Re-MARRIED

Article originally published as TV Review: 'Married' - Season Two Premiere on Blogcritics.

Some series like to start their seasons with a big opener. FX’s Married is not one those programs, nor does it need to be. The quiet, depressing, amusing, realistic look at marriage is all about the characters and the way their complex relationships are portrayed. They do not need big stories or ratings-grabbing stunts to make it good.

It’s funny that, considering what I just said, the first episode of season two is called “Thanksgiving.” Traditionally, sitcoms have used holidays, especially that one, to do splashier plots. Married constantly subverts what one expects from a family comedy, though, and this season premiere is no exception. It isn’t actually Thanksgiving in the episode, and while the set up is familiar, the way it plays out is edgy and unexpected.

I liked season one a lot, but it took some time to get settled into what it was. As Married begins its second run with “Thanksgiving,” though, it’s clear those rough edges have been smoothed out. The half hour both feels at once totally in sync with the previously installments, but also more polished and solid. Fans now understand Russ (Nat Faxon) and Lina (Judy Greer) a lot better, and this knowledge definitely colors how we see them interact. This union has its ups and downs, but there is real love there, and they do make a good team.

I have to take a moment to admire Greer and Faxon’s skills. When the casting was first announced, I was familiar with them both, but usually as second-rate players, so I assumed they would be here as well. This is not the case. Given good material that seems perfectly tailored to them, they have both emerged as worthy stars. I admire both the nuance and the realism in their performances, and their chemistry is fantastic. I think my favorite part of Married is just watching the two in a scene together, which never disappoints.

“Thanksgiving” finds them visiting Lina’s mother, Janice (Frances Conroy, American Horror Story), who is no longer mentally all there. Janice lives with Ed (M.C. Gainey, Lost), who is not Lina’s dad, but has been with Janice for well over a decade. Lina worries that Ed might not have Janice’s best interests at heart, especially when the topic turns to sex. Is she right? And whether she is or not, what is she in a position to do about it, and does she have a right to overrule Ed? Aging parents are a topic many a married couple has to deal with, and I like Married‘s grounded take.

While Lina and Russ are the central characters of married, AJ (Brett Gelman) and Jess (Jenny Slate) are also main characters. Often, while they’ve had tiny subplots, they’ve been regulated to supporting people, coming in far distant in importance from the leads. “Thanksgiving” fixes that, giving them their own, fully fleshed out, interesting B story. It does not relate to Russ and Lina at all, Jess actually has to learn something, and we get to see them both as separate individuals, a welcome development. Plus, there are hilarious little moments for Shep (Paul Reiser) thrown in, making me wish he appeared just a bit more.

Married isn’t the perfect show. Some will find it too serious to be considered a comedy, even though that’s what it bills itself as. However, this is not much different from what HBO and Showtime sell as sitcoms, and while Married is confined to the limitations of basic cable, it certainly has more leash than a show on the Big Four. It expertly finds that middle ground, still funny like the general public might expect, sometimes laugh-out-loud levels of such, but also displaying the depth and talent that the premiums do. I’m very satisfied with its return, a marked improvement over the already-good freshman season.

Married returns Thursday at 10:30 p.m. ET on FX.

Time to Get MARRIED

Article first published as 'Married' Season Finale Review on Blogcritics.

FX’s Married brings its freshman season to a close with “Family Day.” Everyone goes to visit AJ (Brett Gelman) in rehab for Family Day, where he is supposed to apologize for how he has wronged them. Instead, things devolve into a five-way bicker fest as the various adults who make up the cast begin taking out their frustrations with their own lives on those around them. Luckily, the venting actually helps them release their tension and get on track for a happy ending.

I have to be honest, I tolerated Married more than I enjoyed it for most of this season. FX is a terrific network, and Married is paired with the absolutely fantastic You’re the Worst, so I almost watched it out of reflex or default than any actual desire. Plus, I find it much more difficult to give up a half hour series than an hour-long one, as it just didn’t seem like a big commitment to stick with it through its ten episodes. But it’s depressing as hell and makes the viewer feel bad about themselves, so it’s much harder to get into than other fare. It can be barely be called a comedy.

Somewhere along the way, it slowly grew on me, though. It’s not that my marriage is anywhere near as bad as the one at the center of the series; I’m not beaten down. But there’s both a slight satisfaction in seeing a couple worse off than you, and the optimism sparked in select moments that prove even a seemingly-terrible union can still work, that makes Married eventually attractive.

The more I watch Married, the more I’m convinced that Russ (Nat Faxon) and Lina (Judy Greer) are actually much better off than they appear to be. They are in a very rough patch in their lives, struggling financially and stressed out because of their three young children. Russ wants his old life back, and so does Lina, but she’s the more responsible of the pair, soldiering on under the current circumstances, whereas Russ look for tiny outs, and frequently takes them. Because of the misery of dealing with these factors, they work out their anger on one another far too often, and that’s what makes them look like they’re falling apart. But every once in awhile, we get a glimmer of what brought them together in the first place, and it sure feels like that they’ll get back to that happiness once these outside influences are dealt with and go away.

Because of this, I’ve become very fond of the characters. Faxon and Greer are great, as they have been in other projects, and they do an authentic job of developing two characters that are more realistic and complex than most on television. They make themselves sympathetic, even when you’re understanding why their spouse is ticked at them. They’re real people, in look and in action, and that sells the show.

The supporting cast of Married is much the same. Jess (Jenny Slate) and Shep (Paul Reiser) have complications in their own marriage for entirely different reasons, Jess almost trying to escape motherhood. “Family Day” is probably the most we’ve seen of them relating to one another, but while it’s not obvious, they are in a similar boat as Russ and Lina. AJ is mourning the loss of his wife, and he acts out because he wants back what his friends have. Even recurring Bernie (John Hodgman) shows off some good development in the season finale.

Funnily enough, the final scene of “Family Day” is the lightest of the season. After ten weeks of rough stuff, there’s a cookout and everyone is in good spirits. They talk about death, sure, but it’s in a joking manner. Married finally finds it’s heart, and because it waits so long to do so, it’s a well-earned pay-off.

When next season rolls around, I won’t be recording Married just for the heck of it. I will be eagerly anticipating the return of a series that I really like and is very well made. Assuming it’s renewed, of course, which sadly has not happened yet.

Being MARRIED Is Sort of Amusing

Article originally written for Seat42F.

MARIED is a new comedy airing on FX about a couple who have lost the spark in their union and are looking for ways to salvage their relationship. Every day is a struggle, with kids demanding attention and sex pretty much a thing of the past. It’s a bittersweet look at a particularly difficult stage of married life, with emphasis on the bad side, but with an underlying heart that will surely carry the characters through.

Who doesn’t like Nat Faxon (Ben and Kate) and Judy Greer (Arrest Development, Archer)? They are two gifted comedic actors who have been funny in everything they’ve been in, in my opinion. Going in, the fact that the two of them are the leads is a major plus for MARRIED.

The show itself is not quite as funny as I expected it to be, though, which is why I like the series paired with it, You’re the Worst, a little more. There are funny jokes in MARRIED, to be sure, but it’s a toned-down funny, sometimes at the expense of the pathetic players. There is a lot of misery for these characters, people whose life has not gone the way they’ve expected it to. Russ (Faxon) is feeling very unfulfilled because his wife won’t touch him any more, despite his attempts to get her to do so. Lina (Greer) wants to be a good spouse, but she’s too worn out from taking care of their three young girls (How to Live With Your Parents (For the Rest of Your Life)’s Rachel Eggleston, Cloud Atlas’ Raevan Lee Hanan, and newcomer Skylar Gray) and doesn’t have the energy to help Russ, too. This darkness is just not a laughing matter.

Yet, there’s also a sweetness to the program. The fact that Lina wants to help Russ proves that there is affection between them, even if she seems to have forgotten how to show it or just isn’t capable of doing so right now. Russ is earnest in his attempts to get Lina interested again, trying to make her happy, too, not just a horny guy obsessed with getting off. It’s hard to blame either one when they are both trying, or what amounts to trying in their current state, and once their kids get older, they should be able to reconnect if they can just hang on to each other for now.

The premise of the first episode is that Lina gives Russ permission to find someone else to help meet his physical needs. This makes sense, logically, but of course emotions are involved, and those are anything but logical. Without going into detail, the story unfolds in a way other than I expected. As regrettable as it is to see Russ even considering going down this road, Greer and Faxon are so good in their parts, effectively communicating the mixed feelings and nuance, that it actually works rather well.

When things get too much for Russ, he heads to the bar to meet his friends Jess (Jenny Slate, Parks and Recreation), who is with a considerably older gentleman, and AJ (Brett Gelman, Go On), who is newly single again. They provide an outlet and advice, allowing him to verbalize much of what he’s thinking. While it may not be completely realistic for Russ to have the time and money to hang out with them so often, it allows the story to keep moving effectively.

Sadly, Lina doesn’t have a similar outlet, stuck at home with the kids while Russ is out getting plot. I hope this is a fluke of the pilot and future installments allow more balance in the couple. The only time I really didn’t like Russ are the scenes in which it’s obvious that he is running around town and Lina is buried in housework and childcare. They should switch off, allowing Lina to have her own stories while Russ takes his time with the girls. This would not only provide gender equality, but also make sure Greer gets her due, as she would be wasted otherwise.

Otherwise, though, MARRIED makes a decent show, not FX’s best, but still worth watching. MARRIED premieres Thursday, July 17^th at 10 p.m. ET.

Go On's First Year an "Urn-ed Run"

Article first published as Go On's First Year an "Urn-ed Run" on TheTVKing.

Plagued with doubt about herself after dumping her fiance, Lauren (Laura Benanti) turns her focus on making progress with the group in NBC's Go On season finale, "Urn-ed Run." It's not that she didn't pay attention to them before, but has now decided that she has more time and energy to give to the group, and so is going to make a difference.

Yet, she apparently fails, with no one having made any break throughs lately, so Yolanda (Suzy Nakamura) and Sonia (Sarah Baker) stage a fake death in their work place so that Lauren can come in and quickly "heal everyone." Of course, the truth comes out.

I do think "Urn-ed Run" goes too far by having Lauren buy Sonia and Yolanda's plan for even a minute. She has been a grief counselor for awhile, and to think that she can fix people in a day is ludicrous. One actor hired is even "healed" in five seconds flat. Yes, losing a co-worker is not the same thing as losing a spouse or sibling, and so does not rate the long-term commitment, but a day is awfully quick.

That aside, this is a really nice plot because it demonstrates Lauren's inclusion as a member of the group, not just as the leader. Were she a trained professional, she should keep an emotional detachment. Since she is an amateur, every bit as screwed up the people she helps, she should be counted among their number, and here we see that her charges think of her in that way. Which means, she will be helped with her issues, too, over time.

Go On has a central theme of healing through the love of others, and a group's support being a boost in a time of trouble. No one ever makes a major change sitting around the circle. The real stuff happens when the group is out in the world, still in each others' lives, showing their affection.

Even Ryan (Matthew Perry) admits out loud in "Urn-ed Run" that he loves and needs the group. Ryan is an aloof man, and for awhile, considers himself above the others. He probably still will to some degree, as his ego is part of his character. But this week shows that he also cares a great deal for them, and their affection is not a one-way street. It's something that had to happen for the story to progress, and it is well handled here.

Ryan faces Janie's (Christine Woods) demise hugely in "Urn-ed Run," flashing back to his wedding day. While trying to figure out a way to pay tribute with her ashes, he remembers the way he screwed up, and then fixed, their nuptials. It is a very well thought-out bookend episode, giving us the beginning and the end. Only in remembering Janie and doing what she would want, can Ryan begin to move on.

It's these raw, powerful moments that set Go On apart from other sitcoms. Everyone in the show is very, very sad. The writers understand that tears and laughter are closely related, and how to give respect to the feelings without trivializing them. I never thought I would see a comedy with such dark subject matter on network TV, but it's executed so, so well, there is little room to complain. It's definitely my favorite new sitcom this year.

Besides the touching stuff, there are also funny moments this week, because when dealing with sadness, human nature also needs a laugh. I love how bad Steven's (John Cho) singing is, and how he doesn't realize it. Janie's ashes mostly ending of the highway is as amusing as it is heart breaking. Mr. K. (Brett Gelman) continues to push the envelope, helping Anne (Julie White) steal Janie's ashes, and also being the one to figure out Ryan fakes ashes early in the half hour. Fausta (Tonita Castro) has some of the best lines, per usual. And Sonia's "book" allows her to cut on the others a bit. These people are bickering siblings, which keeps the chemistry sparkling and the opposite of boring.

The one thing I would like to see change for season two, which is likely to be ordered soon, is the upgrade of the rest of the biggest recurring characters to main cast. I know that Go On has a huge cast for a sitcom, but it can handle it. I am tired of George (Bill Cobbs) and the others taking episodes off. I miss Danny (Seth Morris) in the finale, and I worry that Carrie (Allison Miller) quitting her job last week because of her feelings for Ryan is the end for her, mostly. Every one of these people, save George, appeared in more than three quarters of the episodes. I want them locked into a contract before we lose them, even if some weeks they just sit there and deliver a couple of zingers.

That being said, someone will eventually have to get better and move away from the group, and the group will likely eventually see new faces. This is OK, a natural part of the process. Go On may even kill George (or someone else) off at some point, providing more reason for the characters to stick together. But until the series is ready for a real finale story for someone, and it needs to be a doozy of an installment, with an honorable send-off, they all need to be kept around on a more regular basis.

Janie appears in five episodes in season one, and yes, as much as I adore Woods, she must appear less frequently as the show goes on. But maybe only one episode less per season, and never less than one or two. She's an invaluable contributor, as well.

Go On has not officially been renewed, but will most likely return next fall to NBC.

Go On over to fall's best new sitcom

Episode Grade: 95%

At the beginning of this fall television season, my favorite new sitcom was The New Normal. What can I say? It spoke to me on an emotional level. But a close second was NBC's Go On. Featuring Matthew Perry back in fine form, the series presents a group of misfits, kind of like Community, but less weird. Not that weird is bad. Community remains my favorite currently running sitcom. It's just not necessary to go super-weird in every show, and for Go On, more moderate levels are appropriate.

The point is, Go On exhibited seeds of something special. As the initial run of episodes has played out, that opinion has only been cemented more and more firmly, pushing it into first place status on my list. The series features one of the best ensemble casts ever assembled, and their interplay with each other, exhibited in varying pairs and groups, as well as the genuine warmth they feel for each other, a connection made in a very raw emotional state, raises this show up to another notch.

In the latest episode, "The World Ain't Over 'Til It's Over," Ryan (Perry) takes Anne (Julie White) on a trip to the vineyard with himself, Steven (John Cho), and a girl that Steven just met. Perhaps there is some selfishness on Ryan's part, not wanting to be alone, and finding Anne a charming companion. But there is also a desire to help Anne, who is having trouble forgoing a daily visit to her lover's grave. This is Ryan putting himself out there, inviting one of the group into another aspect of his personal life, and finding new understanding as he goes for, and achieves, a laugh, a drink think, and a cry.

What is really cool is that there is no sexual chemistry. Anne is a lesbian, and while other shows may ditch that when convenient (cough, Glee, cough), Go On never seeks to build anything more than a platonic relationship between Ryan and Anne. She calls him on his stuff more than anyone else in the group, and the two also seem the most "normal," compared to the others, most of the time. This allows them a bond, and it gives Ryan an opening to go deeper into his support circle, something he really needs to begin to heal.

Of course, there is a love interest for Ryan on Go On, and that's the leader of the group, Lauren (Laura Benanti). Ryan is definitely interested in her, and has even made some little attempts to thwart Lauren's relationship with Wyatt (Hayes MacArthur, Perfect Couples) in order to keep the possibility open. In The World Ain't Over 'Til It's Over," Ryan advises Lauren not to accept Wyatt's proposal unless she is sure it is right, partly because he likes Lauren, and partly because he is remembering his marriage through rose colored glasses.

Lauren does take Ryan's advice to heart, at first, having doubts about whether she is ready for marriage. But then she ends up accepting anyway, seeing how much Wyatt cares for her and wants to make her happy. Which is good, because Ryan soon rushes off to take his advice back, once he remembers the reality of being in a couple.

Which makes one wonder if the Lauren / Ryan pairing may ever happen. Maybe it won't. Maybe Ryan is just projecting a romantic interest onto Lauren, the same way every other member of the group has done. Maybe Lauren only looked at Ryan twice because she was getting cold feet about committing to a long-term relationship. Maybe Wyatt will die after the wedding, leaving Lauren open to be a true member of the group once and for all.

I really love the scenes of Yolanda (Suzy Nakamura) and Sonia (Sarah Baker) helping Wyatt plan the proposal. I like that Wyatt doesn't fall for their poorly disguised attempts at sabotage, which makes it all the more rewarding when he wins them over. Yet another small branch off that works, one among many, many possibilities with this cast.

While Ryan and Anne are away, the rest of the misfits gather for Mr. K's (Brett Gelman) end of the world, party, hence the name of the episode, "The World Ain't Over 'Til It's Over." It's sweet to see them all support the least likable member of the support group even when they don't agree with his opinions. And the only reason Ryan isn't there is probably because he's helping Anne. Which, as I've said, will only bring him more involvement with the others, and lead to his attendance of such functions in the future. So it's all good.

If you're searching for the next great comedy, look no further than Go On, which airs Tuesdays at 9 p.m. ET on NBC, beginning again on January 8th.

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

Article first posted on TheTVKing

"Dinner Takes All" for Go On

NBC's Go On has been one of the few pleasant surprises in a lackluster slate of new broadcast shows this fall. Buoyed by a strong lead actor and a very talented ensemble, it continues to be entertaining, funny, and heartwarming week in and week out. This week's Thanksgiving episode, "Dinner Takes All," is no exception.

The set up to get the whole group together is slightly convoluted. Ryan (Matthew Perry) has feelings for his college chum, Amy (Lauren Graham, Parenthood, Gilmore Girls), but isn't ready to act on them, since he is still mourning the loss of his wife, Janie (Christine Woods). Steven (John Cho), on the other hand, is interested in starting something with Amy right now, taking away Ryan's future possibility. So Ryan selfishly invites his support group to the station for Thanksgiving, where he can keep an eye on things, and try to thwart any budding romance.

Ryan is slow to grow as a person. Steven is his best friend, and Ryan is OK sabotaging Steven's happiness for some vague idea of something Ryan might want sometime way down the road. This is not the action of a good friend or a kind man. Yet, somehow Ryan does this with enough charm to keep from being detestable, as usual. How a man exists, who can be so thoughtless towards those he cares about, yet still evokes sympathy from the audience, is hard to fathom. But Go On makes it work.

The resolution is very cool. Amy says no to Ryan because she doesn't want to compete with Janie. Amy says that he must date several other women first, and only then would she consider going out with him. There is no clue as to whether Amy might consider dating Steven, though if she's waited this long for Ryan, it's unlikely that she'd be interested in another friend. It keeps the door open for Amy to return (if Parenthood is canceled, as it is often in danger of being), and it also stops Ryan from ruining a great friendship by jumping into something he isn't ready for.

The rest of the characters are used very effectively. Anne (Julie White) has to deal with her children falling under the Ryan spell, which she herself often fights off. Owen (Tyler James Williams) gets a fantastic subplot in speaking openly with his mother. Mr. K (Brett Gelman) is creepy. The others are along for the ride, and they all have a hilarious, Brady Bunch-style opening.

I did miss George (Bill Cobbs), though. It's understandable that a freshman network sitcom cannot afford to employ all of these actors full-time, meaning that some group members will have to take weeks off, as George does in "Dinner Takes All." George also would have made one too many people for the Brady Brunch gag. But each person contributes to the overall dynamic, with gels so well, that anytime someone sits out, it's sad. Hopefully, the series will prove popular enough to expand the main cast by season two, mostly preventing such absences.

Another casualty of such a large number of actors involved in a sitcom is that many are often underused for weeks at a time. So far, Carrie (Allison Miller) seems to be the most effected, living in a separate world from the rest. In "Dinner Take All," she provides the laughs when forced to cook dinner for Ryan's gathering, but her reaction to this isn't fully explored, sadly.

The group, along with Steven and Carrie, are Ryan's window into being a fully developed person. The only chance he has of improving himself is through learning to care about these other people. He might often consider himself better than them, but what he is slowly realizing is that he isn't, and others have feelings, too, a fact most adults acknowledge. This is helped along when other characters have their own stories, with resolutions that don't concern Ryan, such as Owen's mother thanking Lauren (Laura Benanti) this week for helping her son.

The humor mixed with the touching moments are what makes Go On special, and oh so worth watching. That, and the fact that the series is taking its time with Ryan's growth, not forcing him to unnaturally speed through any drastic changes.

Watch Go On Tuesdays at 9 p.m. ET on NBC.

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

Pick a side for The Inbetweeners

MTV premiered The Inbetweeners this week. It used to be anything on this network could be written off. The fact that The Inbetweeners is a remake of a British series, a la Skins, would count even further against it. However, surprise surprise, The Inbetweeners is good. Very good.

There are a lot of shows you can compare The Inbetweeners to. Some have said The Wonder Years, but I prefer the more modern references, like calling it a series version of Superbad or the guy (and loser-class) bend on Awkward. I might even see it as an American Pie prequel. All of these are excellent projects, and The Inbetweeners does not quite deserve to be in a league with them. Yet. But it does come a lot closer than one might expect it to.

I cannot speak as to whether it is like the original version or not. Like most Americans, I have not seen the popular foreign show, though I'd like to, so this review takes the episode purely on its own merits.

As the "Pilot" of The Inbetweeners begins, Will (Joey Pollari, Profile of a Killer) moves to town. He has recently transferred from a private school, and doesn't quite fit in with the less-civilized peons in the public educational system. Not that he's snobby about it. The Vice Principal (Brett Gelman, Eagleheart, Go On) thrusts Will into an already existing clique of boys who aren't very popular, but like most young men, talk a big game, think about sex constantly, sneak alcohol, and get into trouble when they aren't kept occupied. It isn't long before they begin to rub off on Will, welcoming him into their group.

Jay (Zack Pearlman, The Virginity Hit) is the polarizing character, the Jonah Hill-type who acts like he has had a lot of sexual conquests. His friends likely don't believe him, and viewers definitely won't, but there is still something charming about him. Everyone knows someone like Jay. We understand that his outsize personality is meant to cover up insecurities, and he is genuinely funny, so we forgive him, even when, as he does in the "Pilot," he exposes his friend's boner in the cafeteria.

Simon (Bubba Lewis, Flags of Our Fathers) is the more romantic type, stuck on one girl, Carly (Alex Frnka, Unanswered Prayers), a close friend since they were young. In the "Pilot," Simon drinks a bit too much and makes a play for her. This ends horribly, and provides the only scene in which the "Pilot" goes too far into gross out territory. Hopefully, this type of sequence will not be repeated.

And then there's Neil (Mark L. Young, Big Love, Sex Drive). He is the least featured in the first episode, so we'll have to wait to find out who he is.

The reason The Inbetweeners works is, like Awkward., it is highly relatable and realistic. These characters are still young enough that they don't have to have it all together. Those teens going through the same things will be able to identify with someone in the cast, while TV viewers who are well past that age may like the show for nostalgia's sake. These boys have not been Hollywood-ized, made unrecognizable from the average teen. Instead, The Inbetweeners lets them be themselves, pimples and all.

Plus, the show is funny. The writing is tight, the dialogue is smart, but not so much so that it takes viewers out of the moment. The setting is perfect, and the pacing is great. A bunch of positive elements all combine to make it a series well worth watching.

Catch The Inbetweeners Mondays at 10:30 p.m. ET on MTV.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! First posted on TheTVKing

Go on, Go On

Grade: 88%

GO ON is about a popular sportscaster named Ryan (Matthew Perry, Friends, Studio 60 On the Sunset Strip) who wants to return to work a month after the death of his wife. Ryan’s boss, Steven (John Cho, Star Trek, Harold & Kumar Go to Whitecastle), tells Ryan to attend ten counseling sessions first, to make sure he’s mentally up to the task. But Ryan doesn’t believe in therapy, making a mockery of the situation, to the delight of the rest of the troubled group. His new therapist, Lauren (Laura Benanti, Eli Stone, The Playboy Club).

This is an excellent series, fully worthy of Perry’s talents. While the actor has struggled in recent years to find a show that stays on the air, GO ON might just be the one to do, if the “Pilot” is any indication. It’s very funny, but the story also goes very dark, allowing Perry to play drama and comedy, sometimes simultaneously. It’s a winning mix, showing vulnerability while making people laugh, and one that should prove popular with television viewers.

Were the series riding on Perry’s wave alone, as excellent as he is, that might not be enough. Instead, Perry is surrounded by a very talented ensemble. Playing the members of his therapy group are Suzy Nakamura (Dodgeball, The West Wing), Brett Gelman (Eagleheart), Tyler James Williams (Everybody Hates Chris), Seth Morris (Happy Endings), Tonita Casto (Funny People), Sarah Baker (Free Radio), Bill Cobbs (Night at the Museum), and Julie White (Grace Under Fire, Transformers). Each plays a pivotal role in the first episode’s success, and coming together, make for a heck of a team.

This therapy group plot does make parts of GO ON seems a little like another NBC sitcom, Community. There is a feel good style of helping each other out and bonding, even though they are brought together from different walks of life. These people may not have sought each other out as friends, but thrust together, they are stronger for the relationships. While GO ON will probably not be goofy and meta like Community, there are a plethora of ways the plot could go with such a strong ensemble.

Of course, there is romantic tension, too. This exists between Ryan and Lauren. At first, this results in a slight bit of ickiness, considering she is the mental health professional assigned to treat him. Until we learn that she’s not exactly so professional. Then, things quickly become acceptable. Ryan is in no position to rush into anything just yet, but the groundwork is already being laid between the two.

Which doesn’t make the series predictable. In fact, nothing about the “Pilot” is all that obvious. There are subtle moments and deep understandings mixed with startling drama and great jokes. It’s hard to predict each zig and zag, but the developments feel natural and flow well. It’s some seriously good storytelling, perhaps more sophisticated than most half hour comedies.

GO ON lags when focusing on Ryan’s job. Cho does OK, and Allison Miller (Terra Nova, Kings) is fine as Ryan’s assistant. But every time these characters are on screen, and Perry goes back to reality, the story lags just a bit. Sure, viewers need to see how Perry will cope with the real world, as he can’t stay in his happy bubble forever. These parts just aren’t developed as well as the group scenes. Perhaps this will change in time, or maybe Ryan’s work just won’t be a huge focus.

In all, GO ON works extremely well, for all of the aforementioned reasons. There is a broad enough appeal that it should have no trouble finding an audience, and avoids serving any niche too fully. Yet, it still has a very high addictive quality because it is so well made, so it’s not just fluff for the masses. Check out GO ON tonight after the Olympics, and when it premieres on September 11^th.