MOSAIC Unclear

Article first published as TV Review: MOSAIC on Seat42F.

Note: this review is about the television miniseries MOSAIC. It does not review the app.

HBO is premiering something quite experimental this week. Called MOSAIC and presented on five consecutive nights, the six-hour story concerns the murder of children’s author Olivia Lake and its four-year aftermath. With an all-star cast, Steven Soderbergh cuts together a narrative first developed for an interactive app, which allowed users to follow one of two murder suspects through the story, as well as view related ‘evidence.’ The result here is a professional director’s combining of the plotlines.

Soderbergh (Red Oaks, The Knick) is well-respected and often well-reviewed, known for balancing multiple narratives, a la Traffic, so he seems a natural choice for such an ambitious, ground-breaking project. Not just anyone could pull such a thing off, and so it makes sense that HBO would entrust a talent like his to get it done. He has a certain style that does show up in the series.

The cast has been stocked with some very talented performers, including Sharon Stone (Basic Instinct, Casino) as Olivia and Garrett Hedlund (On the Road) and Frederick Weller (In Plain Sight) as the two main suspects. The supporting players include Jennifer Ferrin (Hell On Wheels), Beau Bridges (Masters of Sex), Jeremy Bobb (The Knick), Paul Reubens (Pee-wee’s Playhouse), Maya Kazan (The Knick), Michael Cerveris (Fringe), Allison Tolman (Fargo), James Ransome (Bosch), and many more. So the cast is certainly not the reason it would fail.

But, in my opinion, despite the immense talent involved, it does fail. As a narrative, it is disjointed, jerky, and boring. I found it extremely hard to follow, and the characters less than interesting. I don’t know if the app provided a better experience, but at least in the one hour I viewed, I found it far below the quality level I’ve come to expect from HBO shows. I was delighted to learn it is a miniseries, played out quickly, airing in a single week, than a drama that would potentially run for a long time. Mainly because of the chance I am wrong and it resonates with critics at large, forcing me to play catch up just to stay current on television, which will be unnecessary for a miniseries.

I can’t say the hour is totally without merit. Most of the actors do deliver good performances. Stone herself is fantastic, and the bits of MOSAIC that do captivate me, few and far between as they are, generally involve her and Reubens, who I also really enjoy. Some of Weller’s stuff, including his chemistry with Stone, is also very good. But those moments are not enough to hold my interest in between.

The story itself just doesn’t feel all that well constructed. There are a LOT of characters and connections to keep track off, and with the constant, abrupt movements in setting, it becomes more of a chore than a pleasure. There just isn’t enough time spent with certain individuals for the audience to grasp who they are and what they want before it moves on, usually to something totally unrelated, or so it seems. Parts shown out of order don’t help. Perhaps if I binged the whole thing at once, some general picture would emerge, mosaic-like, from the fray. I just don’t see the draw in episode one.

Now, I concede there are likely fans of the app who got really into solving the mystery and following all the clues. Those people might like to see the whole story edited together like this into one narrative, and already having prior knowledge of the proceedings, could follow it more easily.

But if you’re just planning to tune into MOSAIC as a show, I’d recommend skipping it.

MOSAIC premieres Monday at 8/7c and runs throughout this week on HBO.

MASTERS OF SEX Season 2 Review

Article originally published as MASTERS OF SEX Review Season 2 on Seat42F.

Showtime’s MASTERS OF SEX begins its second season this week with “Parallax.” A number of things happen in the first hour back, but mainly it is a reset. Months have passed since the finale, though we see flashbacks to the scene immediately following Masters (Michael Sheen) showing up on Virginia’s (Lizzy Caplan) doorstep. From there, the story begins moving forward again, catching us up with most of the primary cast and beginning their latest plot arcs.

When last we saw him, Masters had been fried from the university because of the scandalous nature of his study. Knowing who this man is and what he is known for, MASTERS OF SEX being based on real events, viewers are not expecting him to give up, and they will not be disappointed. Masters has trouble keeping his mouth shut, which often works against him, but he’s also dedicated and persistent, qualities that serve him well. And while his former employer may not have the stomach to support the exploration of human sexuality, not everyone is so squeamish. It doesn’t take too long for Masters to recruit a new benefactor (Danny Huston, Magic City).

Like many modern protagonists, Masters is not inherently likable. There is not ‘but’ coming here. He may be intelligent and able to eventually meet his career goals, but he lacks in other areas. For instance, he finds it a struggle to be a good father, now that Libby (Caitlin Fitzgerald) has had their baby. It’s odd that someone who works so well on the baby making process can handle the results of their efforts, but Masters is not kid-friendly, as you’ll see in “Parallax.” This begs the question, can he ever be happy with his family, and can they ever be happy with him?

Virginia does get another side of Masters, but even that isn’t his strongest side. Yes, he puts Virginia’s name on the study and certainly wants her to be included in future work. But it’s not like they’re out selling themselves as a package deal. Virginia is still in the employment of Dr. DePaul (Julianne Nicholson), which does not net her enough to support her family. Virginia is definitely adrift in this premiere, finding it hard to take a step back down after the heights she achieved with Masters, working to readjust to a more boring existence, something she’ll never be satisfied with, because he doesn’t show her his loyalty.

The pathos exhibited by Masters and Virginia, both complex, interesting individuals, are engaging on their own, but MASTERS OF SEX really gets humming when the two combine. While most television shows with a co-ed leading duo have sexual tension, and Masters and Virginia do, too, they are different. There is no foregone conclusion that they will end up together, and “Parallax” actually finds them pulling apart. This is done in an authentic way, lacking the usual television tropes that artificially drive a wedge to keep the story going, and it’s far from certain if the writers are done with them as a couple before they even get started, or if there could be a bit more personal stuff between them in the future. They work together well; they may or may not be able to sustain romantic interest.

My favorite recurring players on MASTERS OF SEX, and there are many good ones to choose from, are Barton Scully (Beau Bridges) and his wife, Margaret (Allison Janey). This season premiere continues to cover their problems, Barton seeking a ‘cure’ for his homosexuality and Margaret no longer willing to look the other way, but acting as supportive of Barton as she can be. I was a bit concerned they’d be dropped from the series as Masters and Virginia move away from them, but while neither has been upgraded to main cast member, so their time could be limited, at least MASTERS OF SEX seems likely to see their story through.

In general, while nothing huge really happens until the very end of the hour, “Parallax” is a solid start to a sophomore season, serving its purpose and providing enough hooks to keep the audience returning. There are some very moving moments between players and it continues at the quality level fans expect. Plus, it ends with a very big development that will have fans talking.

MASTERS OF SEX returns July 13^th and airs Sundays at 10 p.m. ET.

MASTERS OF SEX "Manhigh" : Season Finale Review

Article first published as MASTERS OF SEX "Manhigh" : Season Finale Review on TheTVKing.

Showtime's excellent Masters of Sex completed its freshman run this week with "Manhigh." Bill Masters (Michael Sheen) prepares to present his findings of the past year of study to the hospital at large. Anticipation among the staff is high, and everyone eagerly packs the auditorium to hear Masters speak. But without Virginia Johnson (Lizzy Caplan) by his side, Masters overreaches and finds himself facing steep consequences.

Masters needs Virginia as much as any great partnership only works with both partners. He's brilliant, but bad at handling people. Virginia is smart, too, but her interpersonal skills are what balances him out so well. Masters would never have gotten as far as he did in his work without her to smooth his rough edges and communicate with their participants, calming anxieties. Now, her absence costs him dearly.

Masters realizes Virginia's importance, as evidenced by his inclusion of Virginia's name on the work product. He doesn't have to, with Virginia now working for Dr. DePaul (Julianne Nicholson) instead of him, but he does it out of appreciation for all that she has done. He isn't arrogant enough to minimize her contribution, and gives her the credit she has earned, even though she's a woman and women didn't get credit as freely at the time this story takes place.

Not that Masters is without assistance. His new helper, Jane (Helene Yorke), believes in him, as do cameraman Lester (Kevin Christy) and Bill's wife, Libby (Caitlin FitzGerald). But none of those three have Bill's ear or his professional respect the way that Virginia does. He likely appreciates them in some small way, but he doesn't consider them on the same level, and thus there is no one to tell him to temper himself.

Which is why the presentation is a disaster. Doctors and board members are shocked to see the inside of a vagina and the body of a woman masturbating, especially with women present in the room. They leave angrily, ignoring the statistics and invalidating Masters' work. In this instance, his data may be solid, but no one is going to pay attention to it because he screws up the initial conversation. He's his own worst enemy. Can he salvage anything from his efforts?

"Manhigh" ends with Bill standing on Virginia's door step in the rain telling Virginia that he needs her. This, more than her name on the work, leaves him bare and vulnerable, admitting something he didn't want to say out loud for the longest time. He swallows his pride and asks her to come back to him. This may be unhealthy, as he's missing the birth of his child, and he shows an obsession towards her with the use of footage of Virginia's body in the presentation. Knowing Bill is married and liking his wife, Virginia may be hesitant to return to the man who has few boundaries. But will she?

Virginia has a choice to make. She can stay in her home and work with Dr. DePaul and / or Masters. Or she can marry Ethan (Nicholas D'Agosto) and move away. This isn't as simple a decision as it may appear. Yes, Virginia loves her work, and with Dr. DePaul sick and Masters fired, both need extra help. But Ethan is really good to her kids, and they matter quite a bit to her, too, so she may want to put their needs ahead of hers.

Let's be honest, although "Manhigh" doesn't reveal Virginia's choice, she has to work with Bill. Otherwise, there's no show. Masters of Sex hinges on the relationship between the two of them, and as much as I enjoy the other characters, the rest are expendable. Thus, somehow, Bill and Virginia will end up working together again.

Besides this central plot, there are a lot of great supporting moments in "Manhigh." I love Barton's (Beau Bridges) struggle with his homosexuality, and his wife, Martha (Allison Janney), asking him not to undergo aversion therapy when she sees how bad it is. They are a couple I can't get enough of. I love Barton standing up for Masters, and Masters doing Barton a favor by saving the elder man's job. I love Lester and Jane's kiss. I love the masturbation conversation between Lester and Masters. I love seeing Libby hold her baby, someone that will surely bring her the joy her husband can't give her.

Masters of Sex is wonderful because of all of this. The two leads are fantastic, but the other players are terrific, too. The stories are well structured, with appropriate story for recurring parts without taking away from the whole, and layered, developed, authentic characters. There's commentary on the time and culture that doesn't feel preachy, and real questions that can't be quickly and easily answered are posed. It's definitely my new favorite Showtime series.

Masters of Sex has been renewed and will return next year to Showtime.

THE MILLERS A Modern, But Not Happy, Family

Article first published as THE MILLERS Review on Seat42F.

Will Arnett (Arrested Development) didn’t have to worry about getting worry about getting work after the fiasco of Up All Night’s second season; he immediately bounced back with THE MILLERS on CBS. Buoyed by an extremely talented ensemble cast, the show is yet another family sitcom, but because of the players on it, has a chance to do well.

Arnett plays Nathan, a local news reporter who has been hiding his split with his wife from his mom, Carol (Margo Martindale, Justified, The Americans), and dad, Tom (Beau Bridges, The Goodwin Games, Franklin & Bash). Carol and Tom come to visit after Tom floods their basement, and upset with their daughter, Debbie (Jayma Mays, Glee), for painting a room in the house they to rent her, they head to Nathan’s place. Obviously, once in the house, it’s hard for Nathan to keep up his lie of a marriage, so he comes clean, prompting Tom to ask for a divorce from Carol.

The scene in which Tom and Carol fight, in front of Nathan, is probably the single funniest scene I’ve watched this fall yet. They tell of a bad situation, and keep upping the ante with each barb back and forth, with poor Nathan forced to hear about something he would rather stay ignorant concerning. These three beloved actors sell the moment with earnestness, and I had to stop and rewind to immediately see it again.

Just because Tom and Carol don’t get along doesn’t mean they don’t love each other. Tom needs a break from Carol’s overbearing nature, but they definitely have a lot of history. Somehow, they convey in this scene that there is still some of bond here, and while it isn’t confirmed in the “Pilot,” I suspect their break up will not be permanent.

If only the entire half hour were that good. Don’t get me wrong, there are some other wonderful bits. The highlights include Debbie and her husband, Adam (Nelson Franklin, Veep, New Girl), watching Tom try to figure out their television remotes, as well as Debbie and Nathan’s interactions early in the “Pilot.” The family dynamics are terrific, and the writers should stick to those.

The problem is any scene that is not a private family moment. Nathan’s reporting on a filled-in sinkhole and public embarrassment of a child is dumb. Carol’s introduction to Nathan’s friend, Ray (J.B. Smoove, Curb Your Enthusiasm), is one big, long, unfunny fart joke. And Carol’s embarrassment at Nathan’s party, as sweet and amusing as the creepy moment between mother and son touches on and could be if done alone, is ridiculous.

Martindale deserve better. She doesn’t act like she’s better than the material, fully in the moment, which is a testament to what a professional she is. However, I don’t want to see her the butt of fart jokes, excuse the pun. Her role as a strong, smothering mother and wife is much more suited to her because at least it allows her to retain her dignity and play some layers.

Keeping things in the family might be difficult because Debbie and Adam are only recurring players. I assume this is because Mays will still be on FOX’s Glee, though I do not have confirmation of that. Until THE MILLERS locks in those other family members, keeping the focus only on Nathan, Tom, and Carol is going to force them to bring in outside players, as that just isn’t working.

This is not a slam against Smoove. He is funny in his own right, though it doesn’t really come through in the “Pilot.” Perhaps he can be worked into the family dynamic in time. But the work and party scenes fall flat.

Yet, as I said, the family stuff is solid. The Millers feel fully formed, familiar enough for most viewers, but with their own quirkiness and foibles. I could absolutely sign up to watch them week after week, and I think the tensions and relationships between the various relations can avoid getting stale or seeming too much like a retread of other shows, despite the crowded family-comedy genre. If THE MILLERS chooses to make that the center of the show, ignoring the other stuff.

THE MILLERS premieres Thursday, October 3^rd at 8:30 p.m. ET on CBS.

MASTERS OF SEX Masters of Drama

Review first published as MASTERS OF SEX Review on Seat42F.

Showtime knows what it’s doing by calling their new series MASTERS OF SEX. Clearly, that title will draw a crowd, if for nothing else than to check out what scandalous things will be in it. What’s better, though, is that there is an actual story behind this moniker, that of Dr. William Masters (Michael Sheen, Frost/Nixon) and Virginia Johnson (Lizzy Caplan, New Girl), who revolutionized the study of human sexuality in the 1950s.

MASTERS OF SEX is based on a true tale, though like most dramas that can claim that, there is likely quite a bit of creative license taken. It’s hard to believe that only a few scant decades ago, science hadn’t even begun to look into the orgasm, let alone recognize the difference between sex drives in men and women. As such, this is a gripping story about an important moment in our country and the world.

It’s far from boring. Great performers like Sheen, Caplan, Beau Bridges (The Descendants) as the reluctant boss, and Margo Martindale (Justified, The Americans) as an uptight secretary, make these characters come alive, more interesting than most real people, roles you want to tune in and watch. They exude charisma, while keeping the parts grounded, playing the subtleties and layers, even in the smallest of scenes.

A lot happens in the “Pilot.” Masters comes up with the study and tries to convince Barton Scully (Bridges) to approve it. He finds and hires Virginia to help him. She recruits him subjects, and they begin the study. The pace is quite quick, though not so much so that it feels rushed.

But there are moments, too, that sparkle and linger and make the series special. One in particular, near the end of the episode, in which Masters proposes a new element to the study to Johnson very matter-of-factly, and her charged reaction, is memorable. As is a physical fight between a man and a woman, a pivotal moment in which one characters goes from likeable but slightly annoying to detestable. And the pain Johnson feels at keeping secrets from Master’s wife, Libby (Caitlin FitzGerald, It’s Complicated). Each of these hold the promise that MASTERS OF SEX will be much more than just a provocative concept.

A primary theme of the show is the difference between males and females, and between individuals. In the first hour alone, we get a wide spectrum view of this comparison. We see a woman who thinks sex in a marriage should be romantic and lovely, and a man who considers it pretty much solely for making babies. We meet a woman who has sex with men for money, but prefers relations with women for pleasure. One man is promiscuous, seeing sex as a fun way to pass the time, and a woman feels the same. Another woman thinks sex should not even be discussed among civilized people.

Then there’s Virginia Johnson. She is fine with a friends-with-benefits arrangement, already having been married and having children. This is what we traditionally consider a male attitude, purely engaging in intercourse as a pleasurable, recreational activity. Yet, we also see how she cares about the friend she hooks up with, Dr. Ethan Haas (Nicholas D’Agosto, Heroes), on a non-romantic level. And we see her shock at being asked to engage in clinical sex for study, something she may consider, but it certainly isn’t her idea. She’s a complex bundle of competing desires in a single body.

This may just highlight how little men know about women’s drives, even in the modern era. As a man, I did not expect the complexity of the warring emotions Virginia has, and cannot imagine a having a similar mindset myself. Then again, sex is a very personal thing, everyone having their own views and preferences, and it may be more about the individual than the gender. I guess that’s what MASTERS OF SEX will explore.

Besides the science stuff, there is the tale of a crumbling marriage in the Masters household. William has a very low sperm count, but won’t share that information with Libby, even as she worries over her own inability to bear children. This is a sad picture, and while it informs the character, it also feels very cold, an unhappy portrait of matrimony. Refraining from reading up on the real-life people, I’m not sure where this is going, but assume it will tie into the larger fabric being unfolded.

Plus, MASTERS OF SEX is a period piece, with wonderfully designed sets and clothing. It’s not so long ago that it will feel unfamiliar, but it definitely has a dated style, even as the topic itself is still a relevant one. Society and tastes change, but people stay the same. At least, I hope the people involved in this show stay the same, because I am definitely setting a season pass on my TiVo.

MASTERS OF SEX premieres Sunday, September 29^th at 10 p.m. ET.

Read, Set, Go for THE GOODWIN GAMES

Article first published as THE GOODWIN GAMES Review on Seat42F.

Grade: 92%

FOX’s new comedy THE GOODWIN GAMES premieres tonight at 8:30 P.M. EST. The “Pilot” finds three grown up, estranged siblings returning to their hometown upon learning of their father’s death. After the funeral, they learn he secretly has more than twenty million dollars tucked away, and, rather than split it among them, has set up an elaborate series of contests to determine with child should inherit the fortune.

THE GOODWIN GAMES was originally ordered as part of FOX’s lineup for the television season that is just ending, but has now been reduced to a seven-episode order intended to be burnt off this summer. Even being programmed with reruns of popular comedies, the show doesn’t stand much chance of a future.

But don’t let that scare you aware. It has a great cast and a fun concept, one that should hook in viewers, even if it failed to find support at the network. It’s charming, and it’s time-jumping story will remind sitcom fans of How I Met Your Mother, which isn’t coincidence, since this show is from the same producers. As such, it retains some of the tone and jokes that make How I Met Your Mother so entertaining.

In THE GOODWIN GAMES, we are introduced to: Henry (Scott Foley, Scandal, True Blood), whom is a successful surgeon; Chloe (Becki Newton, Ugly Betty, How I Met Your Mother), a highly intelligent aspiring actress; and Jimmy (T.J. Miller, How to Train Your Dragon, Cloverfield), a screw-up freshly out of prison (again), and indebted to some very bad people. Each have their eccentricities and good and bad qualities. They are all easy to root for, even when bickering, because there is familial affection present in their rivalry.

It’s no wonder they’re a little weird, given their upbringing by single father Benjamin (the great Beau Bridges). He always pitted them against each other, making them jump through hoops for treats and his approval. Viewers get a chance to see just how Benjamin treats them as kids, which informs quite a bit about who they are today, and it’s apparent just where their relationships go wrong.

Now, it’s clear almost right off the bat that the main goal Benjamin has is to bring the three back together as a family, one that is very sympathetic, and likely to happen, based on early interaction. It would not be surprising if, in the end, should an end ever be shown, that he’s not rich. After all, the house they return to isn’t super ornate, though it is quite nice, and maybe the fourth man who plays the game in the first episode and is gifted one million dollars is a decoy to motivate them into participating. This would make sense, given the premise. But, if the money is real, surely they will share it in the end.

However, as in How I Met Your Mother, knowing how things will turn out, generally speaking, doesn’t detract from the enjoyment of the show. The draw is the journey, how the characters will get from Point A to Point B. Their interactions with each other, buoyed by excellent casting choices and great chemistry, are what makes THE GOODWIN GAMES worth watching, and the scenes where all three siblings are together are easily the best moments of the “Pilot.”

The only small complaint I have about THE GOODWIN GAMES is that Chloe, Henry, and Jimmy get along to well too quickly. Sure, mid-episode they argue so much that they can’t finish a single game of Trivial Pursuit. But by the end of the half hour, they seem to have found some common ground and begin to rebuild things between them. In order for Benjamin’s scheme to take up some time and continue for awhile, a little more conflict and a slower warm-up would be appropriate.

Had it been known that THE GOODWIN GAMES would only get seven installments, it’s likely the story would stay confined to this premise. However, designed to run much longer, each of the trio also has their own subplot, too. Chloe is ex-best friends with the lawyer Benjamin tasks with handling his children, April Cho (Melissa Tang, Beginners). Henry, soon after arriving in town, runs into his ex-girlfriend, Lucinda Hobbes (Kat Foster, Weeds, Royal Pains), who is now a minister, and whom Henry still has feelings for. Jimmy has a young daughter, Piper (Kaitlyn Maher, America’s Got Talent), who he tries to do right by, and who is wise enough at her young age to encourage Jimmy to stay on the straight and narrow. These characters are fun, and they do add depth to the proceedings, but while they would work great for a longer-running show, seem extraneous to a limited series.

There’s always a chance THE GOODWIN GAMES could find an audience and continue, slim as that might be. Because I’m a big fan of Foley and Newton’s work, and these are interesting, funny roles for them to play, I really hope that this happens, and will definitely be watching as many episodes as FOX will air, having loved the “Pilot.” But if THE GOODWIN GAMES would fail, as it is expected to, at least I’m confident that the cast won’t be unemployed for long.

White Collar The Complete Third Season a wild ride

USA's White Collar started slow in season one, picked up in the second half of the first year, and then got even better in season two. It should come as no surprise, then, that The Complete Third Season features the best episodes of White Collar ever made - at least until season four premieres!

The premise of White Collar is simple. An FBI man named Peter Burke (Tim DeKay) brings in career criminal Neal Caffey (Matt Bomer) to help him solve cases. At first, it's an unlikely pairing. As the episodes go by, Neal and Peter find a deepening trust and friendship. But season three puts that trust at risk as Neal's still-nefarious buddy, Mozzie (Willie Garson), gets Neal involved in the theft of a very valuable Nazi treasure.

This is a major shakeup for the show. Until now, Neal appears to be on the straight and narrow, and Mozzie is an unthreatening sidekick. But when Mozzie makes this totally unexpected, but should have been seen coming, move, it throws the entire dynamic out of whack. Suddenly, Neal is keeping something from Peter, and Peter knows it, but can't prove it. It's a dangerous cat and mouse game. The stakes grow even higher as Mozzie encourages Neal to run. Neal is torn, not wanting to abandon his new life.

By the middle of season three, things come to a head, and then, somehow, keep building even further! Peter's wife, Elizabeth (Tiffani Thiessen), is kidnapped by a really nasty guy from Neal's past (Ross McCall) who wants the treasure, forcing the secret out in the open. Following that, Peter's former mentor (Beau Bridges) comes after them, too, planning on using the treasure to blackmail Neal. It's a roller coaster ride of excitement, with viewers not really sure where anything is going until the shocking season three finale, which changes all of the rules once more.

It's impossible to give too many details of this long arc away without spoiling the story, hence the vagueness. Hopefully, it will be enough to know that there is a long arc, which is not typical for many procedural dramas. While White Collar began it's life as a case-of-the-week crime series, and has not strayed too far from those roots, it is also something much more. It is a series full of wonderful, complex characters expertly played by talented performers. This gift is not wasted, but rather, it is honed, stretching the conventions into something worth watching. As someone who cannot stand series that basically play out the same formula week after week, I can vouch that White Collar is not such a time waster, and it is a show I look forward to very much with each installment!

At the heart of White Collar is the relationship between Peter and Neal. While other characters do figure into the show very prominently, these are the two leading men. Their chemistry is absolutely fantastic. Having watched them grow so solid, it is equal parts disturbing and titillating to watch the pair go head to head in season three, especially now that they actually care about one another. Their interaction, more than anything else, is what drives White Collar. It is definitely among the best bromances on television.

Amid all of the chaos and machinations, some wonderful one-shot stories also sneak in, enriching the back story and personalities of the various characters. "Deadline" sees Neal and new girlfriend Sara (Hilarie Burton) on a double date with Diana (Marsha Thomason) and her partner, Christine (Moran Atias). "The Dentist of Detroit" exposes Mozzie's connection with the mob. Mozzie finds a possible romantic partner (Lena Headey, Game of Thrones) in "Taking Account." "As You Were" gives Jones (Sharif Atkins) a little time to shine. Eliza Dushku (Buffy the Vampire Slayer, Dollhouse) guest stars in "On the Fence" as a competitive thief. "Neighborhood Watch" lets Elizabeth get in on the action as she suspects a neighbor (True Blood's Joe Manganiello) of wrong doing. And "Pulling Strings" reveals Peter's relationship with his in-laws (Debra Monk and Tom Skerritt).

If the episodes alone are not enough for you, as hard as that might be to accept, there are also special features on this four disc set. A gag reel, deleted scenes, and a commentary track for the season finale are included. Also present is a trivia challenge known as "Interrogation Room" and a feauturette, "Jeff Eastin: @ddicted."

White Collar The Complete Third Season is on sale now wherever DVDs are sold.

If you like my reviews, please follow me on Twitter! Article first published as White Collar The Complete Third Season a wild ride on TheTVKing.com

The Descendants hits Blu-ray

Now out on Blu-ray / DVD / Digital Copy from FOX is The Descendants. The film, directed by Alexander Payne (Sideways, About Schmidt), is adapted from a book by Kaui Hart Hemmings. It tells the story of a family dealing with the tragedy of a mother's, Elizabeth (Patricia Hastie), accident. Husband Matt (George Clooney, Up in the Air, ER) soon learns that it's harder than it looks to take care of two daughters. His life is further complicated by a business deal involving his family's land, and learning that Elizabeth has been cheating on him. 

The Descendants is not a plot-heavy film, though there is a nice flow to it. Instead, it concentrates on exploring the emotions of those involved, and how people's actions can affect others. It is also about the dynamic of a particular family, and how it is shaped by circumstance.

This movie boasts a number of fantastic performances. Clooney is doing something a little different than usual, tackling an average schlub type of character rather than one who is exceedingly charming and handsome. Beau Bridges (Brothers & Sisters, Max Payne), as a relative of Matt's, is as close to a villain as the piece gets, something a little off of his best known parts, too. But no one is really black or white, and his motives are decent enough. Robert Forster has a tough position, playing Matt's father-in-law, but handles it expertly.

Rob Huebel (Childrens Hospital, I Love You, Man) and Mary Birdsong (Reno 911!) are known for their comedy, and do lighten things up a bit as Elizabeth's friends. Judy Greer (Arrested Development, Archer, 13 Going on 30), also known for being funny, tones it down to do some serious drama, which, it turns out, she is pretty good at! Matthew Lillard (Scooby-Doo, Scream) is also wonderful in a layered performance as Elizabeth's married lover.

Perhaps most surprising, though, are the young performers in The Descendants. Shailene Woodley, who plays elder daughter Alex, is best known for the cheesy Secret Life of the American Teenager on ABC Family. Anyone who has watched that series could be forgiven for expressing shock at her fantastic, nuanced, grown up performance in The Descendants. Lesser known Nick Krause (How to Eat Friend Worms) carries the double duty of heart and comedic relief with ease. Young Amara Miller is also wonderful, making it odd that she has no prior screen credits.

Another character in The Descendants is Hawaii itself. The beauty and majesty of the tropical environment are incredibly important to the feel of the film, which is why purchasing the Blu-ray version is recommended. With the breathtaking landscapes, one will want the rich detail of high definition to fully appreciate a world so different from much of America. The colors are lush and deep. The picture quality in this release is awesome.

Sound is vital, and The Descendants pays attention to that, too. There is a terrific score underlying the movie. Many of the scenes are filmed outside, but the 5.1 Dolby Digital soundtrack only uses the ambient noises needed to enhance, not distract, from the piece. It is all mixed together expertly.

The Descendants was nominated for five Academy Awards, winning the one for Best Adapted Screenplay. It also won the Golden Globe for Best Picture - Drama. Additionally, Clooney took home a Golden Globe for his acting performance. These accolades are deserved. Whether one enjoys the film or not, it's easy to appreciate the artistry of what it is, and the masterful work Clooney and Payne have done. 

The Descendants is packed with bonus features, though, strangely, it lacks an audio commentary track. A trailer is present. The deleted scenes delightfully have title cards that explain a little bit about what viewers are about to see, and provide reasons for why they were cut. Too bad there are only two of them, one very brief.

To hear the extras tell it, two men are primarily responsible for the success of the film. "Everybody Loves George" has cast members, including Greer, Lillard, Huebel, and Birdsong, raving about George Clooney. They all say that he is a great, handsome, funny guy who deserves his good reputation. Boring? Not really, because there are interesting anecdotes mixed in, too. But everyone does tend to love Clooney for a reason, and fans will find the featurette a confirmation of this.

"Working With Alexander" has Woodley, Bridges, and others raving about how fantastic it is to work with Payne, who inspires enthusiasm, and is as nice and humble as Clooney. Apparently, Payne is clear with what he wants, and takes good care of his people. Sounds like a director for whom getting stars for his next film will not be a problem.

"The Real Descendants" tells the story of how Hawaiian land become privatized. It's a bit of a history lesson, but useful to understand some of the background on one of the subplots. These extra also touches on Hollywood's connection with the island state. "Hawaiian Style" speaks of some of the authentic details that contribute to the realism of the setting, including the feral chickens that roam the area after an early 1990s hurricane. Additionally, the cast and crew share their favorite native words.

Some of the extra titles are right on this nose. "Casting" is exactly what it sounds like. Casting people talk about how they found the people in this movie, including Lillard and Miller. "Working With Water" discusses just how hard it is to film scenes in boats and out on the ocean.

Believe it or not, there are even more features than this, including three music videos, a silent film, and a conversation with Payne and Clooney! So needless to say, there are a lot of special features in this set that will make sure you get your money's worth.

Buy The Descendants, available now as a Blu-ray / DVD / Digital Copy combo pack.

If you like my reviews, please follow me on Twitter! Article first published as Blu-ray Review: The Descendants on Blogcritics.

White Collar faces "Judgment Day"

USA's White Collar completes its third season with "Judgment Day." A wrench is thrown into Neal's (Matthew Bomer) commutation hearing when Agent Kramer (Beau Bridges) begins a campaign to ruin Neal. The goal is to get Neal's sentence extended, and transfer him to Kramer's supervision in DC. That way, Kramer gets to use Neal for his own purposes, indefinitely. Peter (Tim DeKay) and Neal's other friends help him try to outwit Kramer, but to no avail. In the end, Peter gives Neal a signal, and Neal flees the country with Mozzie (Willie Garson).

"Judgment Day" represents a major game change for White Collar. With Neal cutting his ankle monitor and running, what will season four be about? Now Neal is a wanted man, having to stay out of the eyes of the law. His partnership with Peter is effectively over. Neal abandons his life in New York City. The other option would have been to get in more trouble and be stuck with Kramer. But it's still not a decision Neal should make lightly.

Nor should Peter. Peter sticks his neck out for Neal repeatedly. Peter does everything he can to help and reform Neal. More than that, Peter is his friend. What's more, until Kramer interferes, it works. Neal is changed. It puts Peter's own reputation and career at risk to stand up for Neal, and allow him to escape. There will surely be negative consequences for Peter that stem from these events. But Peter gives Neal a signal to run anyway, because it's what it best for Neal at present. That's real friendship.

And Peter is not Neal's only friend. Elizabeth (Tiffani Thiessen) gets him two cakes, one for each expected outcome. Mozzie and Sarah (Hilarie Burton) help Neal go around Kramer's back. Diana (Marsha Thomason) assists Neal in escaping Kramer's agents. June (Diahann Carroll) gives testimony in Neal's favor. Even Jones (Sharif Atkins), despite recommending Neal stay in custody, cares about him, and shows it. Neal has to give up this entire life, and the family he has built around him, to flee.

In fact, this might be a repeat for Neal. Not a lot is known about Neal's past, but in "Judgment Day," Neal visits a woman (Judith Ivey) he knew long ago. This woman talks about the day that a teenage Neal ran away, and the lack of contact both have had with Neal's parents. So it seems Neal has faced giving up everything before. Last time, it led him to a life of crime. This time, with Mozzie by his side, it would not be surprising if that happens again.

How can Peter bring Neal in from the cold and restore some balance to his life? That will surely be the focus of the beginning of season four, likely for only one episode, though hopefully for several. White Collar will surely figure out some way to accomplish a restoration of its format during the break. The series takes chances, but throwing out their entire plot structure is unlikely to happen. That's too bad, because this is a heck of a story that could be played out for some time before going back to the regular formula. In fact, White Collar would make an excellent serial, if the network would only consider changing direction.

Awesome season finale, White Collar! The series will return this summer to USA.

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"Countdown" to White Collar finale

     "Countdown," the summer finale of USA's White Collar, is tense in the best possible way, but doesn't really end in full resolution. This season, Peter (Tim DeKay) searches for evidence to either convict or clear Neal (Matt Bomer) of the theft of a Nazi treasure. In the final episode of the current run, Peter brings in his mentor, art crimes expert Agent Philip Kramer (Beau Bridges, Brothers & Sisters, My Name Is Earl) when a painting from the Nazi manifest surfaces. Neal scrambles to recover the artwork, which Mozzie (Willie Garson) sold. Of course Neal succeeds, but decides to stay with Peter, rather than flee with Mozzie. Unfortunately, old nemesis Keller (Ross McCall) knows Neal and Mozzie have the treasure, and so kidnaps Peter's wife, Elizabeth (Tiffani Thiessen), to try to force them to hand it over.

     Neal's loyalty is obviously to Peter. Neal, himself, doesn't steal the treasure, or even knows about Mozzie's plans until after the theft is complete. Neal is avoiding leaving New York City and the job he is comfortable in. After all, Peter is very good to him, and they have a satisfying partnership, as well as an ever deepening friendship. However, Keller's kidnapping in "Countdown" will all but confirm to Peter his suspicions that Neal is involved in the crime. With Elizabeth's life on the line, Peter will have no patience to give his partner the benefit of the doubt. The stakes are just too high. Peter will turn on Neal. Keller has managed to do what is been danced around, but dodged, all season: ruin the team.

     Is there any way for Neal to recover from this? Sure. White Collar is a USA show, and as such, highly procedural. The network will not want its formula messed with in an unrepairable way. While White Collar certainly takes more serial liberties than most of the other shows on the network, and the network itself has been steadily moving in a better direction, Neal and Peter's arrangement is the linchpin of the series. Even during the standard case of the week, the chemistry between DeKay and Bomer is extremely enjoyable. While it's hard not to root for the bold decision of Peter spending a season openly hunting Neal down, it is unlikely to happen. USA is just not ready yet for that kind of shakeup.

     Bringing in Beau Bridges is a brilliant move. The television guest star king is always welcome in whatever show he chooses to grace with his presence, and White Collar is no different. Hopefully, Bridges will be recurring, and would be a great asset if Peter crosses the line in his quest to get Neal or save Elizabeth. Agent Kramer's intelligence, as well as his history with Peter, makes him valuable. Not to mention, he brings assistant Melissa, who is played by the delightful star of My Girl, Anna Chlumsky.

     "Countdown" seems to spell the end of Neal and Mozzie's friendship, even while everything about the series screams that the two are not done with each other. Mozzie is very fond of Elizabeth, and so surely will return to help rescue her from Keller, whom he loathes. Mozzie's assistance will probably be enough to convince Peter to save him from criminal from prosecution. But will Mozzie clear Neal's name? Will he be able to forgive Neal for choosing Peter over him? Or will Elizabeth's situation remind Mozzie that Neal is not alone in his affection for the Suit and Mrs. Suit? The next episode is definitely something to look forward to.

     White Collar will be back on USA, though definitely not soon enough.

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Article first published as TV Review: White Collar - "Countdown" on Blogcritics.

Brothers & Sisters "Walker Down the Aisle" in season finale

ABC's Brothers & Sisters ended its fifth season with an eventful episode. Sarah (Rachel Griffiths) marries Luc (Gilles Marini). Kitty (Calista Flockhart) learns she is pregnant, and wants to keep the baby, despite the health risks. Saul (Ron Rifkin) accepts a proposal from Jonathan (Richard Chamberlain). Tommy (Balthazar Getty) puts in an appearance. And Sarah makes peace with her father, Brody (Beau Bridges).


     While season five has certainly been a weak season overall, there are some really great elements in this episode to remind viewers of how good the show used to be. The drama in "Walker Down the Aisle" is realistic, and none of it comes out of left field. The wedding actually goes off without any major hiccups. The characters mature and relate to each other in ways they haven't in awhile. And there is some real closure, as well as setup for new story, should the show get an abbreviated sixth and final season, which looks likely at this point.

     Sarah dealing with Brody is the biggest development in the episode. While she has only known for a short time who her biological father is, Sarah has been in denial, wanting to pretend Brody doesn't exist. Yet, like a real father, he stays near, not pushing, but giving her plenty of opportunities to open up to him. She finally does, just before the wedding, and he confesses to always keeping tabs on her over the years, having suspected the truth.

     While the Brody story did come out of nowhere, William Walker is established as a not-very-good husband early in the show. As such, it isn't totally out of line for this whole mess to pop up years later. While Sarah, especially, has trouble letting Brody in, her reactions are authentic and in character, as is her final acceptance of him. Now that Sarah is letting Brody in, he is free to finally be with Nora (Sally Field), his true love. Brody's story is sweet all around, and he's a wonderful addition to the cast. If anyone is promoted to series regular for season six, it should be him.

     Even when Brody's daughter, Lori Lynn (Trieste Kelly Dunn) crashes the wedding, she doesn't make too many waves. She doesn't ruin the day. While it has not been discussed that Sarah has new brothers and sisters, it makes sense, since after Nora married William, Brody would have been free to move on. Now that it has been revealed there are four more siblings out there, hopefully Sarah will get a chance to meet and bond with each of them before the show comes to an end.

     Which opens the door for an even larger family. The Walkers have welcomed in others before. They will accept these new brothers and sisters of Sarah's. Which would swell the cast too large to continue the series, if they are going to be in it in a large role, which is a good thing Brothers & Sisters is likely to end soon.

     It's fascinating that the show is choosing to bring back Tyler (Marika Dominczyk), Justin's (Dave Annable) season one girlfriend at this point. Yet, there is a sort of symmetry to it. Justin used to be a very different man, and clearly, Tyler was a different woman. They couldn't help each other get better, but now that they both have stabilized, they deserve love. While I miss Justin's wife greatly, it's nice he is heading towards a happy ending. He deserves one.

     Speaking of happy endings, it is thrilling that Saul and Jonathan are now engaged. Saul often doesn't get enough screen time, so hopefully this will provide a meaty story for him in the final season. Will Chamberlain join the cast full-time so close to the end, or just do a lot of episodes? It's possible their relationship won't last, but at this point in their lives, hopefully they have found what they want in each other, and the bond will not be broken.

    The wedding itself is great fun. Luc is the most consistently well written character, despite this year's rough patches, and he kills singing to his bride, backed up by the male Walker relations. He has become an integral part of the show, and it's nice to see it formalized. While other new additions didn't take (cough, Ryan Lafferty), it's hard to imagine Brothers & Sisters without Luc at this point.

     The weakest part of the episode is Kitty's story. Once more, back to the baby drama. It's been done. Kitty already went through all the trouble, and ended up adopting a perfectly wonderful boy. It is not necessary to bring up the same bad stuff over and over again. Poor Seth (Ryan Devlin) is trapped in it this time. Devlin should escape back to Cougar Town! Flockhart's order of episodes next season, like this one, will likely be reduced, so thankfully every week won't be about Kitty.

     Considering the at times painfully bad fifth season, Brothers & Sisters ends on a high note. Let's hope they can keep that great spirit going that used to make the show so fantastic as they approach the end.

UPDATE: Brothers & Sisters has been canceled, and this episode serves as a series finale.

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Article first published as TV Review: Brothers & Sisters - "Walker Down the Aisle" on Blogcritics.

Brothers & Sisters Two Hour Return Mostly Weak, Signs of Life

     Last night, ABC's Brothers & Sisters returned for a two hour special broadcast. Like much of this uneven season, there were good scenes and bad scenes, with the second hour definitely being much stronger than the first. Still, both were better than a lot of other episodes, and hopefully they continue to improve. Especially if this is their last season, which is a possibility, as the show has not been renewed for next year yet.

 

      First, the weak points, since most of them happened first. Just as Olivia (Isabella Rae Thomas) is getting settled into her new home, her biological brother Brian (Douglas Spain, Band of Brothers) shows up and wants custody of her. She hasn't seen him in years and barely remembers him, but he is determined to have her in his home. This elicits a groan, and a thought of, is this really necessary? Scotty (Luke Macfarlane) and Kevin (Matthew Rhys) have been struggling to get a child for what seems like a very long time at this point, and now she'll be taken away? After all, the court will likely rule for the blood relative over the adopted parents, right? It is easy to assume this is the end of the Olivia story.

 

     Happily, because we don't need more Scotty and Kevin pining over a child drama, it is not. Unhappily, this is accomplished by introduing Brian as a homophobic bigot.

     The second this fact came to light, soon after we meet him, all tension goes away. Brothers & Sisters has been honored by gay rights organizations for good reason, and they cannot possibly slap their fans in the face by allowing a sweet little girl, who has had such a rough life, to end up in this idiot's home. Once Brian tells Olivia he wants her to have no further contact with Kevin and Scotty, even though the Walkers are willing to include him in their family, despite his obvious flaws, for Olivia's sake, Olivia's decision is an easy one. She tells the judge, and Kevin and Scott get to keep their child.

     Yes, this is a drama program, and so, by definition, there must be constant drama. But the show didn't have to resort to such ugly, corny, unrealistic measures to keep things interesting before. The best dramas don't let things seemed forced, as much of this season of Brothers & Sisters has. Making Olivia choose when things are almost finalized for her dads, and making the choice such an easy one, is an example of just how far the show has fallen.

     Almost equally ridiculous is Sarah's (Rachel Griffiths) attempts to get Seth (Ryan Devlin) back with Kitty (Calista Flockhart). Presumably, the characters on this show are smart. Sarah has run a business, and Kitty has been a pundit and a writer. They also have had to show great social skills in their jobs, so it's more than just book smarts. Yet, neither seems to realize that Kitty should just come clean to Ryan, apologize, and see if he's still interested in her. Instead, Sarah makes Kitty go to outrageous lengths to discredit Ryan's new girlfriend, Berklee (Stephanie Lemelin, Young Justice, The Whole Truth), which makes as much a fool out of Kitty as it does Berklee.

     An essential element of the show has always been that the Walkers get involved in each other's lives, so that is not the complaint. It just seems like the writers are more willing to make the adults in the family childish in ways they didn't used to be. It rings hollow, and makes them less likable and relatable. Instead of enjoying the story, it's rough to get through. To save this series, take the characters back to who they used to be.

     Berklee, herself, is ridiculous. The name, and its spelling, tell you everything you need to know about her. Considering that Seth was so recently with a woman like Kitty, it doesn't seem at all in line with who he is that he would even waste time with Berklee. She is completely wrong for him, and Seth should have lost patience with her pretty quickly. True, he comes around by the end of the episode, but there, again, isn't any tension that that's what will happen. It would have been better to put Seth with a girl that he actually would have dated, and then there would be some threat to Kitty.

     It's worth wondering if the second hour is much better because of the absence of Olivia's brother and Kitty, both weak primary stories in the first hour. Flockhart is on a reduced schedule this year, so she only does a certain number of episodes, and apparently the second part is one of her weeks to sit out. Olivia appears, but with no mention of her brother.

     What is really frustrating is seeing Patricia Wettig's name in the opening credits, and then not seeing her. It's not hard to be a fan of Holly Harper, and she left the series recently. When her name ran across the screen, I hoped she'd returned, at least temporarily, but sadly, she has not. Just cleanup not yet done on the credits.

     Now, the good story. It's really nice to see Nora (Sally Field) have a love interest again. She's had a number of great actors come in and out of her life, but none end up staying very long. Hopefully, that will not be the case with her latest, Brody (Beau Bridges). A high school sweetheart, he is the one that drifted away when her life went down another path. Brody really showed his feelings, sticking around to try to find ways to help Nora through the death of her mother.

     The whole plot involving Ida's (Marion Ross, not seen in this episode) death is handled very well. Each member of the family has different reactions owing to who they are and their relationship with the deceased. Appropriately, Nora and Saul (Ron Rifkin), Ida's children, are affectected more stongly than her grandchildren. Both have major issues with their critical mother, yet, losing a parent is never easy. Nora copes by throwing herself into planning an event, the way she always does. Saul pulls away, regretting never telling his mother he is gay.

     It seems like Saul has been held back by this secret for some time. Perhaps he cannot fully accept who he is until everyone in his life knows. While he never told Ida, a note she leaves him reveals she knew his secret, and accepted him. Soon after, Saul is able to more fully embrace his relationship with Jonathan (Richard Chamberlain), even talking about buying a house together. Saul's acknowledgement of who he is has been a gradual process, but it seems like now that he is fully out, even his dead mother knowing, he can move forward a bit faster.

     Justin (Dave Annable) is the lone grandchild that takes Ida's death hard, but that is because he is in a retrospective mood about his own life. About to turn thirty, divorced, Justin is seeking direction. While his career is going well, he feels lacking. As Ida never remarried, despite long out living her husband, Justin worries he won't be able to move on either. It's easy to overread into things in such a situation, and Justin does. Luckily, Justin has siblings to get him back on track. In this instance, their involvement is a good thing.

     The show also stars Gilles Marini as Luc, who is consistently the best written character currently on the show. He feels real, and doesn't manufacture drama where there shouldn't be any.

     Brothers & Sisters continues, through at least the rest of this year, and airs Sunday nights at 10 p.m. ET on ABC.

 

 

Article first published as TV Review: Brothers & Sisters - "Olivia's Choice; Never Say Never" on Blogcritics.

 

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