GOOD GIRLS REVOLT Or Revolting?

Article first published as GOOD GIRLS REVOLT Review on Seat42F.

Amazon has a new period drama called GOOD GIRLS REVOLT, which premieres this week. Set in the late 1960s, it’s a drama about the employees of a newsroom for a magazine (similar to Newsweek) called News of the World. Specifically, the characters at the center are women ‘researchers’ who essentially do all the work of writing the articles, but get none of the credit because of the sexism of the time. Now, they’re ready to fight for their rights and recognition.

GOOD GIRVLS REVOLT is confusing because it’s got a lot of real elements, but is not actually a true story. For instance, the events mentioned that are reported on more or less actually happened. Several characters, including Eleanor Holmes Norton (Joy Bryant, Parenthood) and Nora Ephron (Grace Gummer, Mr. Robot, The Newsroom), are real people. Yet, what they are doing isn’t true to life. Ephron did work for Newsweek, but at a different time, and for a longer period than what the show portrays.

Because of the real names and events, viewers are likely to be tricked into thinking this is a true story. I feel like that’s kind of dangerous. It’s absolutely fair to take a little creative license when portraying historical happenings, but GOOD GIRLS REVOLT isn’t doing that. Instead, it’s misleading to lend itself unnecessary and unwarranted authenticity. This is purely personal opinion, but I don’t approve of that sort of element at all.

Taken on its own, I did enjoy the pilot of GOOD GIRLS REVOLT, before I looked into how accurate it was. It’s very easy to get behind two of the three main women, Patti (Genevieve Angelson, Backstrom) and Cindy (Erin Darke, Love & Mercy), and root for them to succeed. It’s also a timely tale as the first female candidate of a major political party runs for office in a race beseeched by sexism, so it seems important to bring these things up.

However, the show is also pretty predictable and one-dimensional. The costumes and music are almost a bit too over the top, and the drug use and penis sculptures just make it seem ridiculous. Could people have acted like this? Perhaps. Did they? Probably not to this extent. This is more a vision of what modern viewers think the 1960s was like, taken in a cartoonish fashion. Even Patti, Cindy, Nora, and Eleanor are more archetypes than complex characters.

The one player that gets a bit of depth, Jane (Anna Camp, The Good Wife, Pitch Perfect), is not likeable. I’m not complaining about the actress; I’ve enjoyed Camp very much in several other projects. But instead of letting us see the internal struggle she is going through, wanting to hold onto the achievements she has made and afraid of rocking the boat, it’s actually surprising when Jane does the right thing in episode one because she’s shown to be such a cold person prior to this. We don’t get any insight into why she makes that decision.

There are men in the show, too, specifically, Chris Diamantopoulos (Silicon Valley), Hunter Parrish (Weeds), and Jim Belushi (According to Jim). They fare no better than the women, coming across as entitled bullies who may like girls that know their place, but certainly aren’t going to join the cause of gender equality. They aren’t outright villains, but are (mostly) quietly prejudiced. They are simply the obstacles in the way that must be toppled.

I do kind of want to see where GOOD GIRLS REVOLT is going. I like enough of the elements to be curious about episode two. Yet, that’s more because of a fascination with an era and the positive feelings I get from watching women kick butt than the show’s own merits enticing me.

GOOD GIRLS REVOLT season one will be released on Amazon this Friday.

Blu-ray Review: 'Silicon Valley - The Complete Second Season'

Article first published as Blu-ray Review: 'Silicon Valley - The Complete Second Season' on Blogcritics.

HBO’s Silicon Valley is releasing The Complete Second Season next week, just before the third run begins. Although not a novel approach to home video, it is certainly appreciated, as Silicon Valley is a hilarious comedy ripe for binge-watching, and had I not already seen all of the episodes on this release, I would likely be plowing through them. As it is, I am tempted to watch again anyway because the show is particularly good.

If you’re not familiar with Silicon Valley, it takes place in the tech mecca mentioned in the title, and follows a small group of programmers and their start-up company. Richard Hendricks (Thomas Middleditch) is the brains, developing a compression algorithm better than anyone else ever has before. Along with his pals, Gilfoyle (Martin Starr) and Dinesh (Kumail Nanjiani), landlord and loudmouth Erlich (T.J. Miller), organized support man Jared (Zach Woods), and the advice of Monica (Amanda Crew), who works for their first investor, Richard founded a company called Pied Piper to sell his creation.

Season two begins with the Pied Piper team shopping around for new investors, wanting to scale up their product. At first, they’re riding high from a big win at the close of the freshman year. But then Gavin Belson (Matt Ross), the villain of the piece, CEO of huge corporation Hooli (think Google), shows back up and sues Pied Piper, claiming it was developed on his computers. Belson also has Richard’s friend Big Head (Josh Brener) in his employ, a useful pawn in the competition.

The rest of the second year becomes a back-and-forth struggle as Richard and company try to keep control of their invention, while those with a lot more money than they have try to wrest it from their grasp. It’s a classic David-versus-Goliath battle in the world of geeks, and only one of them can win. Will it be our heroes? Or will Silicon Valley show them struggle through defeat and have to come up with something else to rise from the ashes? Honestly, it’s quite uncertain through most of the ten episodes.

Complicating matters are two new faces for the sophomore season. Suzanne Cryer’s (Two Guys, a Girl, and a Pizza Place) Laurie takes over Peter Gregory’s company. Gregory’s portrayer, Christopher Evan Welch, sadly passed away last year, and his character is similarly written out. Cryer does a good job, but definitely brings a different energy than Welch had. Chris Diamantopoulos (About a Boy, The Office) enters as eccentric rich man Russ Hanneman, who soon involves himself in Pied Piper’s affairs, both as a help and a hindrance. 

Silicon Valley is a geeky look at a niche subculture that everyone knows about, but few venture into. The actual Silicon Valley is a world unto itself, and it’s great to get a sneak peek inside, especially with this very talented cast of humorous performers, who make dark situations look fun; there are laughs to be found in their misery. I cannot recommend the show enough.

As far as extras go, there are six audio commentaries that are very welcome, featuring creator Mike Judge (Office Space), the hilarious T.J. Miller, and others. There are also the obligatory deleted scenes, and a brief featurette about “The Art & Science Behind Silicon Valley.” In all, not a lot, and I couldn’t help but wish for more. But at least what is present is solid.

I can’t say there are strong, specific reasons for choosing Blu-ray over DVD. There aren’t a lot of special effects, outside of the very cool theme song, and the soundtrack is pretty basic, as it usually is for most sitcoms. But things just look so much better in HD, why would you want an inferior quality if given a choice?

Silicon Valley: The Complete Second Season will be available next Tuesday, April 19, at retailers everywhere.

"A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5)

Article first published as "A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting today, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each.

This new Arrested Development brings back all the beloved characters from the sitcom, but because of scheduling difficulties, each installment focuses on one specific player. Other cast members come in and out often, but there is a single person who gets the most stuff, while others are barely seen at all.

First up is "Flight of the Phoenix" with Michael (Jason Bateman), arguably the central protagonist of the ensemble. When last we leave Michael, he is trying to escape his family, a smart move considering how much they have been dragging him down. But as we see in this premiere, he is not able to stay away, and thus is pulled into self-destruction's embrace even tighter, hitting near rock bottom when forced to move into his son, George Michael's (Michael Cera), dorm room, only to eventually be kicked out.

This is wonderful development for Michael, both in keeping with the personality already established, and because it demonstrates just how much like the rest of the family he is. Michael has striven very hard to set himself apart and seem "normal," but that just isn't how life shakes out for him, and even after George Michael finally grows a bit of a spine and in a roundabout way asks Michael to leave, Michael still doesn't get the hint.

Michael seems better when episode four, "The B. Team," picks up his tale, but it has to be denial, rather than success, driving the change. Intent on becoming a movie producer, working with Ron Howard (the narrator of Arrested Development playing himself here) to put together a picture about the Bluth family, specifically Michael's relationship with George Michael. Hopefully, through this experience, Michael will finally see that he is just as bad a father as his dad is, albeit in different ways, and Ron Howard's interest will serve as a wake-up call to him, leading to understanding and lasting development.

I absolutely adore "The B. Team" because of all of the meta references in it. Besides Howard, we see Brian Grazer (himself), and their offices at Imagine Entertainment. Whether or not the picture gets made, which I feel it will, and that the flashback scenes with Kristen Wiig, Seth Rogen, and others playing the familiar characters are probably from this project, this is a clever, tongue-in-cheek extension of some of the self-referential jokes the series already does. I only wish Bryce Dallas Howard would play Ron Howard's daughter in Arrested Development, rather than Isla Fisher (Confessions of a Shopaholic) filling the role.

It's not just done for meta purposes, though, firmly ensconcing the bigger story with these bits. Through a few plot twists, Maeby's (Alia Shawkat) producer career ends up being connected, and former Bluth secretary Kitty (Judy Greer) now works there, using the job for some unknown scheme to bring down the family. And other recurring roles, such as Warden Gentles (James Lipton), Andy and Rocky Richter (Andy Richter), and Carl Weathers (Carl Weathers) figure in, as well.

In fact, that's how much of Arrested Development seems to be playing out. Season four, like the first three before it, brilliantly weaves new characters and gags into everything that has come before it, with many faces and bits returning when least expected. The list of guest stars in these first five half-hours is quite long, though each is used effectively to further the plot, rather than being distracting or plain stunt casting. I think this sort of talent effectively helps fill the gaps of the missing main players.

Episodes three and five, "Indian Takers" and "A New Start," unfold concurrently, with the former following Lindsay (Portia de Rossi) and the latter focusing on Tobias (David Cross). Each have many of the same settings and scenes, but "A New Start" does not repeat "Indian Takers," instead giving new glimpses of the bigger picture.

I think Lindsay and Tobias are meant for each other. Sure, they end up with two other lovers in these episodes (The Office's Chris Diamantopoulus and comedian Maria Bamford), but they way that they keep crossing paths and end up in the same spots proves they're connected. Perhaps they aren't sexually attracted to one another, but there's a reason they are in each other's lives, and it's kind of sweet, if a bit sad, to see how hopeless they are to escape each other, much as they might try.

These two installments aren't the only ones that cross, with a couple of focal points, the aftermath of Lucille's (Jessica Walter) arrest in the season three finale and a family meeting to discuss stimulus money, bringing everyone back together. While it's sometimes hard to pinpoint the exact timeline of the narrative, each episode tells a cohesive story, and also serves the season's arcs as a whole. Putting this together has to be a difficult feat, and I'm impressed with how well it's being done, assuming it will all wrap up neatly in the end.

The weak point of these first five is episode two, "Borderline Personalities." This is about a scheme George Sr. (Jeffrey Tambor) hatches with Oscar (also Tambor) being his unwilling accomplice, but despite the wonderful additions of John Slattery (Mad Men), Karen Maruyama (Pulp Fiction), and Mary Lynn Rajskub (24), as well as the genius dual performance given by Tambor, I just couldn't get into the setting or story.

I think part of the accessibility problem is my general disinterest with anything set in the desert or with that harsh southwestern color scheme, so perhaps this is a personal opinion that will not be shared by other fans. However, even though I do consider it the worst of the five, I still think it is pretty darn funny.

Ten more episodes remain to check out, and they are sure to evoke as many laughs as the ostrich, an inability to recognize faces, subtle references, a secret ballot, a Google unnamed tech company car, and so much more have already gotten. I like that Netflix has them all out at once because I don't have to wait, but it's sad to think they'll be burned through in a few days and then it'll be over again. Thankfully, the first five installments prove that Arrested Development has lost nothing during the very long hiatus, and remains one of TV's smartest, most original, most complex comedies. I'm so glad it's back!

Arrested Development season four is available in its entirety on Netflix now.

Community invaded once more by Germans

Article first published as Community invaded once more by Germans on TheTVKing.

NBC's Community has floundered quite a bit in its fourth season, coming up with stories that generally fit in the tone and scheme of the series overall, but feeling a bit hollow underneath, the characters just not being as smartly written as they are before, and the plot not quite as tight.

I'm happy to report that this week's installment, "Alternative History of the German Invasion," is the first episode to overcome these problems and deliver. I won't claim it's the most creative or funniest installment of Community, but it does get everyone right, is just weird enough to work, and there aren't all the obvious holes I've been able to poke in the other three chapters this year.

The premise is that the study group begins their alternate history class with their new professor (Malcolm McDowell, Franklin & Bash, Entourage), only to find out that the Germans they tussle with in the past are also taking the class. The Germans' new leader (Chris Diamantopoulos, 24, The Office) takes over the group's usual meeting room, and then even their table, too. But when our heroes try to reclaim their designated spot, they learn that the rest of the campus sees them as the villains.

It's interested to get this flipped view of the main cast. We are so used to the story being focused on them, it's odd to step back and see that all of the people around them are sick of it. I guess, in the real world, we would also object to their egocentricity and the tightness of the impenetrable clique. The scenes where the action flashes back to previous episodes, demonstrating how Jeff (Joel McHale) and the others treat their classmates, is eye opening, and will change the way I view Community from here on out.

But beyond that, this plot also ties into the title of the episode and the new history class they have just started, so much so that they assume that the professor is just trying to teach them a lesson, making them seem even more self-involved than they already are. It's a neat trick, looping back in on itself, and something Community has a track record of excelling it, even if they haven't lately.

I love that the Germans are the choice to use as the bad guys because, not only do we get some wonderful Hogan's Heroes (or Hogan's Villians) callbacks, the latest in a long line of TV references the show makes, but it's so unexpected. When reduced to goofy stereotypes with thick, fake accents and fiendish conquering attempts, viewers' minds will automatically pigeonhole the modern day German students into the same category as the wartime enemy of the 1930s and '40s. Thus, when the twist is revealed, it's all the more surprising and brilliant.

Add to that the forbidden friendship that Abed (Danny Pudi) strikes up with one of the rivals (Alex Schemmer, Weeds), and Shirley's (Yvette Nicole Brown) running gag of trying to get home to her kids, only to be blown off on a suggested outing after the conflict, and there are some great layers to the half hour, too.

At the conclusion of season three, Jeff realizes its OK to be nice. He has been trying for the last few episodes to stick to those guns, but without the support of his friends, he has no chance. Thus, it's gratifying to see them all coming 'round once they realize their mistakes, painting and fixing up other study rooms so that other groups on campus might have the same kind of special thing that they have. It's a love letter to Greendale and the fans, and it might just mean that Community leaves these characters as beloved alumni, rather than Seinfeld-esque jerks.

Though, they haven't completely learn their lesson yet, as we see when Abed and Troy (Donald Glover) refuse to do the nice German's podcast in the tag at the end.

I would like (OK, like is the wrong word here) to mention that Pierce (Chevy Chase) seems more and more checked out with each passing week. He is already separating himself from the group and their reality, which is a nice, if regrettable, set up to his impending departure. At least it can be written in a way that makes sense, rather than his absence being sudden and jarring.

Elsewhere, the Dean (Jim Rash) is tasked with caring for Chang (Ken Jeong) during his Changnesia. At first, the Dean doesn't buy that "Kevin" is reformed, assuming this is some evil plot by Chang. Then, when Kevin turns himself in to the police for the past wrongs the Dean tells him about, the Dean finally buys his story, happy to help work with Chang if he has really turned over a new leaf.

I keep waiting for the reveal that this all an elaborate scam by Chang, and I do think that it probably is. But I applaud the way "Alternative History of the German Invasion" keeps us guessing. Even if Chang is the ultimate bad guy, he has gone so far that something like this is necessary to bring him back into the fold, so he gets to show off his genius as well as his ugly intentions. Plus, when the Dean judges Chang for putting his name into words, it's an ironic ball of humor that I cannot get enough of.

Jeong does make some interesting choices in the way that he plays the seemingly brainwashed Chang. Why does he pull the stuffing out of the Dean's pillow? I don't know. But it's these small touches that make the overall picture more odd and enjoyable.

"Alternative History of the German Invasion" may not rank among the best episodes of Community at this point, but I would argue it's the best of the season so far. If it's taken three weeks for the writers to get into the groove, minus those of their number they have lost, that's an acceptable sacrifice, especially if they keep up the consistency and quality going forward. I am happy to let a bit of my pessimism about this season fade away, and am very much anticipating the next zany adventure.

Community airs Thursdays at 8 p.m. ET on NBC.

The Office turns depressing

Article first published as The Office turns depressing on TheTVKing.

As NBC's The Office starts its wind down to the series finale in mid-May, the plot has turned really depressing. I expected to be taken through a more emotional segment of the journey, but maybe not for a sitcom to go quite as dark as it has. This week's episode, "Couples Discount," was absent of much joy, and yet, incredibly good.

Andy (Ed Helms) returns to his post after being gone for three months. He wants to act like he never left, and to be caught up on all the latest going-ons, but is it because he cares, or because he is covering his butt with his boss, David Wallace (Andy Buckley)? He should have returned humble and contrite, and instead, chooses the opposite tack, attempting to re-assert dominance and control.

When Andy sets sail last fall, he is a beloved character who has earned his place among the staff, and is finally settling into the boss's job. He is part of the group, someone who doesn't always do right, but who tries hard, and seems like a good man. Considering where he starts from, as the detestable invader from another branch with anger management problems, it is a satisfying place.

However, Andy has been totally and permanently ruined. From the moment he walks back in the door, it is clear that he no longer belongs. He tries to take credit for the work the staff has done, and accepts a bonus for the quarter he is gone. This ruffles a lot of feathers, to be sure, and it's no wonder that everyone turns on him. It's heartbreaking to see this happen with Andy.

Even worse, Andy single-handedly screws up the biggest account the office has ever landed, Jan's (Melora Hardin) white pages, ruining a lot of hard work that Dwight (Rainn Wilson) and Clark (Clark Duke) put in. Fans will feel just as shocked and betrayed as Dwight and Clark upon seeing this, and it's a rough moment to get through.

In the end, no one is mean enough to really rat Andy out to David, but Erin (Ellie Kemper) accidentally tips him off. This is how it should be. Andy will get his comeuppance, probably making this episode a one-time return, rather than a rejoining for the character, and no one has to be thought of as a bad guy for getting rid of Andy. The rest of the employees may be mad at him, but they're not so cruel as to be the one that stabs him in the back, and this twist saves any of their characters from that damnation. A few small lies that they tell Andy can be written off as justifiable, but revealing to David the truth would have gone too far.

At least Erin can finally be with Pete (Jake Lacy), free and clear. When Pete first arrives, he seems like an interloper, moving in on Andy's girl. But at this point, it's clear his feelings for Erin are pure, and he certainly deserves her more than the absentee boyfriend. Good for them!

So who will be the new boss? Last season, The Office floundered as it searched for a manager. It was not a good year for the series. However, these past three months without a boss have worked really well, both for the characters, and the series. Everyone knows their jobs at this point, and even if they goof off a little, they don't need a babysitter to keep them in line. Maybe this is how it is supposed to be. Maybe David doesn't need to appoint a replacement. Though that is pretty radical thinking for such an environment.


The other major development in"Couples Discount" comes when Jim (John Krasinski) learns the full truth about how Pam (Jenna Fischer) has been hnadling his absence from Brian (Chris Diamantopoulos), the fired boom guy. This takes the couple to a major make-it-or-break-it-point, where their relationship could go one of two ways. Jim, sadly, picks the wrong one, wanting to head back to Philly and avoid a fight, which would probably end their marriage, since it cuts off communication, and could even drive Pam into the arms of Brian, who is most definitely interested. But Pam chooses Jim, fights and all, and in doing so, puts them back on the right path.

It's a teary moment when Pam tells Jim that she wants to fight. What is she saying? That she wants to fight about what's gone on between them? Or that she wants to fight for their marriage? Jim and Pam have come so far in the past nine seasons. To see them fall apart now would be intolerable, and because they're working it out, they will only be stronger for the experience.

Lastly, there's a blink-and-you-miss-it moment when Darryl (Craig Robinson) almost turns Oscar (Oscar Nunez) down on acting like a couple for a mall discount, and then, seeing the camera, changes his mind. Setting aside that this leads to a fantastic genuine moment later on, where Darryl defends Oscar's homosexuality, it also is a sign of the changing tone of the documentary being made.

Before, this kind of thing hasn't been seen, so it was likely cut in the editing room. Now, this isn't the first slip up allowed in, and it makes me wonder what is going on with the rest of the crew. Brian's incident definitely isn't the only thing of interest happening behind the camera, and I can't wait to find out more.

"Couples Discount" is a superb episode of The Office. It may not be as laugh-out-loud funny as it has been in the past, but the real emotional heft more than makes up for it. This has been a terrific season, and a fitting bounce back from the weakness of last year. Catch more episodes of the final season Thursdays at 9 p.m. ET on NBC.

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