Rescue 9-1-1

Article first published as TV Review: 9-1-1 on Seat42F.

Before watching, one can be forgiven for dismissing the new FOX series, 9-1-1, as a typical procedural. After all, it stars firemen, police women, and EMTs, and the people they help don’t carry over from week to week. But there is a lot more to it than that, even if it’s hard to define exactly what the quality is that it exudes. Let’s try to break it down, shall we?

First, there’re the brains behind 9-1-1: Ryan Murphy, Brad Fulchuk, and Tim Minear. These guys are known for a variety of high-quality cable shows in recent years, most notably American Horror Story, American Crime Story, and Feud. Given those credits, it’s hard to believe they would deliver anything at all close to a run-of-the-mill, case-of-the-week series. And they do not.

The next clue that this will be better than usual are the actors who signed up. Angela Bassett (American Horror Story, Olympus Has Fallen) is Athena Grant, the main police person we see in the cast. Peter Krause (Parenthood) is Bobby Nash, the fire captain. Kenneth Choi (Sons of Anarchy, Last Man on Earth), Aisha Hinds (Underground, Dollhouse), and Oliver Stark (Into the Badlands) all play characters who work for Bobby. Connie Britton (Friday Night Lights, Nashville) is a 9-1-1 operator named Abby Clark serving as go-between for all of these people, making it a rounded series. While it’s true that none of them have spotless resumes, to have so many great performers in one series says something.

The premise itself does feel a bit formulaic when described. In the pilot alone, the characters respond to several calls for help, and deal with the issues. One of the ensemble gets in trouble at work for acting inappropriately, one is a recovering alcoholic, and Athena is dealing with marital issues with husband Michael (Rockmond Dunbar, Prison Break). None of these things sound like they belong to a new, promising show.

However, there is something more to 9-1-1 that transcends the formula. It’s an ineffable element that is hard to define completely. The best way I can describe it is that there is an urgency, a pacing and tone, that belongs on a high-quality cable show, and feels very out of place on a broadcast network. No scene comes across as cheesy, everything is done with sincerity, and when paired with the performing talent, it rises above the sum of its parts.

The primary thing I can say is that numerous bits of the pilot moved me deep in my gut. I welled up, but not in the way This Is Us makes me. I experienced adrenaline rushes, but not as I do when watching 24. I was scared, but not like a bad slasher flick evokes. I really felt the emotions the characters were feeling, and I have to say, that is quite a feat to do in an hour procedural, let alone multiple times. Maybe it was the mood I was in, but having just reviewed a terrible show right before it, I don’t think so.

Some will dismiss this assertion and find it ridiculous. Everyone is entitled to their own opinions, and I’ve already seen some negative reviews of 9-1-1. But I loathe crime procedurals and watch far too much TV to think I haven’t become desensitized. What I can tell you is that this one feels different. This one makes me eager to watch more. It might be the best show FOX has aired in years, and I don’t think that’s making a questionable boast. This is what a procedural should be, the best of its genre.

9-1-1 airs Wednesdays at 9/8c on FOX.

NASHVILLE Falls to Pieces

Article first published as NASHVILLE Falls to Pieces on TheTVKing.

ABC's Nashville, the soapy drama set in the world of country music, came rocking back last night with "I Fall to Pieces." Two weeks after the events of last spring's cliffhanger finale, Rayna (Connie Britton) is still in a coma, Deacon (Charles Esten) is in jail after telling the police that he drove drunk, causing he and Rayna's crash, and Juliette (Hayden Panettiere) worries about how Rayna's failing health will overshadow her own album release. So, not much has changed, despite the huge event.

Actually, Juliette is not nearly as bad as she seems. If she's fooling anyone, it's herself. Yes, she milks Rayna's coma for all it's worth at her album release concert, which is a terribly selfish thing to do, and should tick fans off. But once Juliette actually visits Rayna in the hospital, the young star falls apart, rethinking her uncaring attitude. Rayna has made an impact on Juliette's life, and while Juliette can try to deny it all she wants, she's a better person for it. It's why she decides to arrange Deacon's bail, even if she has a bad history with addicts.

Deacon is actively self-destructive, lying about driving. He's in a very dark place prior to the car wreck, and he sees a way to remove himself from the world, at least for awhile. Perhaps there's also the thought going through his mind that he doesn't want to live if Rayna is dead, but more importantly he is punishing himself. He thinks he belongs behind bars and separate from everyone else.

In flashback, we see Deacon and Rayna's early relationship. Besides being an impressive visual, with both performers looking much younger, this gives us a chance to view them at both their best and their worst. It's easy to see how Deacon can blame himself for screwing things up, but it's also certain they work well as a couple. Maybe when all this is behind them, they can make a go of it, with Rayna able to forgive Deacon after seeing how low he's sunk and how bad he feels. That is, if Deacon can stay sober.

Deacon does have some help in that regard. Scarlett (Clare Bowen), having turned down Gunnar's (Sam Palladio) proposal, works on securing bail for Deacon, and decides to move in with her uncle. As much as Deacon attempts to run Scarlett off, I'm glad she sticks around anyway. It's a rough sacrifice for her to make, putting parts of her life on hold to help Deacon, but maybe she'll finally get through to him and help him heal. As long as this doesn't destroy her just-launching music career, it's a nice development, giving both family when they need it.

Gunnar hasn't given up on Scarlett, even if she did say no to marriage. They share a very nice moment, performing together once more, and he vows to work to win her back. When last season ended, they were not in a healthy place to move forward, and two weeks doesn't fix everything. But "I Fall to Pieces" hints that there will be a second chance for them, and maybe they won't end up split for so long like Deacon and Rayna.

Rayna's accident does bring her family together in a way they haven't been for some time. Tandy (Judith Hoag), Lamar (Powers Boothe), and Teddy (Eric Close) are actually able to be in the same room together! It won't last, especially as a new secret rears its ugly head, so it isn't as touching as it should be. But at least Rayna's loved ones are there for her in her time of need.

Lamar has actually been downgraded to recurring status this season. That's not a guarantee that he'll be sent away or locked up, but that does increase the likelihood that he won't remain as involved in his daughters' lives as he has previously. It's sad to see parents and children drift apart, but if Lamar really did what Tandy hears he's done, he doesn't deserve the girls in his life, anyway.

"I Fall to Pieces" remains just as full of everything that makes Nashville so deliciously compelling as it was in season one. It's a prime-time soap, to be sure, but it embraces that part of itself and is well-suited for the genre. I look forward to more tumultous romances, twists, and turns this year and for many more after.

Nashville airs Wednesdays at 10 p.m. ET on ABC.

NASHVILLE Sings

Article first published as DVD Review: 'Nashville - The Complete First Season' on Blogcritics.

Last fall, ABC’s Nashville introduced us to Rayna James (Connie Britton, Friday Night Lights), a country music queen whose career is on the downswing. Her production company has an idea – team her up with hot young ingenue Juliette Barnes (Hayden Panettiere, Heroes) – and Rayna can rise to the top again. It’s synergy made in production heaven.

As the 21 episodes of The Complete First Season, now available in a five-disc DVD set, reveal,  things are quite a bit more complicated. For one, Rayna and Juliette do not get along in the slightest, both having preconceived notions about one another, and clashing upon meeting. For another, they’d both like to work with Rayna’s long-time guitar player and former lover (and recovering alcoholic), Deacon Claybourne (Charles Esten, Big Love, Enlightened).

On the home front, Rayna’s life is no easier. Husband Teddy Conrad (Eric Close, Without a Trace) is involved in politics, as is Rayna’s manipulative father, Lamar Wyatt (Powers Boothe, Deadwood), and close family friend Coleman Carlisle (Robert Wisdom, The Wire), making the race for mayor of the big city quite messy. Toss in Rayna’s heir-apparent sister, Tandy (Judith Hoag, Big Love), and Rayna’s daughters, Maddie (Lennon Stella) and Daphne (Maisy Stella), and it’s no wonder Rayna is distracted on the road, priorities warring for attention.

As Juliette struggles to stay in the public eye, her every decision becomes gossip fodder, fueling her perception (somewhat warranted) as a diva. Whether she’s going through tumultuous relationships, dealing with addict mother, Jolene (Sylvia Jefferies, The Notebook), or fighting with manager Bucky (David Alford, Stoker), she is constantly judged, and her motivations dissected. Nashville shows us the pressures of someone in this position, a timely tale in today’s celebrity-obsessed world.

Nashville may center on the big stars, but it also takes us to the other end of the music scene. Deacon’s niece, writer Scarlett O’Connor (Clare Bowen, The Clinic) is just getting started, unintentionally being found in a bar along with her performing partner, Gunnar Scott (Sam Palladio, Episodes). Gunnar is love with Scarlett, complicating the arrangement, especially as Scarlett is with Avery Barkley (Jonathan Jackson, General Hospital), a band leader who soon becomes jealous of his girlfriend’s success.

If you think that’s a sprawling cast, you’d be right. But it takes that many people to keep a soapy drama chugging along week after week, as broadcast television demands a lot of installments per year. Nashville holds its own on the cluttered landscape, carving a new path deserving of attention. The personal dynamics may be familiar, but the setting is fresh, the plot twists keep coming, and it’s rarely stale.

The series also boasts some fine performances. Britton is well-known among many television fans for her previous work, and it’s no surprise at the range and layers she exhibits in such a plumb starring position. What may be unexpected is that Panettiere, mostly known as “the cheerleader” from a superhero series, matches her scene for scene, a worthy partner on screen. These two women are Nashville, and they could not have been any better cast.

Of course, Nashville would be nothing if its music sucked, with songs playing such an integral part in the production. Thankfully, there is a crack team behind the original numbers, delivering us ballads, pop standards, and moving soul-searchers, with a bit of rock tossed in here and there. There aren’t any real duds, and the musical numbers are often delivered with great effect, not being forced or squandered to fill an episode. As someone who isn’t even really into the country genre, there is still plenty to appreciate in Nashville.

There are a smattering of special features in this release, nothing groundbreaking, but serviceable enough. Deleted scenes and bloopers, the go-to inclusions, are present, along with a trio of featurettes about the titular city, the music behind the show, and a set tour. Unfortunately, there are no commentaries, and the extras are short on time with the actors, which is a bit of a disappointment. Who doesn’t want to see Britton and Panettiere talk about one another and the show? Perhaps that will be made up in future season sets? Still, combined with the episodes, worth a look.

Nashville – The Complete First Season is available now.

NASHVILLE Alive and Well

Article first published as NASHVILLE Alive and Well on TheTVKing.

If anyone in the television industry still thinks that Hayden Panettiere, the cheerleader from Heroes, can't hold her own against Tami Taylor herself, Connie Britton, that person need only watch "I'll Never Get Out of This World Alive," the first season finale of ABC's Nashville, to have their mind forever changed.

Panettiere's Juliette, a young country music superstar, prepares for the CMAs, in which she hopes to beat Britton's Rayna James, a legend in her own time, for a prestigious award. But Juliette's night is sidelined when her drug addict mother, Jolene (Sylvia Jeffries, Eastbound & Down), is found dead of an overdose, her sober companion Dante (Jay Hernandez) murdered by a gun beside her. Juliette tries to go on, but soon finds herself bogged down with grief.

Panettiere's performance is extremely impressive. The way she captures Juliette, who is not herself naturally a nice person, with all of the layers of her emotions, is extraordinary. Juliette has wished for Jolene to be dead, but also loves the mother who has made her life so complicated. This isn't a story just anyone can relate to, with most people having better dynamics with their parents, but it's easy to see just how talented Panettiere is when capturing all of Juliette's conflicting feelings.

This continues past the CMAs, to Jolene's funeral, and then a tribute performance at the Bluebird. We see Juliette honor her mother, and be angry at her. We also see Juliette get support from the people she clashes with, Rayna, Deacon (Charles Esten), and her former manager Bucky (David Alford). It's a time for Juliette to reconsider her life and her values, and she comes out stronger than ever.

Which means, unlike in Nashville's freshman year, she may be ready for a serious, mature relationship. The most likely candidate to begin this journey with her is Avery (Jonathan Jackson), who has undergone his own trials this season, only to emerge from the other side a better developed person. They both deserve love, are good people, and have worked to improve themselves. I hope this happens for them.

Oh, and Juliette wins the award, which should matter next season, even if it doesn't right now.

At the opposite end of the spectrum, things completely fall apart between Rayna and Deacon. The pair may have destiny on their side, but a host of tribulations have kept them separated from some time, and it's past mistakes that haunt them now. Deacon learns that Rayna has lied to him about the parentage of their daughter, Maddie (Lennon Stella), and falls off the wagon in a severe way.

If there is ever a sympathetic reason to give up thirteen years of sobriety to return to one's bad habits it is learning that the woman who you consider the love of your life has a daughter by you that she has claimed to be another man's for a very long time. Still, it's very depressing to see Deacon, a beloved character who has been doing so well, sink to such depths.

Rayna is going to have to distance herself from Deacon. She has two daughters to worry about, and they can't be around someone so unstable. In fact, the ending of "I'll Never Get Out of This World Alive" finds Rayna flipping Deacon's truck as they fight, crashing. This is clearly not a healthy relationship and has to end until Deacon pulls himself back together.

Despite the recent death of Dante and Jolene, it's unlikely either Rayna or Deacon did not survive the wreck. They are too central to Nashville, and the series would not be the same without them. But it should serve as a wake-up call for their behavior.

In the meantime, with Deacon so messed up, Teddy (Eric Close) won't have any trouble keeping Maddie. There is a reason Rayna chose him to be Maddie's father, and Teddy loves Maddie. He won't do anything to jeopardize the girl, and will be there for her at this time when she needs him. It's not fair for Maddie to only blame Rayna for the lie, but Teddy is a good influence in Maddie's life and should remain so.

That is, as long as he beats Rayna's father, Lamar (Powers Boothe) at his political game. Lamar crosses a major line by taking legal action against Teddy, something that could disrupt his granddaughters' lives and ruin the just-repaired relationship between Lamar and Rayna. It's a stupid move for someone who wants to keep his family, and even if Lamar wins his baseball stadium, he still loses.

The proceedings seem to hang on Lamar's other daughter, Tandy (Judith Hoag), who has every reason to turn against Lamar after he promotes someone else over her. Tandy has had her share of problems with Rayna, but her immediate anger is at Lamar. So Teddy should have the upper hand, at least for now.

In other relationship news, "I'll Never Get Out of This World Alive" finds Gunnar (Sam Palladio) proposing to Scarlett (Clare Bowen). We don't see Scarlett's answer, but it's unlikely she'll say yes, or if she does, she won't go through with the nuptials. Scarlett and Gunnar's problems are too complicated to fix with a ring, and their careers are in drastically different places, Gunnar willing to give his up for her, which is the makings of resentment and more issues. They may very well end up together, but Nashville is a drama, and there's plenty of drama to milk out of both characters before allowing them to settle down.

Lastly, there's Will Lexington (Chris Carmack, The O.C.), the late addition to the cast. Will is trying to cover up his homosexuality because that could hurt him in his desire to be a country music star. Despite his only recently joining, we've learned enough about him to care, and although he isn't always on his best behavior, he doesn't deserve to be ruined. It will be interesting to see how this plays out, a plot that seems quite timely to the current social climate.

Nashville has proven itself to be a fine, compelling series, and this finale may be one of the best hours the show has delivered yet. I'm glad that it will be getting a second season beginning next fall on ABC.

Welcome to Nashville

Grade: 92%

First there was FOX’s Glee. Then NBC’s Smash. Now ABC enters the musical fray, appealing to a different demographic, with NASHVILLE. While Glee mixes showtunes and pop, and Smash goes mostly for original, Broadway-style tunes, NASHVILLE embraces country, both old and new, with an interesting, soapy drama and some decent original music.

The leads are familiar to those the slightest bit familiar with the country music scene and recent films and television portrayals of it. Rayna James (Connie Britton, Friday Night Lights, American Horror Story) is a legend who is past her prime. Whereas before she sold out arenas, now ticket sales are dwindling. Her record label asks her to “co-headline,” really, open, for young sensation Juliette Barnes (Hayden Panettiere, Heroes). Rayna is insulted and refuses, even when record label threatens to drop her.

Is Rayna being unreasonable, a diva, if you will? Well, not completely. She acknowledges and apologizes for her diva moments. She just isn’t ready to admit she’s not as successful as some trampy young starlet who isn’t nearly as good as Rayna. Who can blame her for that?

It’s easy to stay sympathetic for Rayna because Juliette is a mess. Autotuned to correct a weak voice and freely trading carnal relations for favors, Juliette is a picture of everything that’s wrong with modern music and fame, country or otherwise. Even with a drug addict mother (Sylvia Jeffries, Eastbound & Down), thrown in to soften Juliette, it’s still hard to feel sorry for someone who so openly snubs Rayna and tries to steal Rayna’s band leader.

Said band leader, Deacon Claybourne (Charles Esten, Big Love, Enlightened), is the poor sob stuck in the middle. He is in love with Rayna, who is married to another man, and is offered sex and large amounts of money by Juliette to defect. A joint tour could save him the pain of having to choose, but with that looking unlikely by the end of the “Pilot,” he will probably be a source on conflict for the women.

Oh, and Rayna’s controlling and despicable father, Lamar Wyatt (Powers Boothe, Hatfields & McCoys, 24), is convincing her pushover husband, Teddy (Eric Close, Suits, Without a Trace), to run for mayor of Nashville, further complicating her life. This also sets the stage for a possible Deacon / Rayna romance if Teddy goes too far in service to Lamar.

The style of music will set NASHVILLE apart from its peers, but so, too, will the quality and tone. Whereas Smash and Glee might borrow from other sources, or use a limited catalogue, NASHVILLE freely explores different aspects of the genre. While the tunes are new and original for the series, it’s sort of like HBO’s Treme in that it uses the music to capture the spirit of an industry and a town. Whether it’s Juliette’s frothy popular fare, Rayna’s classics, or Scarlett’s (Clare Bowen) poetry that boyfriend Avery (Jonathan Jackson, General Hospital) turns into a new style entirely, there is a soul here that is missing from other television shows.

Add to that, NASHVILLE does the drama well. It’s not as over-the-top as Dallas, but there’s a Southern charm that can disguise snaky backstabbing that really gives flavor to the characters. There is no doubt that varying people have different agendas, and some are willing to be pretty unscrupulous to get what they want. There will be shades of grey, and while some of the villains are obvious, others will probably be created or revealed as the series unfolds, and several will probably straddle the line depending on the circumstances. These are fully developed people here, not just caricatures. Even setting the music aside, it’s a marvelously executed, engaging tale.

Which is why NASHVILLE deserves a watch. Some series can do one thing right, but few juggle multiple elements so deftly. A terrific cast, great music, and wonderful writing combine to make this one of the best new entries into the fall television season. The country aspect may be enough to appeal to many middle Americans, turned off by the specific genre that Glee and Smash fit into. And while it feels familiar enough to be welcome in our homes, it’s also different enough to feel like something new and special. Kudos all around.

NASHVILLE premieres this Wednesday, October 10th on ABC.

American Horror Story scares up a Blu-ray release

When American Horror Story premiered last fall on FX, it was immediately apparent that this was a different type of show. Going far creepier than most television ever dares to, it's about the Harmon family, who move into a haunted house in L.A. It is, strangely enough, from the team that brought us Glee and Nip/Tuck, Ryan Murphy and Brad Fulchuk, and we were promised the first season, now released on Blu-ray and DVD, was a stand alone story.

What no one told us ahead of time is that it would be so darn good. For 12 hours, viewers were kept on the edge of their seats as twist after twist played out. We learned about all of the past residents of the house, most of whom died gruesomely and still haunt the building. We learned what the Harmons would do under pressure. We learned that a house can have a life of its own, and that the residents who dwell within are only one small chapter of a larger volume.

The Harmons arrive with problems already brewing. Wife, Vivien (Connie Britton, Friday Night Lights), had recently given birth to a stillborn baby, then learned of husband, Ben's (Dylan McDermott, The Practice), cheating ways. The mistress, Ben's student, Hayden (Kate Mara, 127 Hours), actually follows them out from Boston, making sure that the issues they are fleeing from don't just disappear. Daughter, Violet (Taissa Farmiga), is frustrated with all of the adults, who can't seem to grow up, and suffering from depression.

But then they meet a host of new characters that bring their own set of challenges for the Harmons. A man in a rubber suit (Vivien wrongly believes that it's Ben) has sex with Vivien and impregnates her. A burned man named Larry (Denis O'Hare, True Blood) follows Ben around and wants to help him take care of Hayden once and for all. Neighbor Constance (Oscar winner Jessica Lange, Big Fish) knows more than she lets on. And Violet falls in with a possibly homicidal lad named Tate (Evan Peters, Invasion), who has a connection to a strange and violent creature living in the basement.

If that sounds like a lot, it's just the tip of the iceberg. The large recurring cast of season one includes: a maid who usually appears old (Frances Conroy, Six Feet Under), but looks young and hot (Alexandra Breckenridge, Dirt) to Ben; an abortion doctor (Matt Ross, Big Love) and his wife (Lily Rabe), who so desperately wants a baby; a nosy real estate agent (Christine Estabrook, Mad Men, Desperate Housewives); Constance's daughter with Downs syndrome (Jamie Brewer); a noble security guard (Morris Chestnut, V); a psychic (Sarah Paulson, Studio 60 On the Sunset Strip); and the gay couple to whom the rubber suit belonged (Teddy Sears, Raising the Bar, and Zachary Quinto, Star Trek, Heroes). This large ensemble means that no haunted house convention goes ignored.

The writing, acting, and production are all top notch in American Horror Story, which led to seventeen Emmy nominations and a host of other accolades. Jessica Lange won an Emmy, Golden Globe, and Screen Actor's Guild award for her role as Constance. These were completely deserved, as American Horror Story is something truly original, taking the genre to a new level when allowed to live amongst such well developed characters for so many hours.

Blu-ray is definitely the way to go to get the full affect of American Horror Story. Obviously, there are special effects, and you won't want to miss any elements of those. Also, the masterful score will be much more effective in high definition surround sound. American Horror Story creates such a detailed, engrossing world, with its rich blacks and attention to detail, it is best experienced in the most immersive way possible, which is currently Blu-ray.

This Blu-ray set includes a number of special features. There's The Murder House guide done by the fictional Eternal Darkness Tours of Hollywood, a making of featurette, a focus on the title sequence, introductions to the various ghosts that live in the house, and audio commentary for the "Pilot" episode. This is plenty to satisfy most fans of the show.

Plus, how many series actually give you a conclusion after a mere twelve episodes? Season two, premiering soon, will be in a new place and time, with many of the actors returning, but in different roles. Season one is a complete tale, from beginning to end, making this three-disc set like a very long, very good movie.

 American Horror Story The Complete First Season is available now.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as Blu-ray Review: American Horror Story The Complete First Season on Blogcritics.

American Horror Story cleans up "Afterbirth"

     Last night was American Horror Story night on FX! Well, it would have been, if the series hadn't brought its first season to a close last week. So this review focuses on that final episode, "Afterbirth."

     In "Afterbirth," Ben (Dylan McDermott) considers ending his own life while grieving for dead wife, Vivien (Connie Britton), and daughter, Violet (Taissa Farmiga). Vivien the Ghost steps in and convinces him not to go through with it, but soon Ben's jilted lover, Hayden (Kate Mara), kills him anyway. That turns out OK, as the Harmon family is once more reunited, and with their new baby and Moira (Frances Conroy), celebrate a happy Christmas together. Think Ben sees Moria in her true form now? Oh, and they also scare away new residents before anything truly bad can happen to them. However, Constance (Jessica Lange), who stole away her grandson, Tate's (Evan Peters) son through rape, Vivien's other baby, soon gets to deal with yet another monster child, who murders his babysitter.

     Coming off of the spectacular climax of "Birth," featuring many huge developments and the end of most of the supporting characters' stories, "Afterbirth" is a little bit of a let down. But then again, perhaps it is designed that way, tying up loose ends, and providing an epilogue of what is to be for the central family. It can be argued that the capper is longer than need be, and perhaps the nearly half of the episode that deals with Murder House's next owners could be shortened. However, it also demonstrates what the house can do to a person, and excuses some prior bad behavior by comparatively friendly ghosts. In addition, it gives a semi-happy ending for some, and a heck of a cliffhanger.

     The cliffhanger with Constance and the three year old killer (cough, Dexter, cough) will likely not be explored. When American Horror Story was first announced by FX, it was said that the show would feature an all new cast every season, leading many to believe that each batch of episodes would be self-contained. As its popularity rose, that came into question. Now, the network says that there will be a new locale and themes for season two, but some of the cast may return, albeit playing different characters! Which means no firm ending for Constance, but then again, her life of misery just continues as it has, and it is fitting that she will still deal with such things long after viewers stop paying attention to her story.

     Plenty of praise has been, and will be, heaped upon American Horror Story, a truly original show. But it would be remiss to conclude a review of this first season without granting due kudos to the fine performers this year. In fact, many such articles could be written, owing to the more than a dozen fine players who got to shine in this creepy world. First prize should go to Lange for her crazy mother, and all of the lengths that she went to, as well as the sometimes murky motivations that led her there. It's a complex picture of a rich character, and thank goodness such a talented, veteran actress inhabits the role. In runner up status is Britton, who made fans forget all about Tami Taylor (until the inevitable rewatchings of Friday Night Lights) with her own brand of psychotic and loving, both at the same time.

     As far as complaints about "Afterbirth" go, there is one more big one: the lack of Denis O'Hare's Larry. Did the character need to appear for story's sake? Well, no. And that's yet another example of how American Horror Story stands apart from other shows, which might squeeze in actors where they aren't needed just because they happen to be a series regular. Which turns this complaint into something admirable. Though O'Hare's excellence is always leaving fans wanting more, and in "Afterbirth," that more did not come.

     Overall, American Horror Story delivers a heck of a freshman year, with some really interesting stories, all weaving together into a larger narrative. It takes the horror genre and proves it can be done for television. Not only that, it throws traditional television genres out of the window, building its own thing from the ground up. For that and more, not least of which is the intelligent acting and fabulous cast, it will be honored as one of the best new series of the year, a title it richly deserves.

     American Horror Story will return with an all new scary tale next year on FX.

     If you like my reviews, please follow me on Twitter!

Article first published as TV Review: American Horror Story - "Afterbirth" on Blogcritics.

American Horror Story celebrates "Halloween"

     This week and last, FX's big horror drama, American Horror Story, pulls out all the stops for a two-part "Halloween" showdown. Because of the holiday, the walls between the ghost world and the "real" one are thin, and the house's previous residents manifest more than ever. What's more, they can leave the property, and they do. This provides trouble for Ben (Dylan McDermott) when Hayden (Kate Mara) insists on telling Vivien (Connie Britton) the truth, and possibly microwaves her dog. A gang of teenagers come after Tate (Evan Peters) as he tries to enjoy his date with Violet (Taissa Farmiga). And feuding gay couple Chad (Zachary Quinto, Star Trek, Heroes) and Patrick (Teddy Sears, Torchwood, Raising the Bar) try to help decorate their former home.

     When a series hinges on the creepy, as American Horror Story does, it makes total sense to celebrate "Halloween" in a big way. As such, the series brings in a ton of guest stars for this episode. Not only do Chad and Patrick, the most recently deceased residents, pop up, but so does virtually every ghost seen in the first few episodes, including Nora (Lily Rabe), Charles (Matt Ross, Big Love), Angie (Missy Doty, Shameless), and Maria (Rosa Salazar, Parenthood). As if that isn't enough, the gang of teenagers that chases Tate boasts some recognizable faces, such as Alessandra Torresani (Husbands, Caprica) and Ashley Rickards (Awkward.). One would think that this means "Halloween" is just a stunt episode, but it's not. Each extra performer is used sparingly, but importantly. They enhance the plot without distracting from it. Good thing American Horror Story gets a full two hours to tell this tale, because there is far too much going on for a standard episode length.

     Of course, horror stories are not nearly as scary without death. "Halloween Part 1" delivers a significant, and unexpected, one when Adelaide (Jamie Brewer) is hit by a car. Desperate to save her, her mother Constance (Jessica Lange) pulls Adelaide frantically towards the property where the haunted house sits. This seems to support what has been suspected, that people who die on the property do not follow the same rules as the ordinary dead. Sadly, it looks like Constance doesn't quite make it, and so Adelaide will be absent for the remainder of the series. Unless the creators are just trying to trick the audience, a possibility they could choose to utilize right away, or save for years from now. Or she can still return next Halloween, either way.

     There are further rules revealed for the ghosts in "Halloween." It is already known to viewers that Moira (Frances Conroy) is dead. But it seems that she cannot normally leave the property, except on Halloween, when the barriers are down. She uses this opportunity to visit her mother in the hospital, and ends her mom's life. Her mother asks Moira to come with her to the other side, but Moira says that she can't. Why not? What holds Moira back? The house must have a draw that not only lets the dead speak to the living the dwell there, but also keeps them from crossing over to peaceful bliss. It's evil as well as scary.

     Of course, Hayden causes the most trouble by far. Upset that Larry (Denis O'Hare) kills her, and Ben builds a gazebo over her body, she is determined to let Vivien know that she has Ben's unborn child in her belly. When Vivien doesn't want to listen, Hayden grows more and more upset. It is unclear if she actually microwaves Vivien's dog, making it now one of the house's many ghost inhabitants, or a tomato, as she tells the security officer, Luke (Morris Chestnut, V). I suspect the former. But learning that Vivien is also with child seems to change things for her. She thinks that might be why Ben didn't leave Vivien, though in reality, that's hardly the only reason. Either way, it appears that Hayden may stop causing trouble, at least for now.

     Is Tate a ghost? This is a question that lingers throughout American Horror Story. The teenagers that chase him at "Halloween" claim that he killed them. They also say they would be in their thirties if he hadn't. Since Tate still looks like a teenager, that means he must be dead, too, not aging. A brief cut scene also might back up their story. Unless they have the wrong guy, as Tate says. Since Tate is only seen on the property, except in "Halloween," and he can easily get in through some unknown way, he may very well be a ghost. The teens might only be able to appear on Halloween, not having been killed on the property. Did Tate then go there, maybe because he might live in the house, and kill himself?

     Equally interesting is the revelation that Tate is Constance's son. Constance worries what the news of Adelaide's death might do to him. This would lend credence to the ghost teens' story, showing that Tate has a temper, and can act violently. As such, Constance's conversation with Violet lends as much support to the Tate as a ghost theory as the teenagers hunting him do. Whatever is real or not, Tate is a vital part of the house's story, and thus, an important thread of American Horror Story.

     So what might change, now that Vivien hires Luke to help with security? Clearly, he lends a hand with the angry Hayden, and can cart her away, at least temporarily. But now he's going to suspect some stranger happenings, considering that Hayden disappears from his patrol car as morning breaks. It doesn't make a lot of sense that a security guard can provide much protection against the dead. But if he knows what's really going on, maybe he could be some sort of help. If nothing else, it will give Vivien some peace of mind.

     She'll need all the peace of mind she can get once she's in the house alone without her husband.  Now that Vivien has kicked out Ben, it makes her all the more vulnerable. True, Vivien is a tough lady, and can take care of herself. But when facing off against ghosts, the more help one has, the better. Without Ben around, that is one more protection that she doesn't have. Or maybe she's safer without Ben, considering what the house drives Larry to do when he lives there.

     Larry must be permanently changed by the house, unable to leave it, unwilling to stop interacting with the current owners. Larry is probably not a ghost, because Ben interacts with him outside of the home in a previous episode. But he still looks like he's from another time, and is heavily involved in the goings on there, like Constance. Thus, Larry is likely to keep going after Ben for money, if for no other reason than to stay involved. How soon until his continued presence tips off Vivien about Hayden's fate, and Ben's part in it?


     For anyone who likes a good scare, or a decent mystery, American Horror Story is a series to watch. Having just been renewed for a second season, like its ghosts, it is not going anywhere.

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Article first published as TV Review: American Horror Story - "Halloween: Part 1 & Part 2" on Blogcritics.

American Horror Story frightening and confusing

     From the creators of Glee, Ryan Murphy and Brad Falchuk, comes American Horror Story, which has been called pretty much the opposite of Glee. Vivian Harmon (Connie Britton, Friday Night Lights) must give birth to a baby that dies seven months into the pregnancy. She seeks comfort by buying a dog.

     Feeling rejected, Vivian's husband Ben (Dylan McDermott,The Practice) cheats on her, and she catches him. To try to save their crumbling marriage, they move across the country and purchase a bargain of a house, whose last owners died in a murder-suicide.

     And that's when things start going really wrong. While sleepwalking, Ben plays with fire. Interesting, considering that a man named Larry (Denis O'Hare, True Blood) keeps approaching him, claiming that the house made Larry burn his family alive. Meanwhile, Vivian has kinky sex with a man in a leather suit, assuming, wrongly, that it's Ben. She becomes pregnant, but is it Ben's, or the suit man's? Plus, daughter Violet (Taissa Farmiga) likes to cut herself, neighbors enter without warning, and something strange and dangerous lives in the basement.

     As far as scary goes, American Horror Story is definitely that; it will make you scared to walk into dark rooms of your own house. The creepiness comes fast and frequently. To make matters worse, it's hard to understand everything that goes on around the family.

     Since the characters aren't given explanations, neither are the viewers. At least understanding an issue can make it less frightening. The fact that most is unknown makes it even scarier.

     Calling it the opposite of Glee may be inaccurate. After all, Glee thrives in the cliches of musicals, often going for stereotypical, larger-than-life characters and stories because that is the tradition in the genre. American Horror Story does the same sort of play with thriller tropes. It uses fast-cut scenes and creepy music to set the mood. Vivian walks up into a dark attic, even as viewers at home are screaming "No! Don't go in there!" Young twins Troy and Brian (Bodhi and Kai Schulz) are slaughtered, and then appear as ghosts. There's nothing creepier than dead twins! There are illusions, mind control, and monsters, each played to maximum fright potential. So perhaps American Horror Story is what the Glee guys do best, applied to a different genre.

     The questions come fast and furious, and few are answered in "Pilot." The Harmon family is immediately in over their heads, and don't even realize it yet. American Horror Story's "Pilot" excels at setting up much intrigue, but leaving viewers in suspense, a surefire way to keep them coming back week after week. I'm not sure I understand yet exactly what the series is trying to do, but with the sex factor, a common play in the suspense genre, combined with some truly excellent mysteries which are hard to define, the series succeeds in setting up something truly special. There is no other show currently like it on television, nor does a past one spring to mind, which is plenty enough to set it apart.

     How does the house control people? What is neighbor Constance's (Jessica Lange, Big Fish) connection? She comes to Ben just before he burns his hand on the stove and tells him it's not his time yet. Does she choose when the house pushes its residents over the edge? Why and how? What is the point in waiting? Are the Harmons already so much out of control of their own lives that they don't realize all the strange things happening? Why does Constance's daughter, Adelaide (Jamie Brewer), keep going into the house, telling people they are going to die? Is she warning them, or threatening them?

     Plus, there is the mystery of the maid. Soon after the Harmons move in, Moira (Frances Conroy, Six Feet Under) shows up, saying that she is the long-time cleaner of the house. Vivian, initially against hiring her, is persuaded to do so. This makes sense, because Moira demonstrates much knowledge about caring for the older elements of the building, which Vivian is clueless about. But then Ben sees Moira as a young, sexy woman (Alexandra Breckenridge, The Ex List), whom he catches masturbating, and is tempted to sleep with. The different perceptions are unexplained, but ratchet up the freaky factor several fold. The transition between the two actresses, especially in the seduction scene, is disturbing, to say the least.

     Then, there is Ben's patient, Tate (Evan Peters, Invasion), who is psychotic. He dreams of murdering people that he likes. Violet somehow strikes up a friendship with him (does Ben not escort his patient out of his house?), and the two become close, sharing secrets. Though Tate tells her one should never hurt those he loves. When Violet is threatened by a bully, Tate convinces her to lure the girl to the basement of the Harmons' home, where Tate and some goblin-like creature hurt and terrify her. It also disturbs Violet, but Tate acts like nothing is wrong. So is he part of the house, too, and can come and go as he pleases? Or is he just such a dark soul that he is drawn in by whatever dwells there?

     American Horror Story lives in a specific world, with set rules that govern it, just like all worlds. The more creepy characters get these rules, and know how to not just survive, but thrive within them. They may even contribute to creating them, though how in control any of them are is uncertain. Since the show seems so sure of itself, it definitely holds an attraction, even for those confused. We might not get what it is going for, yet, but there's a confidence behind it that says that the writers and producers do. This is masterful film making and storytelling, more than worth a watch.


     Check out American Horror Story Wednesdays at 10 p.m. ET on FX.

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Article first published as TV Review: American Horror Story - "Pilot" on Blogcritics.

"Always" Friday Night Lights

     It may be July in the real world, but it's Christmas time in Dillon, Texas on Friday Night Lights, as the five-year series comes to a permanent end with "Always." Knowing the Lions will soon be no more, the team still faces one final game - the state championship. Eric (Kyle Chandler) is pressured to sign a contract to coach the Panthers "super team" next year before leaving for the game, but wife Tami (Connie Britton) goes cold every time he brings it up. Matt (Zach Gilford) finds it easy enough to propose to Julie (Aimee Teegarden), however, getting a blessing from her parents proves far more tricky. Tim (Taylor Kitsch) ponders his future. And eight months later, life goes on.


     Friday Night Lights spends most of the series only covering football seasons, so it is not unusual for fans to have to imagine what happens during huge gaps in the characters' lives. Yet, the final scenes, set eight months later, or what would have been the beginning of a sixth season, should there have been one, are the last glimpses viewers will ever get. It's bittersweet, seeing how things continue, but already missing those people so many have grown to love. Even with only a few brief cameos by some long departed series stars, seeing the current crop's stories come to an end, along with the Taylors', is a moving finish.

     The transition is brilliant. Just before the skip ahead, the Lions are playing in their final game. Little ambient sound is heard, but a series of plays are shown over trademark music. The faces of the Lions' fans as they cheer are panned over. In stereotypical sports drama fashion, the favorite team is down by a touchdown, and there is only one play left to win the game. But between the musical strains and the camera constantly switching perspectives, the minutes spent on the field are anything but typical. Even more surprising, as the final pass goes for the player's hands, no resolution is shown. Sure, soon enough there are indicators that the Lions won, seeing the championship rings on their hands in the future. But choosing not to air the game winning catch is a bold choice that really pays off.

     Happy endings do come true. The interesting thing about Friday Night Lights is that the happy ending is merely a temporarily stop as lives continue on. Only five brief seasons play out, and despite learning all of the characters' back stories, little of their futures are shown. Many of the principal players are just graduating high school, or early into college. There is no completion. The only thing that ends is the Lions football team, and the Taylor's residence in Texas. So to sum up the entire show, Friday Night Lights, it's about when the Taylors briefly move to Texas and change many kids' paths for the better.

     And they really do. Whatever else can be said about Eric and Tami, they help children. None of Tami's connections are shown in "Always," though there are many. But Eric gets a scene each with Jess (Jurnee Smollett) and Vince (Michael B. Jordan), letting his two latest projects know that he loves and respects them, and will do anything for them, anytime they need it. He leaves them both in great places, much better than when he met them. Jess moves to Dallas and helps coach a high school football team, and Vince switches to the Panthers. But both owe much of their future careers and accomplishments to Eric Taylor. Vince also owes Eric for helping begin a healing between him and his father (Cress Williams).

    Besides mentorship, the most important element of Friday Night Lights is the marriage between Eric and Tami Taylor. It has been discussed at length in many a review, but never has their bond been tested like it is in "Always" and the episodes leading up to the finale. Tami is offered a huge career opportunity, and after following Eric around for years, thinks she deserves the chance to have a turn dictating the family's living situation. Eric likes things as they are, and has trouble seeing any future but the one he leads in building. The couple's give and take virtually disappears over this argument, and things between them take a very dark turn, even as their love is still evident.


     It's not the problems that arise that define a marriage, but how bride and groom deal with them. The climax of this arc comes as Eric lectures Matt and Julie on successful marriage. Tami is shocked at the hypocrisy in Eric's words, and Eric realizes, for the first time, how deeply it hurts Tami that he's ignoring her career. Soon after, she gives in, not seeing a way out of the argument if Eric persists on being stubborn. Even through her grief, she chooses her man. But she shouldn't have to choose, and eventually, Eric makes the right decision, telling Tami it is her turn.

     Eric's sacrifice comes late in the game, almost too late. There is plenty of reason to be angry with him for not capitulating sooner. It isn't fair how he treats Tami. But his apology, asking her so politely to take him with her as she accepts this great honor she has worked so hard to earn, makes up for it, somehow. Maybe it's the sincerity, or the knowledge that Eric knows he screwed up royally. Still, fans are just as apt as Tami to quickly forgive Eric. He has already won the battle, but forfeits anyway, because some things are far more important than getting your way. Tami's happiness is one of them to Eric.

     It's not hard to see how Julie and Matt may end up being a similar couple to Eric and Tami. The personalities in the four do differ, but facing trials and finding undying devotion is present in both instances. Eric and Tami are better people than Julie, but she is still a kid in many ways, and still has a lot to learn. Not the best written character on the series, it's still gratifying to see the Taylor daughter find such a romantic notion as the series comes to a close. And Matt does deserve her. In time, Eric will appreciate his son-in-law in time, whom he already cares for, but stumbles upon the shifting roles.

     Besides the Taylor family, many other characters come through Friday Night Lights over the years. Most get satisfying endings, whether they happen in earlier seasons, or in "Always." Landry (Jesse Plemons) and Grandma Saracen (Louanne Stephens) are two characters that are brought back, but do not get focus, in the final episode. Both are shown in brief scenes, typical for their characters, but not particularly special. Which is OK. As mentioned above, the show only covers a period in the lives of the characters. It isn't time for something large to happen to either of them, so the writers don't force it. But they are involved with characters who do need them, so they are present. Buddy (Brad Leland) is along those same lines, but with a bit extra screen time.

      Hastings (Grey Damon) alone gets no closure. Perhaps he has the unfortunate luck of joining the cast too late in the game, and disappears into the background almost as soon as he appears on the show. It seems likely, had the series not been ending, Hastings would get more to do. With other loose ends to tie up, he gets the short end of the stick.

      The final season of Friday Night Lights develops Mindy (Stacey Oristano) far better than any previous year. Her relationship with Becky (Madison Burge) is sweet and lasting. Even though Becky's mom (Alicia Witt) returns in "Always," and Becky moves home, Mindy and Becky's relationship cannot suffer. They are family, as sure as any blood relation. Thank goodness, for Mindy's sake, the young woman comes along, so that a long-time supporting player finally gets her due.

     Luke (Matt Lauria) gets the only confusing ending. He is shown, eight months later, leaving for the army. As Friday Night Lights winds down, Luke is trying to decide between football and farming, leaning heavily towards the latter. Military service comes out of nowhere. It's a believable path for him, but one that needs some sort of set up that never happens.

     Finally, there's Tim. More than any other character, Tim has to fight to overcome who he is. For nearly four years, Tim struggles with this, and then makes a heroic sacrifice. But after that act, Friday Night Lights still follows the young man, as he tries to figure out where to go from there. Seeing Tim sit on a hill with brother Billy (Derek Phillips), sharing a beer while they build Tim's dream house, is an absolutely average life, and a huge step forward from where Tim begins. While Tim has no romantic resolution with Tyra (Adrianne Palicki), there is hope there, too. His future is so much brighter than his past, it's astonishing. Guess who Tim should be thanking, besides himself, of course? Yep. Eric Taylor.


     Friday Night Lights has come to an end, but it will be sorely missed. Words cannot express the gratitude owed to everyone involved in the production of one of the most memorable, highest quality television series of all time. Thank you.

     Clear eyes. Full hearts. Can't lose.

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Article first published as TV Review: Friday Night Lights - "Always" on Blogcritics.

Friday Night Lights is no "Texas Whatever"

     NBC's Friday Night Lights ends for good next week. Which means this week's episode, "Texas Whatever," provides some closure and sets up the final plots for the series. The Lions campaign hard to keep their team, but despite their best efforts, it is decided the Dillon Panthers will be the only high school football in town next year. The Panthers move quickly, recruiting Buddy (Brad Leland), hoping he will coax Vince (Michael B. Jordan) and Eric (Kyle Chandler) to get on board. Eric ponders it, infuriating Tami (Connie Britton), as her husband isn't seriously considering moving north for an exciting job she is offered. Tim (Taylor Kitsch) gets some advice from Tyra (Adrianne Palicki), and gives some in return to Luke (Matt Lauria).

     Tami rightly points out that she has put her life on hold for Eric's career for many years. While she does pursue jobs in the field she loves, serving as principal and guidance counselor during Friday Night Lights's run, these are supplementary to her role as coach's wife. Their marriage hinges on what Eric does professionally, and despite being a pretty decent husband most of the time, in this instance, Eric dismisses her far too quickly. He doesn't even seem to consider the move. Oftentimes, when Tami disagrees with Eric, she swallows it because she is happy enough. This time, her displeasure is obvious and ongoing. Which will hopefully jolt Eric awake to his error.

     Despite this recent anti-feminist attitude, Eric and Tami have one of the best, most solid, most realistic marriages on television. There is much give and take and compromise over the run of the show, and in "Texas Whatever," they are merely going through a rough patch. Seeing their love and dedication to each other spurs confidence that the issue will be worked out in a satisfactory manner. It also telegraphs what has to happen, because only one decision will end the fight. Should Eric continue to deny Tami the opportunity of a lifetime, one she is recruited for because of her high skill level, he will be saying he does not have that same level of faith and pride in her that she does in him, as well as telling her she is not as important in the marriage. This would run contrary to the give and take shown over the past five years. Eric will make the right choice.

     Buddy switching sides may seem out of character at first, but it's really not. The loveable business owner is nothing if not loyal. He switches his allegiance to the Lions when Eric is treated unfairly, and seeing an opportunity to return Eric to what Buddy considers his proper position, and knowing the battle to save the Lions is lost, he makes the best of a bad situation. He truly wants to do right by those he cares about, and in this case, that means brokering peace between his closest friend and the people who ousted him.

     Watching Jess (Jurnee Smollett) and Vince pull together to try to save the Lions is incredibly touching. The two have had their share of problems, but they bond over Dillon football. Because of what Eric puts into the program, the team is more than just guys playing sports. It's a community that inspires and teaches the students to grow as people, not just athletes. Only Eric's version of football can mend relationships and lead his players to greatness. All this is demonstrated brilliantly in the scene where the former couple go before the school board president to beg for the Lions' survival. Even their failure takes nothing away from that moment.

      Besides the Taylor family, no character is in as many episodes, or means as much to Friday Night Lights fans, as Tim Riggins. As such, it is wholly depressing to watch the young man spend most of the final season behind bars, a sacrifice he makes to keep his brother, Billy (Derek Phillips), out and taking care of his family. It's a noble deed, but Tim's behavior after release sinks many a hope that he will make something of himself. In "Texas Whatever," little of the Tim viewers have grown to love is left, as he considers moving to Alaska, giving up his beloved Texas home.

      That's why it is highly gratifying for Tyra to come back into the picture and set him straight. Many people have been able to reach Tim in various situations, but none as effectively as the woman Tim loves. Any other girls he dates will always be measured up against Tyra, and she is the one who completes him. Only Tyra can talk sense into Tim, helping him mend the fences with his brother, rather than take off from his problems. She has only a small role in the final season, but it's one every bit as important as anything else.

     Tyra frees Tim up to be the best man he can be, which he needs in advising Luke. The two guys are similar in some ways, though vastly different in others. But they have enough in common for Tim to be able to help Luke see that playing football will probably not be his life, and if Luke really wants Becky (Madison Burge), he should go for it without worrying about anyone else. Luke suspects Tim may have a thing for Becky, but Tim dismisses that, and he's telling the truth. In this case, Tim is in a paternal role, and it is a testament to Luke's character that he can seriously consider the wisdom Tim imparts, despite his misgivings.

     Depressing this entire hour, though, is the Lions being abandoned as a team. For three years Friday Night Lights motivated its fans to cheer for the Panthers, but two years ago, the show made the beloved team the enemy. Going back now is impossible, with the same crooked men still running the show. For the Lions to face extinction is nothing but sad, and wholly unfair. But life is unfair, and without the disbanding of the Lions, several characters, including Eric, would never be able to move on as they need to. The team means so much to so many, in spite of its brief existence, and once the magnetic pull stops, it won't take long for the magic to be over. Everything must come to an end, and not everything turns out the way one wants. It's how one moves forward that is important.


     The hour and a half series finale of Friday Night Lights will air next Friday at 8 p.m. ET on NBC.

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Article first published as TV Review: Friday Night Lights - "Texas Whatever" on Blogcritics.