Not Much CLASS

Article first published as TV Review: CLASS on Seat42F.

BBC’s Doctor Who has had a couple of spin-offs, but none are currently running. Given how infrequent new installments of the parent show are, it’s almost always welcome when there’s some continuation or extension set in that world to fill in the gaps. The newest series, though, at least in America, doesn’t come in the off-season, but instead will air in parallel with new Doctor Who, beginning this weekend.

Called CLASS, the show tells the story of four students and a teacher at the infamous Coal Hill Academy. Renovated and fancied up since the last time we saw it, the school having been periodically featured in the series since the beginning, most recently as Clara’s workplace, this allows both a familiar and fresh setting for the new show.

The ensemble is as diverse as it can be in the British school-limited setting, with multiple races and sexual preferences represented in the five-member troupe. There’s: Ram (Fady Elsayed, My Brother the Devil), who dreams of being a football (soccer to us Americans) star; April (Sophie Hopkins, Brackenmore), the mild-mannered nerd who helps care for her mother; Tanya (Vivian Oparah), a Nigerian prodigy; and Charlie (Greg Austin, Mr. Selfridge), an alien price, the last of his race, who has a crush on a Polish boy, Matteusz (Jordan Renzo). They are watched over by Miss Quill (Katherine Kelly, Coronation Street, Mr. Selfridge), also alien, also last of her race, enslaved to protect Charlie.

So yes, the character descriptions give you a bit of the ongoing plot right away. With two extraterrestrials hiding out and trying to keep their races from going extinct, any number of baddies will come to the school looking for them. Then again, that institution has always attracted more than its fair share of trouble, with a body count well above average. So multiple elements converge on a place that is sure to see exciting things happen on a regular basis.

I do admit, I found CLASS a little hard to access at first. The core group seems so different from one another, and it feels weird to see them all drawn together artificially early, not by the monster, but prior to that. It was especially bizarre when they all sat next to one another in class. I think most shows would have circumstance bond them, or focus on an already solidified friend group, but CLASS tries something different, and I’m not sure it quite works. Or maybe I’m applying an American cultural filter to a British series; I’m just not sure.

The first episode itself is interesting, setting things up nicely, while still having an urgent plot driving it as well. There are some fun references, such as when the school is said to be essentially sitting on a Hellmouth. The problem with that is, Buffy the Vampire Slayer is one of the best shows of all time, and inviting comparison is risky. The saving grace is that Buffy didn’t have a strong first season, so it also asks viewers to give CLASS a chance if it doesn’t immediately hook them.

The Doctor (Peter Capaldi) makes his inevitable cameo, as we know he must, but I found it a disappointing one. Not in of itself, as I loved seeing him, as it fits into the whole. CLASS is trying to set itself and its heroes up, and having The Doctor burst in at a key moment feels like cheating, robbing the protagonists of their chance to really stand up for themselves. We do get some other opportunities to see the cast in action, and The Doctor does provide some welcome wisdom. But it still didn’t feel quite right.

I like CLASS. It has a talented ensemble, and I cannot get enough of Kelly as Quill. But it doesn’t have the charm of Doctor Who (except when The Doctor is present), and it struggles to find its own identity in episode one. It isn’t as instantly gripping as Torchwood, a prior spin-off. With seven more episodes in this run, we’ll see if it develops into something worthwhile, or sputters out.

10 Binge-Worthy Shows

Article first published as 10 Binge-Worthy Shows on Seat42F.

The leaves are turning, the air is growing chillier, and it’s beginning to be the season where a lot of us just want to curl up on the couch and stay inside. For just such an occasion, I have a list of ten television dramas (sorry comedy fans) that would make great binge-watching projects this winter. They are not in any particular order, but all are worthy of your time.

Gilmore Girls ~ Last week, Netflix announced it was making a brand new season of Gilmore Girls! What better time to relive the seven previous years than right now? Netflix has the entire quirky, charming series ready to welcome you back to Stars Hollow. Just have some tissues ready whenever Richard Gilmore comes on screen. His presence will definitely be missed when the show returns.

The X-Files ~ Similarly, FOX is bringing back The X-Files in January. Some people say it may be a little late to tackle all nine seasons, but personally, I think it’s a challenge to accept. You’ll get all the Mulder and Scully, all the weird aliens, and all the Smoking Man. Just login to Netflix or Hulu and let the marathon begin! (And invite me over, because this is the one show on this list that I haven’t managed to get to yet, but I know it’s awesome!)

Lost ~ For my money, Lost is one of the best shows ever made. The twisty ABC drama kept fans obsessed and guessing for six years, all of which are now free for Netflix subscribers. This is definitely a series that begs for binge-watching, as so many little details dropped in one hour matter several installments later. The ending was admittedly polarizing for fans, but if you enjoy character-driven programs, I don’t think you’ll be disappointed.

Buffy the Vampire Slayer ~ As far as rewatchability goes, Buffy is at the top of my list. The tale of the Slayer, who faces the demons and forces of darkness, never gets old. From the goofy high school days, to the uber-depressing sixth season, to the heart-breaking series finale, Buffy is great all the way through. It’s the perfect mix of humor, action, and compelling drama. And while you’re at it, stay on the Joss Whedon kick and go through Angel, Firefly, Dollhouse, and Dr. Horrible’s Sing-Along Blog. (On Netflix and Hulu.)

Fargo ~ Looking for a show that’s still on the air to get into? Might I recommend FX’s Fargo? Season two just began, so you can plow (sic) through the first year’s ten episodes in a weekend on Hulu, if you’re so inclined. It’s an outrageous show in the style of ‘true crime,’ with a top-notch cast that includes Martin Freeman, Oliver Platt, Kate Walsh, Colin Hanks, Keith Carradine, Allison Tolman, Key & Peele, and, surprisingly enough, Billy Bob Thornton. (Trust me, Thornton is the best you’ve ever seen him.) Whether you’ve seen the movie or not, you should definitely check out the series, which tells a different tale. And season two has a new cast and story, so you can jump in at any time.

The Wire ~ Are you tired of all your friends telling you that The Wire is the absolute best show ever made and you having no frame of reference? I was, too, but now I’m almost done with season one, and I totally get it. Last year, HBO released all five seasons of the David Simon drama in HD for the first time ever. If you already have an HBO subscription through your cable company, you can login via HBO Go to watch. If not, HBO Now is available as a stand-alone service you can sign up for directly, and if you start soon, you’ll be all ready when Game of Thrones comes back in the spring. (Or binge watch Game of Thrones on the service, too.) Simon’s excellent Treme is another great one to check out.

Justified ~ Like Westerns? FX has a doozy of one that recently came to an end in Justified. Starring Timothy Olyphant, each of the six seasons found a lawman tangling with various gangsters and locals in the underpopulated, heavily treed state of Kentucky. The first scene of the pilot will hook you right away, Olyphant’s smoldering hero radiating cool, and the ending of the show is about as perfect as any series finale I’ve ever borne witness to, with four words just as meaningful as those that famously conclude 1984. It’s all available now on Amazon Prime.

The West Wing ~ If the craziness of the current presidential election primaries are bumming you out, why not go for the ideal administration? President Bartlett saved me from my second-term-Bush woes, and I’m sure he can do the same for you, no matter which side of the aisle you fall on. With a smart, witty staff, whose dialogue is as sharp as the ideals represented, I cannot recommend it enough. Bonus points if you make it an Aaron Sorkin trilogy and take in Studio 60 On the Sunset Strip and The Newsroom as well. (I wanted to recommend Sorkin’s Sports Night, too, but it’s a comedy, and this list is only for dramas.)

Felicity ~ The original Crazy (not quite) Ex-girlfriend, Felicity is a coming-of-age drama about a girl (named Felicity, duh!) who travels across the country for a guy, and it’s available on Hulu. For four seasons, there were only a few hints of weirdness underlying the surface (the shoe box episode, Pink Power Ranger Amy Jo Johnson’s small screen return, Greg Grunberg and Ian Gomez). Then, after the series finale the writers wanted, its forced resurrection resulted in a handful of hours that push the show far outside of its genre, and give answer to the concerns of those that think Felicity ultimately chose the wrong guy. Plus, see Jennifer Garner before she was famous! (Then continue on the J.J. Abrams train and check out Alias, which features Bradley Cooper before he was famous.)

Star Trek: Deep Space 9 ~ What can I say? I’ve been a Trekkie since long before I got into television. Deep Space 9 has always been the black sheep of the franchise, never being on the air alone, trapped between more popular siblings The Next Generation and Voyager. Yet, being confined to a single locale made it different than any other Star Trek series. Seven years of religion, politics, hopeless war, and a recurring cast of dozens make this one of my favorite shows of all time, and if you missed the overlooked gem, now is the time to redeem yourself. It is available on both Netflix and Hulu.

Honorable mentions ~ The original programs made by the streaming services themselves! We’re still in the early days of high-quality, long-form shows that you can’t get in your cable package. But from Netflix’s House of Cards and Orange is the New Black, to Amazon’s Transparent and Mozart in the Jungle, to Hulu’s… well, Hulu will get there some day, there are very good shows on a variety of platforms. Scroll through the offerings on each of these, and you’re likely to come across some really neat stuff.

SLEEPY HOLLOW Fans Are "Kindred" Spirits

Article first published as SLEEPY HOLLOW Review Season 2 Episode 2 The Kindred on Seat42F.

Week two of season two of FOX’s SLEEPY HOLLOW may be a tad better than the premiere. “The Kindred” finds Abbie (Nicole Beharie) and Ichabod (Tom Mison) on a quest to rescue Katrina (Katia Winter) from the clutches of the Headless Horseman (played by Abraham Van Brunt when shown with a head). But Katrina has an idea that it might be a good idea to stay captive and serve as a mole within the organization. Will her ploy work?

First, SLEEPY HOLLOW must be complimented on the terrific new theme song, which features images of all the main players. This makes it even more like Buffy the Vampire Slayer, which it is already feeling similar to, given the library-like Archives the characters use as a base and the subtitle font displayed when the demons speak. None of this is a bad thing, as Buffy is quite an excellent show, and SLEEPY HOLLOW is different enough to have its own identity.

Despite starting with yet another unnecessary dream sequence / fake out, “The Kindred” is a solid episode. Not only does it provide drama and action and some cool special effects, but it also returns things to normal for SLEEPY HOLLOW. Normal in this case meaning Abbie and Ichabod are working a mission together against evil forces, spiked with some humorous dialogue to highlight the time travel aspect, such as Ichabod ranting on credit cards this week. It’s fun and exciting and exactly the kind of episode fans love, extending the mythology, while also having an immediate story to serve.

There are some really smart twists in “The Kindred.” When figuring out a way to distract the Headless Horseman, our dynamic duo resurrects a corpse that Ben Franklin (Timothy Busfield) sewed together. It turns out Benjamin Franklin is the original Dr. Frankenstein, which is a neat play on names. The creature disappears at the end, leaving a hanging thread sure to be picked up again later. The Horseman’s argument to Katrina against Ichabod actually makes some logical sense, and while I don’t think she’ll fall for it, I was impressed at the reasoning. It’s also cool when Henry (John Noble) turns out to be Irving’s (Orlando Jones) doctor, foreshadowing all sorts of doom, especially when a contract is signed in blood.

With Irving locked up, there’s a new sheriff in town, literally, played by House of Card’s Sakina Jaffrey. What’s interesting about this new character is that she seems like a good person and is very competent, doing what she thinks is right, but how capable she is actually works against Ichabod and Abbie. One assumes Irving will resume his post soon, and this woman’s connection to Abbie and Jenny’s (Lyndie Greenwood) mother makes me suspicious of her. But for now, there’s nothing obviously telegraphed for her, and she’s a realistic obstacle for the plot.

Of course, while SLEEPY HOLLOW may be returning to normal, sometimes things can hew a little too closely to normalcy. Katrina is once more trapped, apart from her love. Jenny is back in the asylum. I don’t think either of these things will stick. However, because of them, “The Kindred” gets a little too close to season one’s structure, risking repeating itself.

It also seems a bit like a cop out when a character speaks of unreliable prophecies. True, all sorts of documents foretelling the future have been proven untrue, so it makes sense that the stuff about the witnesses and their destiny in SLEEPY HOLLOW should also be shaky, at best. However, because these things are an essential part of the show, it feels like the writers are just trying to make sure they don’t write themselves into a box, leaving a loophole in which to wiggle out of “established” items when they deem fit. It’s convenient from a storytelling perspective, but makes the driving arc murky.

Overall, those gripes are really overshadowed by the excellent job the cast and crew is doing with this production. SLEEPY HOLLOW remains a series I look forward to tuning in to every week, and it’s far from predictable. Season two should be at least as great as season one, if these first episodes back are any indication.

SLEEPY HOLLOW airs Fridays at 9 p.m. ET on FOX.

"Goodnight, Sweet GRIMM" Review

Article first published as "Goodnight, Sweet GRIMM" Review on TheTVKing.

NBC's Grimm has teetered back and forth between serial and procedural, introducing us to a wide variety of creatures through its formulaic police elements, but also continuing some larger arcs over the course of a season or longer. In the sophomore season finale this week, "Goodnight, Sweet Grimm," all pretense of the case-of-the-week is thankfully dropped in favor of more complex story.

A frequent stumbling block series face on network television these days is a resistance to serial storytelling. Some shows, the smart ones, start out playing the game, delivering mostly stand-alone episodes, keeping themselves on the air until they gain enough of an audience to do what they want. The problem with that tactic is, more discerning viewers may give up if they don't see any sign that the story will get better, as I did initially with Grimm in the first year.

Luckily, others did not judge the show quite so quickly, and now building a loyal following, Grimm finally gets to show us what it can do. The penultimate episode before "Goodnight, Sweet Grimm" begins the tale of Eric Renard (James Frain, The Cape, True Blood) coming to town with a voodoo Wesen in tow who can make zombies. It's all part of an elaborate trap to capture Nick (David Giuntoli), which continues in this latest installment.

This is bad timing for Nick, who has just reunited with Juliette (Bitsie Tulloch). The two haven't even worked out a nice balance between their romantic life and Nick's Grimm activities, with Juliette tagging along on the zombie hunt and almost screwing things up. They need to even out their relationship before being tested, and Nick's kidnapping may throw things off enough to cause the couple some serious problems.

I don't know that they should fix things. When Juliette loses her memory, fans root for her to get it back so that she can be with Nick. But her initial handling of being in on the secret has not inspired much confidence in her. She could end up doing more harm than good on the team. Maybe it's time to cut her lose, opening Nick up for other loves and other stories.

Nick's group is forming nicely, with Monroe (Silas Weir Mitchell), Hank (Russell Hornsby), and Rosalee (Bree Turner) often providing backup. What's more, Grimm is finally getting around to giving them some subplot. More of that would be welcome, as a true ensemble series, even if Nick is the center, is always more interesting. Grimm has already been compared extensively to Buffy the Vampire Slayer, and developing the gang further is a good lesson to take from their forebearer.

At some point, others will have to be added to the ranks, too. If the series can budget more main characters, I would petition for Bud (Danny Bruno), Nick's "sidekick," who is around not quite enough for my taste, to get the upgrade. I also think Dr. Harper (Sharon Sachs) could make a good addition, and she could probably handle the truth about the Wesen better than most, facing dead bodies on a daily basis and being used to weird or gruesome stuff.

Captain Renard (Sasha Roiz) flirts at the fringe, and may get a chance to prove himself when he'll soon have to choose between helping Eric or Nick. Renard doesn't care much for Eric, but Eric is offering a chance for the Captain to rejoin the royal family, which has to be tempting. I think Captain Renard will do the right thing, but if the series shows him waffling a bit, that could be more interesting, even for those who want him on the right side.

I wonder how Adalind's (Claire Coffee) pregnancy might play into Renard's feelings. Adalind's tale has been one long separate from the rest of the cast, and is unfolding very slowly. When Renard enters into the picture, it should not only speed things along, but lend more meaning to what is happening. Colliding arcs could change everything, in a good way, so it should definitely happen sooner, rather than later.

Sgt. Wu (Reggie Lee) is the last main character who isn't in on the whole supernatural world that exists around them. As much as I enjoy his presence, I'm in no hurry for him to join the ranks of the Grimm. He not only provides comic relief, but there's something really fun about keeping him in the dark that has not nearly gotten old yet.

One thing I would definitely like to see is a major death on Grimm. Not that I'm trying to eliminate anyone from the cast, but I feel like it's needed to raise the stakes. One of the main characters in Portland should be murdered in some terrible way. This would infuse the story with more oomph and danger, as it still often feels like fluff, and the peril is usually quite light.

Grimm is well on its way to being a beloved show, and now boasts way higher quality writing than it starts with. With a few tweaks, it could soon raise itself up to one of those series that is anticipated weekly. For now, it's nice to see it coming along, and I look forward to what the season three premiere will bring.

Grimm will return to NBC next fall.

When Series Break Genre

Article first published as When Series Break Genre on Blogcritics.

Glee shocked many this week, when, in the middle of another goofy choir room scene, shots broke out in the halls of McKinley. For a full 10-minute act, students cowered and cried, terrified for their lives, not sure if they would soon be dead. They made videos to say goodbye to their loved ones, and a teacher even risked his life to save some students.

The fact that it was a false alarm, and no one was hurt, is incidental. For those minutes, viewers sat on the edge of their seats, deeply worried and upset.

This is an excellent hour of television; I am not arguing that. With school shootings and gun violence such a timely issue, Glee spoke to us about a political view that needed to be expressed and heard. It was very well handled, no one had to act out of character, and the resolution was believable.

Yet, as I consider what to write for my forthcoming review of the episode, which will soon be posted on this site, I can't decide whether to congratulate or lambast the show. Glee is a comedy, first and foremost. There is some drama from time to time, a teen pregnancy, a car wreck, but nothing even comes close on the scale to this week's episode. I don't believe it was a stunt done for ratings, not even airing during sweeps. But it does completely break the tone of the series.

Sure, there was a warning at the beginning of the episode, saying there would be disturbing violence. Yet, no hint of any appeared for the first half hour, as the show went on with the light-hearted story lines, and so it was with great surprise that events unfolded.
 
But as good as the installment was on its own, should Glee have broken out of its mold so completely and so startlingly? Parents may let their children watch Glee, and then be surprised when something so dark suddenly happens. Regular viewers may have been looking forward to a bit of fun, only to be shocked into stunned silence. 

Glee is far from the first show to do such a departure from their normal storytelling. I remember watching the beginning of an episode of All in the Family on the morning of September 11th, 2001 in which Archie's wife was raped. I never got to see how it ended, for obvious reasons, but you get the point. This is a long tradition in the television world.

I applaud series that take risks and do something big. Grey's Anatomy, Buffy the Vampire Slayer and Scrubs are among the shows that have done a musical episode in the past decade or so. Angel had puppets. Community has done both of those and much more.

Yet, sometimes it just doesn't feel right. Felicity may have broken new ground for college dramas when the series made the last five episodes full of magical time travel, being almost completely a typical series before that. But those episodes didn't match the rest of the show, and that can be troubling.

It's one thing for a show like M*A*S*H to go dark, as very early in its run it began dropping in serious subject matter amid the comedy. As the years went by, it naturally grew more dramatic, and became a more serious show. Plus, it was always about war. But it's quite another for Glee to bring gun violence into a series about singing teenagers.

Now, one can argue that school shootings are tragic and horrible and almost always happen with little warning, unexpectedly rocking a world that doesn't deserve or expect to be rocked. That is a valid point, and makes Glee's entry realistic. However, it also shook me to the core and, two days later, I can't stop thinking about it.

Maybe that's a sign of good TV, being memorable and having a true impact. But the fact that I still haven't decided if I liked the occurrence or not is a little unsettling, and not everyone likes to be unsettled by a favorite TV show. So instead, I'm left pondering.

What do you readers think? Are you glad that Glee went there, or do you wish they'd left it alone? Is it ever OK for a series to veer so far off of its normal course, or should it keep pleasing the fans that support it, giving them what they think they want? Does motivation count, with the writers being excused if they do it for the right reasons, to draw attention to an important issue? Feel free to weigh in and discuss in the comments below.

Redefining Cancellation

Article first published as Redefining Cancellation on Blogcritics.


This week, Rob Thomas and Kristen Bell posted a call on Kickstarter soliciting donations to produce a Veronica Mars film. Within, 12 hours, they'd raised the minimum $2,000,000 needed for the project, breaking all fundraising records for the site. As I'm writing this article, the total now stands at $3,572,678, and the more they raise, the bigger scale film they can make.

Many are calling this the act that re-defines how cancelled shows can be resurrected. Veronica Mars ran for three seasons on the WB and CW, and was beloved by critics and fans. The new project came together because the studio, which had no intention of making the film itself, agreed to let the show's creator and star handle things themselves. Can other series in a similar situation, like Gilmore Girls, Party Down, Bored to Death, and Jericho follow the same path?

Well, there are a variety of obstacles to such projects. Sometimes, it may too expensive to revive with fan donations, like Dollhouse. Other times, the cast may be so busy that bringing them together would be awfully difficult, like Firefly or Freaks and Geeks.

Some have theorized that fans of other cancelled shows who don't particularly care for Veronica Mars may have donated money just because they want this to succeed. If so, their own beloved favorite might be next. While there could be some truth to this, I can't imagine most of those types would have donated a lot of money, without any guarantee their cash would help towards their own goals, so I assume the majority of the backing (including my own) came from people who actually really enjoyed and miss the series.

Also, I do think some of the backers of the Veronica Mars film might be upset if the movie makes a big profit. After all, Warner Brothers still gets to keep the money the movie makes, and Kickstarter investors are not paid back. Is it fair for a studio to force the fans to pay for such things, then keeping the profit? Shouldn't they offer some sort of return on the fans' investment if the end result a profit? Or maybe, if Warner Brothers wants to keep the fans happy, they should go ahead and greenlight a sequel, giving Veronica Mars extended life, and letting us know we've been heard.

Of course, there are some benefits to a Kickstarter campaign. Not only do fans get to take ownership and bragging rights, but the swag offered is also pretty good. For a donation of only $100, fans receive a movie poster, t-shirt, Blu-ray copy of the film, and a downloadable .pdf of the script. They will also receive a finished copy of the movie when it hits theaters. That's quite a bit of stuff thrown in for your support. Bigger donors will even get to name characters and appear on screen. These sorts of premiums and chances to be involved help fans feel even more connected and likely to support the project, though they are sort of unfairly balanced towards those who can afford to give big time.

But even should Kickstarter model not work long-term, there are other ways to resurrect a beloved series from cancellation hell. Sometimes network powers that be can be persuaded to change their minds, like AMC did for The Killing (with a little financial help from another source). Sometimes another producer or netword will come along to save the day, like Netflix did for Arrested Development or Comedy Central for Futurama. Occasionally, DVD sales are strong enough to justify another chance, like FOX did with Family Guy. Comic books can extend the show's life, like Buffy the Vampire Slayer.

Then there are the prequels and sequels. 90210 got five more seasons with a new cast on the CW. Dallas is back on TNT, mixing old and new characters. The Carrie Diaries seeks to tell the beginning of the story for Sex and the City, eventually bringing in many familiar faces.

The point is, never has there been a time when cancelled doesn't necessarily mean cancelled. Sure, The River won't come back in any way, shape, or form. But that doesn't mean that some of those that deserve it aren't finding ways to continue.

This isn't entirely a new phenomenon. The Brady Bunch and The Waltons made TV movies long after they went off the air. Star Trek went to the big screen and produced ten films spun off of two shows, not counting the new reboot with recasts.

However, I think the newer model is more encouraging. Veronica Mars may only live for two more short hours, but many of the other examples I've listed have gotten far more screen time, and some even run for years after their resurrection. This brings them to all new fans, as well as the old ones, extending their lives exponentially.

Are we out of new ideas? Of course not. There will always be a fresh series right around the bend. But that doesn't mean there isn't still life left in those that have been put out to pasture, and for some, getting to fulfill untapped potential, playing out as they should, rather than getting an early grave, this a trend to celebrate.

Grimm will tear your "Face Off"

Article first published as Grimm will tear your "Face Off" on TheTVKing.

NBC's Grimm has really grown into something special in its second season. Sort of like a darker Buffy (at least compared to the early seasons of Buffy), Grimm is about a group of people, some with supernatural powers, some without, who fight the evil beasts who threaten their world. More and more people are brought in on the secret, gearing up for an epic battle.

Unlike season one, which mainly focuses on a case every week, season two travels one long arc, as Juliette (Bitsie Tulloch) loses her memory of Nick (David Giuntoli) and finds herself hopelessly and passionate attracted to Nick's boss, Captain Renard (Sasha Roiz).

Last week's episode, "Face Off," picks right up where the fall finale left off, so much so that it feels like the second hour of a two hour episode. Not only do we find Juliette and Renard fighting their feelings, but Nick is called to investigate four bodies that he himself kills in the previous hour. It's really quite exciting that the story just keeps going, even if I feel little like I need a refresher viewing of the previous episode.

It's because of this that Grimm has moved from good to great. There's a deep mythology and forward momentum for the series. The characters continue to grow, and the consequences of their actions come back to bite them down the line. Each story cannot be considered separately, and is part of a larger whole. Plus, the characters are easy to connect to, and the stories feel like they have high stakes, making the result quite entertaining.

That being said, I'm ready for the Juliette / Renard plot to come to an end. Nick is almost about to spill the beans to her about what he is and the supernatural world around them before her coma, and since then it's felt drawn out. It's frustrating to watch Nick and Juliette be apart week after week, with her not remembering him at all. It's time for her to know everything and get on the same page as the rest of the characters.

Hopefully, that will happen next week. Nick drinks a yucky concoction in "Face Off" that is the first step in a two step process to break the spell.

It's a little disappointing that Nick has to step in and save the day here. Yes, he's the central hero of the story, but Renard has been trying to figure out a way to stop the attraction himself. Also, Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) are the ones who have been researching the issue and concocting an antidote. Why not let someone else share a little more of the spotlight?

That is probably my only complaint about the direction of the show so far: Nick is getting too much of the focus. He has a great group of friends, and the show has a strong ensemble. I think the stress of being responsible for everyone is getting to him. He has plenty of reason to be mad at Renard and Juliette, before he learns the full story, but there's a darkness in his gaze at the house where they are that isn't present in the character before. I think there might come a breaking point before long where he just can't do everything himself, and that will not only be good for the character, but also for the show.

I'm also intrigued by Adalind's (Claire Coffee), especially if the baby is, in fact, Renard's. This will not only shake up the dynamics of the central group, which I'm hoping Renard will soon be a part of,  but also the royal family over in Europe. Grimm is giving us pieces of the royals' story slowly, but I feel like they may be bigger players in upcoming stories, and I'm looking forward to that.

Grimm airs Fridays at 9 p.m. ET on NBC.

Horror on Television

Article first published as Horror on Television on Blogcritics.

This week's topic is about a television genre that has only recently entered the landscape in a notable way: Horror. Yes, one can argue there have horror series before, and there have been. Tales from the Crypt, Stephen King adaptations, and even some episodes of The X-Files spring to mind. There's also been the comedy attempts, like The Munsters and The Addams Family. But never have there been so many on at once, and certainly not ones made this well or getting this kind of attention.

Some may ask why we even need horror stories, as there are plenty of people who avoid the scary stuff. But fear is a primal part of the human psyche, like love and sadness. Why would we want to leave a part of ourselves unexplored, just because it can be a little unsettling?

Horror is a tricky subject because of the material. Horror films are almost always rated R and contain blood and guts, as well as violence and nudity. This isn't the easiest thing to tone down for the small screen, especially without alienating the audiences who crave it. Any attempt to lessen the shocking material will make the show unwatchable to the target audiences and defeat the purpose. It's adult subject matter, and so must be handled carefully.

The way to get around that, of course, is to develop a very, very good story that can be creepy without being too risque and gross. The reason I never got into the horror genre of films when I was growing up is largely because of the popularity of "slasher" flicks, that shallow fare without much substance, character development, or plot. Instead, it was about the outrageous ways someone could be killed, which will not fly on television, save a subscription channel like HBO or Showtime, which have not quite entered the fray yet.

Even with a good story, though, broadcast network television is not a natural home for such a tale. For one thing, it would have to air at 10 p.m. for decency reasons, so there are very few time slots that could accommodate it. For another, the FCC keeps a tight leash on the basic networks.

Luckily, cable has rapidly been growing in quality and offerings of well-made, scripted series. It is because of cable, which usually plays by the decency standards to satisfy advertisers, rather than because they face fines and penalties, that the envelope can be pushed. If enough people can be made to tune in, advertisers will be found to pay for the programming, guaranteed. Money is important to plenty of companies that don't need to maintain a family-friendly image, and thus an opportunity exists.

Also, while the 1980s and 1990s concentrated a lot on light, fun shows, the last decade has seen a turn to the darker. Horror is a dark genre, and until the taste in popular culture turned away from the sweet and silly, there wasn't much of a push to go in this direction.

That brings us to this millennium, the prime time for horror to become a valid players in the game. It started slow, with series such as Buffy the Vampire Slayer, the Doctor Who episode "Blink," and The Vampire Diaries dipping a toe into the water, while still staying network-friendly. Then shows like Dexter went a step further. But it finally took off fully when FX developed American Horror Story and AMC gave us The Walking Dead.

The Walking Dead and American Horror Story have proven what basic cable can do, between the two of them, opening the floodgates for many more horror series that are already, and will continue to be, nipping at their heels. Interestingly, they are both quite popular, and have gone about their productions in very different ways.

The Walking Dead is about characters. Zombies are present, of course, but that isn't enough to make it the ratings powerhouse it currently is, drawing in the non-horror fans that the show attracts. It's because we get to see the people in that world struggle with fluid morality and what is necessary to survive that we tune in. Every so often, a cool death will occur, but the bread and butter is character development, and it does this extremely well.

American Horror Story, by contrast, is about the horror genre itself. It also boasts compelling people at the center, but it's about taking the standard conventions of a horror film category, and deepening them into something more. Only so much can be done in two hours or less, but with thirteen installments to play with, it can take the familiar conventions and explore them in richer, fuller ways.

Both of these are quality shows that will open the door to others. Since they have been able to make this stuff that is both critically acclaimed and popular, they have created opportunity for others to follow. Among the recent offerings are Grimm, Cult, The River, and The Following, all broadcast shows that seek to get the same viewers, albeit with even more tame violence. The excellent Bates Motel will join them on A&E in a couple of weeks.

Comedy and romance may long have held an important place in our television schedules, but this will be the decade that horror joins them as a serious contender, and scary movie fans finally get to enjoy a weekly series in their favorite vein. Or artery.

"Virtual In-Stanity" reigns on American Dad!

     FOX's American Dad! presents "Virtual In-Stanity." Stan (Seth MacFarlane) realizes he misses most of Steve's (Scott Grimes) major life events, and wants to make up for it, but Steve won't give him the time of day. Understanding that, at Steve's age, his son just wants to talk to girls, Stan inhabits a blond, busty avatar named Phyllis (Sarah Michelle Gellar, Ringer). Unfortunately for Stan, Steve's interest in Phyllis lulls when she refuses Steve any physical affection, and Steve starts to go for a redhead (Alyson Hannigan, How I Met Your Mother) instead.

     "Virtual In-Stanity" reunites two of the stars of the hit series Buffy the Vampire Slayer. In that series, Gellar plays a tough, hot blond, while Hannigan is a geeky redhead. Sound familiar? While the two are rivals, rather than friends, in American Dad!, that doesn't lessen the casting coup's enjoyment. Because of the dork-appeal of both the goofy vampire drama, that could be quite serious at times, and this animated sitcom, it is likely that more than a few fans are immensely gratified by the show using both women in the same episode.

     A lot of American Dad!'s plots revolve around Stan trying to be a good father. It seems that, as he ages and settles into family life more agreeably, Stan wants to be there for his children more than previously. Unlike other animated series, the characters in American Dad! do age and go through life changes, albeit much more slowly than in reality. For instance, Stan's daughter gets married, and it sticks in future episodes. So it seems American Dad! will chronicle much of Stan's growth as a father over a couple of years, giving a slightly deeper meaning to a show that mostly banks on humor.

     Given that American Dad! is created by Family Guy's Seth MacFarlane, it does often venture into gross and offensive territory. "Virtual In-Stanity" crosses a lot of lines when Stan-as-Phyllis decides to have sex with Steve so that they can bond and keep spending time together. Set aside the severe, permanent emotional damage Steve will undergo when he finds out this ruse, which, if they had gone through with the intercourse, he eventually would have had to, the fact that Stan is willing to do this is highly disturbing. No parent should ever agree to such acts with a child, no matter the circumstances. Yes, it is a female body, but Stan would experience everything that "Phyllis" does.

     Luckily, Francine (Wendy Schaal) has the wisdom to realize all of this, and is as repulsed by the idea as viewers surely are. Valiantly, she takes up an armored suit and fights Phyllis, a la Avatar, before "she" can sleep with Steve. Thus, disaster and a yawning chasm between son and father is avoided. As long as Steve never finds out the truth, and he probably won't at this point, given how things end.

     It may be a silly conceit that would not hold up in real life, but Stan playing with CIA technology is always fun. The fact that his boss (Patrick Stewart) can be just as giddy about it is wonderful. Stan is a very relatable character when he takes out the government toys and uses them for his personal goals. Despite the weird stuff in "Virtual In-Stanity," no one can blame him for this aspect of himself.

     The big regret here is that Hannigan's character likely won't show up again. She could make a great, recurring love interest for Steve! True, Hannigan already stars in a sitcom on TV, but surely she could make time to voice a handful of episodes a year. It's unfortunate that this seems a very remote possibility.

     Also, Roger (MacFarlane, too) goes on a killing spree to get even with some frat guys who don't pay for his limo service. Watching a limosuine stalk a jerk into the bathroom is freaking hilarious. The subplot even manages to get creepy at times, despite its absurd nature. A+!

     American Dad! airs Sundays on FOX as part of Animation Domination, usually at 9:30 p.m. ET, but check listings, as the shows within the block sometimes shift.

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Article first published as TV Review: American Dad! - "Virtual In-Stanity" on Blogcritics.

Necessary Roughness - "Pilot"

     USA's newest drama is Necessary Roughness, which premiered this Wednesday night. The central character in the pilot is therapist Dr. Dani Santino (Callie Thorne, Rescue Me, The Wire), who, as soon as the series starts, learns that her husband of seventeen years, Ray (Craig Bierko, Boston Legal, Damages) has been cheating on her... a lot. She dumps him, and six weeks later, while still pursuing her divorce, she meets Matthew (Marc Blucas, Buffy the Vampire Slayer). They fall into bed, but their relationship changes dramatically when Matthew introduces Dani to his boss, a football coach. Dani is asked to help a star player who has been faltering named T.K. (Mehcad Brooks, True Blood, Desperate Housewives). Because they are now working together, Dani tells Matthew they can't have a sexual relationship. Dani helps TK, and she is asked to take on more clients.

     Necessary Roughness does, admittedly, break the formula that USA had become mired in, as many of their newer shows do. That is the best compliment it can be paid, because other than that, the "Pilot" does not impress. Thorne herself is grating, and less than likeable. That's not an excuse for her character's husband to cheat on her, of course, as she claims to have been the "perfect wife and mother," but that self-made claim rings hollow as her husband and kids lie to her. Did she ever really have a handle on what is going on in her household? She seems to have her own set of morals and codes, which are abstract and have a shifting morality line.

     Dani's quick "miracle" with TK is much less than realistic. Considering that is the biggest premise in the first episode, it should have been handled better. Sure, it takes Dani days, maybe even a couple of weeks, to get through to TK. But she does, and now all is right with the world. It's strange that TK is a main character, since previews show Dani working with a number of other patients, mostly athletes, many of them not part of the football team. It is unknown at this time what exactly the structure of the show will be, but other than Dani, the other main characters all connected to one football organization. This makes the trailer confusing.

     Besides Dani, TK, and Matthew, Nico (Scott Cohen, Law & Order: Trail By Jury, Gilmore Girls) is the other member of the main cast. He is a guy who "takes care of things" for the football team. His mystery, which, of course, has the violent underpinnings, is what makes him interesting. And while similar characters have been done numerous times before, they've seldom been as intriguing as Cohen, who radiates the necessary "it." If Necessary Roughness is to be interesting in the long term, the greatest chance lies with focus, but not too much detail, on Nico. Audiences should be kept guessing his motivations and his actual actions, but he needs to have a hand in everything.

     Brooks also handles his part with relative ease. He is, after all, a veteran of a number of fine television shows, and knows how to capture an essence by now. Even if his plot falls a little flat, it's not to be blamed on the actor. Blucas has grown a lot since Buffy, and also is an acceptable performer, though isn't given a lot to work with. Not sure why his character puts up with Dani's no sex rule, the reasoning behind it being weak, at best. Matthew needs to grow a little backbone to rise from flat, straight, supporting, mostly silent man. Otherwise, there's not much of a reason to keep him around.

     To see if Necessary Roughness progresses anywhere after its "Pilot," tune in on USA Wednesday nights at 10 p.m. ET.

     If you missed "Pilot," you can get it streaming for free by clicking here.

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Private Practice "Did You Hear What Happened to Charlotte King?"

     ABC's Private Practice has had its good runs, and its bad. Sometimes the show has been downright hard to watch, while at others it has shined like the intensely engaging drama that it can be. Last night, an episode aired that was one of the best they've ever done. It was called "Did You Hear What Happened to Charlotte King?" It was disturbing, intense, tragic, and moving, all rolled into one.

     The episode centered around the immediate aftermath of the attack on Charlotte (KaDee Strickland), seen briefly in flashes at the end of last week. Peter (Tim Daly) sees Charlotte stumble down a hall, badly beaten up and covered in blood. Charlotte tells him that she was robbed, and manages to keep most of the hospital staff away, secluding herself in a room with Pete and one trusted nurse. As soon as Peter steps out to notify all of their fellow doctors at Oceanside Wellness, Charlotte calls Addison (Kate Walsh). Addison is the only one that actually finds out that Charlotte was raped, as Charlotte refuses a rape kit, won't tell the police, and swears Addison to secrecy, against Addison's protests. In Charlotte's vulnerable state, the other doctor cannot bring herself to deny the demand.

     It's incredibly frustrating, because the rapist, Lee (Nicholas Brendon), is sitting down at police headquarters, but can't be held because no one has brought charges against him. If only Charlotte would agree to the rape kit, the evidence to get Lee off the streets would be there, and justice might be served. Clearly, this story is far from over. Next week's preview showed Addison trying very hard to keep the dark secret, and Charlotte still suffering.

     The hour had plenty of gut-wrenching moments. From Charlotte receiving stitches with no pain killer (she is in Narcotics Anonymous and allergic to the local anesthetics), to her fiance, Cooper's (Paul Adelstein) first glimpse of her. He sits by her side, trying (and failing) to be brave, not even realizing just how deep Charlotte's trauma goes. Addison's reactions to her fellow doctors are telling, as clearly she is beyond frustrated with the situation, and just wants to help. Yet, she can't.

     The rape itself was handled delicately. Viewers got a bit more than the flashes they saw last week, but it was still just quick glimpses. What we did see was disturbing, violent, and scary. I'm not saying rape ever gets glamorized, but it was surprising to me just how brutal the attack was. What was shown was more than enough to convey what happened, so it's good it was left at that. Congratulations to the cast and crew who pulled off such a horrible event in a way that focused on the emotion, and did not show unnecessary brutality. It still conveyed the point, but it was done in such a way that was as classy as possible in the situation. Basically, no violence for violence's sake. Only what was needed for the medium to continue an incredibly moving, dare I say important, story.

     Spaced throughout the scenes of Charlotte in the hospital was a plot where Sheldon (Brian Benben) is called to the local police station to talk to a man who was picked up covered in blood that was not his own. The audience finds out that his name is Lee, and long before he confesses to raping a woman, it's not hard to figure out that it's Charlotte's attacker. However, those of us waiting for that inevitable full confession, or someone to connect the dots to who his victim was, never materializes. At least not yet. As I've said, I'm sure that this storyline will take up quite a lot of screen time over the coming weeks.

     Brendon, famous for playing geeky sidekick Xander on Buffy the Vampire Slayer, was amazing. While he was beloved on Buffy, subsequent roles haven't shown a depth of range, and left my opinion of his acting talents on the shallow end. However, in this role, he was fantastic. It's such a dark, unexpected turn for him, and he greatly surpassed expectations. He didn't have a ton of dialogue, either. He managed to convey a lot of layers with just a few expressions, which is something I did not expect he was capable of. I apologize for ever thinking ill of Brendon, and hope this role will lead to more work for him soon.

     This season has already had a lot of adjustment, with the recent death of main character Dell (Chris Lowell), the debate over what would become of his daughter, Betsy (Hailey Sole), and the off-screen death of William White (James Morrison), owner of the downstairs clinic. It's still a little hard getting used to Peter and Violet's (Amy Brenneman) marriage, and Sam (Taye Diggs) and Addison's relationship. It seems to have made Sam more timid to be with such an outspoken woman. It has been nice to have Amelia (Caterina Scorsone) added to the lineup, though she has yet to find her niche. She was very helpful this week, and it finally started to feel like she belonged with the rest.

     Violet already went through another traumatic event that shaped more than a year of the series, and so is deeply affected by what happened. Her lack of passionate reaction demonstrates how much she has healed. While her attack, which involved a crazy woman cutting her baby out of her stomach, was equally well-written and performed, the dark place that Violet went to afterward drug down much of last season. It took a very, very long time for Violet to start to come around, and finally rejoin her cast mates with any story that did not center around her experience. I don't think they will follow the same route with Charlotte, as it's already been done, and it wasn't the most-liked arc for many fans.

     Naomi (Audra McDonald) has been off dealing with William's estate, and will soon return to run the new, combined offices of Oceanside Wellness and William's floor. This means that Naomi has not appeared in the last three episodes. One cannot help but wonder how the last few weeks would have gone differently if Naomi had been around. Surely, Naomi would have insisted on adopting Betsy herself, after no one else would. She likely would have been the one assisting Charlotte instead of Addison. Would Naomi have kept the secret? Would she have been able to convince Charlotte to get a rape exam? Naomi is not as forceful as Addison, so I doubt she would have been able to make Charlotte submit to the tests. However, she has a much greater compassion, so chances are she may have been able to talk her into it. I look forward to Naomi's return, and how the ongoing plot will be affected by her re-joining the foray.

     If your life has been impacted by rape, incest or other sexual abuse, reach out to RAINN online or by phone at 800-656-4673.

     Private Pratice airs Thursday nights at 10pm on ABC, following the show it spun off of, Grey's Anatomy.

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


Article first published as TV Review: Private Practice "Did You Hear What Happened to Charlotte King?" on Blogcritics.

Dana Delany takes a page from Castle

     Desperate Housewives star Dana Delany spent a couple of weeks off of Wisteria Lane recently co-starring in an exciting two part episode of Castle.  As a rule, I don't watch procedurals, so despite my great respect for Nathan Fillion, dating back to his days on Two Guys, a Girl, and a Pizza Place, and through Buffy the Vampire Slayer, Firefly, Serenity, and Dr. Horrible's Sing-Along-Blog, I have not seen that show since the pilot.  What I hadn't realized was that it had really built up a splendid ensemble cast, and by the end of the two hours, I had added a season pass to my TiVo.

     Delany was wonderful, as expected.  If her taking the role seems odd to you, as she is already a series regular, perhaps it was to draw some of Housewives's audience over to Castle, or build her name recognition before her new pilot premieres.  Whatever the reason, it was nice to see her reunited with her Housewives husband, who is the title character on Castle.  She really showed a different side of her, and she brilliantly portrayed the tough FBI agent.

     Aside from Delany, Stana Katic really proved herself as Beckett, Castle's partner who was being hunted down by a serial killer.  The episodes also featured Leonard Roberts (Heroes) as Delany's partner.  It was a gripping story, spurred by a book written by Castle which was being made into a movie, and the lead character was based on Beckett.  I think the literary aspect, as well as Fillion's humor, is what sets this aside from other legal or crime dramas on television.  These two episodes involved a very devious, very intelligent serial killer, who was every bit a match for our heroes.

     Next week, Castle and Beckett will try to figure out who would drop a gargoyle on a historian.  Fun!  Tune in Monday nights at 10pm on ABC.

Gossip Girl returns, and it's here to stay

    Back in December, I lamented that Gossip Girl was taking a far too long break on the CW.  The excruciating wait is finally over, as of 9pm tonight, as the first of ten consecutive episodes premieres.  Ten hours of guilty pleasure drama, wrapped in the riches of Manhattan's upper east side.      Of course, GG being what it is, there will be lots of roller coaster twists before the spring finale.  In fact, it is promised that there will not be one big event built up to for the rest of the season, but many intertwining plots, tightly strung together, brimming with surprise and excitement, culminating in not one, but TWO huge moments!  I know, I know.  Perhaps I'm getting ahead of myself.  Maybe the show won't live up to that excitement.  However, the only way to find out is to watch.
     Some surprises have already been dropped.  SPOILER ALERT.  Serena's (Blake Lively) missing father is finally found, and he is played by none other than Billy Baldwin!  While it's certainly sad that brother Alec was not available, be glad that it wasn't Stephen.  Billy hopes to not only be a part of this season, but to return next year as well.  Of course, that depends on how he is received by fans.
     There is even bigger news, though.  By the season finale, the b*tch will be back.  That's right, Georgina (Michelle Trachtenberg, squeezing it in with her Mercy duties) is returning to star up the trouble.  No Gossip Girl season is complete without a dose of Buffy the Vampire Slayer's little sister gone bad, and thankfully, this one will be no different.  True, we got some of her in the fall, but a little Georgina is never enough.
     In other Gossip Girl news, Leighton Meester, who played Dr. House's teen love temptation for a few episodes a couple of years ago, will be starring in a romantic comedy movie with Hugh Laurie.  Wow!
     Gossip Girl airs the next ten Mondays on the CW at 9pm.

Neil Patrick Harris's role on Glee sure to be Legen - wait for it - dary, and that's not all!

***WARNING!!!  THIS ARTICLE CONTAINS MANY SPOILERS ABOUT UPCOMING EPISODES OF GLEE. ***
    Neil Patrick Harris, currently co-starring in the CBS sitcom How I Met Your Mother, and formerly of Doogie Howser, M.D. and Harold & Kumar Go to White Castle, is coming to Glee!  It's been a big week for NPH news, as it was also released that he would star as a human who meets tiny blue creatures in the new Smurfs movie.  The movie will begin shooting next month in Central Park.
     But what of NPH on TV's most popular new show?  Word is that Harris will appear in an episode of Fox's Glee, which is taking a far too-long break while American Idol runs, during May sweeps as a former classmate and rival of Will's (Matthew Morrison).  Apparently, Neil's character, named cheekily 'Bryan Adam', not only competed with the current glee club director for parts, but bested him often.  Now Bryan is a member of the school board for the high school, and wants to get rid of the arts program, blaming his success in it as ill preparing him for later life.  The episode will feature plenty of flash back fun and a huge duet between the two men.  It will also be directed by Buffy the Vampire Slayer creator Joss Whedon, who cast Harris in his internet sensation Dr. Horrible's Sing-Along Blog, and who is rumored to be planning a sequel.
     Setting aside just how awesome that will all surely be, Glee has had plenty of other excitement.  For instance, President Obama is having the cast over to the White House on Easter Monday for the annual Easter Egg Roll.  Saturday Night Live vet Molly Shannon has joined the cast in a recurring capacity, beginning in May, as an enemy for Sue (Jane Lynch), playing an alcoholic, pill-addicted, badminton coach who teaches astronomy.  Olivia Newton John (Grease) will make an appearance.  Terri (Jessalyn Gilsig) will sing and try to win Will back.  The Puck (Mark Salling) / Rachel (Lea Michele) pairing will be revisited.  There will be an entire Madonna-themed episode, with many, many songs.  And best of all, Sue will sing!!!
     The show, unsurprisingly, has already been renewed for a second season.  This coming summer, kids will compete in a reality show to fill three new roles in Glee next fall, including a boyfriend for Kurt (Chris Colfer), an R&B singer who is also on the football team, and a brand new diva.  And this May, the current cast will do seven concerts in Phoenix, Los Angeles, New York, and Chicago.   Whew!  That's a lot of Glee dish.  Tune in on Fox Tuesday, April 19th at 9pm to catch the next new episode of Glee.

Merci Mercy

    When NBC announced a new medical drama about nurses called Mercy, eyes, including mine, rolled.  Don't we have enough medical shows?  Not only that, but no less than two others were also premiering this fall.  However, Mercy has somehow set itself above and pack, and proved that there can still be fresh, fun medical shows.  I credit the amazing cast, all of which are wonderful, but I'm going to focus on the Top 5, hard as it was to choose 5.  Mercy airs Wednesdays at 8pm, and just returned to the air this past week.

     Virtual unknown Taylor Schilling stars as Veronica.  She is delightful, pretty, and sympathetically human.  The blond is really trying to make things work with her childhood sweetheart, Mike (Diego Klattenhoff), despite his cheating ways while she was in Iraq.  However, she also cheated on him during her second tour.  She is doing a highly entertaining job balancing all the personal crap with her job.

     Fresh off of the canceled Men in Trees, James Tupper plays the aforementioned lover, Dr. Chris Sands, who followed her home and is now a doctor at the hospital where Veronica works.  (Side note, Diego Klattenhoff was also recurring on Men in Trees near the end).  He gets to talk a lot more on this show, and it doesn't hurt.  Unlike many dramas, it does not seem inevitable that he will end up with Veronica.

     I'd never heard of James LeGros (Ally McBeal), but his performance as Dr. Harris has been the most interesting so far.  He started as a total jerk, and then, after his wife's murder, he became a grief-stricken total jerk obsessed with not letting anyone else die.  He manages to convey a character who doesn't fall into stereotypical growth, but gets to explore strong emotion in a very satisfying way.

     Child star Michelle Trachtenberg (Gossip Girl, Buffy the Vampire Slayer) is also a nurse at the hospital, young, green, and gullible.  Her character, Chloe, is not just the comic relief, however, as her attempts at love have been well performed as well.  She adds an element to the show that is completely necessary to the series's success.

     Kate Mulgrew, perhaps best remembered as Captain Kathryn Janeway on Star Trek: Voyager, is quickly establishing a new character to remember, Veronica's mother.  She plays the alcoholic matriarch of a "white trash" Irish Jersey family.  She has taken to the role with relish, and always steals the scene when she appears on screen.  Hopefully an upgrade to series regular will soon be forthcoming.

The Plan for Galactica

     Battlestar Galactica: The Plan came out on DVD October 27th. For fans of the recent four season series, this was a worthy side story. For the first hour and twenty-five minutes or so, it just seemed to fill in some gaps from the miniseries and first two seasons, but the last twenty minutes made the whole thing worth it and really gave the story meaning. In those moments, the viewer will see certain Cylons in a whole new light, and understand even more what their intentions were.

      The made for tv movie, that has not yet aired, stars Dean Stockwell as Brother Cavil. The whole thing really hinges on him, book-ended by the death of two of his models. Not only do we get to finally see what he was doing before he showed up on screen, we actually see a version of him that is a bit sympathetic. I have always maintained that he is the only truly evil character in the show, everyone else falling in some shade of grey. In this, there is the evil Cavil, but there is also one who sees the perspective of human love, and understands what is happening to the other Cylon models. It gives the part new meaning, and really allows Stockwell an opportunity he didn't have in the series.

      Also featured are Ricky Worthy's Simon Cylon and Lymari Nadal as Giana. You may (or more likely may not) remember Giana from the miniseries, played by Edward James Olmos's real-life wife. She gets a meaty story that combines with Simon's. All of the other Cylons also show up, though Diana and Tori only briefly, and Ellen only slightly more. None of the other Galactica characters appear to have shot new footage, but there are scenes from the series mixed in, cut seamlessly together. If I had not watched the series, I would not have realized that they were recycled, so well it is put together. There are also some awesome new special effects, and fans will love to see planet-side action just before the series began.

     All in all, this wasn't earth shattering. It couldn't have been. The series concluded very satisfactorily. And if you haven't ever watched the show, you'll be more than a little lost. But for fans who craved just a little more, this does a fine job of giving you that. Directed by Edward James Olmos, who played Adama, and written by Buffy's Jane Espenson, I recommend that fans of the show add it to their Christmas list.