RICK & MORTY: SEASON 4 Blu-ray Review

 Article first published as RICK AND MORTY: SEASON 4 BLU-RAY REVIEW on Seat42F.

RICK AND MORTY: SEASON 4 has arrived! On Blu-ray and digital, that is, having aired a split season this past November/December and May. All ten episodes are part of the set, as well as roughly forty minutes of bonus features. Blu-ray purchases come with a digital code, and will be available on September 22nd.

The fourth season, which marks the start of a seven-season pick-up, gets weird, and that’s saying something for a show known to be weird. The writers have gotten very comfortable with pushing their bounds, and so now the weird seems more purposeful and thought out. Though it’s still extremely weird.

Perhaps the best example of that is the snake planet in “Rattlesnake Ricklactica.” There’s a time travel component, as well as parallel Earth history, as a world made up entirely of sentient snakes ventures out into the galaxy for the first time, and Morty (Justin Roiland) nearly ruins their evolutionary course. Then his grandfather and traveling companion, Rick (also Roiland), does ruin it for real in a delightful story that is part classic Star Trek, part Terminator, part a lot of other things, and gifts the world the musical stylings Snake Jazz.

The episode is far from alone in RICK AND MORTY: SEASON 4. Morty learns lessons about consequences and knowing the future. He also learns the follies of owning a dragon (Liam Cunningham, Game of Thrones). Rick has to fight to keep his personal toilet safe from an alien named Tony (Jeffrey Wright, Westworld). A story train plays with continuity and anthology, while a heist adventure gets meta times meta plus a bit more meta in a convoluted story knot that somehow kind of makes sense. “The Vat of Acid Episode” plays on an 80s trope, and so much more. Morty’s sister, Summer (Spencer Grammar), becomes ruler of a society. Morty’s father, Jerry (Chris Parnell), does, too, with predictably disastrous results. And matriarch Beth (Sarah Chalke) has to face what her father would like her to be.

That last hints just how much into the family drama and emotional heft RICKY AND MORTY: SEASON 4 can get. It’s a silly comedy, to be sure, but as the various personalities become more well-developed, more and more of the stories are driven by the relationships between characters. This is welcome and shows an appreciated maturation.

Other guest stars this year include Sherri Shepherd (30 Rock), Kathleen Turner (Body Heat), Sam Neill (Jurassic Park), Taika Waititi (Thor: Ragnarok), Pamela Adlon (Better Things), Matthew Broderick (The Producers), Susan Sarandon (Thelma & Louise), Paul Giamatti (Sideways), Justin Theroux (The Leftovers), Christopher Meloni (Law & Order: SVU), Keegan-Michael Key (Key & Peele), and even inventor Elon Musk, among others. It’s an eclectic group, and one wonders why anyone would ever turn down a chance to be part of the show.

The special features are light and varied. The best one is probably the longest, a nearly-ten-minute look behind-the-scenes of the show as the crew finishes season 4 and begins season 5 simultaneously. It’s very easy, in a show as action-packed and fast-moving as RICK AND MORTY: SEASON 4, to just focus on the main threads and ignore the background. That feature, along with shorter focuses on a few individuals and parts of the process, help remind audiences just how much work goes into each episode. The sheer number of backgrounds and extra characters is mind-boggling, something other animated series don’t even come close to achieving, and will give greater understanding of what it takes to make a show this complex and good. Short bits on each episode are interesting, though not particularly eye-opening.

RICK AND MORTY is a solid show, and SEASON 4 continues this proud tradition. I look forward very much to at least six more years of a series, especially if it keeps building upon what it has done so far. Which is a lot.

GROWN-ISH Immature

Article first published as TV Review: GROWN-ISH on Seat42F.

GROWN-ISH, a spin-off of the hit ABC sitcom Black-ish, premieres this week on Freeform. Centering around Zoey Johnson (Yara Shahidi) as she goes off to college, the series seeks to show a unique, yet familiar, point of view in the way that Black-ish does, albeit for a different demographic. It also looks to continue to be closely connected to the mother show.

Besides Zoey, who fans of Black-ish are already very familiar with, we are quickly introduced to the rest of the ensemble. There’s Nomi (Emily Arlook, Shitty Boyfriends), a closeted bisexual. Aaron (Trevor Jackson, American Crime) is super woke. Vivek (Jordan Buhrat) is far too obsessed with wealth. Luca (Luka Sabbat) is very fashionable. Sky and Jazz (R&B duo Chloe x Halle) aren’t as perfect as they pretend to be. It’s a more diverse, modern Breakfast Club, which Grown-ish goes to great pains to point out.

Many pilots go through meeting the various leads in hokey ways, bringing the main characters together in a single half hour through less than realistic means. Grown-ish sort of avoids that cliché by introducing Zoey to a new group of friends all at once, who happen to be in the same class as her, which makes sense.

However, Grown-ish still seems to feel the need to toss in the hokey circumstances. It details how each student ends up in a less-than-ideal midnight marketing class through zany sequences that prevent them from getting to the registrar in time. Thus, while avoiding the awkward setup initially, through flashback, it falls back into that familiar trap.

This is far from the only thing Grown-ish does wrong. The pacing is constantly interrupted by extended freeze frames, often with hashtags attached. The narration provided by Zoey is overacted and cheesy. Including fellow Black-ish character Charlie Telphy (Deon Cole) is a huge stretch that feels inauthentic. Chris Parnell (Saturday Night Live, Suburgatory) once again shows up as a goofy, out-of-touch authority figure; I love Parnell, but enough with this type for him, or characters on TV in general. A lot of the plot feels stilted and as predictable as it is uninteresting.

There are promising bits, though. The pilot has an important lesson to teach involving fellow student Ana (Francia Raisa, The Secret Life of the American Teenager), and it eventually does get around to it. It may be slightly preachy, but it’s something kids should see. There is a well-defined point-of-view from not just Zoey, but the other characters, too. The basic premise is relatable and has legs for at least a little while. Some plot twists keep things interesting. The backgrounds of some of the characters aren’t nearly as sanitized as one would expect from Freeform, the show being OK with flaunting illegality to serve realism.

I also like that Grown-ish seems determined to stay connected to Black-ish, keeping the world together. A brief cameo from Andrew (Anthony Anderson) promises more to come, which makes sense for a father-daughter relationship, especially when the college is geographically close to their home. Shahidi is supposedly still going to be recurring on the original. And Cole is apparently doing double-duty, starring in both shows at once.

But overall, I did not find the Grown-ish pilot very watchable. Sure, there are some good elements, and if they are developed further, focusing on those rather than other bits, there could be a decent show here. But the essential structure itself just doesn’t feel very well done, and some choices to inject off-tone humor distract from the cohesiveness of other threads. It might be moderately successful on the Freeform network, but I can’t see it really hitting a broad audience, or even bringing along much of the Black-ish following.

Grown-ish airs this Wednesday, January 3^rd, on Freeform.

Rachel's Big "Opening Night" of GLEE

Article first published as TV Review: 'Glee' - 'Opening Night' on Blogcritics.

This week’s installment of Glee, “Opening Night,” has a couple of nice stories mashed together in a very unnatural way. Add to that a big list of what is missing from the hour that should have been included, and it feels uneven. Had this been split into two separate episodes, allowing room to add in some of the glaring omissions, it might have been really good. Instead, it’s a fair installment with some terrific moments.

The ‘A’ plot revolves around Rachel’s (Lea Michele) Broadway opening night in Funny Girl. Her friends rally around her, including Tina (Jenna Ushkowitz), who has come to visit, but not Artie (Kevin McHale), who is out of town, so we trade one annoying character for another. Still, Rachel has severe nerves and has a hard time finding the will to get up on stage. It takes a former frenemy verbally slapping some sense into her before Rachel can perform. Once she does, as expected, she is amazing.

Rachel’s nervousness is understandable, and is well developed. It gives us the fun opening “Lovefool” with welcome appearances by former recurring players Karofsky (Max Adler), Jacob Ben Israel (John Sussman), and Becky Jackson (Lauren Potter). Those three are tormentors of Rachel’s previously, to varying degrees, so it makes sense to see them now. From here, we get to Rachel curled up in bed, unable to rise, doubting herself after reading online reviews of the preview shows. What nineteen- or twenty-year old wouldn’t be nearly paralyzed with fear in this situation?

It’s Santana (Naya Rivera) that manages to make Rachel see the light when her friends, including Kurt (Chris Colfer), Blaine (Darren Criss), Mercedes (Amber Riley), and Sam (Chord Overstreet) cannot. This works for the story, too. Not only does it solidify that Rachel and Santana are over their feud and really can be true pals, but Rachel needs a kick in the pants, not coddling, and only Santana can do that. Tina gives hard truths, too, but only unintentionally, not having the brass to back them up that Santana does, or wisdom to see what’s needed.

When Rachel takes the stage, she’s terrific. An audience kerfuffle tarnishes the first act a little bit, but Rachel’s chums remain supportive and the producer, Sidney (Michael Lerner), tells Rachel like it is, so Rachel rallies. Her opening, “I’m the Greatest Star,” is good, but her closing, “Who Are You Now?,” is even better. Rachel’s skipping of the cast party to hang out with her friends in a rowdy gay club, complete with a spirited “Pumpin’ Blood,” is a little rude, but she needs to let off steam her way. And the rave reviews in the papers the next morning are well-earned, the culmination of five years of story arcs for the female lead of the series.

The worst part of this storyline, though, is that Will (Matthew Morrison), who has come to New York specifically for the show, has to run home before it begins because Emma (Jayma Mays) is in labor. It’s not like Mays even appears in the episode, nor do Will or Rachel struggle with his absence, so what is the point of this? It seems gimmicky, like a bad sitcom, and the episode would have changed not at all had Will stayed, uninterrupted.

Or maybe the worst part is that Rachel’s dads, introduced as two men that would be mega-fans of their daughter, don’t show up, as they never do, their characters having been consistently wasted all throughout Glee. Nor do many of Rachel’s friends come, despite that fact that this person they know and like is starring in a Broadway show! Maybe Glee didn’t want another big reunion episode so soon after the ending of the McKinley plot, but “Opening Night” pretty much screams for one, and fails to get it.

Of course, Glee sticks a couple of touching Finn references in, as it is beginning to do way too often. Rachel thinks of Finn while singing, and Will gives her child the middle name of Finn. These are sweet, to be sure, and definitely fit for the moment. But do we have to be reminded of Finn week after week? Many shows don’t mention a character enough after their passing; Glee is almost doing it too much.

Sandwiched into “Opening Night” is a ‘B’ story in which Sue (Jane Lynch), criticized for lambasting New York City in her news segment because she’s never been there, tags along with Will. Unable to sit through Funny Girl, Sue climbs over the New York Times critic early in the show, then meets up with a man named Mario (Chris Parnell, Suburgatory, Archer), who walks out in a similar manner. The two fall in love over dinner, then have sex all over Rachel’s apartment (because they didn’t know Will had left an empty hotel room?). In the end, though, Sue won’t stay in the city and Mario won’t move to Ohio, so their affair ends, but leaves Sue with an appreciation for the Big Apple.

Sue deserves a romance, and I like her how and Mario connect, Mario even sticking by her after Rachel (justifiably) loudly and harshly tells Sue off. So why bring this up if it’s not going to be an ongoing arc? And why stuff it into Rachel’s episode? Sue’s “N.Y.C.” number with Will is great, but the fact that Sue shares Rachel’s big closer, “Who Are You Now?,” is jarring and weird. It’s nice to see Sue get story, and good story at that,  but it’s just sandwiched so unevenly into “Opening Night” that it doesn’t land as it should.

I’m also a little torn over the Rachel / Sue showdown in this episode. Sue is known to be supportive of her students, using her cruelty as a motivator, not because she’s truly mean. So why can’t Sue be happy for Rachel when Rachel has succeeded? Is Sue resentful that it has come about so easily for the girl? If so, explore that, don’t leave us wondering. Rachel laying into Sue feels good because, in the moment, Sue seems to deserve it, and yet, because we see Sue emotionally bare this week, it also feels a little rougher than it should be, creating unnecessarily mixed feelings.

Once more, “Opening Night” is superior to the NYC/McKinley split episodes, but does not completely fulfill its potential. It will be interesting to see how Glee ties up the New York arc in the next three weeks, and if its final season, which will feature a new format and setting(s?), finally figures out what the show should be. Glee airs Tuesdays at 8 p.m. ET on FOX.

"Departure" of Another ARCHER Season

Article first published as TV Review: 'Archer' - 'Archer Vice: Arrival/Departure' on Blogcritics.

FX’s Archer ended season five this week. Subtitled Archer Vice, it is a huge, splashy showdown, and a return to normalcy. The dictatorship in which the team is hiding collapses into itself, and probably would have even if the U.S. government hadn’t been bearing down on it, which it is.

At the same time, Lana (Aisha Tyler) goes into labor, of course, dividing the attention of Archer (H. Jon Benjamin), who has made the effort to become a doula and wants to be supportive in this situation. Archer and Lana’s romantic arc has been more funny than sweet. They are definitely in love with one another, but Lana is a tough broad, hating to allow any emotion to crack through her hardened exterior. Archer, by contrast, is an immature man-child who can be faithful, but tends to not act like an adult most of the time. Luckily, both have slowly gotten better, keeping enough of those cores to stay true to the characters and remain funny, but also exhibiting a level of growth over the course of the past few seasons.

This comes at an opportune time because Lana’s baby is also Archer’s. Not the result of a sexual hook up, Lana learned a cache of Archer’s sperm was frozen and she took some to make her child. It makes sense because, despite their issues, Archer is a fine physical specimen, and he’s someone Lana cares about. But one gets the sense in this episode that Lana did not intend to tell Archer the truth until she does, a raw moment for her after giving birth, and seeing that Archer is trying to be there for her.

Can these two move forward as a couple? Maybe. Archer doesn’t have to worry about the messy baby wrangling on set, being an animated series, and clearly the writers are going to find fun ways to use the infant, such as when she holds up a single finger to put Archer off while breast feeding. Archer is not a procedural and usually not stuck in any type of mold, so season six could find new territories to explore when two top spies have a baby on the hip.

It does look like they will return to being spies. In this season finale, Malory (Jessica Walter) blackmails Special Agent Hawley (Gary Cole, Veep) into cooperating, thus ensuring ISIS, absent during almost the entire thirteen-episode Archer Vice run, will return to form. It has been kind of cool to leave ISIS, this season being a big ol’ road trip with our favorite characters, who are always best when forced to spend lots of time together. But it will be great to get back to the office, as Archer is as much a workplace comedy as it is espionage adventure.

While I do note that Archer does kowtow to convention, this final episode of the season, more than most, actually doesn’t. A shoot-out as a regime falls and a main character giving birth at the same time feels very sitcom staple-y. Huge events are always mashed together inconveniently, especially at the close of a year. Yet, Archer‘s trademark humor and charm remains firmly in place, so while the story may seem dumbed down a smidge, the characters and dialogue do not.

The focus this week is on Malory, Archer, and Lana, all of them wrapping up their various threads, but that doesn’t mean the supporting players are ignored. Cheryl (Judy Greer) discovers she doesn’t have a chip in her brain, and her country music stardom, which she is likely to give up because she gets bored easily, comes from within. Pam (Amber Nash) gets a few last cocaine jokes in, but her withdrawal symptoms are starting to show, indicating a break away from the new her, too. Cyril (Chris Parnell) loses his position of power. Krieger (Lucky Yates) gets and protects a biological weapon. Ray (Adam Reed) has a few nice ne-liners, and recurring guest stars Slater (Christian Slater, Mind Games) and Juliana (Lauren Cohan, The Walking Dead) don’t go out quietly. The ensemble is well served.

Which means all there is left to do now is wait impatiently for another batch of one of the most consistently funny and original comedies on television. While no premiere date has been announced, Archer should be back in early 2015.

Blu-ray Review: ‘Archer – The Complete Season Four’

Article first published as Blu-ray Review: ‘Archer – The Complete Season Four’ on Blogcritics.


Archer is FX’s hilarious animated series about the employees of ISIS. Part James Bond spoof, part workplace comedy, it follows the zany adventures of some moronic people who, somehow, always seem to get the job done, despite being constantly sidetracked by their inane and selfish whims. It’s fantastic.

Season Four, recently released on Blu-ray and DVD, begins with “Fugue and Riffs.” Archer (H. Jon Benjamin) ran away on his mother’s wedding day, months ago, and hasn’t been seen since. Lana (Aisha Tyler) finally finds him living with a wife and kids and running a burger joint.

If that sounds familiar, it’s because Benjamin also is the titular character on the FOX series Bob’s Burgers, and “Fugue and Riffs” seems to be a demented, ultra-meta crossover, with Archer having become Bob (albeit with the children being his step kids) and John Roberts reprising his role as Linda, Bob’s wife. The fact that Archer would do something like this should tell you just about everything you need to know about the tone of the series.

“Fugue and Riffs” isn’t the only great installment in this two-disc set, which comprises 13 episodes. “Once Bitten” has Archer dying in the desert as Cyril (Chris Parnell) and Ray (Adam Reed) ineptly try to save him. “Live and Let Dine” features the spies undercover at a restaurant working for a mean chef, Lance Casteau (voiced by real celebrity chef Anthony Bourdain). And in the two-part season finale, “Sea Tunt,” the gang goes with Cheryl’s brother and his girlfriend (Bob’s Burgers stars Eugene Mirman and Kristen Schaal) to Sealab to stop the crazy Captain Murphy (Jon Hamm, Mad Men, playing the character from the Adult Swim series Sealab 2021).

This stuff is outrageous and will make you laugh out loud, but honestly, my favorite parts of Archer usually just involve the cast hanging around together. Malory’s (Jessica Walter) alcoholism, Pam’s (Amber Nash) crazy sex and danger obsessions, Cheryl’s (Judy Greer) twisted fantasies, Krieger’s (Lucky Yates) creepy experiments, and the rest blend together for a very pleasing batch of witty dialogue and humorous conflicts.

Archer is great because it knows what it is and wants to be and allows the characters to develop. It is a goofy animated sitcom, to be sure, but the players are much better fleshed out and dynamic than on, say, Family Guy. There are serial arcs and many recurring actors who pop up from time to time. What happens in one episode may have consequences down the road. It’s a show that should be watched in order, not just a random episode here and there, which is a rare thing for a cartoon.

There are, sadly, only two special features in this set. “Fisherman’s Daughter” is a movie that Krieger and Pam are making. Don’t worry, it isn’t tentacle porn, though it probably would be if we got to see all of it (only three minutes or so are present), and it does come awfully close to that line.  “Archer Live” features twenty-minutes edited out of a live stage show, which includes scene readings and goofing off with the audience.

Both of these extras are great. My complaint isn’t with the content itself, just that there isn’t enough of it. It seems there’s been a trend recently to slim down the bonuses on DVD sets, as I’ve commented on many being sparse this year, and while not every fan wants this stuff, it is valuable to some who could just digitally download a set if the draw for the physical media isn’t there.

Oh, and Archer has a mustache on the cover that you can take on and off, which sounds simple, but is much more fun than you’d expect.

Overall, this is a good release because the episodes are fantastic and the featurettes are enjoyable. Archer The Complete Season Four is available now.

"Me Gusta" SUBURGATORY

Article first written for Seat42F.

ABC’s SUBURGATORY, a charming little comedy about a father and daughter who move from the Big Apple to the suburbs, returns for a third season this week with “No Me Gusta, Mami.” Season two ended on quite the cliffhanger, with Dallas (Cheryl Hines) dumping George (Jeremy Sisto), her daughter, Dalia (Carly Chaikin), moving in with George, and George’s daughter, Tessa (Jane Levy), running off to stay with her mother in the city. Now we finally get to see how that all turns out.

Well, it’s a bit of a letdown because order is restored before the opening credits roll. Dalia is still mad at Dallas, but she’s back in her mansion. It takes no time at all for Tessa’s mom, Alex (Malin Akerman), to abandon her, leaving Tessa back with George. George and Dallas don’t get back together, but other than that, everything seems to be back to normal in Chatwin. That’s not the end of their story, but it is a quick reset, too quick in my opinion.

This isn’t a complete disappointment; the chemistry of the principal cast, especially these four, is great the way it is. Shaking it up too much could have hurt the series, and the efforts of three of the four players to make up with their relations are sweet and touching. Thus, it’s an emotionally satisfying story, even if one might wish for a bolder plot twist, such as waiting a few episodes before sending the girls home.

SUBURGATORY is, by and large, a comedy, but it’s also pretty good at portraying the interactions between parents and children. George and Tessa have a unique relationship, as do Dalia and Dallas, and these are a major draw for the show. Their chemistries do shift and grow over time, but love always underlies them.

This may not completely carry over to the Shay household. With Ryan (Parker Young, now starring in Enlisted on FOX) off to college, Fred (Chris Parnell) and Sheila (Ana Gasteyer) are in full empty nest mode. That means Fred is on the couch reading magazines, but not an unhealthy amount of them, and Sheila is patrolling the neighborhood in camouflage, fervently hunting down an escaped dog. This might be a natural reaction for a couple to have, except their nest isn’t really empty, as daughter Lisa (Allie Grant) still resides at home.

Now, fans of SUBURGATORY will accept this as quite expected, but it’s a little sad. As loving as George and Dallas might be towards their offspring, the Shays have always treated their natural-born daughter far worse than their adopted son. It’s a shame, and explains many of Lisa’s neurosis, including her talent for emotional manipulation of her friends. Unfortunately for Lisa, her lot isn’t likely to improve anytime soon.

By and large, “No Me Gusta, Mami” is a funny episode. There are bits with a big pooch, a creepy baby, a tranquilizer gun, take-home accountants (Parenthood’s Phil Abrams, Better Off Ted’s Gary Rubenstein, and Arrested Development’s Bob Glouberman), a ditzy dog groomer (Natasha Leggero, Burning Love), a smoldering jersey, a tweaked theme song, and other vague references I won’t explain to avoid spoilers. Mostly, it’s quite good, and as amusing as ever.

There is a tense bit of “No Me Gusta, Mami” in which a couple of characters contemplate leaving the suburbs behind. But given the premise of the series, any such musings are purely hypothetical. The show may lose supporting characters like Noah (Alan Tudyk) and Mr. Wolfe (Rex Lee), who have been dropped from the main cast this year and will be missed, but the setting itself will remain, as will the core cast.

What would be the real shame, though, is if this series were canceled. It’s not highly rated, and the late start this year does not bode well for its long-term viability. Yet, the slightly hyper-realized world and charming, zany people that populate it would definitely leave a whole in the television landscape if it disappeared. So tune in and encourage your friends to do the same.

SUBURGATORY airs Wednesdays at 8:30 p.m. ET on ABC.

The "White Elephant" In ARCHER's Room

Article first published as TV Review: 'Archer' - 'White Elephant' on Blogcritics.

FX’s Archer just returned with the season five premiere, “White Elephant.” A lot happens in the half hour, and it will change the format of the series for some time to come, if not forever. It’s an action-packed installment that stays true to the characters, even while altering the setting and circumstances, a bold move that few animated shows ever attempt. Well done!


“White Elephant” begins with a weird sequence in which Sterling Archer (H. Jon Benjamin) enters the ISIS office and his co-workers dance around him. Archer typically has a certain set of rules for its universe, and this defies them. At first, I assumed it was a dream, but moments later, reality sets in as ISIS is attacked by armed gunman and the headquarters is half destroyed.

Might the opening have been a clue that “White Elephant” and the rest of the season are all in Archer’s mind? We know he has a vivid imagination, and that would allow Archer to reset things later without having to literally blow up their premise, as they do this week. But honestly, I’d prefer to chalk up the first scene as a bit of whimsy that means nothing, and hope the story continues on from here.

The other hint that Archer Vice, as this season is dubbed in future episode title sequences, might not be real is that late in this episode, after the crisis is resolved, Archer imagines a series of scenes, which then play out over the next installments. These are jumbled and out of order, but after watching an additional four half-hours (all excellent!), they are definitely glimpses of future episodes. Perhaps the full installments are as much imagined as this quick montage is.

Should the events of “White Elephant” turn out to be real, though, there is some wonderful character development, and the program keeps its tone consistent. It makes absolute sense that Malory (Jessica Walter) would run afoul of the U.S. government, just as it does that she has the connections to get everyone out of trouble. She is selfish and doesn’t think the rules apply to her, and she seems to have lots of friends in high places, most of whom she has slept with.

One thing that may be missed is Archer’s enhanced tenderness towards Lana (Aisha Tyler) in this episode. He’s a little cruel, too, such as in the integration room, but that seems to be because of a lack of maturity, rather than because he doesn’t care. We see Archer want to be there for Lana and the baby, and this is a step up for him, putting someone else ahead of himself.

There’s always been an odd relationship between the two. I think Archer desperately wants to love, but having never really experienced it before, not even from his mother, he doesn’t quite understand. And Lana is a tough nut to crack, which makes it hard for her to fully commit to anyone. Perhaps, in time, they may be developed enough as individuals to have something real, but they’re not there yet.

Viewers learn a secret about Cyril (Chris Parnell) in “White Elephant.” Apparently, he used to be a defense attorney. Often, when a series brings up a past career in this manner, it seems forced and false. In Archer, though, given that everyone pretty much ignores Cyril, and Cyril insists he’s talked about it at length lots of time to Lana, it just works.

Dr. Krieger (Lucky Yates) has been promoted to full-time cast member in season five, his image added to the theme song. Honestly, it’s about time this happens. He is in the series most weeks, anyway, and he’s an interesting, weird character, adding something unique to the overall dynamic of the cast. He also has played a vital role in a number of past happenings, being the resident medical-y person. Plus, he’s funny, perhaps as funny as the rest of the stellar cast.

Archer may now be Archer Vice, but the characters, which also include Cheryl / Carol (Judy Greer), Pam (Amber Nash), and Ray (Adam Reed), are by far the best reason to tune in, no matter what they do. Whether spying or selling drugs, the essential things that make Archer so good remain, and because of that, whether Archer Vice ends up being a flight of fancy or an actual turning point, my optimism is high.

Archer airs Mondays at 10 p.m. ET on FX.

ARCHER Season Five Preview

Article first written for Seat42F.

FX’s ARCHER is back! Well, it will be back on Monday, January 13^th at 10 p.m. EST. But having already viewed the first five episodes of the fifth season, it’s easy to get excited. This is definitely one of the most creative, funny animated series for adults out there. The high quality of the first few years has been maintained, even as the show makes a bold effort to reinvent itself before it has the slightest chance to grow stale.

***As usual, spoilers will be light, but present. Because of the nature of this season, this review may be a little more revealing than most, and those who wish to be completely surprised should reading stop now.***

As one may have surmised from the artwork advertising season five, the season has been subtitled ARHCER VICE. While previous posters have little to do with the story, the most recent ones actually do herald a change. This time, it’s not just a marketing technique. By the end of week one, viewers will know what I’m talking about.

The premiere, “White Elephant,” begins with a normal day at ISIS - if a normal day for the spy organization involves roses and dancing to sweet music. But then, that tranquil scene is shattered when ISIS is attacked by the FBI. All of the employees are quickly arrested for treason.

Why? Well, I don’t want to give away everything. True to ARCHER fashion, though, the showdown is large and violent, while also still giving us some good gags. After all, Archer (H. Jon Benjamin) and his friends face peril every day, so a few bullets don’t necessarily ruin their moods completely.

From there, “White Elephant” sets up the rest of this year’s very large arc. This season will not be business-as-usual, with a bunch of stand-alone spy missions. Instead, the cast embarks towards a much larger goal, which will play out well past the two and a half hours released to reviewers. ARCHER will never be the same.

Believe it or not, though, a major story twist doesn’t change ARCHER all that much. As much as I like the new stuff, the plot has always been secondary to the characters. Fans enjoy watching Archer, Lana (Aisha Tyler), Ray (Adam Reed), and sometimes Cyril (Chris Parnell) going toe to toe with villains. But even better are the workplace dynamics, which includes those back at the office, such as Malory (Jessica Walter), Pam (Amber Nash), Cheryl / Carol (Judy Greer), and Dr. Krieger (Lucky Yates, deservedly promoted to main character this season). Those relationships, sometimes good, sometimes bad, always close-knit, are the major draw.

“White Elephant” removes these people from the familiar setting, but keeps them together, as it must. Sure, they may split up for little bits of time into small groups, but primarily, they stay close to one another. This makes sense, as they aren’t good people and their skills are limited, so who else would want to be around these flawed individuals? Still, it makes for very entertaining television.

Now, there are some changes that do affect the group as a whole. One of the players develops an addiction to an illegal substance. Another starts a career as a country music singer. A third is pregnant. A fourth matures just enough to put someone else first, mostly. A fifth takes control of the mind of one of his co-workers. A sixth reveals a past career that becomes relevant again, though it’s not the first time the job has been mentioned, just the first time anyone paid attention. All of these are threads that extend through multiple installments, which makes for some fresh plot.

The characters in ARCHER don’t exist in a bubble, and events and people from past seasons do return, sometimes in unexpected ways, sometimes just in passing mentions. This really gives the feeling of authenticity to the proceedings. Even though ARCHER is animated, it’s a developed world that feels sort of real, even as it goes over the top.

In short, “White Elephant” is a terrific episode, and judging by the first five installments, it’s going to be another hilarious year.

Be Careful Hanging Out With RICK AND MORTY

Article first published as Be Careful Hanging Out With RICK AND MORTY on TheTVKing.

Cartoon Network's Adult Swim's latest series, which premiered this week, is Rick and Morty. From the mind of Dan Harmon (Community), Rick and Morty is a twisted tale of a gullible, dumb, naive grandson, Morty (voiced by Justin Roiland, Fish Hooks), being taken along on dangerous adventures by his eccentric, compassion-challenged, alcoholic grandfather, Rick (also Roiland).

Some have compared Rick and Morty to Back to the Future, pointing to the strange relationship between an old man and a young boy, though this show makes the bond more understandable by having the two be related. It's true, the connection between Rick and Morty is the heart of the show, the latter being a willing participant, through more because of familiar duty than desire, in the schemes. But it doesn't paint Rick in a very good light to take advantage of the boy, and so their footing is not equal, making for an unbalanced duo.

This may be a good thing. Were Morty as into the travels and risks as Rick were, the two would likely be in big trouble even more frequently. Rick couldn't take the competition, and while Morty doesn't exactly reign in his grandfather, he doesn't encourage him, either. Thus we have two very different souls pushed together by a blood relation, rather than anything they share in common.

The animation is as crude as the plot and the jokes, which include things such as Rick wanting to smuggle giant seeds up his grandson's butt. They are well matched in rough lines, odd colors, and twisted creations. The places Rick takes Morty are literally out of this world, allowing the animators' imaginations to run wild. To their credit, they definitely get the tone, and provide pictures that match the words.

I actually like it, though, in spite of this. While super weird, it also has that charm and cleverness that is found well-seeped into Community. Harmon extends his talent in a second project, and though the two share little in common, they are likely to earn some of the same types of praise, with words like "original" and "groundbreaking" thrown around. I don't think Rick and Morty is likely to gain quite as large or as passionate a fan base as the live-action sitcom, but it is very enjoyable, more so than I expected it to be.

The voice cast is rounded out by Chris Parnell (Suburgatory) as Morty's father, Jerry, Sarah Chalke (Scrubs) as Morty's mother and Rick's daughter, Beth, and Spencer Grammer (Greek) as Morty's older sister, Summer. All are great, though they don't get a ton to do, at least in the "Pilot."

If you're on the fence about watching Rick and Morty, check it out. You may be pleasantly surprised.

Rick and Morty airs Mondays at 10:30 p.m. ET on Cartoon Network.

FILTHY SEXY TEEN$ Newest Spinoff

Article first published as FILTHY SEXY TEEN$ Newest Spinoff on TheTVKing.

First there was Childerns Hospital, which spun off NTSF:SD:SUV and Newsreaders. Now, by some of the same people, parodying in a similar manner, comes Filthy Sexy Teen$, the "Pilot" of which aired on Adult Swim this week.

Filthy Sexy Teen$ does for rich kid teen dramas what those others shows did for medical dramas, law enforcement dramas, and news magazines, respectively. The live-action series is set at a high school, makes use of familiar elements from Gossip Girl, Pretty Little Liars, and the film Cruel Intentions, among other sources, and sports actors much older than the parts they play. In short, it's great lampooning done in a style that has already proven successful for other genres.

I think Filthy Sexy Teen$ has the potential to be even more popular than those other three shows. The reason for this theory is because Adult Swim's target audience is young people, and this caters more to the types of shows those people watch. Toss in some vampires, werewolves, witches, zombies, and the like, which the "Pilot" does in a small way, and it has the ingredients for a popular program. Although it doesn't appear any other episodes are yet scheduled to air.

In the "Pilot," Tom (Sam Trammell, True Blood) and Meg (Casey Wilson, Happy Endings) take in poor kid Nick (Marshall Allman, Prison Break). This is great news to Meg and Tom's daughter, Reagan (Hannah Kasulka, What to Expect When You're Expecting), because poor kids are hot, and not being biologically related, she has a leg up on her competition for Nick's affection.

Regan and Nick attend a preppy private school, where it's cool to pretend you're gay, as Ricky (Steven Yeun, The Walking Dead) does. Everyone has a dark secret; Jamie's (Chelsea Harris, Time for Passion) is that she's a zombie. Some teachers, like Mr. Benton (Johnny Pemberton, Family Tools), are impossibly young and just want to be friends with their students. And the principal, Mr. Hastings (Chris Parnell, 30 Rock), is sort of trying to keep it together, at least a little, when he's not busy with his own projects.

Filthy Sexy Teen$ is funny. Tropes are trotted out and beaten to death. Concepts are hammered in repeatedly. The characters play their parts with sincerity, even when you know such earnestness must be faked, considering how ridiculous the levels are.

By using mostly experienced performers, Filthy Sexy Teen$ gives some of the most gifted comedic actors room to play. A short, fifteen-minutes per episode series like this will surely allow time for the cast to pursue other projects, as those involved in the other series by this production team do. But it will also give them a space to do some of their craziest work, earning them new fans and followings.

I don't know when Cartoon Network may air more of this show, but I definitely look forward to future installments of Filthy Sexy Teen$.

Archer - "Sea Tunt: Part 2"

Article first published as TV Review: Archer - "Sea Tunt: Part 2" on Blogcritics.

FX's Archer completes its fourth season with "Sea Tunt: Part 2." Archer (H. Jon Benjamin) and the other ISIS agents journey to Sealab to stop crazy Captain Murphy (Jon Hamm, Mad Men) from firing weapons at the United States and other world powers.

How appropriate that Archer's fourth season, which begins with a major play on Bob's Burgers, ends with another cartoon spoof, this time of Sealab 2012. While the first three seasons didn't have winks at other shows this blatantly, this new element has slipped in effortlessly, especially as cartoons with a similar type of humor are single out as the targets. I hope next year sees more of the same kind of gag.

While the man who voiced Captain Murphy on Sealab 2012, Harry Goz, was not available to reprise the role, having died before Sealab ended, Hamm does a fine job. For those doubting Don Draper's comedy chops, have no fear. As he did in 30 Rock and Childrens Hospital, Hamm hangs with the actors more accustomed to getting laughs, and does so with skill and charisma.

Murphy is killed off in this episode. This may be a bit satisfying for fans of Sealab, as the character never got a proper send-off, and the series was considered inferior after that. Now, they finally get their closure.

"Sea Tunt: Part 2" actually corrects a slight from the first episode of this season. Kristen Schaal (The Daily Show) and Eugene Mirman (Delocated), both main characters in Bob's Burgers, did not lend the voices to the season premiere. Both get to guest star in "Sea Tunt: Part 2," as well as the first half of the two-part episode, making up for their previous absence. Now, if only a role can be found for Dan Mintz next year, the  crossover be complete.

As for the story of "Sea Tunt" itself, it's a pretty good one. Archer, Lana (Aisha Tyler), Cyril (Chris Parnell), and Ray (Adam Reed) go after Murphy. The half hour is full of their bickering and personality clashes. It's a pretty typical episode of the series, because of the way they interact, and how it gets in the way of doing their job. The mustache bit is funny, as is Archer's incessant alcoholism. Classic Archer.

In the end, Ray loses the use of his legs. Again. Will there be no end to his suffering? Actually, I hope not. The fact that this is something continually solved and then becoming an issue again, over and over, is very funny.

I am undecided over the twist of learning that Lana is pregnant. Sure, it will be interesting to watch someone who is the opposite of maternal take care of a child. But Archer thrives on the chemistry of the cast, and despite some character development prior to this, a baby may shake things up in unexpected and major ways, unprecedented for the series. I worry what it could do to the show.

At least neither Cyril nor Archer are the father. By using a donor, Lana does avoid much typical sitcom fodder as the guys try to guess who the baby daddy might be. Though, knowing Archer, the donor may still end up being someone we've seen before. Which could be fun, if done right. Since this is Archer, I'm relatively certain that it will be.

While the mission plays out, Malory (Jessica Walter) searches for booze, hanging out, though not really by choice with Pam (Amber Nash) and Cheryl (Judy Greer). Again, the interactions between the characters make this series, and while nothing major happens with these three, every moment they are on screen is joyous.

I like that Cheryl's family is worked into the episode, and we learn more about her. Any chance to uncover the backstory of any of the characters is welcome, and Cheryl's is done in a cool and clever way. And of course, her last name, teased in the episode title, makes for the punchline of many jokes, though Archer wisely avoids overdoing it.

I am glad that Cheryl's brother (Mirman) ends up getting his own money back, though, so he isn't a recurring villain. He works better as an amusing side character, rather than a bad guy.

The fourth season of Archer maintains the comedy's quality, and I will miss it until it returns for season five next winter.

Archer dines out

Article first published as Archer dines out on TheTVKing.

In the next episode of FX's ARCHER, "Live and Let Dine," the team goes undercover at a fancy restaurant when an Albanian diplomat is threatened. To make matters even more fun, the dining establishment is the setting of a reality TV series entitled Bastard Chef. Of course, there are a couple of twists, and when it's all said and done, the staff of ISIS is just proven as incompetent as ever.

I like that ARCHER is always searching for new ways to spice up their comedy. The way that they excel in fresh settings and unexpected originality, even while doing a sort-of parody, is great! "Live and Let Dine" capitalizes on the recent craziness of celebrity chef television shows, but also gives it enough of its own flavor to avoid being a copy. An exquisite recipe, if I do say so myself!

The Bastard Chef himself is Lance Casteau (voiced by real celebrity chef Anthony Bourdain). He's a tool to everyone except Archer (H. Jon Benjamin) because, apparently, Archer has some newly discovered culinary talents. If only Archer would stop dropping bowls in the kitchen, ruining food and making a mess.

As with most of ARCHER's satirical guests, Bourdain deserves credit for not being afraid to make  fun of himself and what he does for a living. He definitely takes the joke in stride, even going for the promo lines on purpose, and being a extra big jerk.

ISIS could never be a real spy agency because they screw up too much. From the real story behind the threat, to the way they keep blowing their own cover while being filmed, it's often downright ridiculous. I find it highly enjoyable for a comedy, just not very realistic. It's a good thing believability isn't a selling point for ARCHER.

"Live and Let Dine" has all of the elements of a classic ARCHER episode: Archer hitting on Lana (Aisha Tyler); Lana being too aggressive and defying female stereotypes; Archer (and everyone else) picking on Cyril (Chris Parnell); Malory (Jessica Walter) acting inappropriately as the company head to get her own way; Pam (Amber Nash) being somewhat disgusting, but always hilarious; Cheryl (Judy Greer) being somewhat disgusting, but always hilarious; a sex joke that is as disturbing as it is hot; a reference to a recent episode, this time calling back Archer's time running a burger restaurant; and a recurring reference that doesn't quite make sense, this time Spain in the 1930s.

Then, just when you least expect it, ARCHER ties "Live and Let Dine" into a larger, season-long plot. ARCHER hasn't always paid so much attention to continuity, but as it ages, it has to keep doing things to reinvent itself and make sure that the quality doesn't suffer. This year's story involving Barry (Dave Willis) and Katya (Ona Grauer) fits nicely, calling back to previous plots, and deepening the characters.

Of course, comedy is the main goal of ARCHER, and this episode, like just about every other, delivers the laughs in spades. Which is why I continue to anticipate new episodes every Thursdays at 10 p.m. ET on FX. Also, Archer was just renewed for a fifth season.