainly made a positive difference to the people working for him.

     Then Owen Sr. decides to sell to their biggest competitors. It's a huge blow. A personal insult to Owen, a sign that his father does not approve of what his son is doing, and wants to protect his name from any further mistakes. It's a vote of no confidence against Owen's business strategies. It ignores how hard Owen is trying; the long hours put in apart from his family. It's a genuine slap in the face, pulling the rug out from under Owen's career. And Owen Sr. telling his son he will make sure he is taken care of financially is even worse, an extra insult implying that Owen cannot provide for his wife and children. Owen may choose a different path than his dad, but his decisions are just as valid.

     It's not fair. The growth Owen has shown as a man and a professional over the two seasons of Men of a Certain Age is phenomenal. Owen once didn't care about selling cars, but now he does. He proves to his father that he is worthy of taking over the business, and now that he has, he gives his all to keep it going. Even the final confrontation of "Hold Your Finish," when Owen calmly goes to his father and lets him know how much he wants to keep working on the business is an improvement over the earlier, hot tempered fights the duo enganged in. Owen has matured, even if Owen Sr. has not. It's unclear whether it's enough for Owen Sr. to allow his son to keep the business, but signs are hopeful as the episode comes to an end.

     There is Emmy talk for Braugher, and how can there not be? His performance is nuanced, with much depth, and plenty of growth over the series. It isn't a showy part, but it does allow for some heavy drama and deep pathos. It's easy to forget that Owen is not a real person, with the level of art and realism Braugher commits to him. It's worthy of any awards anyone would like to give. There are others doing as well on television today, but few, if any, who are better.

     Terry has undergone just as dramatic a shift, himself. When introduced, Terry is lazy and has trouble holding a job. He says he is an actor, but he rarely gets any work in that field. He sleeps with a variety of women, mostly far too young for him, but that works, because he's looking for sex, not love. This season, that all changes.

     Terry reconnects with Erin (Melinda McGraw), a woman he did a series of commercials with many years ago, who is now a school teacher. Terry feels all kinds of feelings for a girl that he never has allowed himself to have before. It's a bit of a rocky adjustment, and they take a break, but soon enough Terry is asking her to move in, and she accepts. They have a really nice emotional bond, and she makes Terry want to be a better person. Suddenly he sees the value of hard work, and what pay offs it can bring. He fully, sincerely commits to her.

     This change in Terry extends to his professional life, as well. He works very hard for Owen, and becomes a top car salesman. He is the one that suggests that cheesy commercials that are soon bringing people to the lot. Which is why when Terry suddenly quits to become a director, it is possible to believe him when, as he tells Erin, this time it's different. He wants to be a director, something he finds himself good at while doing the commercials. It's a creative outlet that actually has paying work he may be able to get, and uses his talents. It's something he really wants to do, instead of just bring home a pay check.

     Erin is hesitant, as she should be, to believe Terry. But Terry says he will only give it a year, and he has also begged for his landlord job back to help support the couple financially. These are things the old Terry would never do when chasing a dream, and show that the maturity he is gaining is sticking. He wants to do something he loves, but he is also willing to sacrifice to get it. It's a new leaf, and one welcome.

     Of course, Bakula, a veteran of screen, knocks the part out of the water. It's funny to see him play an out of work actor, when Bakula himself has had a pretty good career. Yet, he is able to play the cheesiness and sincerity in unexpected ways that really sell the part. This is a series he will be remembered for, with good reason.

     Finally, there's Joe. He has some struggles in season two, as his attempts to be a good friend to Manfo (Jon Manfrellotti), who is dealing with cancer. But that connection drags Joe back into the world of gambling. Joe successfully pulls himself out once more, but not before angering Manfro, and losing his friendship. Overcoming that particular obstacle, again, is good, because it clears Joe's head up to do what he really wants to do: golf.

     As Joe begins the Senior Tournament qualifier, the focus is on the game itself. He has an early stumble with a penalty, which shakes him. But then he comes back in spectacular fashion, and only falters again on the final hole. Luckily, a well timed rain shower causes others to screw up more, and Joe ends up, albeit backwardly, making it through to the next round.

     And that's when it's clear that Joe's golf story is no longer about golf. Not only does Terry show up to offer his support, but both of Joe's children, Albert (Braeden Lemasters) serving as caddy, and Lucy (Brittany Curran), following as a spectator, are ecstatic to see their father do well. The plot is really about how Joe realizes his kids still love him, and what that does for his self image, which desperately needs help at this point. The sweet victory as the kids cheer as another man misses a hole, and dance around Joe with excitement, is worth for more to him than any trophy or big finish. Joe is a family man, which he sometimes finds difficult to perform as, but his kids mean the world to him. Seeing they care about him the same is the real victory.

     This is why, at the end of the episode, Joe is able to bring himself to call Dory (Sarah Clarke). Despite messing up his relationship with her, Joe is ready to try for another chance. He may deserve it, considering how far he has come, and the correct choices he keeps making, and she seems to see that. Joe is proving he is not a bad guy, but like everyone, has some things he must overcome. It will be a constant battle throughout the rest of his life to stay on the straight and narrow, but as "Hold Your Finish" ends, Joe is doing well.

     Who would have thought that sitcom star Romano had such gravitas in his repertoire? Yet, after a mere two years, Romano has permanently destroyed any pigeon hole the comedian may have been stuck in. He holds his own against two dramatic heavyweights, and makes it look easy. It's enough to spark regret for ever doubting him. With creator credit to his name, too, Romano has made something wonderful in Men of a Certain Age. Hopefully, it will run for years to come.


     Men of a Certain Age has not yet been ordered for a third season, but if the universe is fair at all, it will get one.

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

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "Hold Your Finish" on Blogcritics.

Men of a Certain Age "The Pickup"

     TNT's Men of a Certain Age takes a very depressing turn in "The Pickup," with two of the three guys' lives heading in the wrong direction. Terry (Scott Bakula) is letting work slip as he looks for women to sleep with to help take his mind off of Erin (Melinda McGraw) dumping him. Even his surprise 50th birthday party is a miserable affair for him. Things come to a head when Terry finally pushes Marcus (Brian J. White) too far, and Marcus slugs Terry before quitting the dealership. Owen (Andre Braugher) refuses to let Terry quit, too, telling him he needs to grow up and clean up the mess he causes Owen by prompting Marcus to leave. Meanwhile, Joe's (Ray Romano) golf game is suffering, and he allows himself to get pulled back into the gambling world.


     A gambling addiction has long plagued Joe, and while addiction is something that must be battled long after the habits stop, and relapse frequently occurs, it is sad that it is happening to Joe again. He works so hard to avoid anything that might tempt him, which is not easy for him. But by being a good friend to Manfro (Jon Manfrellotti) and helping him out while Manfro undergoes chemo, Joe is drawn back in. It's a tough call to make, because to remove temptation, something right for his life, Joe must abandon a friend in his hour of need, which is not a very nice thing to do. Is staying clean more important than the care one has for a close friend?

     Neither option is appealing, and Joe doesn't really make the choice, which is where he gets into trouble. By being a half-hearted friend to Manfro, Joe isn't really being there for him as he needs to be, nor is he avoiding the triggers of his condition. Manfro has to convince Joe to do the favors Joe is doing, and Joe only somewhat fights back. One could argue Manfro isn't being a very good friend by putting Joe in these situations in the first place, but Manfro is sick and suffering, so he likely isn't thinking things through all that clearly. He needs errands run, and he asks Joe to do it. Simple as that, to Manfro. Not so simple to Joe.

     This is probably why Joe's golf game isn't going too well. To play any sport focus is a primary component, or so I hear. Joe's focus is on Manfro and on his own gambling addiction, rather than the game. While it's too bad Roy (Damien Leake) isn't asking the right questions to figure out why Joe isn't doing so well, as he is the one really seeing the effects, it's not like Roy is really a friend, either. So it looks like Joe is losing his coach, his best chance at making it onto the Senior Tour. The addiction is costing Joe yet another thing he really cares about. He needs help badly.

     Too bad Joe isn't able to draw enough strength from Albert (Braeden Lemasters). Albert is inspired, with his father's help, to overcome his own anxieties and take the stage to perform with his band at school. The performance is a rousing success, and for a minute, it appears Joe will be inspired in turn by Albert. And he is, to a degree. But instead of taking Albert's lesson and applying it towards life, he only tries to use it for golf. He should take another look at his son and see that Albert uses Joe's advice, which is geared towards golf, in everything. If Joe brings the right attitude towards the gambling problem, maybe he stands a chance at escaping yet again. His determination kick the habit cannot be at half strength.

     Terry is nearing rock bottom. Hopefully, he will not need to hit it to clean things up. Sleeping with random, mostly younger, women will not help him forget about Erin. She is a very special person, who matured Terry romantically for awhile. For the first time in his life, Terry is ready to give up his playboy ways and commit to one person. Sadly, she is not in the same position as he is. But Terry needs to look for a woman that will make him happy for years, not just a few minutes in bed. Sleeping with his birthday party caterer is a big step in the wrong direction.

     Unfortunately, the maturity Terry finally finds in his romantic life does not extend at all to his professional one. He allows himself to let everything important slide while grieving over the loss of his relationship. Many teenagers have made a similar mistake, but not most fifty year olds. Perhaps because the experience of losing love is so new to Terry, he cannot help but act in this manner. Sadly, society does not allow such mistakes in the real world, and if Terry expects to have a decent life, he needs to get past it quickly.

     There is nothing mature at all about the way Terry feuds with Marcus. While Marcus is usually the biggest jerk in any episode, this time, Terry starts the trouble, and is much more in the wrong. A bigger man would let Terry slide, even though that's not what Terry needs. Marcus is far from a bigger man, and quits instead, causing a scene in the process. Most people would not act as Marcus does, but hopefully that will be the kick Terry needs to get things back on track. He is called on his crap.

     Also helping Terry is Owen. Owen is a good friend who is willing to sit silently and let Terry unload his problems. However, Owen also has a business to run, and Terry is messing up that business. Owen tasks Terry with making up for it, and blatantly tells him his behavior is not acceptable and cannot continue. This combination of sympathy and firmness may be what Terry needs. It's a calculated discipline designed to kick Terry's butt without being cruel about it.

     It also proves Owen is surely the most put together of the three main characters. Thanks goodness one of them is doing well.


     Men of a Certain Age airs Wednesdays at 10 p.m. ET on TNT.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "The Pickup" on Blogcritics.

Men of a Certain Age attempts "The Great Escape"

     TNT's Men of a Certain Age is back. Although the first season is uneven, the second is solid, including the mid-season premiere tonight, "The Great Escape." In the episode, Owen (Andre Braugher) considers an offer to sell the dealership. His wife, Melissa (Lisa Gay Hamilton), is totally on board when she realizes Owen will be home with the kids, so she can pursue her writing career. Joe (Ray Romano) comforts his sick friend, Manfro (Jon Manfrellotti), on the eve of his chemo. He also offers solace to his ex-wife, Sonia (Penelope Ann Miller), who has just broken up with the guy she left Joe for. Terry (Scott Bakula) is ready to get serious with Erin (Melinda McGraw), just as she decides to go back to her ex.


     While much of the series is not about the three central men's love life, this episode very much is. And why not? Two of them are single, one by divorce, one because he's a habitual bachelor. At this point in their lives, it's time to settle down, not sow the wild oats. As such, it is perfectly reasonable that both Terry and Joe are interested in long-term relationships.

     Joe should not go back to Sonia, no matter how much he wants to. His wife cheated on him, and he is far too willing to forgive her mistakes. She trades a stable married life to Joe for a mid-life crisis that is now falling apart. Joe is a nice guy, and he deserves better. While both feel it would be awkward to act on their rekindled feelings now, Joe is certainly planning on letting things build, and trying again. If he does so, Owen and Terry should stage an intervention and stop it.

     Very touching is Manfro's story. It is nice that the bookie is back in Joe's life, despite Joe's gambling problems, because Manfro is a good, non-judgmental friend. Unlike Terry and Owen, he has not known Joe his entire life, so his judgment is not clouded by history. He, more than the other two, could possibly talk Joe out of a reconciliation with Sonia. Or at least keep an open mind about it, if that's what Joe needs.

     Even better, Manfro gets his own love interest this week. On the eve of receiving chemo treatment, he meets a kind stripper with a heart of gold. While she does keep relating Manfro's situation to her father's, at least she knows what she is getting into, so there will be no surprises. She won't leave him halfway through treatment. It's just what Manfro needs, and hopefully more of the happy couple is on docket for later this season.

     Sadly for Terry, Erin is not going to happen. While she appears perfect for him, she's already taken. Perhaps he can go back and see Annie (Carla Gallo), who he runs into this week, at the coffee shop to help him get over Erin? As delightful as Gallo is, she is likely not poised to join the cast full time, and so a long-term relationship between the two probably won't happen. But in the meantime, any episodes Gallo wants to do will be welcome.

     Terry needs to find a girl like Erin, but one who is not in love with someone else. His potential mate will likely be divorced, as it is unrealistic to expect a nice, pretty girl good enough for Terry will still be single at fifty. Unless this woman is in the same boat as Terry, ready to settle down after a long time of playing the field. Her past may make Terry uncomfortable, and provide some growth. Honestly, the second option might be better in the long-term.

     Poor Owen cannot escape from his father's shadow. As much as he'd like to sell the dealership for his family, when the times comes for Owen to tell Owen Sr. (Richard Gant), he only says he is determined to bring a body shop into the mix. Is this the truth? Or he is avoiding a difficult situation? It appears Owen and Melissa have made up their minds, but then Owen chickens out when announcing the decision. It's hard to tell if he is serious with his father or not.

     If Owen does go through with selling, it will likely wound his father very deeply, and justly so. Owen Sr. only recently gives Own the dealership, and if Owen parts with it so quickly, it's kind of being rude with a gift. On the other hand, Owen Sr. springs a bad financial surprise on Owen post-deal, so it's understandable that Owen is tempted to get out from under the debt. It's a complex situation with no right answer. Unhappiness will follow either decision. Let's hope Owen and Owen Sr., who are finally getting along, can weather the storm and keep their relationship on firm ground.

     Melissa, of course, is also a part of the equation. She has given up her life to take care of the kids for many years, and she is right to expect Owen to take a turn when a good opportunity arises. As his wife, Owen should likely put more weight on hurting Melissa than his father. She deserves the chance to do something she is passionate about, and not selling will deeply disappoint her.


     Men of a Certain Age is off to a great start! Tune in Wednesdays at 10 p.m. ET on TNT.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "The Great Escape" on Blogcritics.

Preview: Men of a Certain Age Season Two

     TNT's drama about three aging men, appropriately enough titled Men of a Certain Age, returns for a second season tomorrow (Monday) night. After a ten episode season last winter, many people may not remember the show, and I think that will probably hurt it. Unlike other dramas, it's not must-see TV, or exciting enough to warrant an event. Though that sounds like an insult, it's not meant to be. Instead, it's a really nice, tonally calm story of three men and how they deal with getting older. Which, unfortunately, is not something I would expect to do well after taking nine months off between seasons.

     As season two begins, all three of the main characters are dealing with the effects of decisions made at the end of season one. Owen (Andre Braugher) has taken over his father's car dealership, and as you might expect, he's having a rough time of it. Sales are down, which isn't surprising, considering our current economy, although that is never mentioned on screen as a reason for the down turn. In the first new episode, Owen's father, Owen Sr. (Richard Gant), tells Owen he must woo back old rival (and top seller) Marcus (Brian J. White). If you watched the show, you'll remember that Owen and Marcus don't have much affection for each other, and that's putting it nicely. As such, their meeting is not exactly warm, though I won't reveal the result. In episode two, Owen is dealing with Jesse (Patrick Gallagher, Glee), a new character who runs the repair shop at the dealership. Let's just say that the service guys and the sales guys don't play nicely with one another.

     Terry (Scott Bakula) took a job from Owen, and is now trying to make a go of it as a car salesman. As the first episode plays out, Terry has had not a single sale, and things aren't going too well. It's not from lack of effort; Terry is taking the work schedule seriously and really trying his best. He just can't get over the fact that he feels like he's taking advantage of people if he pushes a sale. While no easy solution to this issue is in sight, Owen Sr. is encouraging. Things aren't made any easier by the rest of the staff, who haze Terry pretty good, dredging up his past online. Owen stays out of it, thinking that the boss jumping in to defend his friend would probably only make things worse. He's likely right.

     What's nice about these plots is that Owen and Terry are in the same environment, going through some of the same things. While season one had three distinctly different threads, and that element is not totally gone, Terry's and Owen's threads now intertwine more often, making a more tightly connected show. Both Braugher and Bakula handle their characters with such depth and genuine feeling, that even though the story may be somewhat slow paced, I was riveted by both men.

     That does leave Joe (Ray Romano) by himself more, though, than the other guys. Which is fine, as Joe has quite a bit to work with. His divorce seems finalized, and he has moved from a hotel into what appears to be a condo. He has several different love interests in the first two episodes, including some familiar faces, though only one is developed much. Thankfully, as most TV dramas spend a lot of time on adult dating already, and it's nice to see this one doesn't need to every week. Joe's store still requires plenty of attention, and his children are going through their own issues. Add to that that he really needs some work to get back in shape for that golf tournament he began talking about last year, and his plate is plenty full.

     Sadly, Owen's wife, Melissa (Lisa Gay Hamilton), does not appear in the first week, but does get an interesting story in episode two. Her plot has just as much to do with her age as any of the guys' ever does. I consider her fairly essential to the show, too, as Hamilton holds her own in every scene she appears in. Perhaps the title should be less gender specific.

     Although the main men's children rarely get much meat in the stories, Joe's son, Albert (Braeden Lemasters), does get to work on his anti-social behavior in episode two, which will find him at a party. Yes, alcohol is involved, and no, his parents did not give him permission to attend. The way Joe deals with the situation is incredibly well done, but the writers have also painted a picture far from black and white. Should Joe be proud of the progress his son has made to even attend the party, or furious at his unacceptable actions? My guess is, the viewers who are parents will understand the mixed emotions, but side with Joe's reaction.

     The thing about Men of a Certain Age is that it feels so incredibly real. An extremely talented cast, who must surely allow real life to influence their performances, keeps this anti-drama drama going strong. Season one suffered a little as the show figured itself out. In fact, episodes were aired out of production order, and I doubt anyone noticed. But those growing pains are gone by now, leaving a confirmed serial. The first two episodes were tightly scripted, and set up some good arcs for the season.

     And someone gets glasses.

     Be sure to watch Men of a Certain Age, which airs Monday nights at 10pm on TNT.

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

Article first published as TV Preview: Men of a Certain Age Season Two on Blogcritics.

2010 Emmys: Drama Part 2

     Last week, the Emmy nominations for this year were released.  This is television's biggest awards show, and as a television reviewer, I couldn't help but be excited.  Sure, there were some snubs, but there were also some pleasant surprises.  With 51 days left until the statues are handed out on August 29th, there is plenty of time to examine who's up for what.  In this second in a series of articles, I'll look at the the supporting player categories for Dramas.

 Outstanding Supporting Actor in a Drama Series: Aaron Paul, Breaking Bad (AMC), Martin Short, Damages (FX), Terry O'Quinn, Lost (ABC), Michael Emerson, Lost (ABC), John Slattery, Mad Men (AMC), Andre Braugher, Men of a Certain Age (TNT).  This is a very tough category.  I didn't initially like Mad Men, but am just now getting around to watching it, as I purchased the first three seasons on DVD some time ago, and I'm tired of them just collecting dust.  I'm still on season 1, so I don't know how Slattery did this year.  I watched all the episodes of the shows the other five nominees are in, though.  Braugher was good, though I was surprised to see him in the Supporting category instead of Lead.  And where are his co-stars?  O'Quinn and Emerson area always good, but neither match previous season appearances.  Not that it's a detriment to them, but their earlier work on Lost was so spine-tingling good, I just can't see them taking it for the final season.  Short was also incredibly enjoyable, and proved he can do serious drama just as well as he does comedy.  However, as tempted as I am to support Short this year, Aaron Paul was incredible.  Season 3 brought so many big moments for his character, from dealing with the death of his girlfriend, to struggling to stay sober, to almost getting killer, and then contemplating murder.  I have to say, Paul all the way.

Outstanding Supporting Actress in a Drama Series: Sharon Gless, Burn Notice (USA), Rose Byrne, Damages (FX), Archie Panjabi, The Good Wife (CBS), Christine Baranski, The Good Wife (CBS), Christina Hendricks, Mad Men (AMC), Elisabeth Moss, Mad Men (AMC).  I am ashamed to say that I only saw two of these fine women in their entirety.  As stated above, I'm way behind on Mad Men.  I missed the boat on The Good Wife, though in my defense, I already have the season one DVD pre-ordered, and I certainly won't continue to be delinquent any longer than necessary.  That being said, I always love Baranski, so maybe she should get.  Byrne did a fine job on Damages, but like some of the man above, she had a much better chance to stretch her talent prior to this season.  She was relatively balanced by this past year, so I wouldn't give it to her.  I am pleased to see Gless in this category, a completely unexpected turn.  When Burn Notice began, I really didn't care for her character.  But now she was forced her way into the group and proven her mettle, so I do enjoy her contribution.  I guess, still being unsure, as this is the rare category I don't feel prepared to judge because of all the Good Wife and Mad Men nominees, I am still putting my money (figuratively) on Baranski.

     The 62nd Primetime Emmy Awards will air live Sunday, August 29th at 8pm on NBC.

Men of a Certain Age finishes strong

     Men of a Certain Age finished it's first season Monday night on TNT, though it has already been picked up for a second, so it shouldn't be gone too long.  The drama was pretty good, so far.  At first, I was a little turned off by the fact that the plot was so slow moving in some episodes, but it really found it's place and it's voice by the end of the ten episodes.      I like the realism, that they're good friends, but they don't hang out every day, unlike most other buddy shows on television.  They each have their own lives and own things going on, and their main plot points rarely cross.  Of course, since the season ended with Terry (Scott Bakula, Quantum Leap, Star Trek: Enterprise) deciding to go work for Owen (Andre Braugher, Homicide: Life on the Street), that may change a bit.  But it came about naturally in a progression that made sense.  It might be interesting to see how Joe (Ray Romano, Everybody Loves Raymond) reacts being left out of that equation.
     I am disappointed by the quick dissolution of both Joe and Terry's relationships.  I guess I get Dory (Sarah Clarke, 24) leaving Joe, as he did confess to making a huge gamble, but Terry's girlfriend, Annie (Carla Gallo, Carnivale) encouraged him to get back in the movie business.  She practically forced him into the job that took him out of town.  And despite his promise to teach her surfing, him taking the job appeared to be what she wanted.  Also, perhaps the time line wasn't real clear, but it seemed to me that Terry was only gone for a week or so.  Two max.  Why would she give up on him so easily?  And then be so vindictive at the coffee shop after?  Let's hope it was only done so that she can appear more frequently on Bones.
     All in all, the show had a good first year out.  Be sure to watch for the second season to premiere on TNT, and if you missed the first, surely reruns will be showing, though only one is showing up in the listings at this time, so keep an eye out for that.