A STITCHERS In Time

Article originally published as STITCHERS Review on Seat42F.

STITCHERS - KYLE HARRIS, EMMA ISHTA (ABC Family/Adam Taylor)

ABC Family’s newest show, STITCHERS, is a bit of a departure for them. A young woman with no awareness of time is recruited by a shady organization to be “stitched” into the memories of dead people to try to solve their murders or learn secrets that died with them. Surrounded by a group of intelligent geeks, the team is government-sanctioned, but deeply buried. Doesn’t sound like the typical, soapy fare for this channel, does it?

Yet, there is something so inherently familiar about Stitchers that I found myself googling the name to see if it was a remake of a program that aired a decade or two ago. I didn’t find anything, but perhaps these feelings come because the title is similar enough to Sliders, the basic structure of the cast is one oft-repeated in (not just sci-fi) procedurals, and the behavior and look of the lead character begs comparison to SyFy’s Continuum.

Despite the feeling that Stitchers may not be entirely original, I am enjoying it immensely, and not just because it exceeds my expectations of what this network can put out, being the best program they’ve aired since Kyle XY was canceled. The pacing is quick, the dialogue is fun, and while not going too deep, the performances are serviceable for the product. I can easily see myself watching this for at least a season.

STITCHERS stars former model Emma Ishta as Kirsten. Kirsten has trouble feeling emotions because she can’t tell when time is passing, giving no context to her life. This means she doesn’t know if she’s been in a room one minute, one hour, or one day, so she can’t make sense of how long she’s known a person. She is highly intelligent, so she uses math, logic, and clues to build herself frameworks of reference, but one is left wondering how she functions in society at all. Someone with any fewer brains could not.

Ishta is fantastic as Kirsten, though I don’t yet know if that’s because she’s a great actress or this role is just perfectly suited for her. She’s cold and hot at the same time, being stand-offish, but not unsympathetic, and stuffed into a skintight cat suit. To STITCHER’s credit, Kirsten doesn’t appreciate the get up and acknowledges this fact, even if her new team insist there’s a scientific reason behind it, poking fun at an old trope. Sexuality is present in this show, as it is in so many others, but it’s also part of the story, not just set dressing, which feels like a slight step up.

In the job, the boss is Maggie Baptiste (Salli Richardson-Whitfield, Eureka), who is a very familiar type, being no-nonsense towards her team as she runs interference with the higher ups, straddling both worlds. Second in command seems to be Cameron Goodkin (Kyle Harris. The Carrie Diaries), who takes Kirsten under his wing. The head geek of those circling, mostly in the background, is Linus (Ritesh Rajan, The Last Airbender), who is a bit creepy in a lecherous sort of manner at the onset.

One could argue this ensemble echoes broadcast network procedurals, and there’s some truth to that. Comparing STITCHERS to say, Castle, Maggie is very much like Captain Gates, Cameron is a Beckett-type, and Linus is a combo of Ryan and Esposito, mostly Ryan, with Kirsten being the “out-there” type, even if she’s not much like Richard Castle on the surface.

What this means is, on paper, I shouldn’t like STITCHERS, as if you follow my reviews, I frequently complain about such repetitive formulas. Somehow, though, there’s a charm to this one, leaning heavily enough into its sci-fi genre to give it a pass, at least in the short-term. Should it be a total case-of-the-week, my love won’t last, but the story teed up for the second outing gives me hope that won’t be the case.

Also lending to its geek credit, STITCHERS has cast Allison Scagliotti as Kirsten’s roommate and classmate, Camille. It isn’t immediately apparent what role the Warehouse 13 star will serve in the show, but even if it’s just as someone to give Kirsten conflict at home, she works. My wish is that it will be more than that, Camille eventually stitched into the larger fabric. Yes, I know what I did there and I don’t apologize for it.

As you can probably tell, I like STITCHERS, and I recommend you give it a shot when it premieres this Tuesday at 9 p.m. ET on ABC Family. (The pilot is also already available to the public at: abcfamily.go.com/shows/stitchers)

Formulaic Television: The Networks’ Disturbing Trend

Article first published as Formulaic Television: The Networks’ Disturbing Trend on Blogcritics.

I regularly use the terms “serial” and “procedural” when referring to the structure of scripted television shows. If you’re someone who even occasionally reads my work, you’ll know I consider one of these a dirty word. Unfortunately, looking at the current broadcast television landscape, there seems to be a disturbing trend, which spells doom for the Big Four network TV for a very long time.

First, some brief definitions. A procedural drama fits each week into it a relatively rigid structure, using a signature formula to solve a case or a mystery of some kind. It’s also known as a case-of-the-week program, and is widely used in cop and lawyer shows. (In science fiction series, it’s sometimes called “monster-of-the-week). A serial sets up a longer-running story, with a continuing narrative. If you skip an episode, you may be lost about where the plot is going. This is popular among soaps (including those pretending to be heavier dramas) and genre shows, as well as the type of high-quality fare that usually wins awards. I think you can guess which of the two I like.

I do appreciate procedurals occasionally, and they can be good–especially if they give the viewers something new. Castle and Bones are both well done, and the acting and writing teams have managed to conceal the procedural skeleton so well, a casual viewer might not even recognize they’ve being re-fed the same stuff over and over. But too often, procedurals are subject to uninspired, lazy storytelling, and they can be boringly repetitive.  And the format’s severe limitations hold it back, serving an entertainment meal too bland and of little value: the fast food of the television world.

Right now, procedurals rule the primetime schedules of the Big Four – CBS, NBC, ABC, and FOX. Occasionally, the networks have experimented, and some of the more successful experiments include the soapy like Grey’s Anatomy and genre hit Lost, but by and large, the the networks continue to mass produce the procedural. And they’ve suffered for it in the TV ratings game, as the Big Four have seen their numbers erode more each season.

Viewers continue to flee these broadcast networks in greater and greater numbers. Although some ratings erosion is natural (It is accepted that, as a rule, each subsequent year will have fewer viewers), the current benchmark is to avoid losing too many viewers each year to the next new thing. Forget about holding steady, let alone gaining. There are exceptions, of course, but few.

Ratings erosion is largely blamed on the number of choices currently out there, and that’s fair. With basic cable networks, including FX, USA, TNT, SyFy, MTV, AMC now producing original content along with premium networks HBO, Showtime, and Starz, and the new streaming-only kids on the block like Amazon, Hulu, and Netflix, the field is getting crowded. That’s not even mentioning the growing number of web series and YouTube shorts. There are, these days, a heck of a lot more choices for your television viewing enjoyment. 

House of Cards, Game of Thrones, Breaking Bad, and Mad Men are among the series that people have gotten excited about, dominating social media, garnering critical acclaim and  awards show accolades. These series may never get the sort of conventional ratings the Big Four want (and need for advertisers), but they don’t have to please the advertisers–only the subscribers. It’s an advantage that an NCIS will never have.

The Big Four have been doubling down on their failed, losing model, and why not? Repetitive Procedurals get the most eyeballs, and NCIS, CSI, Law & Order: SVU, and Bones have been big winners for the broadcast networks in getting those important advertising dollars. However, the market for the the format may be shrinking, with younger viewers using new technology to seek out more relevant (and interesting) fare, and older viewers discovering that high-quality stuff is out there beyond the rabbit ears of broadcast.

The Walking Dead is a great example of this shift in viewing tastes. It is on basic cable, but pushes the boundaries of standard television fare. It’s gory and scary, but it also contains pathos and human emotion, with terrific character development and performances, and most importantly, the show makes you think. The Walking Dead is far from a procedural drama, yet, it gets more viewers than practically anything the Big Four are showing, and its audience grows every year. I’ve mentioned Game of Thrones, a soapy war of kings, that also achieves very high viewership (when you count the pirated copies that seem to be forever circulating). People are no longer content with just drivel.

Now, the best argument that can be made is that television networks care about money more than anything. Currently, the broadcast model gets the most out of commercials and ad sales, so they make more of the stuff that earns that immediate, direct income. However, this is not going to work over time. While there is still much struggle to monetize the way things are moving, there are subscription fees and other options, imperfect solutions, but not ineffective ones. Quality content can be charged for.

Over the next few years, this shift will continue, and the broadcast networks will fall further behind. Maybe they won’t even be relevant 20 years down the line. As the good stuff becomes more easily obtainable online and streaming to TVs, people won’t even consider checking out CBS, knowing they can find better elsewhere. When convenience reaches that tipping point, the Big Four will be left behind as a footnote of 20th Century entertainment.

Can the networks compete with all the cable and streaming fare? Sure. By taking the risk to produce the next Mad Men or The Walking Dead. Not all of network entertainment needs to be edgy and compelling, none of the cable nets air original programming every night in every slot. Let sports and reality and NCIS-style procedurals continue to pay the daily bills, but stop forcing Sleepy Hollow and Grimm to contort themselves to match some marketing VP’s model of “sure thing.”

At least, that’s my opinion. Feel free to add yours to the comments below.

"Valkyrie" Threatens CASTLE

Article first published as "Valkyrie" Threatens CASTLE on TheTVKing.

ABC's Castle returns for a sixth season tonight with "Valkyrie." When the series paused last May, Kate Beckett (Stana Katic) had decided to accept a job in Washington D.C., a step up for her career-wise, but something that she was sure threatened her professional and romantic relationship with Richard Castle (Nathan Fillion). Before she could break the news to Castle, though, he dropped to one knee and proposed. Will Beckett choose Castle or the job?

Well, both, it turns out, as Castle decides to have its cake and eat it, too. Thankfully, we get the rest of that proposal scene at the start of "Valkyrie," not left to wonder how it all worked out. I feel like this moment is necessary, and for fans who have loyally followed the series for the past five years, earned. It's not overly dramatic, but does reveal a lot about the two leads and how they feel about one another. Plus, a big engagement!

After that is dealt with, it feels OK to skip forward two months. Castle and Beckett are busy people, and the first couple of months of this arrangement are likely to be the easiest. They miss each other, sure, but they haven't been kept apart too long. Now, it's been more than six weeks, and it's time for them to spend some one-on-one time. Of course, a case gets in the way.

I was a little disappointed that Castle jumps headlong into a case-of-the-week so quickly. A lot of time in "Valkyrie" is given to Castle and Beckett figuring out their new dynamic, now that Castle cannot help her with her work. But even more of the hour is spent trying to solve the crime Beckett and her new partner (Lisa Edelstein, House) are assigned to.

Look, Castle is a procedural, and it will never be anything different. It is not the type of series that will abandon the formula and grow into something more, and if one goes into "Valkyrie" with that notion, you may not be too disappointed. I am grateful for the personal interplay time we do get in the premiere, more than in most installments. Yet, seeing how great Castle and Beckett are together, it's hard not to wish for more of that.

Castle gets involved in the case. He tries his best to respect Beckett's wishes and stay away, after a single false start, and I think that shows some real growth and maturity on his part. This is a sign they can make the new circumstances work for them, as long as he is willing to give something up, which he does willingly for her. However, it's clear Beckett also misses working alongside him, and that is what will likely end the D.C. stint. Castle will step aside so that Beckett can fulfill her dreams, but maybe her dream, which she doesn't realize until she loses it, is doing the job she loves with her man, and she'll want to get back to that.

Satisfying, "Valkyrie" is part one of what is at least (and likely not more than) a two-part story. There are high stakes, a dramatic twist, and it all feels like a natural part of something bigger. I like the D.C. team, temporary as they might be, and the tale is a fine one for this genre.

My only real complaint about "Valkyrie" is how Castle rushes off to be with Beckett right after Alexis (Molly C. Quinn) brings home a boy named Pi that Castle immediately clashes with. I mean, Castle and his mother (Susan Sullivan) talk about what Castle should do, and then instead of doing it, Castle leaves. This isn't him avoiding being an overbearing dad; it's him running off to something totally unconnected at a time when he shouldn't. The Alexis plot should have been held for a different episode so that it doesn't feel so disjointed when Castle goes to the capital, twice.

I do appreciate how Castle manages to work in some guy time for Castle, Ryan (Seamus Dever), and Esposito (Jon Huertas). They may be hanging out and talking about work, but it's the easy camaraderie that is nice to see, showing that perhaps the three finally have a lasting friendship, unlike how they drifted apart during times Castle and Beckett were estranged.

Considering the type of show that Castle is, "Valkyrie" is a good effort and a triumphant return, as best as we can expect from an episode in the genre. Castle airs Mondays at 10 p.m. ET on ABC.

What happens "After Hours" for Castle?

ABC's Castle has had a very satisfying and varied last few episodes. First, there was the geek-centric installment, wherein we learned of Beckett's (Stana Katic) cult obsession. Then, a documentary crew showed us what happens when the staff gets in front of cameras, throwing off their game. Finally, this past week, "After Hours" explores the romance between Castle (Nathan Fillion) and Beckett, which has finally been allowed to flourish this season, under scary circumstances.

It used to be, series were too scared of the Moonlighting curse to put their leads together until the end of the run. Lately, shows such as Bones and Chuck have disproven that this should not be done; it just needs to be dealt with correctly. Castle's own stab at things, in the currently airing fifth season, seems to be following the successful path, rather than killing the series.

You see, what does a show in is if you lose the dynamic tension between the main characters. Castle and Beckett still have that tension. It comes to the forefront in "After Hours," when they are on the run from mobsters together. They must trust one another, working together to try to get their witness to safety. It's not an easy thing to do; as well as their partnership works, they have to balance their worry for one another with a confidence in each other's abilities. This is explored terrifically in this episode.

The other thing keeping the tension up is the worry that Captain Gates (Penny Johnson Jerald) will find out about the pair. Ryan (Seamus Dever) and Esposito (Jon Huertas) are already in on the secret, as is Castle's family, but none of these people, who love Castle and Beckett, would rat them out, even though their relationship is against department rules. (Castle may not officially be a cop, but his work with the department would realistically make the rules apply to him.) Once Gates learns the truth, it will present an obstacle that will have to be overcome, unfortunately, probably too conveniently.

Add to that, Castle and Beckett are still early in their romance, and so are unsure themselves how things might work, long-term. They worry that they are too different after a dinner with Castle's mother, Martha (Susan Sullivan), and Beckett's father, Jim (Scott Paulin), gets rocky. Of course, they are not their parents, but it's easy to see how such a scenario could scare them a bit. Even if the real purpose of such a scene seems to be to add some lightheartedness to the episode, which happens when Jim and Martha bond over their concern for their children.

"After Hours" sets this dysfunction in a high intensity story, with twists and great guest stars including Bonita Friedericy (Chuck), Tony Denison (The Closer), and especially Patrick Fischler (Lost, Mad Men). Is it still a formulaic procedural? Yes, but in season five, the aversion to taking risks is ebbing, and Castle is finally stepping it up as it's own unique entity. More of this, and it could grow beyond the strict conceits that have held it back thus far.

It also helps that Fillion and Katic are absolutely phenomenal, no matter the situation.

Castle airs Mondays at 10 p.m. ET on ABC.

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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 by TheTVKing

Castle weathers the storm

Grade: 86%

CASTLE begins season five much in the same way that season four ended. In fact, the action picks up the morning after last spring’s finale, which is probably why the premiere is titled “After the Storm,” a reference that could apply to the confrontation at the station going down, or the alter ego of the fictional Nikki Heat finally falling into bed with the man behind Derrick Storm.

“After the Storm” begins on a light note, Castle (Nathan Fillion) and Beckett (Stana Katic) almost being caught in bed together by the early return of Martha (Susan Sullivan) and Alexis (Molly C. Quinn). This scene nearly repeats soon after at Beckett’s apartment with Ryan (Seamus Dever). Beckett and Castle have a warm connection that begs to be handled in a fun way, and this episode delivers that.

What can be said about the new couple’s decision to sneak around, rather than let family and friends in on the fact that they finally hooked up? Is it immaturity, as Beckett (not unjustifiably) accuses Castle of? Or is it embarrassment, as they both ask the other? I don’t think it’s either. I think that Castle is sincere when he says he’d like to keep her for himself just a little while longer. Given Beckett’s lack of enthusiasm for public sharing, it’s not so surprising that she agrees.

Letting the leads of a series get together always carries a risk. After the disaster that was Moonlighting, dramas that are about more than sex have been a bit gun-shy in pulling the trigger. However, Chuck and Fringe did it just fine, and Bones hasn’t suffered any negative backlash. Perhaps these success stories are what finally prompted CASTLE, four years in, to try making the move themselves.

The important thing to maintain after getting those characters together is the chemistry. If sex changes the witty banter and tension between them, it can ruin the moment. Unless the relationship develops into something much deeper than before, which can keep things interesting. CASTLE has chosen the former option, allowing Beckett and Castle to trade their barbs as usual, which not only means they will be able to keep their secret from their loved ones for awhile, but also allows CASTLE to not change its formula very much. This is probably wise for now, though eventually, should the show continue more than another year or two (a very likely possibility), there will have to be some shift to here the romantic feelings become more than just playful.

Romantic affection isn’t the only type to be found in “After the Storm.” Esposito (Jon Huertas) and Beckett remain suspended from the force, leaving Ryan to try to work the case of who killed Beckett’s mother on his own. He quickly realizes that’s not going to fly, and recruits Beckett and Castle to help him out. When the three discover that Esposito has been chasing his own leads, they come together, despite lingering tension between Esposito and Ryan.

At first, CASTLE was a two person show about the titular male lead and his professional partner and inspiration, Detective Kate Beckett. As the years have gone on, though, Ryan and Esposito have slowly become more developed as characters. “After the Storm” features both on their own, showing off their cop skills, as well as revealing the deep loyalty they still feel towards Kate. This team mentality is not only inspiring, it will likely be the norm going forward, as it should be.

Gates (Penny Johnson Jerald) may not seem the fuzzy type, but she would like in on some of that love. She doesn’t say so explicitly, but she does get to give a peek at a side of herself we haven’t seen before, praising Beckett for her loyalty to Montgomery, and expressing hope that she may one day be seen in the same light. It’s a touching moment, more than a throw away, and at the time, Gates seems like she may deserve it. True, she’s tough, and refuses to let Beckett and Esposito cut their suspension short (providing an excuse to skip a few months to account for the summer before next week’s episode). But that doesn’t make her a bad guy.

Yep, status quo is not quite restored at the end of “After the Storm.” But it soon will be. It’s kind of a shame because this is the opportune time to shake things up. Beckett and Castle getting together is some movement, but the placement of Beckett’s mom’s case on the back burner once more is disappointing. It will probably be a series-long arc, but knowing that doesn’t make it any better. Ah, well. This is the curse of the procedural.

Overall, CASTLE returns with charm and humor intact, wonderful guest stars like Jack Coleman (Heroes, The Office), Geoff Pierson (Dexter, 24), and Tahmoh Penikett (Dollhouse, Battlestar Galactica), and a thrilling, action-packed piece of mystery for it’s newest hour. For a case-of-the-week crime show, that’s about all a fan can ask for.

It's "Always" Castle

ABC's Castle season finale is called "Always." Why? Is it because that, no matter how big a twist or change the writers throw in, Castle is "Always" going to stay the same? Let's hope not, after a heck of a season finale that throws all sorts of monkey wrenches into the mix!

The plot of "Always" is relatively simple to explain. A clue surfaces about the man who shot Beckett (Stana Katic). Castle (Nathan Fillion) can't convince her to drop her investigation, even though he has been warned that she will be killed if she doesn't stop. When he tells her all of this, she feels betrayed, and refuses to listen. Castle can't bear to stick around and watch her die, so he quits the job and their chemistry-laden friendship. Beckett is soon almost killed, realizes her mistake, drops the case, quits the police force, and runs straight into Castle's arms.

Oh, and the people that want Beckett dead take out the man who has been protecting her, so there's that to worry about next season.

Will any of this stick? Certainly not Beckett's resignation from the NYPD. Gates (Penny Johnson Jerald) has good reason to suspend Beckett after Beckett fails to keep her commanding officer in the loop. Yet, Beckett's reasons for not playing by the book are understandable when there's a conspiracy that would be alerted by any orders run up the chain of command, and she doesn't know Gates well enough to trust her yet. Plus, Beckett's a great detective. So, after the length of her suspension is over, Beckett will probably go back to the police force. Which, judging by the way boring old procedurals work, will be no later than the end of next fall's season premiere.

Why does network television insist on staying inside the box? If Castle was a cable series, Beckett could quit, move to another city, or pursue an entirely different career. Isn't that the more interesting way to go? Instead, Castle is a case of the week police drama, and it will always remain that, no matter how many enticing opportunities there are to go in another direction.

More importantly, though, will Castle and Beckett's new-found romance continue into next year? That is more up in the air. Other will they-won't they duos have gotten together and broken up countless times, trying to hold onto the uncertain tension in their shows. Yet, recent series like Chuck and Bones have shown that there is another way. A series can keep its magic, even after the two leads get together. Yes, things will necessarily have to change, but that doesn't mean it shouldn't be done. Having Castle and Beckett make it as a couple is the bolder choice. Fans will have to wait until fall to find out if this is going to happen.

Of course, Beckett and Castle are not the only twosome in Castle. Ryan (Seamus Dever) and Esposito (Jon Huertas) may be platonic pals, but their non-sexual feelings for each other run just as deep as the leads'. In "Always," Esposito sides with Beckett, while Ryan sides with Castle. Castle is too busy to notice this, of course, and doesn't answer when Ryan calls him to try to save Beckett. Which is why Ryan is forced to find another ally in Captain Gates. He saves Beckett's life, but the result is a pissed off and suspended Esposito.

Esposito will continue to carry this grudge against Ryan into next season, surely, but then it will be resolved. After all, we wouldn't want to mess up the formula, would we? But, at the same time, in any incarnation of Castle, these two men must make up. They mean too much to each other. Eventually, Esposito will have to come around to the idea that Ryan did what he thought was best to protect his friends. After all, Beckett knows this, and will forgive Ryan. Esposito has to do the same.

Castle will return next fall to ABC.

If you like my reviews, please follow me on Twitter! Click here to read every Castle review I've ever written. To order the Castle DVD, or purchase streaming episodes, please click here.

Does TV, and CBS in particular, have too many crime dramas? Continue reading on Examiner.com Does TV, and CBS in particular, have too many crime dramas?

Cop shows. Crime dramas. Police procedurals. All of these are terms for a very familiar television trope. Many, many shows on the air feature a bunch of people in law enforcement investigating crimes, which are usually solved by the end of the hour. The people may vary, and different camera techniques and varying levels of humor may be used, but the simple fact remains that busting perps is a very common television series topic.

Most networks, especially the broadcast ones, available without a cable subscription, have their own version of this. FOX has "Bones." ABC has "Castle." NBC has "Grimm." But perhaps CBS is most guilty, filling the air waves with "CSI" and its spin-offs, as well as "Blue Bloods," "Hawaii Five-0," "Person of Interest," and now, as of last night, "NYC 22." The number of these programs beg the question: are there no original ideas left?

Television is often used as escapism. Some viewers, tired after a long day at work, wish for a form of mindless entertainment, where the good always triumphs over bad, and most issues are relatively black and white. But with so many options to fulfill this need, why do networks keep churning out program after program, adding more crime dramas to the schedule every year? Enough is enough. This quota has been met. Stop robbing the airwaves of fresh ideas.

Now, that is not an argument against getting rid of all crime shows. "The Killing" is a unique take, spending more than a season solving just one crime. Why not try more experiments like this? This is the polar episode of new series "NYC 22," which has nothing in the first episode that hasn't been done a hundred other times, and is the perfect example of why this needs to stop.

But that's not what the people want. It's the same reason the airwaves are flooded with mindless "reality" shows and singing competitions. Which makes people who care about quality weep, watching great, interesting, original series after great, interesting, original series bite the dust, while yet another one of these same-as-the-last cop shows gets renewed or ordered all of the time. Is this fair? Is this right? No, but that's not the way life is.

So what can be done? Well, stop watching the pulp, and start looking for shows that deserve your attention. Encourage your friends to do the same. Many people want to watch what others are watching so they can keep up with the conversation. Change starts somewhere. Let it be on your television screen.

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Castle delivers a good "47 Seconds"

Castle delivers a good "47 Seconds," but what about the other forty-two minutes of the episode?

ABC's Castle tackles a bomb explosion this week in "47 Seconds." While the feds handle the main investigation, the NYPD is allowed to help. Beckett (Stana Katic) and company soon pinpoint a suspect (Tim Guinee, The Good Wife), whom the FBI arrests. But they have the wrong man. Trying to reconstruct the story of the forty-seven seconds leading up to the bomb going off proves difficult. Luckily, Beckett has Castle (Nathan Fillion), king of stories, to help her figure it out. Which he does.

The case of the week in "47 Seconds" is timely and interesting. The Occupy Wall Street movement is at the center of things, as the bomb explodes at one of that group's protests, killing five people. Castle plays with a handful of stereotypes at this rally, including a couple of people who are opposed to the cause. While touting a political message isn't the purpose of the episode, there, surprisingly, isn't a lot of sympathy shown to the protestors. Only to the victims of a crime.

In the end, though, it is not politics that prove the motivating factor, but greed. Not the Wall Street banker greed, but a similar vein in someone from a much lower tax bracket. A news reporter (Christine Woods, Perfect Couples, FlashForward) plots in order to be a news anchor. She helps set up the situation, and makes sure that she is in a position to cover it. Handling this exclusive will certainly get her attention. But by trying to create the news herself, she screws up royally, and will end up in jail instead of in front of a camera.

The real draw of "47 Seconds," though, is Castle deciding to finally tell Beckett about his feelings. He has previously done so, but thinking that she has forgotten, he steels himself to repeat the declaration. Before he can, Beckett lets slip during an interrogation that she remembers everything perfectly about the day Castle confessed to her. It's not a direct confirmation that she heard him, but he is smart enough to take it as such, and assumes her ploy is a rejection. So he keeps his mouth shut.

The whole thing is getting pretty frustrating. Castle ignores this arc for weeks, even months, at a time, only to drop back in on it without much forward movement. Castle is wrong about Beckett not caring, of course, though she has other reasons for being hesitant to get involved with him. What the two should do, what any two reasonable adults in a similar situation would do, is to talk through these issues, and figure out where they stand. Instead, the series continues to play with viewers' emotions, and deliver almost no satisfaction.

This is starting to hurt Castle. Many series have played this game in the past, but with the successful conquering of the "will they, won't they" tension problem in numerous examples, such as Bones and Chuck, fans are becoming less patient. The chemistry between the leads is great, but it needs to start going somewhere. Four seasons in, it's time for Castle to make a move. If not, it may be defined as a typical crime procedural, and it will start to shed people who tune in for something more. Not that the show has ever invested heavily in anything beyond that narrow genre, but still...

There are also a few scenes this week showing how Castle is a good son to Martha (Susan Sullivan) and father to Alexis. (Molly C. Quinn). His relationships with these women are much better done than his dynamic with Beckett, and they provide a contrast that does not do the central pairing any favors. By showing how Castle can have loving, stable people in his life, it makes his lack of such a relationship with Beckett even more of a problem.

Castle airs Mondays at 10 p.m. ET on ABC.

If you like my reviews, please follow me on Twitter! Click here to read every Castle review I've ever written. To order the Castle DVD, or purchase streaming episodes, please click here.

Castle plays "Cops & Robbers"

     In the latest installment of ABC's Castle, "Cops & Robbers," Castle (Nathan Fillion) and his mother, Martha (Susan Sullivan) are at the bank when it is taken over by four robbers in hospital scrubs, using famous television doctor names as aliases. Trapper John (Darren Pettie, Mad Men, Ringer) seems to be in charge, and catches Castle on the phone with Beckett (Stana Katic). Thus, Beckett becomes the bad guys' line to the outside, much to the chagrin of the hostage negotiator, Captain John Davis (Dean Norris, Breaking Bad). But Castle realizes that something strange is going on when the thieves ignore money, bring explosives, and purposely trigger the alarm. In the end, with the villains having blown themselves out, Castle and Beckett put together what is really going on, and save an abused woman and child.

     The concept of a main character in law enforcement ending up inside a bank robbery, while their partner on the outside manages to get involved in the hostage negotiation, is far from original. It has been done on numerous occasions, with a number of small twists, but basically, all such stories are the same. Except for "Cops & Robbers." Castle throws a huge twist by making the bank robbery just a cover. In fact, there's a significant portion of the episode that takes place after the explosion, and the leads must still solve a real mystery. In this way, Castle puts its own spin on a familiar trope.

     The chemistry between Castle and Beckett, steadily growing over several seasons, is near bursting at present. Beckett is still lying about remembering Castle confess his love in last season's finale, but it's very clear how much she cares. The duo work together during the hostage situation, sending secret signals, but their understanding of each other goes much deeper than normal co-workers. Many series with two simmering leads keep them apart for many years, and then eventually give in down the line. Only in season four, Castle seems poised to make the shift early, much to its credit. If Beckett doesn't say something soon, and admit she has romantic feelings for Castle, something very obvious, and that he likely already knows, it will be a surprise, and a tragic mistake.

     While on the subject of love, Castle's daughter, Alexis (Molly C. Quinn), ends her own long-distance relationship with boyfriend Ashley (Ken Baumann) this week. Ashley is not seen on screen, nor has be been through much of the drama this year. Their relationship breaks down slowly, and it's more than time for it to come to a close, once and for all, by this episode. Not sure exactly went wrong here, but this story didn't gel all that well, and despite the break up almost seeming forced and out of place, it is still welcome. Is the actor who plays Ashley just not available to give Castle what it needs to make the arc work? Baumann was already starring in The Secret Life of the American Teenager when cast, so it seems unlikely the writers didn't realize consistently getting him was improbable. Or was the point just to make Alexis seem more grown up to her daddy? In that, it worked. As a realistic story one can care about, it does not.

     Martha gets wonderful focus in "Cops & Robbers." Not only does she get to flirt with a bank man, and talk about her acting self, but she gets in on the action, and gets to be there for her son in a way she usually isn't. Fillion and Sullivan have wonderful chemistry, usually featured only in tiny scenes as they cross paths. Witnessing them together in a dangerous situation, seeing them care about each other, and yet still be completely in character, is very gratifying. It may all be a bit contrived, but let's hope the series finds ways to involve Martha more heavily in the future.

     It is fantastic to see Dean Norris in this episode, despite the fact that he is wasted quite a bit, and gets nowhere near enough screen time. He serves a purpose, to be sure. But when landing someone as talented as versatile as Norris to be in your show, you should really take advantage of the gift. Instead, he does the expected, typical thing, and is barely an obstacle for Beckett. Nor does he play any serious important role in the crisis. Ah, well. Still good to see Norris.

     Watch Castle Mondays at 10 p.m. ET on ABC.

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     To order the Castle DVD, or purchase streaming episodes, please click here.

The "Rise" of Castle

      When ABC's Castle last aired in May, Beckett (Stana Katic) lay on the ground, shot. The season four premiere, "Rise," picks up immediately after that moment. Castle (Nathan Fillion) accompanies his partner to the hospital. When she finally wakes up, she claims to not remember anything, and asks Castle to leave her alone for awhile. He reluctantly agrees.

     Three months later, Beckett returns to work, having never called Castle. While investigating a new murder, she learns that Castle is working tirelessly to find her shooter, though the new boss, Captain Victoria Gates (Penny Johnson Jerald, 24, Star Trek: Deep Space 9), bans him from the police the station. Having no choice, Beckett must go to Castle to continue to look for her would-be killer, who is still at large. Castle goes over Gates's head to get reinstated, and helps out with both the current case, and Beckett's secret continued investigation into her own shooting.

     Gates is certainly a breath of fresh air. While Captain Montgomery (Ruben Santiago-Hudson) finally gets interesting plot right before he is killed off, Gates has a good back story right off the bat. Knowing Gates worked in internal affairs, and is very by the book, Beckett has to sneak around for personal business, something she never does with Montgomery. Also, Castle immediately rubbing Gates the wrong way by going over her head to the mayor means there will be no shortage of friction in the workplace for some time to come. She changes the dynamics of the series completely. Plus, Jerald is a terrific actress, and will certainly bring some dramatic heft in with her.


     Castle and Beckett have never been further apart than they are right now. Beckett is lying about not remembering Castle's declaration of love, something she only admits to her therapist (Michael Dorn, Star Trek: The Next Generation, Star Trek: Deep Space 9). Castle lies to Beckett about having a lead on her shooter to protect Beckett's life. With such monumental things kept hidden from the other, they are setting themselves up for a major falling out of trust. Both have their reasons, but that doesn't make their decisions any wiser, if they want to maintain any type of relationship, working or otherwise.

     Add to that, Beckett tells Castle that she can't make a serious go of a relationship until her mother's murder is solved, and now she is putting him in danger. Castle will not tell Beckett about his new leads because he knows what it feels like to lose her, and doesn't want it to happen again, permanently. But knowing he cannot have her romantically until the case is closed, he will be even more motivated to finish investigating himself, meaning he could be the next one threatened. It's his own choice to do so, but he is doing it for her.

     Alexis (Molly C. Quinn), without knowing the full extent of why she should worry, is concerned for her father's safety. Certainly Martha (Susan Sullivan) is, too, after the scare with Beckett. Castle has a family that counts on him, which makes his efforts, while somewhat heroic, also more reckless. What would they do if something happened to him? His character doesn't know that he's the titular component of a television series, and thus, invincible!

     "Rise" is also nice because it gives viewers a chance to see Detectives Ryan (Seamus Dever) and Esposito (Jon Huertas) solving cases without Beckett and Castle's support. Usually these two play second fiddle, but in the season premiere, they are almost entirely working alone, the other two caught up in other matters. What's more, they've clearly been doing so for months. This helps establish their competence as policemen, and hopefully will allow them a more active role in future episodes. The same can be said, to a slightly lesser extent, for Lanie (Tamala Jones).

     Watch Castle Mondays at 10 p.m. ET on ABC.

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     To order the Castle DVD, or purchase streaming episodes, please click here.

Article first published as TV Review: Castle - "Rise" on Blogcritics.

Castle: The Complete Third Season on DVD

     ABC's Castle: The Complete Third Season comes to DVD this Tuesday, September 20th, the day after season four premieres. These episodes aired from September 2010 until this past May, the most recent season to air. Season three provides many of the stand-alone mysteries viewers have come to expect from Castle, as well as a handful of episodes that play into larger arcs.

     As season two ends, Castle (Nathan Fillion) heads off to the Hamptons with his second wife and editor, Gina (Monet Mazur), just after Beckett (Stana Katic) breaks up with her boyfriend. Season three finds Castle dating Gina for awhile, before the relationship implodes. But the time that it does, Beckett finds a new guy to date. So, of course, the two lead characters never do find the opportunity to hook up. However, in the season three finale, Castle tellz Beckett that he loves her, so it will be interesting to see what the ramifications of that moment will be.

     Though Castle and Beckett don't get lucky in love, they seem to be the only ones. Among the other relationships that play out during the third season, Alexis (Molly C. Quinn) gets serious with her first real boyfriend, Ashley (Ken Baumann, The Secret Life of the American Teenager), so much so that, after a fight, they decide to try the long distance thing as he goes off to college. Ryan (Seamus Dever) proposes to his girlfriend, and she says yes. Esposito (Jon Huertas) and Lanie (Tamala Jones) try to sneak around, and for awhile, their friends allow them to believe it's working. Martha's (Susan Sullivan) beau dies just as she is about to decline his marriage proposal.

     But romance is a small part of Castle, while murder is a much bigger part. There are a number of cool, memorable cases that Castle, Beckett, and company solve during this third season. The team works with Agent Mark Fallon (Heroes's Adrian Pasdar) to stop a dirty bomb in a gripping two parter. Actress Natalie Rhodes (Laura Prepon, October Road, That '70s Show) helps out on one case while studying Beckett, as she will be playing Nikki Heat in a film based on Castle's books. Beckett's old mentor, Royce (Jason Beghe), returns, only to be killed, and Beckett and Castle have to travel to Los Angeles to find his murderer.

     Of course, the biggest episode of Castle's third season is the finale, "Knockout," which continues the investigation into Beckett's mother's murder, an arc spanning the series thus far. Esposito and Ryan learn that Captain Montgomery (Ruben Santiago-Hudson) is part of the cover up conspiracy. Montgomery faces the hired killer himself, losing his life, but saving Beckett's. There is also much examination by Castle over his feelings for Beckett, while trying to convince her to stop digging before she gets killed. "Knockout" ends with Beckett being shot as Montgomery's funeral, and Castle professing his love, as mentioned above, before her head lolls back. What an exciting cliffhanger!

     Interestingly, unlike other ABC releases, Castle's bonus features are spread across each disc in the set, rather than packing them all onto one disc. This certainly makes sense for the audio commentaries, which are provided for a few of the more memorable episodes. It's also convenient for the deleted scenes, too, keeping them near the episode that they belong with. Those are all pretty standard, nothing shocking or exciting to set Castle's apart from any other show. Though it is fun to see Castle bumble in front of Beckett's father (Scott Paulin). You can skip watching them, and won't miss anything. The longer features are all on the final disc, so the setup works pretty well.

     One three and a half minute feature examines how the twelve murder boards on set are used to film each episode, as told by Kurt DeFilipps, the man in charge of doing so. A just over two minute music video called "Get On the Floor" comes from an episode during the season, expanded with scenes from the show added in. The obligatory four minute blooper reel begins semi-seriously, giving it a fun, unique spin. It also exposes the cast's potty mouths.

     "Castle Goes Hollywood" is an eight minute short about filming in Los Angeles for one episode. Actually, Castle always films in L.A., but the cast and crew talk about how they had to adapt, since usually they are concerned with making L.A. pass for New York, and this time, they can embrace the city where they live.

      Finally, "Murder They Wrote" is a twenty-two minute roundtable discussion with series creator Andrew Marlowe, executive producer Rob Bowman, author Michael Connelly, graphic novelist Brian Michael Bendis, and star Nathan Fillion. The guys discuss the writing process and the realism of the show. They also go into detail about the books and graphic novel that have been released in conjunction with the series. Fillion talks about his experience on Firely, always a treat. Plus, they remember Stephen J. Cannell, author and former guest star.

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     To order the Castle DVD, or purchase streaming episodes, please click here.

Article first published as DVD Review: Castle: The Complete Third Season on Blogcritics.

Body of Proof: The Complete First Season on DVD next Tuesday

     After stints on ABC's Desperate Housewives and Castle, Dana Delaney finally gets her own series on the network with Body of Proof, which premiered last spring, and comes to DVD next Tuesday, September 20th. Delaney plays Dr. Megan Hunt, a medical examiner who used to be a neurosurgeon, until she is in a car wreck, and can no longer live with the guilt of killing anyone. Plus, her hand goes numb.


     Now Hunt cares, something she didn't use to do, so she goes out of her way and solves the crimes that result in the victims she examines. She is very intelligent, doesn't have much respect for authority or rules, but gets away with it because she helps bring justice to the world. She is sort of a cross between House's House, Castle's Castle, and Bones's Brennan, three of the best offerings in the crime procedural genre, but Hunt doesn't quite live up to the standards of any of the trio.

     Make no mistake about it. Body of Proof does fit firmly into that crime procedural genre. Does Megan step outside the purview of her occupation, as she is only a medical examiner? Possibly, but I don't hear Detectives Bud Morris (John Carroll Lynch, The Drew Carey Show, Close to Home) and Samantha Baker (Sonja Sohn, The Wire) complaining when she helps them catch yet another killer. If you have a genius, use her. And make no mistake about it, Megan is a genius.

     Which is why her boss, Dr. Kate Murphy (Jeri Ryan, Star Trek: Voyager, Shark), lets Hunt get away with spending a huge portion of the department's budget, despite the fact that she has many co-workers to share the money with.

     There's her partner, Peter (Nicholas Bishop, Past Life, Home and Away), who is generic and dull. Seriously, if Peter were to be replaced in season two with a similar looking guy, few would notice. Curtis (Windell D. Middlebrooks, The Suite Life on Deck, Scrubs) is often grumpy, but helpful, and has a contagious excitement when cases get interesting. Ethan (Geoffrey Arend, Trust Me, Daria) is an eager to please, still learning, underling, who frequently gets saddled with the crappy jobs. Considering that Curtis ranks above Megan, it may seem odd that he often ends up helping Ethan with said disgusting chores, but perhaps realizing Megan's genius, Curtis only good-naturedly complains. None of these supporting players get much development in the freshman run, though the latter two show promise.

     Finally, there's Megan's family. Her teenage daughter, Lacey (Mary Matilyn Mouser, Life Is Wild), whom she drives away during her surgeon days, is someone Hunt wants back in her life. Now that she seems to value more than her career, to which she still devotes most of her focus, she is trying to repair things with Lacey. Ex-husband, Todd (Jeffrey Nordling, Desperate Housewives, 24, Dirt), is another story, especially when, in the season finale, it is revealed that he is secretly involved with Kate. It's just unnecessary melodrama, especially because Kate and Megan's interactions are the best part of the series, and this revelation threatens that relationship.

     In summary, Body of Proof does little to raise itself above its peers, of which there are many currently on television, and quite a few of them much better. With this talented cast, there is a chance that that might change in season two. After all, with only nine episodes in the initial run, the series is just finding its legs. Now it's time to steer the show more character focused, and less about the case-of-the-week, if it wants to remain interesting.

     The bonus features are, sadly, about as dry as the nine episodes in the DVD set. "Examining the Proof" spends ten and a half minutes assuring viewers that the science and medical details are real. It is commendable that the staff behind the series puts so much effort into authenticity, using consultants with wounds and terminology and even the set. But we get it already. Having the entire cast and a number of others keep telling us that is not needed.

     "If Looks Could Kill" is a five and a half minute feature focusing on Roberta Haze's costume design. Clearly, she is a legend in her arena. Her detailed explanation of how she differs Megan and Kate's looks is interesting. But again, if one is not into clothes and fashion, this feature isn't all that beneficial, and is worth skipping.

     "Body of Goofs" is the mandatory (for ABC shows) blooper reel. Clocking in at over three and a half minutes, there is everything one would expect in such an extra. There are plenty of flubbed up jargon, and cast members screwing up lines. John Carroll Lynch, who opens the bit with an interview from his "dressing room pool" stands out as the most amusing part of the segment. But again, disappointing.

     Finally, "New Evidence: A Sneak Peek at Season 2" is simply a forty-five second commercial for the new season. Which begs the question, why word it so promisingly if it's just a commercial? Viewers can see the same thing, or practically the same thing, on other venues. While not promoted as a bonus feature on the packaging, the title given the segment leads to a huge letdown when it is actually watched.

     It's hard to recommend Body of Proof: The Complete First Season on the aforementioned merits. It isn't terrible, but it isn't great. It falls somewhere in the middle of quality television. What will make the biggest turning point in deciding on whether or not to purchase a copy is how season two plays out. Until a few episodes get to air, I find myself ambivalent.


     You can buy Body of Proof: The Complete First Season on DVD next Tuesday, September 20th, and watch new episodes Tuesday nights at 10 p.m. ET on ABC, beginning the same day.

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

     To pre-order the Body of Proof DVD or Blu-ray, or purchase streaming episodes, please click here.

Article first published as DVD Review: Body of Proof: The Complete First Season on Blogcritics.

ABC unveils 2011-2012 schedule

     Right in the middle of season finale madnesses, the networks are releasing their fall schedules, handing down decisions on what goes and stays. Like NBC and FOX before it, ABC's schedule has a few surprising shakeups. Take a look:

     Mondays stay stagnant with two hours of Dancing With the Stars, followed by the mystery hit Castle. Why mess with what works? Because DWTS is yet another piece of reality competition trash that far too many people waste their time watching, that's why!

     Tuesdays accomodates more DWTS and the return of Body of Proof, ABC's successful spring medical investigations drama. But from 8pm-9pm, new sitcoms are the fare, with Last Man Standing, starring Tim Allen (Home Improvement) fighting against women, including his wife, played by Nancy Travis (The Bill Engvall Show, and Man Up, which is along similar lines, but with more stars, including Chris Moynihan (Coupling), Henry Simmons (NYPD Blue), Teri Polo (Meet the Parents), Amanda Detmer (Private Practice), and Mather Zickel (The Cape). Is that what 2011 holds? Male bashing? Luckily, Cougar Town will take the spot of one of those two new sitcoms midseasons, while Apartment 23, a new series pitting Dreama Walker (The Good Wife) and Krysten Ritter ('Til Death) as roommates, will take the other. James Van Der Beek (Dawson's Creek) plays a version of himself. Sounds like winter will be the new fall on Tuesdays!

     Wednesdays are sitcom territory, with The Middle (terrible!), Modern Family, and Happy Endings joined by Suburgatory, in which a teen Jane Levy (Shameless) is forcbily moved to the suburbs by her father, Jeremy Sisto (Law & Order) The horror! Alan Tudyk (Firefly) and Cheryl Hines (Curb Your Enthusiasm) also star. 10pm introduces Revenge, which is a retelling of The Count of Monte Cristo with Emily Van Camp (Brothers & Sisters) in the starring role. Also starring Connor Paolo (Gossip Girl), Nick Wechsler (Roswell), and Josh Bowman (Make It or Break It).

     Thursday introduces the much anticipated remake of Charlie's Angels, starring Minka Kelly (Friday Night Lights), Rachael Taylor (Grey's Anatomy), and Annie Ilonzeh (General Hospital) as the titular angels, with Ramon Rodriguez (The Wire) as Bosley. Drew Barrymore executive produces. That is followed by long-time favorites Grey's Anatomy and Private Practice in their regular time slots.

     Friday is crappy reality TV night with Extreme Makeover: Home Edition banished from Sundays to join Shark Tank and 20/20. In other words, go out and get a life.

     Sunday faces the biggest shakeup, with news shows on either side of the Desperate Housewives sandwich. At 8pm is Once Upon a Time, a fairy tale brought to life by Jennifer Morrison (House), Ginnifer Goodwin (Big Love), Lana Parrilla (Swingtown), and Robert Carlyle (Stargate Universe). At 10 is Pan Am, a Mad Men-esque look at the flight industry in the 1960's.

     Slated for mid-season premires are Good Christian Belles, Missing, Work It, The River, and Scandal from Grey’s Anatomy head honcho Shonda Rhimes. So plenty of stuff waiting in the wings if things don't work out for the current slate.

    Better With You, Brothers & Sisters, Detroit 1-8-7, Mr. Sunshine, My Generation, No Ordinary Family, Off the Map, The Whole Truth and V are all canceled, many of them, unfortunately.

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The Mentalist "Red Moon"

     I haven't watched CBS's The Mentalist since it premiered in the fall of 2008, so when I heard of a chance to get a screener for this week's episode for review, I jumped at the chance to check it out. After all, though I hadn't cared for the series on my initial viewing, the show is in its third season, so I figured it had likely gotten better.

     I'm sad to say, I was wrong. It is a typical crime show procedural. The gimmick of The Mentalist is that the central character, Patrick Jane (Simon Baker), pretends to be psychic to help the police solve crimes. I have to say, I didn't notice any psychic shenanigans in this episode at all. I checked Wikipedia, but it didn't appear that the premise has changed. USA already has a fake-psychic detective on Psych, and their version, albeit sillier, is better executed. I think it's Jane's quiet calm that throws me off. If a show is going to build around an eccentric central character, the person should actually seem eccentric. Otherwise, he's just boring. (See House or Castle for successful examples.)

     The ongoing plot involves Jane hunting for Red John, who murdered his family. This provided the sole interesting moments of the episode. The exchange between Simon and Teresa (Robin Tunney) about revenge, and the purpose it may or may not serve, was fascinating. Sadly, it was short, and didn't go very deep. I feel like this was an opportunity for the show to shine, and like Jane, it slunk into the shadows instead.

     The central story this week involves a serial killer taking out cops, who seems to have broken his or her pattern. Patrick, Teresa, and the others partner with the local law enforcement to take down the treat. Star Trek: Enterprise's former series regulars John Billingsley and Connor Trinneer guest star, as does Chris Ellis (Catch Me If You Can, Apollo 13, Armageddon). They each does a fair job pulling their weight, but are constantly sucked down by what happens around them.

     Though procedurals are not at all my bag, I can recognize a good one. I have tuned into an episode or two of Law & Order: SVU and been blown away. The Mentalist does not fall into this category. How it has lasted three seasons is beyond me.

     The Mentalist airs Thursday at 10pm on CBS.

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Article first published as TV Preview: The Mentalist - "Red Moon" on Blogcritics.

NOTE: This review has garnered personal attacks and rude comments on both of the news sites I write for.  I welcome all constructive criticism and debates about the series itself, but any personal attacks will be deleted.