"Dear God," The GOOD WIFE is Good

Article first published as THE GOOD WIFE Review Season 6 Episode 3 Dear God on Seat42F.

On THE GOOD WIFE, all of Eli Gold’s (Alan Cumming) considerable political prowess and manipulation couldn’t get Alicia Florrick (Julianna Margulies) to run for State’s Attorney. Leaked news stories, NPR mentions, and Gloria Steinem (herself) couldn’t change Alicia’s mind. In the end, it’s James Castro (Michael Cerveris), the one currently holding the office, and who’d like to keep it, whom convinces Alicia to enter the race in last night’s episode, “Dear God.” What a tool!

Castro is his own worst enemy. He goes after Alicia’s partner, Cary (Matt Czuchry), and Alicia lets him slide. He bullies her and threatens the future of her firm, and she lets it slide. She even is clearly deciding to stay out of the race after knowing he will win it and how bad he is. Yet, he pushes just a little further, invoking Will’s name in a shameful fashion, and that’s the final straw. If he would just keep his big trap shut, he could retain his job. But because he is scared, he keeps acting out, and eventually, he causes exactly what he is trying to avoid.

I know it isn’t a foregone conclusion that Alicia will win the race, but it seems likely, barring a strong third party entry. She’s pulling way ahead of Castro, and he’s obviously a terrible choice for the job. THE GOOD WIFE is not afraid of shifting around its players, putting them in new positions, and the State’s Attorney’s office is a long-established set piece on the series. It is sad, though, that it could take Alicia out of her new firm right when it’s getting its legs.

The one who will lose the most by Alicia running is Cary. He and Alicia started Florrick, Agos, & Associates together. Lately, their power is eroding because Diane (Christine Baranaksi), Dean (Taye Diggs), and other former Lockhart / Gardner employees have come in and tried to grab power. We see this week that they are gaining ground and Alicia isn’t in any particular hurry to stop them. With her out of the game entirely, Cary stands no chance against the organized team of experienced lawyers.

“Dear God” has many brief cut-scenes showing what is going on at the firm. While Cary, Alicia, and Diane speak with Cary’s case worker, Joy Gubick (Linda Lavin, Alice), viewers are treated to glimpses of their workplace. It’s an interesting way to tell the story of Cary losing his own firm, and it certainly makes one sit up and pay attention as they occur.

Even better, THE GOOD WIFE makes Joy important. At first, she seems to be a clever story-telling device, something the show does from time to time. But late in the hour, Joy goes before a judge and has major sway over whether Cary will go back to jail or remain free. Up to this point, she isn’t portrayed very positively, and it’s no wonder Cary thinks he is screwed. Buy Joy is revealed to be a very fair judge of character, good at her job, and she ends up supporting Cary when no one else can. It’s a beautiful pay off for the character and the episode.

We find out in “Dear God” that Kalinda (Archie Panjabi) didn’t have Cary’s accuser killed after all! It appears in the previous installment that Kalinda gives up the witness to his kingpin boss, spelling certain death. Now, we learn Kalinda also warns the man so he can escape. This will certainly have implications, likely bad ones, for all involved, in both Cary’s case and Lemond’s business. But at least Kalinda isn’t as cold as she appears, and Cary may forgive her for this misstep, as he never would if Kalinda were responsible for a man’s death.

The B plot in “Dear God” is fun, too. Cary’s client, Ed Pratt (Richard Thomas, The Americans, The Waltons), gets tired of the vicious arguing of the courtroom and decides, through civil conversation with his opponent (Robert Joy, CSI: NY), to take the case to a Christian mediator (Robert Sean Leonard, House). This throws Cary, Alicia, Dean, and their opponent, Carter Schmidt (Christian Borle), off their games as they try to adapt to a system based on open honesty, rather than rules of law.

I love this plot for many reasons. One, it highlights how ridiculous the courtroom posturing often gets. Two, it boasts great guest stars. Three, it takes our characters to a new environment. Four, it gives Alicia a chance to bond with her religious daughter, Grace (Makenzie Vega). Five, it all comes together with a very nice ending. And six, it’s just plain fun.

THE GOOD WIFE continues to excel. Each episode, “Dear God” definitely included, presents a complex puzzle that brilliantly comes together seamlessly in the end. The acting is phenomenal, which is why the show can reliably, consistently attract such talented guests and recurring players. The drama is compelling. Each episode is highly entertaining and smart. I marvel at how in maintains this high quality week after week, but it currently shows no signs of slowing down. Great job.

THE GOOD WIFE airs Sunday nights on CBS. Air times vary based on stupid, ridiculous, frequent football run-overs.

The Curtain Closes on SMASH

Article first published as The Curtain Closes on SMASH on TheTVKing.

NBC's Smash is canceled too early, after a mere pair of seasons, presenting the two hour series finale "The Nominations" and "The Tonys" this week. In these installments, the casts of Hit List and Bombshell find out what awards they are nominated for, and what they win. Relationships are repaired, and everyone finds their purpose. It's a neatly tied up ending, perhaps a little too neatly.

Conscious of their impending demise, Smash seeks to leave everyone in a good place. This begins with the Tony Awards themselves. The honors are split between the two Broadway shows at the center of this series, and practically every major player wins a trophy. Jimmy (Jeremy Jordan) accepts a posthumous one for Kyle (Andy Mientus), Julia (Debra Messing) and Tom (Christian Borle) are honored for their writing, Derek (Jack Davenport) picks up a statue for choreography, Ivy (Megan Hilty) takes Best Actress, and Eileen (Anjelica Huston) is triumphant when Bombshell scores the big one.

Now, this means Karen (Katharine McPhee) loses for Best Actress, but at this point, that seems fine. She gets to be credited for the success of Hit List, and she seems happy enough, celebrating with everyone else. Besides, she ends up with Jimmy, who may serve some jail time for his past crimes, but is committed to her and a clean act, so she's doing just fine.

In fact, Karen and Jimmy aren't the only couple that find themselves in a happy place as the series concludes. Eileen reunites with a recently released Nick (Thorsten Kaye). Julia admits her long-held feelings for Michael Swift (Will Chase), ending her marriage once and for all with Frank (Brian d'Arcy James), whom she apparently no longer wants back (though what about Michael's family?). Derek finds humility and a conscience, without spoiling his character, allowing Ivy to see the good in him so that she can tell him about her pregnancy and they can be together. Tom even finds a spark with "straight" actor Patrick Dillon (Luke MacFarlane, Brothers & Sisters).

If all this sounds too good to be true, it's because it is. For a show that has thrived on excessive drama and the ups and downs of its stars, this is their dreams all come true, wrapped up in a tidy bow. No one stops in a bad place, with Derek even somewhat making up firing Ana (Krysta Rodriguez) to her. This is the best possible outcome for everyone.

Which is why it rings a little hollow. Don't get me wrong, I see what's going on, and I appreciate it. Had Smash been renewed for season three, there would have been disappointments and cliffhangers. Knowing they would not be coming back, the show tries to give fans what they want. After six or seven years on the air, this sort of outcome would feel earned and natural. With only two seasons under their belt, and everything falling apart just a short hour or two ago, this type of finish rings false.

There is a lot to praise in this final two hours. I love the opening "Under Pressure," which incorporates all of the major players, even if some only sing a little bit in it. I laugh when Leigh (Bernadette Peters) loses her Tony, which kind of feels like a win for Ivy, though she doesn't take home the statue either. I love Tom and Julia missing that they have won. I really enjoy the late addition of Patrick, and the redemption of Jimmy, as quick as both of those seem. The final song with Ivy and Karen singing together is just what the viewers need.

It's just, when all is said and done, this ending is too perfect. Even if Smash wants its characters to ride off into the sunset satisfied, they didn't need to go quite so far to do so. A few losses could have been balanced with romantic reconnections. Not everything has to be a personal and professional victory. A little tone down would have made for a better ending.

That being said, I really enjoyed both seasons of Smash, and am going to deeply miss it. There is nothing else like it on television. It's so much more realistic than Glee, and the drama and setting feel fresh and different than the gluttony of cop, lawyer, and doctor series. It's a shame something like this can't succeed, but I thank NBC and all involved for two wonderful years that I will definitely re-watch again in the future.

Smash is finally "On Broadway"

Article first published as SMASH Season 2 Premiere Review at Seat42F

Grade: 91%

NBC’s SMASH returns tonight with two new hours. Having viewed the first half of the sophomore premiere, I can report that some positive changes have been made that should improve the series, but fans will be satisfied that it mostly remains the same show it was in the freshman run.

As “On Broadway” begins, the previews in Boston are over, and cast and crew return to New York City. The first task is for Eileen (Anjelica Huston) to book a theater, and she already has one in mind – the legendary St. James. However, just when things look to be a go, her financial actions come back to bite her in the butt.

It’s not surprising, really. After all, nothing can come easy in a television series like this for the show within a show. If it did, SMASH would lack drama and driving force. Our heroes have to overcome obstacles. That’s what shapes them into the strong, triumphant figures that we love to root for.

Eileen is taken to a bad place here. She basically crosses the line to save the show, and not just for herself. She believes in Bombshell, and doesn’t want to disappoint all the people who work so hard on it. But because it’s her fault that this happens, you have to feel bad for her, and realize how hard it must be for her to admit to everyone that she has let them down.

The most likely path for Eileen to turn down next is to go to her sleazy ex, Jerry (Michael Cristofer), for help. He still lurks on the fringes, and has probably exacerbated Eileen’s problems for his own benefit. But if he can save the show, I guess it will be good that Eileen might rely on him again, and it could even give her yet another challenge to overcome.

Of course, even once Eileen get the business end of things worked out, Bombshell won’t be out of the woods. As the reviews have revealed, the music is great, but the book sucks. This falls squarely on the shoulders of Julia (Debra Messing), who is distracted by personal worries, as well, especially after a development involving Frank (Brian d’Arcy James, now a recurring player) happens in “On Broadway.” She has her work cut out for her.

How much is Julia supposed to take? Yes, she screws up majorly, but her situation is even more dire than Eileen’s. Both of the are examples of strong, successful, driven women who are having trouble catching a break right now. I’m sure they’ll get through it, but it’s hard to watch them in pain.

Rounding out the trio of suffering females is Ivy (Megan Hilty). Now that Karen (Katharine McPhee) is firmly the star, and Ivy has not made up with her, it seems like Ivy will likely be out of Bombshell. Not permanently, I would imagine, given how much Hilty brings to the role, and how essential Ivy seems to the show. But for now, the odds are against her.

Why does SMASH choose to focus on these girls, and give them so much bad to deal with? It makes for good television, but it’s also depressing. Those writing SMASH off as a light, frothy musical are dead wrong.

Others in the cast don’t have it so bad. Tom (Christian Borle) is happy with Sam (Leslie Odom Jr.), and even though their relationship has a trial ahead, they seem to be in a good place, and so they can overcome. Karen is being hailed as a new star, and might even have a new love interest in her life in the form of wanna-be Broadway composer Jimmy (Jeremy Jordan). Derek (Jack Davenport) may be the captain of a floundering ship, but his reputation remains intact, and he’ll bounce back, just like Bombshell.

A new element SMASH introduces in “On Broadway” is Tony-award winning actress Veronica Moore (Jennifer Hudson, Dreamgirls). It’s not clear what part she might play in the larger story, and she isn’t brought in with any connection to Bombshell. But Veronica makes quite an impression in her first episode, and it sounds like the producers have plans for her, so it’ll be interesting to see how she is drawn into the inner circle.

If you watch SMASH mainly for the musical numbers, “On Broadway” has you covered. From Karen’s big opening, to Veronica’s introduction, to a duet between the two, an enticing solo by a new male cast member, and Ivy’s lament, there are plenty of tasty treats. The numbers themselves may not be super memorable, but they will wash over you in a very nice way while they are being performed.

I’m glad to see stick-in-the-muds like Julia’s family and Dev reduced or dropped from the cast, and even bitchy Elias is gone. The newbies, like Hudson’s character and Karen’s love interest, are very talented. The new direction for SMASH seems to be that conflict will come from within, rather than without, and there will be better showcases for the positives. I dig it, and while “On Broadway” stays true enough to the characters to feel like the SMASH I fell for last season, the tweaks they’ve made work, and I’m anxious to see more.

SMASH returns Tuesday, February 5th at 9 p.m. ET.

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.

Smash drops a "Bombshell"

Fade in on a girl...

It's not secret that fan reaction to NBC's Smash has been mixed. But it's hard to call the series boring. With more twists than a red vine, this initial fifteen episode order has switched the star in its play within a play no less than three times. Possibly more, but three women have been involved. And with scant moments left in the season finale, the question still hangs in the air: Who is Marilyn?

This is a question that lingers throughout "Bombshell." While one girl is named to be the lead early in the episode, there are many points where that decision could be changed, even at the last minute. Smash does a good job at building suspense, and never letting one get too comfortable with their conclusion until the musical actually begins near the end of the hour.

Rebecca (Uma Thurman, Kill Bill) is out, after merely one preview performance. Derek (Jack Davenport), Julia (Debra Messing), Tom (Christian Borle), and Eileen (Anjelica Huston) fight over who should take over for her. They have an understudy, of course, but this early in the process, the understudy hasn't started rehearsing, and there's someone who is more prepared waiting in the wings.

Though the vote is 3 to 1, the 1 is Derek, and he wins. He puts his foot down, as he is the one with the creative vision. Is he right in this situation? Does the director override the producer, writer, and composer? It seems that way. Julia and Tom don't even fight it, and while Eileen tries, when Derek admonishes her, she shuts up. Going forward, there should not be a doubt in anyone's mind that Derek is in charge of Bombshell.

Then again, why shouldn't he get final decision on casting? Tom and Julia are off doing what they do best: writing. Eileen is more suited to the business side of things. At the end of the day, Derek is the one putting together the live performance, and he should have a great deal of say. They hired him because he is brilliant, which he has proven over and over again throughout this process. When the chips are down, he should be trusted with things in his arena. Casting is one of those things.

Who should not be trusted is Ellis (Jaime Cepero). Ellis wants to be in charge badly, and doesn't mind playing dirty to get there. This single-minded devotion leads to an arrogance, acting like he already has a seat at the table long before he does. It's kind of a wonder that Eileen stays blind to his true self as long as she does. But thank goodness she fires Ellis when he proudly touts how he ran Rebecca off. It may be best for the show that Rebecca is gone, but his timing couldn't have been worse, and his methods are terrible! Bombshell does not need the stink of this kind of scandal on its hands!

Of course, we haven't seen the last of Ellis, which he vows as he stomps away from Eileen. He did suggest the musical be about Marilyn, and while he has contributed little since then, other than kissing butt, he is going to sue. That writing is on the wall. He doesn't deserve to win, and if there is justice, he won't. But that doesn't mean his actions won't cause problems, and possibly even halt production. So this little pain, who just will not go away, needs to be put in his place! Please!

It turns out that Dev (Raza Jaffrey) isn't trustworthy, either. He has no intention of telling Karen (Katharine McPhee) that he slept with Ivy (Megan Hilty). It's hard to believe that he thinks Karen won't find out. It's even harder to believe that he expects her to just forget about it and instantly move on. Again, this couldn't come at a worse time. Dev is definitely not the right man for anyone. Even if he does deliver a truly awesome Bollywood number earlier in the season, it's time for him to make his exit, stage left.

Why does Ivy tell Karen about sleeping with Dev? Is she still being manipulative and sneaky? It doesn't seem so. Ivy is crushed that Derek cheated on her, and then, worse, chose Karen over her for the role of Marilyn. But even so, Ivy and Karen have formed a sort of bond. And seeing how upset Karen is, and how much pressure she's under, trying to learn the part at the last moment, it looks like Ivy might just be doing a kindness by not letting Karen stay with a lying cheater. There is no malice or pleasure in Ivy's face when she tells Karen the truth. Which means, as the season comes to an end, that Ivy is a likable character, something hard to see coming back at the beginning.

Though Karen might make a better Marilyn on stage, which is, admittedly, debatable, Ivy is more like Marilyn in real life. The end of "Bombshell" finds her contemplating a palm full of pills, something the real Marilyn would do. Many believe that Marilyn killed herself. Hopefully, Ivy won't do the same. She's too interesting a character to lose now.

The real draw of Smash is Bombshell. The characters are great, and, were time not an issue, this review could actually contain twice as much about them as it does. But the music and staging for the musical are more amazing! Tom and Julia's final number is much, much better than the dark, depressing original ending, and ranks among the top songs in the production! Debuted proudly in "Bombshell," it's easy to see how this is coming together. Smash would not work if its show within a show sucked. Thankfully, Bombshell doesn't. Not even a little bit.

Smash has been renewed for a second season and will return to NBC next fall.

If you like my reviews, please follow me on Twitter! Article originally published as Smash drops a "Bombshell" on TheTVKing.com

Smash does not deserve the haters

NBC's Smash faces "The Coup" this week, as Derek (Jack Davenport) has a musical number developed without the input or knowledge of Tom (Christian Borle) and Julia (Debra Messing). He isn't the only one facing loyalty issues, though. Ellis (Jaime Cepero) is only too happy to jump Tom's ship and go work for Eileen (Anjelica Huston). Also, Eileen's daughter, Katie (Grace Gummer, yes, Meryl Streep's daughter), comes to visit, and scolds her father, Jerry (Michael Cristofer), for how he is treating Eileen. Not to mention, Ivy (Megan Hilty) is totally jilted when she learns that Derek's new number stars Karen Cartwright (Katharine McPhee) as Marilyn. 

Smash has been getting a lot of flack lately from critics. They complain that the drama feels forced and the musical numbers aren't good enough. This seems odd, given the quality of the show. Glee still gets praise, and it is far campier, with less consistent characters. Perhaps that's the problem. Trained by two years of Glee to expect fluff, Smash presents more realistic situations, fewer spontaneous songs (though there are some), and lots of original music that has to be good. It is.

And if one still isn't happy, take heart there will be a new show runner when the recently renewed Smash returns for season two next year.

That doesn't mean Smash is without any problems. For instance, the kid playing Leo (Emory Cohen) is just not up to the task. Perhaps that is why the writers have Julia overact in the courtroom in "The Coup." Playing opposite of Cohen, Messing tends to run circles around him, so they lower her to his level. Or she is just an upset, concerned parent, and that could excuse a bit of an emotional outburst, too.

The Ivy vs. Karen plot has been pivotal to Smash up to this point, but it now appears to be over. Karen shoots herself in the foot with Tom and Julia by being sneaky with Derek, and Ivy is out because Eileen feels a star is needed if Marilyn's production is going to continue.

Eileen is probably right. As talented as Ivy (and Karen, for that matter) is, she isn't the audience bait that a famous person would be. One might think that Marilyn Monroe is the draw, and there's something to be said for the bold step of choosing a newcomer to capture Marilyn's early persona. That might still happen. But for selling the show to investors, having a big name attached will go a long way to making things easier, and ease is a desirable concept, with all of the other problems being faced. Along those line, Uma Thurman will soon be joining the cast.

The only thing really not working in "The Coup" is Ellis. He is a shifty, despicable character, but that it not the problem. Every show needs a villain, and Ellis fills that role nicely on Smash. What is hard to believe is that Eileen is not hip to his antics. Maybe Ellis lied and told her that Tom was cool with the job switch. But without seeing that, it feels wrong for Eileen to poach him. The characters are wise enough that they should be noticing his too-obvious behavior, and he should be cut out completely. Also, Cepero has absolutely no chemistry with the woman playing Ellis's girlfriend.

Overall, the story in "The Coup" feels authentic. Derek's background with Tom, the details of which slip out this week, explains their animosity. Derek's lack of people skills justify the mistake of going behind Tom and Julia's backs. His idea isn't horrible, he just presents it the wrong way. Gossip does spread like wildfire. Ivy's friends would cheer her up with song and dance, though a few annoyed looks from other bowlers should have been included, and a slip on the slick lane would have been nice.

But a show bound for Broadway never has an easy road. These are things that need to be shown for Smash to work, and hopefully the angry voices will quiet time in time. Watch Smash Mondays at 10 p.m. ET on NBC.

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Smash should be able to prove its name

NBC's Smash premieres today, though many have already had the opportunity to view it, as it has been posted online for some time. If you are coming across this review before watching the "Pilot" and do not want anything spoiled, please check back after watching the first episode.

In the NBC Smash "Pilot," Julia Houston (Debra Messing, Will & Grace, The Starter Wife) is taking a break from Broadway to adopt a baby. That is, until her writing partner's, Tom Levitt (Christian Borle), new assistant Ellis (Jaime Cepero) suggests that the two do a show about Marilyn Monroe. Caught up in the idea, Julia and Tom can't resist writing a number, much to the chagrin of Julia's husband, Frank (Brian d'Arcy James). But it's soon out of everyone's hands when Ellis posts that early recording session online, and it goes viral, putting the gears in motion for a full production.

Eileen Rand (Anjelica Huston, Medium, The Royal Tenebaums) is first on board, looking for something to produce while her other project is tied up because of her nasty divorce from husband Jerry (Michael Cristofer, Rubicon). Eileen would like to hire Derek Wills (Jack Davenport, FlashForward, Pirates of the Carribean) to direct, but Tom hates him. Unfortunately for Tom, Derek puts together a fantastic rendition of a musical number from the show-in-progress, and Julia comes 'round. Which means, it seems, that Derek is in, too.

Now, the next challenge is to pick the girl who will be Marilyn. Tom argues for Ivy Lynn (Megan Hilty, Bitter Feast), a chorus singer whom he thinks has lots of talent, and looks perfect for the part. Ivy gets a leg up by recording the viral demo, and assumes that the part is hers. However, the others, especially Derek, are also entranced by fresh faced Karen Cartwright (Katharine McPhee, American Idol). Which will win out in the end? The question is left hanging as the "Pilot" culminates in the girls' call back audition.

And, there are, of course, love stories. Will Julia and Frank work out their issues? Their marriage seems to have a solid foundation, despite this rocky time. Eileen and Jerry are definitely over. Karen gets supports from her beau, Dev (Raza Jaffrey, Mistresses, MI-5), who believes in her dream. But then, Derek seems like he'd be willing to cross the line with Karen. Will she reciprocate if her career is on the line? Instinct says no, but then again, one never knows how situation might change circumstance...

Any comparison of Smash to Glee is premature and pretty much dead wrong. While both involve singing, Smash has a much more serious tone, and isn't about high school. Additionally, while popular music will be used in the series, every episode isn't packed full of it, with the musical numbers spread out more, and only when the characters need to sing for the plot, at least in "Pilot." Original music will be written for Smash (some is already in the first episode) as the characters work on the Marilyn musical. Unlike Glee, this means that some songs may be repeated many times throughout the show's run. The basic difference can be boiled down to one thing: Glee is a musical, while Smash is about a musical.

Is Marilyn Monroe tired subject matter? Julia suggests that this might be the case, as she mentions recent books and movies. Yet, Smash takes the icon in a different direction. It's immediately obvious from the "Pilot" that this show will not be like anything else in production. It's why Julia and Tom agree to pursue it, and the new take should keep audiences from growing bored. And Monroe is an icon for a reason, so there's plenty of substance to build upon.

The acting and singing in Smash is phenomenal. Right out of the gate, Hilty and McPhee carve out their place in the series. Which other characters may sing remains fuzzy, but these two will be the powerhouse voices that carry the show. And they are up to the challenge. What's more, they're good enough in the acting department that they don't appear out of their depth alongside veterans like Messing, Davenport, and Huston. Yes, their characters don't seem as experienced, but that's the point, and the girls are good at making that feel authentic.

The staging is great. There is definitely a feel for the world of Broadway, at least, it appears so to an outsider who is not rooted in that culture. The characters and settings are very natural in this environment. Thus far, the musical numbers are presented in a bare bones style, but as Julia, Tom, and the others are just beginning to work on the show, this is appropriate. Hopefully the stage sets will grow with the rest of the series. All in all, "Pilot" is a very well orchestrated production.

There will be haters of course; those who don't care for musical theater, or appreciate it on television. But Smash should have a broad appeal as a story, as well as a music-related piece. Time will tell if it works out, but the first episode has plenty of signs to promote optimism.

Watch Smash Mondays at 10 p.m. on NBC.

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Article first published as TV Review: Smash - "Pilot" on Blogcritics.