What Is THE COMEY RULE?

 Article first published as TV Review: THE COMEY RULE on Seat42F.

Showtime presented a two-part miniseries this week entitled THE COMEY RULE. Based on the book A Higher Loyalty by James Comey himself, it tells the former F.B.I. director’s version of events during the 2016 presidential election and the period immediately following. It is a biased account, to be sure, and it’s unlikely the majority of Republican voters will give it a chance to tell Comey’s side of the story. But that’s part of the point, and there’s a cautionary tale here worth listening to.

Jeff Daniels (The Newsroom) stars as James Comey, which immediately lends gravitas to the official, probably more than he deserves. Comey’s perspective throughout is that he must stay morally pure and apolitical, even as his agency is forced to wade into politics, first with the investigation into Hillary Clinton’s emails, and then with Donald Trump’s connections to Russia. Throughout, Comey is faced with impossible decisions about what to reveal and to whom, and he stays steady, following his own judgment and code of justice. Viewers will feel his pain and root for him, despite knowing the fate that awaits.

Now, even in THE COMEY RULE, there are plenty of people who disagree with Comey at nearly every step. His wife, Patrice (Jennifer Ehle, The Looming Tower), wants him to help Hillary, as do his four daughters. (His two sons never appear nor garner a mention.) His employees, who genuinely seem to respect and care about him, also argue some of the decisions he makes. The whole miniseries is couched in Rod Rosenstein (Scoot McNairy, Halt and Catch Fire) lamenting to a subordinate that Comey didn’t have to shoot himself in the foot.

However, THE COMEY RULE asserts that Comey is right and the rest are wrong. It talks about Comey’s arrogance, but in Daniels’ performance, it feels more like heroism than ego. There is one protagonist, and this series paints him in an almost saintly light.

That isn’t the only skewed point of view. Attorney General Loretta Lynch (Michael Hyatt, Snowfall) and most of the Department of Justice are seen as ineffectual and weak, at best, incompetent at worse. On Comey’s staff, we see Peter Strzok (Steven Pasquale, Rescue Me) and Lisa Page (Oona Chaplin, Game of Thrones) sleep together (well, no sex scenes, though there’s enough to make it obvious), but none of the scandal that resulted from their relationship is shown. This doesn’t feel fair and balanced, nor very realistic to the actual events.

Of course, Donald Trump (Brendan Gleeson, Mr. Mercedes) and his henchmen come across as villainous. But honestly, how could any sane or reasonable telling of events show them any other way? That’s not a political statement, that’s just fact, given the actions taken and the words spoken, many of which have been collaborated in real life or seen in full public view. Nor does THE COMEY RULE make any excuses for them.

There is a message worth hearing in THE COMEY RULE, though, and that’s that institutions and what is right alone cannot protect us. Not now; not with the current administration. One can quibble over if Comey should have said anything about Hillary’s emails or revealed the F.B.I. was looking into connections between Trump and Russia, and those are worthwhile debates to have. But at the end of the day, Comey thought that acting in good faith and relying on the system and norms would save him, and not only was he wrong, but all of us have been living with the consequences of it. That isn’t an assertion that Comey should have or could have spared us from a Trump presidency, but more a lesson to anyone that thinks the same way he does.

November is right around the corner, and I’m glad THE COMEY RULE aired now. Even if it will only be watched by liberals (and the smart Republicans that have defected), as well that small number of independents, it’s important to hear. We can’t afford to let this go on, and Trump must be stopped. Which cannot be done without overwhelming support rising up to stop him.

The miniseries may be somewhat mediocre, despite fantastic performances by far more fine performers than those listed above. But the message is anything but.

Watch THE COMEY RULE now wherever you stream Showtime programming.

Watch Out For MR. MERCEDES

Article first published as TV Review: MR. MERCEDES on Seat42F.

Coming to AUDIENCE Network, AT&T presents MR. MERCEDES. You might already know this is the title of a book by Stephen King, the first of a trilogy, in fact. But if you don’t know what it’s about, I’ll tell you. Detective Bill Hodges, recently retired, cannot let go of a serial killer case he never solved. Though, admittedly, it’s probably harder to let go when the murderer is stalking and taunting you, as is happening to poor Bill. Thus begins our cat and mouse game.

I went in cold, knowing nothing about this show, and that was apparently a mistake. The opening sequence is interesting, introducing a couple of sympathetic, engaging characters, and it’s easy to get drawn into their story. Except, their story is short-lived because of a horrific event, one of the most disturbing things I’ve ever seen on television, and it makes it very hard to get back into the series as we move past the beginning.

Get drawn back in, you will, though. Brendan Gleeson (Braveheart, Edge of Tomorrow) is terrific as Bill, a grumpy old man who want the kids (‘ tennis balls) to stay off his lawn. The source material is well reviewed, and the great David E. Kelley (The Practice, Boston Legal) serves as showrunner and frequent writer. The supporting cast is, across-the-board, fantastic, the direction is great, the pacing is swell, and the villain gets quite a bit of screen-time, too. So it’s nearly impossible, if you don’t turn the show off five minutes in, to not want to watch more.

Does this mean the beginning was a mistake? No, not exactly. Yes, MR. MERCEDES did not have to make us care about its victims right off the bat, nor make the attack itself so damn gory. However, I think by doing it the way the show does, it effectively communicates the brutality of this killer, the randomness of his targets, the danger present, and the stakes of the tale. So as much as I did not like what happened and have no desire to see it again, I can’t be upset at the choices the series makes for pure quality of storytelling. It’s not gratuitous, it’s purposeful, and that’s the bar by which I measure whether violence is acceptable.

The heart of the piece is the contest between Bill and Brady Hartsfield (Harry Treadaway, Penny Dreadful). Both men are explored pretty in-depth, Bill through his interactions with neighbor Ida (Holland Taylor, The Practice), lawn mower Jerome (Jharrel Jerome, Moonlight), and former partner Dixon (Scott Lawrence, JAG), and Brady’s with his mother Deborah (Kelly Lynch, Magic City), coworker Lou (Breeda Wool, UnREAL), and boss Robi (Robert Stanton, Jason Bourne). Each of these supporting players makes an impression with how they interact with the leads, but also stand out themselves as well-developed individuals, which is quite a feat for an hour-long pilot. Somehow they simultaneously exist as the stars of their own worlds, and support that central dynamic.

And we haven’t even gotten to the introduction of Janey, another lead not in the pilot, played by the always-magnetic Mary-Louise Parker (Weeds).

Sadly, Anton Yelchin (Star Trek) was slated to play Brady before he died. I could totally see him in that role, and I think he would have been great. But Treadaway is a fine replacement, and I don’t think anyone will remember that he wasn’t first choice. Ditto Taylor as Ida, as Ann-Margaret previously had that role before illness forced her to step aside.

King’s adaptations are hit or miss, and usually have what I think of as a very specific, not super high quality, tone. But like the best screen work that’s come from him, like Kubrick’s The Shining, MR. MERCEDES doesn’t feel like it fits that mold. Instead, it’s an intense psychological drama that stands apart as its own thing. I think this could be a really strong series to watch, though unfortunately it’s not on a network most people get, viewership confined only to DirecTV and AT&T U-verse subscribers. I wish it had broader reach.

MR. MERCEDES premieres this Wednesday.

Glee jumps on a "Mattress"

     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.

     One episode of FOX's Glee that seems pretty bizarre is "Mattress." That's likely because there's a lot of sadness and anger in the episode, not your typical Glee fare. As such, it's a little unclear whether it fits in appropriately with the series overall, or if it's a stand alone oddity. Pathos are fine on Glee, and often done well. But when the whole episode revolves around depressing material, it tends to almost seem out of tone.
     "Mattress" aired just before winter break, so a lot of it builds up to a mid-season finale. Will (Matthew Morrison) discovers Terri's (Jessalyn Gilsig) treachery, and considers leaving her. Emma (Jayma Mays) is forced to choose between attending the glee club's Sectionals, or her own wedding to Ken (Patrick Gallagher) when he purposely schedules the latter event on the same day as the former. Quinn (Dianna Agron) stands up to Sue (Jane Lynch) once and for all. And all of the New Directions worry what might happen to their year book photo, if they even take one.

     The plot between Will and Terri is a long time coming, and not exactly unwelcome. While Terri's intentions are originally good, as Emma admits she sees to Will, the lies are carried too far. There is no happy ending possible for the couple, and years of resentment and anger erupt. It's startling to see Will get so mad, but at the same, it's the only logical way to act after being betrayed so deeply. A root cause of the problem is, as Terri says, "This marriage works because you don't feel good about yourself." But Will has found purpose with the glee club, and that has ruined their status quo, even if that status quo isn't exactly great in the first place. Thus, without Will acting like that, they are disrupted.

     A quick note about Will's heroic self-sacrifice at the end, removing himself from the glee club so that the group can still compete at Sectionals. This is how a hero acts, and what he does is very noble. Great use of a lead character, and it redeems him after the ugly fight scene with Terri earlier.

     The larger implication of a Will/Terri dissolution is how it may effect Emma. Emma is in love with Will, and is only marrying Ken to try to move on, deciding that Will will never be available. Now that idea is turned on its head, and while Will says he isn't yet sure if divorce is in the cards, it seems likely Will may be single again soon. With that tempting prospect, should Emma go ahead and marry a man who has, as she states, "Seventy-four flaws, as of yesterday?" Truthfully, she should not be marrying him in the first place if she feels this way, so the wedding has a very good chance of not happening.

     This melancholy tone is reflected in much of how "Mattress" plays out, and, of course, in the music chosen for the episode, even though the titles of the songs sound happy. "When You're Smiling" is sad as Rachel (Lea Michele) tries to gain the courage to take a smiling photo. The Charlie Chaplin version of "Smile," which ends the episode, is even more blue, not least of which because it plays over footage of Dave Karofsky (Max Adler) defacing the New Directions year book photo with his laughing friends around him. What a depressing final shot!

     The Lily Allen version of "Smile" is just plain weird. It is an atypical choice for a Rachel and Finn (Cory Monteith) number, and neither looks entirely comfortable singing and dancing it. The piano player bobbing along with that odd look on his face is actually, by far, the best part of the song. While not sad, this "Smile" doesn't do anything to make the episode better. It just doesn't work too well at all.

     Strangely enough, among the episode's many sad moments, there is the joyful, stand-out performance of "Jump." More than anything else, "Jump" is what "Mattress" will be remembered for. Not quite fitting in with everything else, it is still one of the best choreographed performances in all of season one, and is incredibly fun to watch. Good thing the mattress store just happens to have big mattress trampolines laying around for the kids to use! Oops, being too critical again.

     Quinn really shines in "Mattress." Up until now, there are occasional hints of a good person, but Quinn is kind of one of the main villains of Glee. Yet, she completely makes up for her bad behavior when she stands up to Sue. Not only does she get the glee kids one of Sue's six (six!) cheerleading pages in the yearbook, but she also puts Sue in her place. Quinn admits that glee teaches her more than the Cheerios does, and it's a superior club. Bravo, young lady! Way to go!

Random Bits:

• The news program in which Sue does a segment appears to be filmed in Columbus, Ohio. Though it's not a cityscape view usually used, a couple of the buildings look like this is so. This is especially odd, as Glee takes place hours from Columbus. Maybe. Read my full rant about the inconsistency of Ohio layout in another Glee review.

• Great Brittany (Heather Morris) line! When Rachel says that maybe the glee club photo won't be defaced in this year's yearbook, Brittany replies "Yes it will. I'll be the one doing it." At least she's honest!

• Why does Rachel go through the charade of picking a co-captain through a process? She approaches Mercedes (Amber Riley), Artie (Kevin McHale), and Brittany before asking Finn. Not only do none of these three options make any sense for Rachel to choose, but it's completely obvious to viewers that Finn will, and should, be the co-captain. It feels forced that Rachel would even consider anyone else.

• How did Quinn get to be Cheerio captain as a freshman? That's almost unheard of in high school! Yet, she is clearly the captain in the 2008 yearbook, and she will not be graduating until the end of season three, the 2011-2012 school year. So this must be so.

• Which leads me to ask, why is there a yearbook being put out in the fall with the fall semester's year anyway? Isn't that unusual? Don't year books come out in the spring, with the calendar year that ends the school year on the cover?

• Isn't it unethical for a school to leave a club out of a yearbook? Is that even allowed? Any yearbook I've ever come into contact with includes ALL school clubs, no matter how minor. Charging a teacher to get their club into the yearbook defeats the whole purpose of a yearbook, and is probably illegal, or at least against state guidelines, since the other clubs aren't charged similarly.

• John Ross Bowie appears in "Mattress" as the photographer/commercial director. This very funny actor currently has recurring parts on both The Big Bang Theory and Childrens Hospital.

     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 - "Mattress" on Blogcritics.

Glee sings a "Ballad"

     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.

     The season one episode "Ballad" finds the New Directions tackling the all important staple of ballads. Rachel (Lea Michele) gets a crush on Will (Matthew Morrison) after they sing together, and Will tries to discourage her. Speaking of relationships that will never happen, Kurt (Chris Colfer) likes Finn (Cory Monteith). The boys grow closer as Kurt helps Finn figure out how to tell Quinn's (Dianna Agron) parents about her pregnancy. Unfortunately, this backfires, as Quinn's father (Gregg Henry, Hung, The Riches) kicks Quinn out. And her mother (Charlotte Ross, NYPD Blue), who knows about her pregnancy, but never says anything, does nothing to stop him.

     "Ballad" has a lot going for it as a Glee episode. There is feel good music ("Lean On Me" and "I'll Stand By You"), an emotionally compelling story (see: good music), and some really funny bits. The biggest issue with the episode, however, is that it feels like the story is tailored to the music they wanted to use. There is no indication that Rachel is attracted to Will prior to, or after, "Ballad." Thus, that particular plot in this episode feels forced and phony the entire time. Sure, he is a talented, attractive man. But Rachel has very specific ideas about the type of guy she wants, and a much older, married, high school teacher does not exactly fit her bill. Plus, Rachel singing "Crush" is just over the top.

     The weirdness is at maximum threshold when Rachel and Will sing "Endless Love." I do not remember any other song ever done on Glee with so much voice-over interruption. Yet, the awkward, disturbed facial expressions with which Will reacts only have so much power to hold interest, so hearing a variety of characters' internal monologues are necessary to make the scene continue to flow, and be tolerable. As such, the whole thing ends up being pretty successful as a musical number, if very odd, other than that Rachel takes no notice of Will's very clear disinterest in her.

     Will's "Don't Stand So Close to Me/Young Girl" is better. His gestures at the start of the song are patronizing, but after that, it's easy to see why both Rachel and Emma (Jayma Mays) swoon. Even when trying to communicate a message to turn off the girl, Will is working his sexy magic. He's so convincing, that both women even forget to be jealous of each other's attentions towards him, and concentrate only on the way they feel about Will. Perhaps he should have said things with something other than a song.

     Which brings up the other major problem with this episode, besides bending plot to fit selected music. It is perfectly understandable that sometimes characters in Glee will choose to express themselves through music, rather than talk it out. It is less understandable when those characters keep making a point of saying that only a song can communicate what they want to say. It's simply not true, and by doing it so blatantly, and talking about how they are doing it, so much in a single episode, it comes awfully close to ruining the device. "(You're) Having My Baby" is honestly the final straw, as Finn could say something far more elegant than performing that particular ballad in front of Quinn's parents. Too much.

     The other unrequited romance story is quite a bit better, and fits the characters. Kurt plainly has a thing for Finn throughout season one, though Finn will never see Kurt as a sexual interest. Poor Kurt has to understand that Finn can never be with a guy the same way Kurt has no desire to be with a girl. But as a naive, lonely teenager, Kurt is taken in by Finn's talent and looks, rather than thinking logically through the situation. It's a bit sad, as both guys deserve to be happy, and if Finn was gay, Kurt could likely make him so.

     But at the same time, just being friends is also beneficial for the pair, so it works out. In "Ballad," the real beginnings of that friendship are apparent, as they bond over having a deceased parent. Though different people, their family situations of one adult gone by circumstance, not choice, and the other doing their absolute best to love and take care of the child, are very similar. It's something they can both relate to, and it really makes their bond seem real and strong. Obviously, to those who have watched Glee past this point, the seeds are planted here for their long-term relationship.


Random Bits:

*Mike Chang (Harry Shum Jr.) is referred to as "other Asian" when choosing ballad partners. Surely, there is a deleted scene where Sue (Jane Lynch) switches out his name in the hat. Yet, the mildly racist label is actually charming in this context.

*When did Kurt learn to play the piano? And how come he almost never does again, even though there is ample opportunity to use this skill?

*Finn's facial expression when he thinks Quinn catches him looking at Rachel's butt is priceless, and one of the best moments Monteith gets in the series.

*Will's former pursuer, Suzy Pepper, is played with a perfect mix of geeky and crazy by Grey's Anatomy's Sarah Drew. It's a shame she didn't recur on Glee, but she was a bit busy. Best line, said to Rachel: "We're both mildly attractive and exceedingly grating."



     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 - "Ballad" on Blogcritics.

Glee finds its "Wheels"

     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.

     Episode nine of FOX's Glee is "Wheels." Themes of equality and fair treatment are prevalent throughout Glee, but "Wheels" is the first episode that centers on the issues. From Artie (Kevin McHale) needing more wheelchair access, to Kurt (Chris Colfer) and Burt (Mike O'Malley) dealing with homophobia, to Tina's (Jenna Ushkowitz) stutter, to Becky Jackson (Lauren Potter) joining the Cheerios, to a girl on the wrestling team, "Wheels" is bursting with such stories. It's also a great episode for story, acting, and music.

     Equality is a tricky issue to tackle. It is certainly not fair that the school won't pony up the money for the New Directions to take a bus accessible to Artie to Sectionals. But neither is it fair that schools must spend so much extra money on a few children. The problems are the same with special education and non-English speaking learners. In these cases, financial inequality is needed to give the same opportunities across the board. One would never argue that children should not get equal access for risk of sounding like a heartless monster, but there does need to be some sort of balance, or all of the school's funds could be tied up for things that do not benefit most of the student body. That would be a problem, too.

     Funding comes from a variety of sources, and as Will (Matthew Morrison) rants against the unfairness of the Cheerios flying all over the country, Figgins (Iqbal Theba) points out that Sue (Jane Lynch) has boosters that pay for all of that. Is the booster system fair? Obviously, individuals working hard to raise money for a certain cause should be allowed to use it for their intended purpose. But when such a disparity exists in a system, such as the one between the Cheerios and New Directions, isn't it only right that some of the funds by siphoned off to other groups? Your point of view on the subject surely reflects political and social views, as both sides are arguable to some degree.

     One does have to wonder, though, how McKinley can afford special lighting in the choir room, as well as costumes, props, and a unique ramp stage for a glee rehearsal, but can't pay for a bus that is surely already owned by the district. In "Wheels," Will even finds the money to buy eleven wheel chairs! They are used, but have to cost some amount of money. Why not share a few instead of each student getting their own? The point would still be made. Perhaps this is a bit nit picky, but as much as the New Directions complain about not having funding, they sure look like that's not the case. Of course they must look good to drive up the production value of the show, and keep people entertained. But this contradicting with realism is a problem I wish would be addressed. Perhaps the group receives special grants that must be spent on lights and costumes?

     Money aside, isn't it illegal for McKinley to discriminate against Artie? There are laws in place to make sure students get fair treatment, and certainly one of them requires the district to provide adequate transportation for all participating members of a school-sponsored activity. Only so much can fit into an hour of television, but there are elements of the situation not even addressed in "Wheels."

     Another form of discrimination in Glee that actually comes up quite a bit is the way homosexuals are treated in current social culture. Things are getting better, but it's a slow process. In "Wheels," Burt receives a malicious phone call because of his son, Kurt. How Burt deals with it, suggesting Kurt might tone his personality down a notch, is another thing that can be debated. Burt's feelings come from a place of paternal protection. He wants Kurt to be true to who he is, but also wants him to avoid pain and suffering. It's hard not to sympathize with Burt, and Kurt does, choosing to throw an audition rather than cause more trouble.

     Having to act a charade is not fair. Being treated like an outcast for the way one is is not fair. Glee understands that, and focuses on themes of acceptance. Life is not fair, but that doesn't mean people shouldn't try their hardest to make things a little better for those around them.

     Surprisingly, Sue understands this, and even donates money for new ramps for McKinley. "Wheels" finds Will and Sue conducting tryouts for Cheerios, and Sue chooses Becky, a girl with Down Syndrome. Will is convinced that Sue is up to something, but it is revealed that Sue has a sister named Jean (Robin Trocki), whom Sue loves dearly, who also has Down Syndrome. This might just give a tiny peek into the inner workings of Glee's resident villain. Perhaps Sue is the way she is because she wants to toughen kids up to handle what the world has in store for them, knowing fate can be cruel. Sue is shown to care about students, and thus, one must conclude Sue is acting in what she thinks are their best interests. This seems to be confirmed by Sue treating Becky just like any other cheerleader, which is much fairer than giving her special treatment.

     There are only three songs in "Wheels," but each one is quite good. First up, Artie's "Dancing With Myself" is incredibly moving, and showcases his rich, deep voice. Though, it is odd that the original version of the song partially plays just a few moments later in the episode. That is followed by the big diva off between Kurt and Rachel (Lea Michele) in "Defying Gravity," still a fan favorite from the series. Finally, "Proud Mary" gives solos to many of the more supporting members of the club, as well as makes viewers feel good with its interesting staging. Musically, "Wheels" is a strong, but small, entry for Glee.

     "Wheels" marks the start of serious flirtation between Tina and Artie. They bond over shared disabilities, but when Tina admits that her stutter is faked, Artie breaks things off. It's sad, as Tina may not have a speech impediment, but she does suffer from crippling shyness that she is just beginning to get over. It's too bad Artie doesn't see that as something to relate to, because the seeds are there for them to continue to share common ground.

     The love triangle between Quinn (Dianna Agron), Finn (Cory Monteith), and Puck (Mark Salling) erupts in "Wheels." However, given Quinn's poor attitude and demand that Finn cover all medical bills, while not seeking employment herself, begs the question, why would either guy want Quinn? Sure, she is pretty, but she isn't nice. It's confounding that Finn and Puck fight over her, when they both could do so much better. It's a shame such a cold girl can get in the way of the warm friendship that the boys share. No wonder Finn is spending so much time with Rachel!

Random Bits:

     The aforementioned girl who joins the wrestling team is Lauren Zizes (the wonderful Ashley Fink) in her first appearance. She also tries out for the Cheerios. Though she is not mentioned by name or credited on imdb.com for "Wheels," Zizes will become a popular recurring character and member of the New Directions.

     "Wheels" also marks the first appearance of recurring characters Becky Jackson and Jean Sylvester.

     Quinn admonishes Puck that they are "not going to take money from a friend in a wheelchair," then immediately turns and takes money from Finn, who is sitting in a wheelchair at the time. Ha!

     When Artie breaks things off with Tina, he claims that being in a wheelchair is "not something I can fake." Ironically, McHale, who plays Artie, can walk just fine, and is faking it.

     Fans of the iconic web series The Guild should recognize Finn's new boss, though he is shown only briefly. Yep, that's Jeff Lewis, a.k.a. Vork, and he will never be seen on Glee again.

     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 - "Wheels" on Blogcritics.

Glee makes a "Mash-Up"

     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.

     FOX's Glee presents "Mash-Up," which actually features not a single mash-up song. But it does have several clashes, or mash-ups, between characters. Will (Matthew Morrison) helps Ken (Patrick Gallagher) and Emma (Jayma Mays) prepare for their wedding dance. Ken gets angry about being a consolation prize to his bride, so he forces the football players to choose between the team and glee club to get back at Will. Sue (Jane Lynch) also takes advantage of Will's dancing techniques, only to be disappointed in turn by her own beau, Rod Remington (Bill A. Jones), the reporter. Quinn (Dianna Agron) and Finn (Cory Monteith) seek to regain their popularity, while Puck (Mark Salling) takes a romantic interest in Rachel (Lea Michele).

     Perhaps the more appropriate title for this episode of Glee would be "Will Can Dance." Matthew Morrison certainly gets no shortage of time to show off his impressive dancing talents, as if a certain amount of doing so is required in his contract, and the writers decided to cram it all into one episode. He boogies through "Bust a Move" and "Thong Song." He sweeps Sue off her feet with "Sing Sing Sing (With a Swing)," and also does somewhat the same for Emma in "I Could Have Danced All Night." That's a full two thirds of the music featured in "Mash-Up," and in half of those, Will doesn't even sing. Morrison has the talent to pull off such a decision, but it also makes the teacher look a little like a show off. Thankfully only one number is in front of the New Directions.

     It's interesting that not a single one of the songs mentioned above, nor "Sweet Caroline" and "What a Girl Wants," two solos covered in this episode, are part of a mash-up. Glee uses the trick of combining two songs into one many times in the series, but ironically, in "Mash-Up," has not one actual instance, using the episode title metaphorically. It can be applied to Ken and Emma's personalities. The episode also features budding, and quickly ending, new relationships. Then, there is the case of conflicting school activities. Will does ask the kids to come up with a mash-up, and tries to write one himself. But none of those efforts ever make it on screen.

     Not one of the songs in "Mash Up" stands out as a Glee classic. Only two make the Volume 1 soundtrack, and they are more filler than feature. There is nothing inherently wrong with that, as not every song can be a break out hit. The only point here is that "Mash-Up" is not one of the most memorable music episodes of the series. That being said, there are no bad songs in the episode, either, that the Glee staff should regret including, so that's a bit of a triumph. Also, "Mash-Up" features Jayma Mays singing, a very rare treat that should happen more often, though the song itself isn't impressive enough to rave about.

     Another suggested title might be "Slushee Wars." After all, the episode opens with a panning shot of a slushee being carried, as numerous members of the glee club duck, fearing its cold touch. This shot is repeated twice more in the episode, with varying endings. Quinn and Finn are covered in the stuff as a sign that their popularity is waning. Finn is forced to slushee Kurt (Chris Colfer) in order to gain his status back on the football team. Which, by the way, leads to an amazing dramatic moment for Colfer. Finally, the New Directions give Will a taste of their daily torment. While having a slushee thrown on a character is not an infrequent occurrence on Glee, never has so much of the syrupy treat been worn in a single episode.

     The episode tackles some of the social issues Glee is known for speaking out against. Popularity is mentioned many times, and in "Mash-Up," Quinn and Finn even seek Emma's advice on how to gain their status back. She does offer help, but also questions why they care what others think. "Be yourself" is practically Glee's motto. In addition, the football players make insulting insinuations that their teammates who are in the glee club are homosexual. Glee spends much time going after gay bullying, and the seeds for such a campaign are planted in "Mash-Up."

     Despite this being only the eighth episode of Glee, a number of characters are already learning what 'be yourself' means. When forced to choose between football and glee club, only Finn chooses the former, while his fellow teammates that do both activities chose the one that is more enjoyable. Being that football broke that compromise, they may also be standing up for what is morally right. It's a heart warming bit that proves early on what Glee is really about.

     It most be noted that, in the end, Finn does what is right, too. He is not willing to give up the team, nor should he have to, but he speaks up for himself, making sure he is not a pawn. He shows he is the series's heroic male lead. He also causes Ken to change his mind about the ultimatum, redeeming the coach slightly for using his students as pawns against Will.

     Ken's choice to basically use students for his own gain comes on the heels of Will and Sue doing the same last week in "Throwdown." This pair of episodes does not make the teachers at McKinley look good, and their behavior is very unprofessional. Thankfully, these are isolated incidents, for the most part, instead of a larger pattern of behavior.

     "Mash-Up" introduces the two main antagonists for the anti-gay bullying campaign, Dave Karofsky (Max Adler) and Azimio (James Earl). They have little plot in this episode, other than to sling a few insults and frozen beverages, but they are the faces to represent the negative, bullying attitudes. It's not enough to just have a vague menace, so Glee develops two characters with two very different motivations to make the story more realistic. It's only the first appearance of both guys, so an introduction is really all that is necessary at this early stage.

     Sue engages in a romantic relationship in "Mash-Up," and it exposes a softer side of her personality not seen yet in Glee. Not only is she smiling and agreeable, but her happiness extends to her interaction with sworn enemy Will, as she actually enjoys dancing with him. It's a strange scene as they swing, but one that reveals that perhaps, some day, a friendship between the two will be possible. It's sad that Sue's glee is so brief, as it would be nice to see Sue turn over a new leaf for a little longer than one episode.

     Rachel and Puck also engage in a coupling that is over before the credits roll. They are such an odd pair, and "Mash-Up" makes such an impression, that there are still fans yearning for a Puck/Rachel reunion years later. The two Jews are pushed together by circumstance. Namely, Puck is seeking to please his mother by dating a Jewish girl. But it takes very little time for him to see Rachel as an actual potential partner, which opens up some deeper feelings and insights within him.

     This is the episode where Puck becomes a full-fledged character, worthy of fan adulation, rather than just a background member of the group. That's not just my opinion. Watch Quinn during "Sweet Caroline," and her reaction seems to agree.
 
Random Bits:

     Puck's mother (Gina Hecht, Hung, Mork & Mindy) and younger sister are seen for the first (and only) time. They are never seen again.

     After the football players drench Quinn and Finn in slushee, one slips and falls as he is walking away. There's a brief flash caught on camera, and the action is more heard than seen. It appears to be a mistake, but it is hilarious, which is why probably why it is left in. Or perhaps it's intentional, and I'm not giving the writers enough credit.

     Sue apparently will never stop living and breathing cheerleading for even a few hours. During her date with Rod, she has the Cheerios on the television in the background.

     Rod invites Sue to a swing dance competition. While this proves he is referring to the dance when he asks Sue if she's OK with swinging, his later tryst with co-anchor Andrea (Earlene Davis) implies a double meaning behind the term.

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

Preview: Men of a Certain Age Season Two

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

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

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

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

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

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

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

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

     And someone gets glasses.

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

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

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

Harry Potter and the Deathly Hallows: Part 1

     What does the world, and this site, need more than another review of Harry Potter and the Deathly Hallows: Part 1? Am I right?  But each person has a different perspective, and as a long time fan of both the books and the movies, I'd like to toss my hat into the ring as well.

     We'll start at the beginning, and probably my biggest (and one of very few) disappointment with the film: The Dursley's departure. The family that (poorly) raised Harry (Daniel Radcliffe) has often been dropped or shortened in the film versions. I understand that with limited time and at an effort to keep strong pacing, this may have been necessary. However, we barely got glimpses of Vernon (Richard Griffiths) and Petunia (Fiona Shaw), and though he is listed on IMDB as being in the film, I don't think I even saw Dudley's (Harry Melling) face. Being that this is the last time these pivotal character appear, couldn't we have gotten sixty seconds with them? That touching goodbye between Harry and his cousin for the book? It would not have hurt the movie at all, and been a nice payoff for fans.

     However, the Dursley scenes were split with something awesome and unexpected. The extra moments not explicitly shown in the books with Hermione's (Emma Watson) parents were heartbreaking. It really informed the audience just what Hermione was losing, and colored her fabulous performance for the rest of the movie. What a brilliant addition. It was so good, it didn't occur to me that the Dursleys were so cheated until much later.

     The opening battle was stunning. Again, a few things I wish had been handled slightly differently. I would have liked to see Mad-Eye (Brendan Gleeson) go down, just because his death was unclear immediately to non-fans of the book series. I also remembered being terrified that Hagrid (Robbie Coltrane) was dead when reading, but although he was slumped over in the film, it didn't have that same sense of dread. That being said, it was still an intensely exciting scene, beautifully stage, and full of action and danger.

     From there we move onto the Burrow, which thankfully was rebuilt a bit different, paying homage to the fact that the Weasley house was firebombed in the sixth movie. The inclusion of Bill (Domhnall Gleeson - yes, Brendan's son) and Fleur (Clémence Poésy) was necessary, both to plant seeds of doubts about Dumbledore (Michael Gambon) into Harry's head, and to hurry the three leads on their journey. I don't fault the films for not including Bill and his bride before now, as it was an expendable subplot. I do wish, though, that scars on Bill's face were a bit more pronounced, and that the battle in which Bill received them at the end of the sixth film had not been axed. But that is one of my many complaints about The Half Blood Prince, that could fill up a whole different article.

     The Weasley plot I really, really wanted to see was Percy's (Chris Rankin). He did not appear in this movie at all. He had one of the best plots in the book series, but it became apparent long ago that it was not be make it off the pages. His break from his family was hinted at in The Goblet of Fire, and the sharp eye noticed him in Order of the Phoenix. I was hoping for a few words before the wedding about him, so that perhaps a hint of the story would make it in. Sadly, this was not to be, though Rankin is listed in the credits for The Deathly Hallows Part 2. I doubt he will be seen much, but at least he will be there.

     I read a couple of early reviews that said The Deathly Hallows grew boring after the wedding, as Harry, Ron (Rupert Grint), and Hermione searched high and low for the Horcruxes. In fact, although I adore the final book, it was more meandering in that format, as the Hallows began to take precedence. In this recent movie, the Hallows are introduced, but not until near the end, so they never become a front-and-center mission. Even Ron's absence seemed shorter, as the move rushed ahead and kept the twists coming. As such, I completely disagree with those early reviews, and found the two and half hour runtime flew by, and was over much too soon.

      Some criticism has also been heaped on that nude make-out session between Harry and Hermione in Ron's dark vision. I admit, it was a tad adult, however, none of their naughty bits were actually shown. I think the way it was done was artistic, a bit sexy, and a perfect representation for the doubts that had surely been plaguing Ron's mind during his separation from them. Plus, it allowed some justifiable rage that Ron needed to destroy the Horcrux.

     More essential was the awkward dance between the two that happened in reality. In the books, Ron and Hermione were always an inevitable couple. I am always baffled by my movie-only friends, who root for Harry and Hermione, even after the Harry - Ginny (Bonnie Wright) romance finally blossomed. The dance, as well as Hermione's obvious grief over Ron made it very clear where Hermione's heart stood, and was a nice payoff to those who had been sidetracked by the on-screen chemistry of Radcliffe and Watson. Nicely done.

     The Malfoy Manor scene provides the few other complaints that I have. Certainly not about the Malfoys themselves, as Jason Isaacs wonderfully portrayed the desperate cad Lucius, and Tom Felton's tortured Draco is superb. I really believed that he was not going to give the (too) slightly disfigured Harry away on purpose, although his awkward non-answer did it for him. Draco is a boy, and unlike Harry, has not looked death in the face. He doesn't possess the same heroic traits that Harry does, and I loved how Draco, who started as a series villain, was shown to be just a kid.

     No, my complaints stem for the two pivotal deaths. Well, one, since Wormtail (Timothy Spall) was never killed, and his name appears in the credits for Part 2. The film Dobby (Toby Jones) was annoying from the beginning; the Jar Jar Binks of the Harry Potter world. It is no surprise that all of his subplot had been removed from movies 3 through 6. However, this has made his death mean so much less, as movie goers have not invested in him. Instead, what I argue was the single most tragic loss in a book filled with loss came across as noble, but not all that important. The exchange between Dobby and Bellatrix (Helena Bonham Carter) only worsened it, as it felt out of place.

     However, the scene immediately following where Harry mourns Dobby was splendid, even if movie-only fans were probably confused at the level of emotion shown. The mourning of the main characters drove home that Dobby's death meant something, and was not just a bow to popular opinion.

     Over all, the movie lived up to expectations quite well. As expected, the cuts were less than in previous installments, since two films allow a more expansive story. While it did not exactly stand on its own, it certainly will have fans chomping at the bit for eight months for the capper. Eight months is far too long. I wish it would come sooner. If you are a fan of the series, both movie and / or books, it should satisfy fairly completely, even in wanting more.

     A number of new actors joined at this late time in the series, including the always flawless Bill Nighy as the new Minister of Magic, Peter Mullan as the evil henchman Yaxley, David Ryall as Elphias Doge, Andy Linden as Mundungus Fletcher, and Rhys Ifans as Luna's eccentric dad, Xenophilius Lovegood. Each delivered outstanding, but brief performances. As most characters in the movie series, I only wished the got more screen time. Similarly, familiar favorites such as John Hurt as Ollivander, Frances de la Tour as Madame Maxine, and especially Imelda Staunton as Dolores Umbridge were welcome returns, but barely got anything to do. This final film belongs to Ron, Hermione, and especially Harry, and while they own it, as they should, that does give less time for the deserving others.

     A note, for any parents considering taking children to see it. Please don't. If you've followed the last few films, it's obvious that Harry Potter may have started as a children's series, but was never intended to stay that way, hence it's huge range in popularity among many age groups. But these final two installments are much more adult than any before, featuring multiple deaths, as mentioned above. In fact, the second part should have more than double the kills than this first one. The PG-13 rating is well deserved.

     Harry Potter and the Deathly Hallows: Part 1 is playing in theaters everywhere now. I suggest you see it as quickly as possible, and multiple showings is not out of the question.

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


 Article first published as Movie Review: Harry Potter and the Deathly Hallows: Part 1 on Blogcritics.