GOOD GIRLS REVOLT Or Revolting?

Article first published as GOOD GIRLS REVOLT Review on Seat42F.

Amazon has a new period drama called GOOD GIRLS REVOLT, which premieres this week. Set in the late 1960s, it’s a drama about the employees of a newsroom for a magazine (similar to Newsweek) called News of the World. Specifically, the characters at the center are women ‘researchers’ who essentially do all the work of writing the articles, but get none of the credit because of the sexism of the time. Now, they’re ready to fight for their rights and recognition.

GOOD GIRVLS REVOLT is confusing because it’s got a lot of real elements, but is not actually a true story. For instance, the events mentioned that are reported on more or less actually happened. Several characters, including Eleanor Holmes Norton (Joy Bryant, Parenthood) and Nora Ephron (Grace Gummer, Mr. Robot, The Newsroom), are real people. Yet, what they are doing isn’t true to life. Ephron did work for Newsweek, but at a different time, and for a longer period than what the show portrays.

Because of the real names and events, viewers are likely to be tricked into thinking this is a true story. I feel like that’s kind of dangerous. It’s absolutely fair to take a little creative license when portraying historical happenings, but GOOD GIRLS REVOLT isn’t doing that. Instead, it’s misleading to lend itself unnecessary and unwarranted authenticity. This is purely personal opinion, but I don’t approve of that sort of element at all.

Taken on its own, I did enjoy the pilot of GOOD GIRLS REVOLT, before I looked into how accurate it was. It’s very easy to get behind two of the three main women, Patti (Genevieve Angelson, Backstrom) and Cindy (Erin Darke, Love & Mercy), and root for them to succeed. It’s also a timely tale as the first female candidate of a major political party runs for office in a race beseeched by sexism, so it seems important to bring these things up.

However, the show is also pretty predictable and one-dimensional. The costumes and music are almost a bit too over the top, and the drug use and penis sculptures just make it seem ridiculous. Could people have acted like this? Perhaps. Did they? Probably not to this extent. This is more a vision of what modern viewers think the 1960s was like, taken in a cartoonish fashion. Even Patti, Cindy, Nora, and Eleanor are more archetypes than complex characters.

The one player that gets a bit of depth, Jane (Anna Camp, The Good Wife, Pitch Perfect), is not likeable. I’m not complaining about the actress; I’ve enjoyed Camp very much in several other projects. But instead of letting us see the internal struggle she is going through, wanting to hold onto the achievements she has made and afraid of rocking the boat, it’s actually surprising when Jane does the right thing in episode one because she’s shown to be such a cold person prior to this. We don’t get any insight into why she makes that decision.

There are men in the show, too, specifically, Chris Diamantopoulos (Silicon Valley), Hunter Parrish (Weeds), and Jim Belushi (According to Jim). They fare no better than the women, coming across as entitled bullies who may like girls that know their place, but certainly aren’t going to join the cause of gender equality. They aren’t outright villains, but are (mostly) quietly prejudiced. They are simply the obstacles in the way that must be toppled.

I do kind of want to see where GOOD GIRLS REVOLT is going. I like enough of the elements to be curious about episode two. Yet, that’s more because of a fascination with an era and the positive feelings I get from watching women kick butt than the show’s own merits enticing me.

GOOD GIRLS REVOLT season one will be released on Amazon this Friday.

GROUND FLOOR "On Top"

Article first published as GROUND FLOOR "On Top" on TheTVKing.

Seven episodes into its freshman season, Ground Floor has become a series I look forward to watching. The cast doesn't have the chemistry of Cougar Town and the writing lacks the weird fun of Scrubs, but it still is a reliable draw from creator of all three, Bill Lawrence. There are constantly decent jokes, and I do enjoy the show's leads immensely.

At the heart of Ground Floor is the relationship between Brody (Skylar Astin) and Mr. Mansfield (John C. McGinely). Did you think I was going to say Brody and Jennifer (Briga Heelan)? Well, as much as Brody and Jennifer's pairing provides the structure, the best parts of each installment are usually those where Mansfield gives Brody advice. Every part of Brody's romantic life is observed and commented on by his boss, and through these talks, we see the development of Mansfield.

At first, it appeared that Mansfield might be a retread of Dr. Cox, McGinley's Scrubs character. But as layers are willingly revealed week after week, it becomes clear that isn't the case at all. While Cox was closed off, Mansfield is open. Cox hated being a mentor, and Mansfield lives for it. Cox would never admit to screw ups and emotions unless pushed, while Mansfield volunteers such things, thinking nothing of throwing an arm around an employee and sitting close on a couch. They are really two completely different people.

McGinley is quite the talented actor. He really makes the little gags Mansfield gets work far more than they should. Each time he appears on screen, the eye is instantly drawn to him, and for good reason. Last week's episode found him singing and dancing in the empty office, and I don't know how the actor kept it together with the audience reacting as they did (assuming the show films in front of a live studio audience?). He really has something.

Brody benefits much from his lessons from Mansfield. Whether he agrees with his superior or not, and he doesn't always, there's a camaraderie and respect between them that belies their varying power statuses. Mansfield is someone Brody looks up to, and I think they are friends, too, though Mansfield would never admit it to the office.

Back to the more obvious central duo, Brody and Jennifer appear to be progressing nicely. I'm a little disappointed we haven't witnessed more of their development after the rocky start, with a bigger focus on shenanigans in the office than in their personal lives. I want to see them outside of work more, find out what kinds of things they are going through that result in them being stronger. They do have a palpable attraction, and I just want it to be explored more in-depth.

Which is kind of what is nice about this week's episode, "Woman on Top," in which we see strain between Brody and Jennifer and how they work through it. Mansfield unknowingly hires Brody's serious ex-girlfriend, Heather (Anna Camp, True Blood, The Help), and as cool as Jennifer tries to be, she gets jealous, especially when she sees how well Brody and Heather still get along and how much they have in common.

Brody and Jennifer do overcome the Heather obstacle, though. It messes them up, and they put in the work to get through it. That's what every strong union needs, to be tested and survive, in order to thrive. I'm not asking for constant drama on this magnitude, as that would be hokey and false, but to get more glimpses of these two in this manner would be welcome.

It is not at all unexpected that Heather leaves at the end of "Woman on Top." Camp is much too in-demand to stick around in a recurring part, and her desk position and attitude would necessitate she be constantly seen. So Mansfield sends her to run his Chicago branch, leaving the door open for repeat appearances, but not making her someone we have to see again.

Does Mansfield do this for Brody? He's been a supported of Brody and Jennifer, even when he resists them, so it makes sense he might do a behind-the-scenes move to help the couple. On the other hand, he's a shark in the business world, and Heather is the type of firm hand the Chicago branch needs. Perhaps it's just a win-win.

Heather's departure is too bad, in a way. Camp and Astin were two of the stars of the film Pitch Perfect, and "Woman on Top" is a nice reunion. Jennifer always has Harvard (Rory Scovel) lusting after her, so it could be interesting to toss in someone who might want to get back with Brody. Plus, it's just plain fun how fast Heather whips Threepeat (Rene Gube) into serving her.

Speaking of Pitch Perfect, a movie with a lot of singing, Astin and Camp have musical moments in this episode, and McGinley and others sang last week. It's cool that Ground Floor finds ways to work its actors' vocal talents into the series. I'm a fan of musicals in general, and while I don't think this will ever be one of those, I appreciate even small numbers done by talented performers. Between Ground Floor and Super Fun Night, it's nice to see this element emerging in the new fall sitcoms. More singing please!

The one thing Ground Floor has yet to figure out is how to effectively use all of its supporting players. Jennifer, Brody, and Mansfield are the real leads, and they are great. Harvard serves his purpose, and Threepeat is someone flexible enough to vary his role week to week, which is what is happening. But Derrick (James Earl) and Tori (Alexis Knapp, who was also in Pitch Perfect) don't really have a fit yet. I'm hoping that changes and Ground Floor moves more in an ensemble direction, as pretty much all the best comedies on TV have larger casts than just 3 or 4 characters.

Overall, Ground Floor has a charm that really resonates, and it is pretty funny. For a freshman show with only half a dozen episodes under its belt, it's doing quite well, and the pedigree involved is such that I expect it will mature nicely. I look forward to seeing where it grows from here.

Ground Floor airs Thursdays at 10 p.m. ET on TBS.

TRUE BLOOD Goes "Radioactive"

Article first published as TRUE BLOOD Goes Radioactive on TheTVKing.

HBO's True Blood has had a banner year, surely an improvement over the past couple just in terms of sheer excitement. Major characters died, the rules of the universe began to change, and the tale was much more focused on the central players, rather than guest stars or big bads brought in for a single year. And some of the newbies that joined the cast not only fit as if they've always been there, but definitely have already made a place for themselves in future seasons. It may have only been ten episodes, but it used every minute of those hours well.

Forgive me if part of this review inadvertently refers to bits of the penultimate episode, "Life Matters," as I watched the two hours back to back, and they were quite excellent taken together, especially the Terry (Todd Lowe) scenes in the first half. Additionally, True Blood features a very large cast, so if I skip the subplot you love most, I apologize, but I'm just not going to get to everything.

The end of the vampire concentration camp arc in this year's finale, "Radioactive," is a shocking one. Eric (Alexander Skarsgard), with Bill (Stephen Moyer) on his heels, breaks into the facility and slaughters all who work there. It's poetic justice, and certain notable guest characters get ends befitting them, including Steve Newlin (Michael McMillian), whom has been very enjoyable these past years, but is not disappointing to see die now.

Sarah Newlin (Anna Camp) escapes, which is appreciated because everyone can't die at once. Steve has his time without her in earlier seasons, and she deserves the same in the future.

Eric's brutality reminds us that he is not the kind and cuddly vampire that Bill introduced us to early in True Blood's run. Eric is much older, and has a different moral compass. It's easy to forget that when we see him interact with Sookie (Anna Paquin). But when his sister, Nora (Lucy Griffiths), is murdered and his other loved ones endangered, he can go back to that steely-toothed beast fans love to fear. "Radioactive" shows us Eric as scary as he's ever been.

Those who worry about Eric's fate in his final scene of "Radioactive" need not fret. We don't actually see him fully die, and the producers have confirmed Skarsgard remains a full-time cast member next season. He's just too important to True Blood to lose.

By contrast to Eric's evilness, Bill, who has been stand-offish while existing as the god-like Billith, fulfills his messianic destiny and goes soft again. He gets to save everyone with his super blood, temporarily allowing them to frolic in sunlight, and then goes back to secretly caring for Sookie. Sookie isn't ready to forgive him yet, not even close (in the first half hour), but fans of the show likely will quite quickly, now that we know old Bill is back.

Sookie is with Warlow (Rob Kazinsky), the one arc this season that never quite made sense. It almost feels right when Warlow turns on her, and then Bill, Jason (Ryan Kwanten), Andy (Chris Bauer), and Adilyn (Bailey Noble) must rescue her. It's all very contrived, though, and ends way too easily, which I'd complain about, except I'm glad no more time was spent on this story.

Mid-episode, the action suddenly jumps six months, a very interesting choice, made much earlier in the episode than most shows would have chosen to. It's such a jarring break that the last twenty-some minutes of "Radioactive" feel like a different season entirely. Which is kind of good because it whets our appetite for next summer, and gets to set up some very fascinating plots.

Most importantly, Sam (Sam Trammell), Bill, and the local preachers have banded together to protect their friends and neighbors from hepatitis-V-infected vamps. This alliance doesn't completely add up, but since there is a lot of time missing, that can be overlooked, as we don't know what happened to convince everyone to work together, and desperate times call for desperate measures.

Even Arlene (Carrie Preston) is on board with playing friendly towards the fangers, which shows you just how dire the situation must be.

This is excellent because it gets back to part of the original premise. When True Blood began, vampires were just coming out into the open. We barely got time to see how humans and vamps mix before the plot picked up with Sookie's romantic life, and eventually, a great many interesting supporting characters. Now, we're actually going to see what working together and relying on one another means for the two species, and that will be satisfying. It also neatly fixes the humans-against-vampires war of this season.

It does not appear, however, that the rest of the supernatural creatures have come out of the closet. What will happen when Sam, the beloved mayor the people trust, is exposed as a shifter? This is a recipe to have the alliance fall apart at a crucial moment, leaving the future ripe with dramatic promise.

There are other things of note in "Radioactive," such as the satisfaction many will feel at finally seeing Sookie and Alcide (Joe Manganiello) as a couple, the ultimate betrayal Lettie Mae (Adina Porter) may finally have made against her daughter, Tara (Rutina Wesley), the amazing scene where a tearful Jessica (Deborah Ann Woll) vows to protect an almost-not-furious Andy and Adilyn, Jason being more than tamed in his one-sided romance with Violet (Karolina Wydra, House), and the juicy premise that Arlene now owns Merlotte's. But we'll save all of that for next season's reviews.

"You're No Good" TRUE BLOOD Not True

Article first published as "You're No Good" TRUE BLOOD Not True on TheTVKing.

HBO's True Blood is only three episodes into the sixth season, and already so much has happened that the series bears another review. With the numerous characters and plotlines, not everything that happens in this week's installment, "You're No Good," will be covered in the following article, but most of the important points will be touched on.


Niall Brigant (Rutger Hauer), King of the Fairies, stresses to Sookie (Anna Paquin) that she should be more worried about Warlow than she is. Sookie's retort, telling her grandfather that she has to cope with a lot of dangerous situations, and so tries very hard not to overreact and keep a level head until the truly dire circumstances come along, is funny, self-referential, and perfect. Then Niall tells her Warlow does rate that most dire category, and one's blood runs cold.

Normally, if a character in a story has to tell another character (and the viewers) that a villain is really, really scary, it's a weak job on the script that's to blame. After all, we should already know how scary the baddie is by what's shown. However, there is an exception to this rule, and that occurs here. There is a lot of dangerous stuff on True Blood, and because of who Niall is, his words mean something. As happens very rarely on television, words end up being more powerful than the visuals.

Unfortunately, it's awfully hard to worry about Warlow, despite how he slaughters everyone in the fairy club, when Jason (Ryan Kwanten) is collapsed on the floor. I don't know what is going on with him, but he is not well. And, of course, his symptoms pick the worst possible time to manifest. The trouble level at the Stackhouse homestead has never been higher.

Into this turmoil, Bill (Stephen Moyer) shows up. He couldn't possibly know everything that Sookie is dealing with, and so can be forgiven for seeking her assistance now. He cannot be forgiven, though, for being demanding and rude. It's clear he no longer cares for Sookie in any romantic way, if he ever did. It's sad to see the show's central couple completely done with one another, but "You're No Good" reveals exactly that in a heart-wrenching scene.

Bill is no longer recognizable as Bill. He is ruthless and arrogant and a bit evil. His ability to see the future is as onerous as it is helpful. Perhaps Bill is the only hope for the vampire species, considering all of the humans turning against them, and the weapons being brought to bear. This Bill, more than the old Bill, is equipped to be the right vamp for the job, even if he is still allergic to the sun. But it's still sad to see a beloved character replaced by someone who looks the same, but is drastically different. If he harms the fairy kids, he will completely nonredeemable.

Eric (Alexander Skarsgard), too, is acting strangely. Kidnapping the governor's daughter, Willa (Amelia Rose Blaire), and treating humans with little regard is something pre-Sookie Eric would do. Without Sookie by his side, has he reverted back to his old, bad self? Or is this just what happens when you trap a deadly creature in a corner? Have we seen the last of Ginger (Tara Buck)? Eric's anger is completely justified, but his willingness to hurt the innocent is not.

Yet, Eric's tenderness towards his prisoner is a sign that he hasn't completely changed, as Bill has. Much of his dialogue can be chalked up to posturing. Eric is cunning, and has a plan that he doesn't always share with his friends. Yes, Eric almost kills Willa, but after that, he seems to take a step back from the edge. We'll see if desperation or a noble spirit wins out.

Alcide (Joe Manganiello) is finding it harder than expected to stop his pack from going after people who don't deserve it. When peaceful young men and women show up at their door, the pack wants to tear them to shreds, and mostly does, save Nicole (Jurnee Smollett-Bell, Friday Night Lights). Alcide himself even shows some angry, violent tendencies, though he stops short of hurting anyone. Does the pack make wolves mean, a group egging one another one? Can Alcide control it and his people, as we know he's good at heart?

It's this general darkness that makes season six better than the past couple of years. True Blood is a humorous horror show, and those laughter-inducing bits and lines are still there, such as when Holly (Lauren Bowles) takes up Andy's (Chris Bauer) system of calling his children by number. But there's also real peril and tension when the stakes get high, and unlike past seasons, this year turns up that knob right away.

Take, for instance, Sam's (Sam Trammell) plot of trying to stay hidden in a world where supes are increasingly exposed. He seeks to avoid death, but cannot. He tries to do right by Emma (Chloe Noelle), but is blocked at every turn. No matter how much Sam fights, he just can't do what he wants to do or live the way he wants to live. It seems rather hopeless.

Then Lafayette (Nelsan Ellis), who isn't known for his generosity, offers Sam help. In fact, Lafayette insists on it. Sticking together is the only way to get through the tough stuff, and "You're No Good" lets Sam find help where he doesn't expect it. The fact that Lafayette feels compelled to provide assistance shows us how bad things have gotten, but it also provides that ray of hope that just might get Sam through. We'll see, though, since the body count on True Blood is usually pretty high.

The last thing that must be mentioned about "You're No Good" is the triumphant return of Sarah Newlin (Anna Camp). Now in a position of authority and influence, she rubs it in her ex-husband, Steve's (Michael McMillian), face. Since they are both despicable characters, one can just enjoy the juicy verbal sparring between the two, and the wonderful performances of Camp and McMillian, without worrying whether the characters will be hurt or not. It may be a small thing, or it could grow into something, but having Sarah back is welcome, indeed.

So much going on, so much of it keeping viewers on the edge of their seats. True Blood season six is off to a great start! New episodes air Sundays at 9 p.m. ET on HBO.

The Mindy Project celebrates "Thanksgiving"

One conceit of television that sort of goes against reality is that Thanksgiving is a time for families, but usually casts of characters gather with friends instead. Sure, we get the occasional relative stopping by as a guest star. But it's not the same as the main characters each returning to their homes every year for the holiday, which is what most of us do in real life. I was surprised, then, that while The Mindy Project did not exactly divide up everyone, there were distinct groups who split up.

The most realistic thread involved Betsy (Zoe Jarman) visiting her clan, with Jeremy (Ed Weeks), who isn't native to America, tagging along. Too bad Betsy is also the least interesting character on the series. Jeremy gets along splendidly with her relations, as he almost always does with whoever he happens to be in the presence of, while Betsy reverts to childlike behavior. Sadly, it didn't seem all that interesting or novel for Betsy to act like this, and Jeremy is just along for the ride.

The better story involves Mindy (Mindy Kaling) and Morgan (Ike Barinholtz) attending Gwen's (Anna Camp) large party. True, this isn't a family affair, but it does give Mindy the chance to pine over Josh (Tommy Dewey), while also bumping into her ex, Dennis (Ed Helms). Ex may be too strong a word, considering they only shared one date (in the first episode of the series), but Dennis functions here as if they'd been in a relationship. Mindy's antics, while over-the-top, as expected, are amusing. It's just too bad there isn't more for Morgan to do.

Meanwhile, Shauna (Amanda Setton) goes minibar hopping with her girlfriends. If any character would blow off their family on Thanksgiving, it would be Shuana, so this actually makes sense, even though she is barely seen and doesn't actually get plot in the episode. This is typical for her, which is probably why her character will soon be departing the show. Too bad, because her personality isn't matched by any other character, and she shifts the group dynamics in an interesting way.

While I am slowly warming up to The Mindy Project, I do feel like the best characters sometimes get shafted in favor of less intriguing people. I'm not complaining about Mindy, the star of the show, who is doing just fine with her arcs. But I really like Morgan and Shauna, and they take back seats to Jeremy and Betsy, who aren't nearly as compelling. A few tweaks to the formula would be nice.

The best part of The Mindy Project, week in and week out, is Danny (Chris Messina). In "Thanksgiving," he hangs out alone in the empty office. This totally gels with his character, and he seems happy while doing it. Other shows might force him to eventually show up at a gathering, regretting his decision to fly solo. Not The Mindy Project. This is who Danny is, and while he may want to be with Mindy, he is patient enough to wait for her to want to be with him, and he's not going to show up at some party he doesn't want to be at to speed things along. He kind of already does that with the dance club a few weeks ago, and so now he has learned his lesson and stays true to himself.

Of course, The Mindy Project doesn't abandon the friends-getting-together trope entirely. At the end of "Thanksgiving," they all send each other pictures with their camera phones. This shows that they do think of each other as family, and it will not be surprising if the main cast gathers together in some future holiday episode. Let's hope not, though, because if Mindy just sticks to the things about it that set it apart from the rest of the fodder out there, this could be a really good series.

The Mindy Project airs Tuesdays at 9:30 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 episode I don't fully review, please follow me on Twitter! This article was first posted on TheTVKing

Keep working on The Mindy Project

Grade: 73%

I really wanted to like THE MINDY PROJECT. The star and creator, Mindy Kaling, has not only played Kelly Kapoor on The Office for all of these years, but has also written some of the funniest episodes of that show. It is time for her to get her own vehicle, and to let her voice be heard outside of the protective bubble of the long-running, popular sitcom.

Sadly, it’s really hard to be a fan of this new effort. At least, the “Pilot” isn’t very good. The jokes are predictable, the situations a little too “been-there, done-that,” and the characters don’t seem fresh. It may grow into something great, and I really hope it does. But it is not there yet, as of the first episode.

Kaling’s character, not coincidentally named Mindy, is a lot like Kelly, though toned down slightly to be more realistic. She is a relatable girl, smart and cute, even if she worries about her weight issues. She loves romantic comedies, and longs so much for her life to be one. But, like many girls who can relate to this attitude, her dreams will not come true. She struggles to find any guy who can live up to her ridiculous standards, but even those who fall far below that seem to be scarce. She doesn’t help herself by sleeping around, a habit hinted at, but not shown in the “Pilot.” All in all, the best adjective to describer this character, meant on a couple different levels, is sad.

The writing is as uneven as the character herself. There are lots of great pop culture references, which might date the show in the future, but seem timely enough for now. But the delivery of them isn’t goofy, like Kelly, or witty, as in other shows. Instead, it just adds to the mental delusions that keep Mindy out of touch with reality. Perhaps if she had a little more confidence, or didn’t sound like she believed them so sincerely, they would land better.

Much of the first episode is given over to Mindy’s romantic adventures. First, there is an oral surgeon (Saturday Night Live’s Bill Hader) who dumps her to marry a younger model. Then, there is the sane and handsome first date (Kaling’s former co-star, Ed Helms), who may be scared off by her crazy. The thing is, neither of these men feel like they have chemistry with Mindy, making the whole thing seem off.

Of course, the man Mindy is supposed to be with is right in front of her face and she is blind to it. His name is Danny (Chris Messina, Damages, The Newsroom), and he is a man’s man, as well as a co-worker. While Mindy is seeking romance, he tries to tell her to alter her expectations and look for a “real” guy. She ignores him, not willing to abandon her mission.

If THE MINDY PROJECT would allow Mindy to calm down and ditch her silly, unrealistic ideas, it would work much better. Danny isn’t just the opposite of what she thinks she wants, but really needs, he is also someone who will challenge her and help her to grow. An element that takes a back seat in the first episode is that Mindy is a doctor, and Danny is her competition. He is driven at work, and if she’d stop seeing Danny as an obstacle, but rather, someone she can have a friendly game with, things would change for her. This will probably happen. Eventually.

No one else really stands out in the “Pilot.” The cast is full of wonderful performers like Anna Camp (True Blood, The Good Wife), Stephen Tobolowsky (Californication, Glee), Richard Schiff (The West Wing), and Amanda Setton (Gossip Girl). But none of them are given much to work with, and if one wasn’t familiar with their other work, one probably wouldn’t notice them here. THE MINDY PROJECT is the type of show that screams for an ensemble, and has a very capable one. It just needs to figure out how to use it.

THE MINDY PROJECT premieres Tuesday, September 25th at 9:30 p.m. ET on FOX.

The Good Wife takes the 'Long Way Home'

In last night's installment of CBS's The Good Wife, "Long Way Home," Alicia (Julianna Margulies) must once again represent Colin Sweeney (Dylan Baker), this time as he faces the outcome of a sexual harassment suit. Unfortunately, Colin is keeping her guessing as to whether he is committing perjury or not, making her job more difficult. And, of course, she has plenty else going on, too, learning that she will soon need to find a new place to live, and also having difficulty with her mentee, Caitlin (Anna Camp).

Baker's Sweeney is always a pleasure. He's a manipulative, borderline psychotic troublemaker, so it's not like he's a nice character. But Baker plays hm with such talent and grace, constantly keeping viewers guessing what Sweeney's real motivations are. It's a prime part for the actor, and one that he excels at. "Long Way Home" is no exception to that recurring performance.

In "Long Way Home," Sweeney is trying to wrest control of his company back from his rival. This power play is interrupted when a young woman named Isobel (Morena Baccarin, V, Homeland, Firefly) steps forward with a child that she says is Sweeney's, and accuses him of improper conduct. He denies it all. The rush for Alicia, Caitlin, and the firm is on to prove that Sweeney's competition is behind the stunt. Except, Sweeney begins lying under oath. Then so does Isobel, to the dismay of her own attorney, Victoria Adler (Kate Burton). And then Sweeney and Isobel come to an amiable agreement, raising the child, who is, indeed, his, together. What's going on?

Well, it's pretty clear that Sweeney has once more gamed the system. If a connection between Isobel and Sweeney's foe can be established, which is what appears to happen during the machinations, then Judge Friend (Bebe Neuwirth, Cheers) must rule in Sweeney's favor, removing the competition from the game. So there is plenty of motivation for Sweeney here to stage such a connection for his own benefit. Add to that, Isobel is a softcore porn actress, meaning, she can fake things decently, and how comfortable Sweeney is with his son, it looks like Sweeney used Lockhart / Gardner all over again.

Which is fine. After all, Lockhart / Gardner gets a big payday. Being oblivious to Sweeney's plans, they are not culpable in the illegal activities. And other than a suspicion, the lawyers can prove nothing. Nor do they have any desire to do so, as it would simply lose them money and get them into trouble. Not to mention, if they turn on him, Sweeney would go to someone else next time, costing them even more. And with a devious, intelligent mind like his, there is sure to be a next time.

All told, "Long Way Home" is a fantastic return for one of The Good Wife's best recurring characters.

Too bad Caitlin won't stick around to enjoy the spoils of the victory. She chooses to give up the legal life to be a stay-at-home mom, a decision that baffles Alicia, perhaps because Alicia sort of regrets having done so herself. Alicia tries to convince Caitlin to stay, to no avail. It might be a good thing for Alicia that Caitlin is leaving, considering a rivalry seems to be building between them. But The Good Wife fans will definitely miss Camp's terrific presence.

Hopefully Caitlin's uncle, David Lee (Zach Grenier), won't continue to blame Alicia for running Caitlin off, as he begins to this week, as it is very clear that Alicia has nothing to do with the resignation.

Adding to the office chaos, Will (Josh Charles) is treading carefully, now that he's back at work. He still cannot have any involvement in the legal proceedings of the firm, and Lionel Deerfield (Edward Herrmann, Gilmore Girls, The Practice) is on hand to make sure that Will doesn't cross a line. Will's return calms the power vacuum, but will he be able to keep his nose clean for six whole months, resisting the career that is his calling?

In "Long Way Home," Alicia learns that she must find somewhere else to live, as her rental unit will soon be sold. She can't really afford to buy the place herself. Peter (Chris Noth) suggests impropriety is afoot, in that they are not giving her enough notice. This is something Alicia may end up fighting in court, but she is still likely to have to move eventually, and so, not wasting any time, she begins looking.

One possibility is buying back her old house. Grace (Makenzie Vega) and Zach (Graham Phillips) are all for this plan, as it is back on the market, but Alicia isn't so enthusiastic. She claims it would be a financial hardship for her, which may be partially true. But then Alicia asks Diane (Christine Baranski) for a raise, so the money thing might not be an issue, long-term. No, there's more to it than that.

Alicia' visit to the house reveals a vulnerability, as she is overcome emotionally with memories of her time there. At first, those memories are happy, as she recalls her children. But when Peter's image is evoked, they turn upsetting. It may very well be that Alicia doesn't want to remember her marriage any more than she has to, now that it has fallen apart. This is reason enough not to return to the home. Alicia has moved on and built a new life for herself, and getting back her old dwelling is a step backwards, not forwards.

While no reconciliation seems imminent, Peter has his own troubles in "Long Way Home." He orders Cary (Matt Czuchry) to investigate reports that two co-workers had relations on Peter's office couch. When Cary comes forward with the guilty party, Peter fires them. But then Cary confesses his own indiscretion. Peter wants to slip it under the rug, but Cary tells him this is not possible, especially because others in the office know. What to do now?

Would Cary have come forward if Geneva (Renee Goldsberry, One Life to Live) hadn't pressured him to? It's hard to know. Geneva wasn't going to turn him in, so Cary could have escaped consequences, other than the damage to his reputation. But Cary is a stand up guy, and so one would like to think that he eventually would have confessed anyway. Cary understands that one must admit their mistakes and suffer the consequences, and that's what he does. Now he can move forward proudly, rather than hide this shame.

Peter has the tougher choice, and that's deciding what to do with Cary. Peter can't stand to loose his right-hand man, but neither can he let Cary continue on, unpunished. How much discipline is needed to satisfy the rest of the staff, but not damage Cary's standing too much? It's a fine balance, to be sure.


Next week's episode features the return of Tammy (Elizabeth Reaser), and so , like most installments, it's one not to miss! Catch The Good Wife Sundays at 9 p.m. ET on CBS.

If you like my reviews, please follow me on Twitter! To buy The Good Wife DVDs, please click here. Article first published as TV Review: The Good Wife - "Long Way Home" on Blogcritics.

House of Lies - "Pilot"

     In Showtime's House of Lies "Pilot," Marty Kaan (Don Cheadle, Hotel Rwanda, Picket Fences) leads his team of consultants to New York City to retain a big client. However, upon arriving he realizes that the bank they work for has asked another consulting firm to pitch as well, and this one happens to be number one, while Marty's is number two. And Marty's ex-wife, Monica (Dawn Olivieri, The Vampire Diaries, Heroes), whom he recently had angry sex with, works for the competition. Marty almost screws things up when he takes a stripper (Megalyn Echikunwoke, Supernatural) to a business dinner with the client, Greg (Greg Germann, Ally McBeal), the stripper has sex with Greg's wife (Anna Camp, True Blood, The Good Wife) in the bathroom, and Marty gives Greg a black eye. But then he comes up with an ingenious pitch, and things work out... for now.

     It's hard to know what to make of House of Lies. Apparently viewers are expected to root for a consulting firm which, by their own admission, cares only about getting as much money as they can from the client. These trends are reinforced by Marty's confessions to the camera, which while done with really cool camera shots, do not make Marty likable. Then again, neither does anything Marty says or does. He's a pathetic, despicable individual who is not at all worthy of any affection. Yet, for some reason, there's an attraction towards him.

     The one thing Marty appears to care about is his son, Roscoe (Donis Leonard Jr.), who likes to cross dress, and who tries out for the part of Sandy in his school's production of Grease. But even that is cast in doubt when Marty stops fighting for Roscoe due to the fact that Roscoe's rival's mother (Daphne Duplaix, Passions, One Life to Live) is hot. In fact, Marty and said mother slip out of the production to have sex in a vehicle. So there's that.

     Of course, there is someone that cares for Marty. Marty's dad, Jeremiah (Glynn Turman, The Wire) criticizes Marty's parenting, but does stick around and help out with Roscoe. If Jeremiah, who seems like a pretty decent individual, can like Marty, then perhaps we can do. But what has damaged Marty so badly, and what exactly is he seeking to fill his void?

     Marty is the latest in a long line of flawed Showtime characters who audiences flock to when they should be fleeing. The difference here is, unlike the stars of Nurse Jackie and Weeds, Marty is a boy. And like other similar Showtime shows, it does seem fresh, and different from its peers. So while it's hard to see exactly where House of Lies may be going, there is something about it that makes one want to watch.

    The biggest shame in the "Pilot" is there is scant little to do for Marty's team, who are excellent actors, all around. There's Jeannie (Kristen Bell, Veronica Mars, Forgetting Sarah Marshall), whom Marty is convinced will eventually sleep with him, and whose secret he is always digging for. Doug (Josh Lawson, Chandon Pictures) is good with numbers, but not with manners. Clyde (Ben Schwartz, Parks and Recreation, The Other Guys) is just plain fun. Each of these three are interesting, and should have a larger role. Perhaps they will, now that Marty and the main story has been introduced. It's hard to imagine Bell, in particular, would have taken the role if it is destined to remain the bit part it is in the "Pilot."

     Watch House of Lies Sundays at 10 p.m. ET on Showtime.

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

Glee competes in "Sectionals"

      This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     We continue with season one episodes of FOX's Glee, this week, "Sectionals." This episode is iconic for a number of reasons. Coming as a winter finale just before a four-month hiatus, it is the first hour to feature the New Directions in performance competition, something the initial thirteen episodes all build towards. "Sectionals" not only finds the group having to come together as never before. With the outing of Quinn's (Dianna Agron) baby daddy, Finn (Cory Monteith) must find his heroic qualities to save his friends. Plus, Will (Matthew Morrison) and Emma (Jayma Mays) make big decisions about their romantic lives. And Sue (Jane Lynch) suffers her first significant defeat. 
     Glee is a music show, and in an episode like "Sectionals," the songs are front and center. While there are campy portions of the other competing clubs doing "Don't Stop Believing," "And I'm Telling You I'm Not Going," and yes, even "Proud Mary" in wheelchairs, "Sectionals" is a chance for our main characters to shine. Given the stakes in the episode, and the emotional heft that those scenes carry, every New Directions number is top notch, and among the best the series offers. For the primary group, there is not a single weak number among their set list.

     The first example is Mercedes's (Amber Riley) rendition of "And I'm Telling You I'm Not Going." It comes early in the episode, likely both to space out some of the bigger singing numbers, and also to feature Riley, who the writers have scant time for later in the episode. It's nice that she gets to shine at all, considering Mercedes isn't as central as some of the other characters. This performance proves she can hang with the top dogs. Besides being just as exciting as the other characters' reactions indicate, it also makes viewers long for more from the powerful diva, who often gets overlooked more than she should be.

     "Don't Rain On My Parade" does something similar for Rachel (Lea Michele), though, of course, Rachel never has any shortage of opportunities to showcase her talent. Still, it's an awesome moment, as she strides down the aisles and captivates the audience with her ballad. The song is a perfect example of the girl's talents, and is staged in an interesting way. Though one does wonder how appropriate lighting is arranged so quickly, but only if one nit picks, which one tries not to do with such a great scene.

     "You Can't Always Get What You Want" solidifies the New Directions predictable first place trophy. Since the group's third and final piece is not shown in this episode, even though it is mentioned to be a repeat song from an earlier installment, the second number has to prove that the group deserves the win in very little time. Though some arguably corny dialogue from Will spurs Finn to choose the particular song, it is still quite effective, showcasing a number of the group members in Glee, as well as being a very enjoyable performance. Simple choreography helps it come off as believable for a last minute fill-in, but at the same time, is also appropriate for the piece.

     Finally, "My Life Would Suck Without You," despite boasting cheesy, uneven choreography, including line dancing with cowboy hats and fair flipping, is both effective and moving. Some of the lyrics are quite appropriate, and it's hard not to tear up. For the teenage characters, Will makes a very important impact in their lives by forming this glee club. Even Santana (Naya Rivera), while admitting to being a spy for Sue, says she is glad to be there. It's a fitting ending for the initial batch of episodes.

     Despite the glowing evaluations of the musical selections performed, there are a few things wrong with the Sectionals competition. First and foremost, setting aside that this system doesn't actually exist, at least in present day Ohio, why are only three groups performing? It's not economically sensible. Many choirs in the state compete for ratings, but these are days long events, with dozens of schools coming together. Putting on such a big thing for only three small groups seems unrealistic, especially considering the current state of budget cuts. And the auditorium audience is full for three dozen kids? Nope. Never going to happen. Not to mention, none of the parents shown in Glee so far are at the event.

     Not only that, but there would never be long lulls between the groups, so much so that the New Directions can put together an entire new set. The audience just sits for long silences staring at an empty stage? It just doesn't make any sense at all, the way it is portrayed. To accept what is shown, belief must be suspended, and one must look at Glee's competition system as operating by its own rules, strictly for the purposes of the series. Which is possible to do, but it does take one out of total immersion, reminding us that Glee doesn't actually take place in the real world.

     The scene with the Sectionals judges is out of sync with the rest of the episode. Perhaps it's kind of fun to see Rod Remington (Bill A. Jones) in this unexpected setting. Patricia Forte (Happy Endings) and True Blood's Anna Camp are not unwelcome as the other judges, either. But their scene debating the winners is fluff. It makes no sense to include it in the episode from a storytelling perspective, and serves no purpose to do so. Should Glee want to feature Sectionals judges, give them something to do, as in done in other episodes, or just don't do it.

     Even more bizarre is Will being reinstated as head of the New Directions at the end of "Sectionals." While it's unfair that Will must quit, the rule he breaks to be taken away from New Directions is not caused by anything that Sue does. Even exposing the Cheerios' coach's manipulative, cheating ways would not lead to Will being allowed to work with the kids again. The two have nothing to do with each other, and the explanation given just doesn't hold up.


     "Sectionals" features some pivotal moments for principal characters. Finn really gets a chance to shine as an heroic lead. He's still flawed, of course, as he cannot bring himself to forgive Quinn and Puck (Mark Salling). But really, who would in his shoes? It's enough that he steps up as a leader and helps the group win the competition. Monteith handles several pivotal moments better than expected, and shows he has real acting chops for a wide range of emotions, including anger and disappointment.

     Agron also continues her trend of making a complicated Quinn sympathetic. Her torn feelings between her two men, as well as not being truly angry at Rachel, someone Quinn always seems to hate, make for a very good performance for the young actress.

     Rachel's plot reveals some fundamental truths of her character. She is able to overcome her own personal desires for the good of the group when stepping aside to let Mercedes sing the ballad. Initially, anyway. But when it comes to the Finn situation, Rachel is OK with risking the glee club's chances in order to sabotage the relationship between Quinn and Finn for her own possible gain. This is a duality that will come back later in Glee. Rachel can be kind and work well with others, probably because it also helps her own goals in a way. But her feelings for Finn cloud her judgment, and ultimately put her future as a performer in jeopardy. The seeds are planted for an arc that is not yet finished, a year and a half later.

     Will's love life is now a full-blown triangle, as he leaves Terri (Jessalyn Gilsig), and Emma professes the depth of her feelings. Again, Gilsig makes the character slightly sympathetic, reminding Will (and viewers) that she didn't always act so crazy, she's seeking professional help, and the couple once had a real relationship. Will can't be with her, though, because her betrayal is too deep. At the same time, although Emma wants very much to be with Will, and thinks of Terri as repulsive, she is smart in recognizing that Will is still upset over his wife, and this is a bad time to start a relationship. Sure, there's the cheesy, predictable kiss at the end as Will seeks to stop Emma from quitting her job. But overall, the trio is handled very well here.

     Sue touches on being out of character in "Sectionals." This is because her revulsion for, and efforts to destroy, the glee club are later explained as a personal vendetta against Will. While not being kind to the glee kids, Sue is not usually nice to the students she likes, either. But Sue does care about kids, or so we're told down the line. Yet, in "Sectionals," Will is no longer part of the New Directions, and she still tries to screw up their Sectionals performance. Perhaps this is because Sue knows Will will eventually be reinstated, or it will hurt him to see them fail, but both seem a bit far fetched.


Random Bits:

• Rachel claims to be a little psychic. Really? How so? Just because she senses that something doesn't feel right between Finn and Quinn? As enjoyable as Rachel's eccentricities usually are, it's good that this one is not explored further in future episodes.

• Brittany (Heather Morris) actually admits to many members of the group that she and Santana have sex in "Sectionals." Talk about a bombshell spoiler that is treated as a throw away line! Which works because of how insane many other things that Brittany says are.

• Having the various New Directions members talk on a party line in their cell phones in school, with many walking right beside each other, is silly and insipid. Yet, it allows many minor characters to get small bits in a busy episode, and it funny enough that it can easily be forgiven.

• When Rachel is lecturing the glee club, she mentions trying out for community theater productions. Kurt (Chris Colfer) puts her in her place by pointing out that Rachel never wins those parts. Seriously? Someone with Rachel's immense talent cannot score a role in community theater? I don't believe it.

• Why is Emma in her wedding dress when Will arrives to the empty reception? Glee shows before that Ken (Patrick Gallagher) is furious at her for postponing the wedding slightly. Does she really not know he's not coming until she arrives?

• Plus, where are all the guests? They might have gone home, but it seems unlikely some family members wouldn't stay to offer comfort. A kitchen worker is still there waiting. Why?

• And Emma knows Will is still coming and waits just to tell him they can't yet be together? Setting the dialogue aside, the entire scene is full of plot holes.

     Check back for another season one Glee review soon!

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

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

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