Not Many BETTER THINGS Than This

Article first published as BETTER THINGS Review on Seat42F.

Missing Louie on FX? I won’t say BETTER THINGS, a new sitcom premiering soon, will fill all the holes created by that show’s absence, but it certainly ticks some of the boxes, while also being its own unique project.

Pamela Adlon (Californication) is Sam Fox, a single mother raising three daughters with three different, mostly absent fathers. Max (Mikey Madison, Bound for Greatness) wants her mom to score her some pot. Frankie (Hannah Alligood) will not stop pushing boundaries at the worst times. Duke (Olivia Edward) is the baby that just wants love and attention. This is the household that makes up BETTER THINGS.

And a crazy household it is, too. Sam not only has to care for all of the children, but she also needs to make a living. Her chosen profession is as an actress, which she seems to be successful enough at to support a family, but not so successful that she can stop. The uneven schedule seems to help her motherly duties, but over time, it’s sure to hinder them as well, which we see just a hint of in the pilot when Sam is doing housework when she’d rather be asleep.

Sam wants BETTER THINGS and that doesn’t make her a bad mother. She loves her kids, and they are her primary focus. But she’d also like some male companionship, not that she’d allow herself to be vulnerable enough to admit it to most people. And she’d like to not run herself so ragged trying to take care of things and keep going. Can Sam achieve her goals? Probably not, but it’ll be entertaining, if a little heartbreaking, to watch her try.

Adlon created the series along with long-time collaborator Louis C.K. (Louie), which is probably why the parental sensibilities somewhat match the show Louie. Sam can love her charges and want them dead at the same time, and that’s OK. This is a more realistic, less sanitized version of the modern family, and that works very well with the premise.

Adlon also manages to bring in a slew of guest stars. In just the pilot alone, you’ll see Constance Zimmer (UnREAL), Julie Bowen (Modern Family), and Dale Dickey (True Blood), among others. (I don’t want to give everything away.) C.K. does not appear in the pilot, but I wouldn’t be surprised to see him down the line. Sometimes these famous faces play a version of themselves, and sometimes they’re playing a character, but with so much talent on screen, you know the quality is going to be high.

Where BETTER THINGS differs from Louie is that it seems like it will be a more cohesive story, rather than an artistic expression that changes and reinvents itself constantly. That is not a knock; BETTER THINGS is the best version of the traditional family sitcom. It’s just a little more conventional than that other series.

What I like most is Adlon herself, who long ago deserved a starring vehicle. She is sympathetic and rude at the same time, seeming to not care about anything while simultaneously being deeply loving. Her complexity feels natural and easy, though I hesitate to say that because I don’t want to undersell what she’s doing. She’s really an excellent performer, and the show rises and falls based almost completely on her. Her talent is why the pilot is so good, and it’s likely that the following installments will be, too.

While not yet a father myself, BETTER THINGS gives me a look at the future, and one I might actually be able to relate to (though hopefully with the addition of a helping spouse), unlike most of television. Maybe I’d better start taking notes.

BETTER THINGS premieres Thursday, September 8th on FX.

New "Laws" for MARVEL'S AGENTS OF S.H.I.E.L.D.

Article first published as AGENTS OF S.H.I.E.L.D. Review "Laws of Nature" on Seat42F.

MARVEL'S AGENTS OF S.H.I.E.L.D. - "Laws of Nature" - "Marvel's Agents of S.H.I.E.L.D." (ABC/Kelsey McNeal) CHLOE BENNET, LUKE MITCHELL

MARVEL’S AGENTS OF S.H.I.E.L.D. does not do slow and quiet, as evidenced in the third season premiere last night, “Laws of Nature.” Months have passed, and Inhumans are starting to show up across the globe. S.H.I.E.L.D. seeks to catch and protect them, but they suddenly have competition in that market, and it’s not Hydra (or, at least not entirely Hydra). Not all the members of the team are focused on this, though, with personal issues driving the motivations of several.

Daisy (Chloe Bennet) is probably the most changed. Rejecting the name Skye, she now leads Coulson’s team to find the Inhumans. An intense opening scene in which she meets Joey Gutierrez (Juan Pablo Raba, Narcos) beautifully illustrates the challenges she faces, both physical and emotional. It’s not easy for someone to suddenly gain powers they can’t understand and control without warning, and while Daisy has gone through it herself, not everyone is receptive to her assistance.

Mack (Henry Simmons, now a full-time cast member) does his best to help Daisy, but he doesn’t have the same experience she has, so that’s why she approaches Lincoln (Luke Mitchell, also promoted to full-time). But Lincoln wants nothing to do with her, even after the monstrous Lash (former NFL player Matthew Willig), who looks like Raina’s overgrown big brother, destroys Lincoln’s new life. So Daisy is failing on multiple fronts.

Her failure does not mean that she should be written off. Daisy has shown remarkable strength and character over the past two seasons, growing into a very formidable member of the team, and earning authority despite her limited tenure. While she is drawn into MARVEL’S AGENTS OF S.H.I.E.L.D. because of her past, she is well-poised to write her own future, and it’s a pleasure watching her go through this. And Lincoln will have to come around, eventually.

The best character on MARVEL’s AGENTS OF S.H.I.E.L.D., though, remains Coulson (Clark Gregg). Armed with a new hand (hehe), as we knew he would be, Coulson spends most of “Laws of Nature” tracking down Rosalind Price (Constance Zimmer, UnREAL, Entourage, House of Cards, etc.), his competition for the Inhumans. Their exchange in the subway is perfect, and in Rosalind, I feel like Coulson has met his match.

Though, they aren’t exactly on opposing sides. It turns out, someone is killing Inhumans, but it’s not Rosalind’s group. I think. (Maybe it’s Hyrdra?) So that means this could be a match made in heaven. Or T.A.H.I.T.I. Wherever. As long as Zimmer sticks around as long as possible (as allowable by her other work), I’m happy.

Speaking of chemistry, the electricity between Hunter (Nick Blood) and Bobbi (Adrianne Palicki) has not cooled off. They are at odds and yet happy together at the same time. This pair has an odd balance, one born of both love and conflict, and yet it seems like they are as good together as they’ll ever be, and it’s nice. Someone on MARVEL’S AGENTS OF S.H.I.E.L.D. has to be happy, and my vote is for these two. Who may very soon have their own spin-off anyway.

Poor Fitz (Iain De Caestecker) isn’t so lucky. He’s spent months trying to find a way to get Simmons (Elizabeth Henstridge) out of the monolith. Even Coulson gives up, telling Fitz it’s hopeless and she’s probably dead. The fact that she isn’t, instead trapped in an alien wasteland, with the rock-thing serving not as a cage, but a portal, only makes Fitz’s seemingly hopeless mission feel warranted.

I can’t help but wonder, though, despite not wanting Simmons off the show, if it might not have been a more powerful story to see Fitz dealing with a truly lost cause. The hero pushing on is a predictable archetype, and usually MARVEL’S AGENTS OF S.H.I.E.L.D. is better than this. It also doesn’t feel entirely right that Coulson and others have given up on Simmons without confirming what happened. I’m still waiting for the twist to redeem this plot, such as Coulson perhaps still working on this in secret, and I expect there will be one coming. Hopefully.

Ward (Brett Dalton) and May (Ming-Na Wen) are both absent from “Laws of Nature,” but that’s OK. MARVEL’S AGENTS OF S.H.I.E.L.D. has expanded its cast enough that not every player must be in every hour, and there’s plenty going on without them. Of course, I look forward to their imminent returns in the near future. But even sans those two, the season premiere is a solid one, setting up a new, interesting arc as the Inhuman-triggering substance spreads globally, and providing plenty of character drama meat to boot. This is a satisfying first episode back for a reliable series.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

COMPLICATIONS Too Messy

Article first published as COMPLICATIONS Review on Seat42F.

USA has a new drama from Matt Nix (the creator of Burn Notice) called COMPLICATIONS. It is the story of Dr. John Ellison (Jason O’Mara, star of Terra Nova and several other short-lived series) and his terrible, horrible, no good, very bad day. Well, it starts off as roughly a single day, but it quickly spirals into major ramifications for his entire life and he may be spending a long, long time trying to get things back on track. Sounds a bit like Nix’s previous project, no?

To be fair, COMPLICATIONS doesn’t feel much like Burn Notice, despite that central similarity. Both men are good people whom bad things happen to and who have major skills they use to help people, but they are also quite different. While Michael Weston was an emotionally challenged spy, John Ellison runs much, much hotter, his emotions boiling over, and he works in a hospital alongside a team, not operating solo for-hire in his apartment. Plus, there’s no chain-smoking mother in sight.

John is a good-hearted man, the type who will use his medical skills to try to heal a squirrel his dog gets a hold of. When he comes across a drive-by shooting and intervenes perhaps a little more than he should, that’s when things get rocky. He is soon drawn into gang wars and neither his home nor his workplace are an escape from this.

But does John even want to escape it? Part of the pilot involves him discussing what’s going on with a shrink (Constance Zimmer, UnReal, House of Cards) and this is where we get some insight into who John is. Maybe he isn’t happy with the calm, normal life he’s been living; he definitely has some deeper issues to deal with, and these events help bring those to the surface. The only thing that seems certain right now is that John is unstable and unpredictable.

O’Mara doesn’t really play the protagonist as an overly sympathetic character. Because of his wild mood swings and erratic behavior, it’s hard to tell if he’s someone that deserves to be rooted for. Yes, he saves lives, but that’s his job. He certainly has compassion for his patients, but as he goes to greater lengths to do what he thinks is right in the moment, one begins to wonder if the ends justify the means. He is not trustworthy right now.

John is surrounded by enough of a supporting cast to keep the story going for awhile. There’s: John’s wife, Samantha (Beth Riesgraf, Leverage), whom he’s not exactly open with; his straight-laced co-worker, Dr. Bridget O’Neill (Lauren Stamile, Burn Notice), who probably would not participate in John’s madness if she knew what was going on; Gretchen Polk (Jessica Szohr, Gossip Girl), an abuse survivor (I assume) who believes justice trumps rules; Darius Bishop (Chris Chalk, The Newsroom), John’s link to the criminal element; and Dr. Quentin Harper (Ronreaco Lee, Survivor’s Remorse), whom I didn’t get a good read on in the pilot. This is a decent ensemble, and with various people being out of the loop right now, there will be fodder for conflict as they find out more of John’s secrets.

The thing is, though, I don’t know if I want to stick around to see it. The first hour of COMPLICATIONS is a hot mess, not told linearly, no grounded character to view the world through, and no compelling hook to stick around and see what it catches. USA has been moving away from formula and taking some bold chances. I won’t say COMPLICATIONS is boring in the way programs of the past have been on the network, but this is one experiment that is failing because of a lack of direction or anchor, at least out of the gate, and I didn’t find anything in this pilot that makes me want to give it a second chance.

COMPLICATIONS premieres Thursday, June 18^th at 9 p.m. ET on USA.

Deal Another HOUSE OF CARDS

Article first written for Seat42F.

WARNING: This review contains major spoilers from the first hour of the second season of HOUSE OF CARDS. It is recommended that you watch that episode, then return to read this review. There will be no spoilers given from episodes after the premiere, this being written before further installments have been seen by this reviewer.

Netflix’s HOUSE OF CARDS launched their second season in its entirety yesterday. For anyone who worried that the intense thriller might lose momentum in the second year, those doubts were quickly dispelled within the first installment, “Chapter 14,” by a series of major plot twists and the death of a very central character.

As “Chapter 14” begins, Frank (Kevin Spacey) and Claire (Robin Wright) are on their night jog. This is where we left them last year, and provides a seamless continuity between the two seasons. While nothing happens in this first scene, it’s important to give the show its cohesion, and it lets viewers find a framework with which to enter back into the story.

From there, the hanging story arcs are picked up one by one. Zoe (Kate Mara), Janine (Constance Zimmer), and Lucas (Sebastian Arcelus) continue their frustrating investigation into Russo’s murder. Claire sees a doctor about the possibility of getting pregnant, while still fighting Gillian’s (Sandrine Holt) lawsuit. Frank prepares to assume the Vice Presidency and makes plans for who will succeed him, as well as dealing with the nosy reporters. It’s all just how we think the show will resume.

Even many of the minor players pop back up quickly. Doug (Michael Kelly) is forcing Rachel (Rachel Brosnahan) to relocate so Zoe and company can’t find her. Christina (Kristen Connolly) is seen applying for a job with Vasquez (Sakina Jaffrey), continuing her career trajectory. President Walker (Michael Gill) talks with Frank about changes in Congress, though is content to let others make the decisions. Frank gets another batch of ribs from Freddy (Reg E. Cathey). Meechum (Nathan Darrow) remains Frank’s driver and bodyguard, getting ready to transition into the Secret Service. Again, this really makes the series seem like the seasons aren’t separate, very important to ease viewers back in.

There are some new developments early on, such as the introduction of Jacqueline Sharp (Molly Parker, Deadwood, The Firm) as Frank’s hand-chosen replacement as whip, and thus the likely target of the next round of danger and scandal. But because Jackie is introduced in conjunction with Frank’s goals, it doesn’t feel out of place at all.

But then, as soon as we get comfortable, thinking we have the layout of the game figured out, Frank shoves Zoe, arguably the second or third most important player on the show, in front of a subway and she dies.

This is the brilliance of HOUSE OF CARDS. It lets the viewers think one thing, then yanks the rug right out from under them. It never goes into nonsensical territory, and the developments, even those that are surprising, are a natural part of the tale. It’s this unpredictability, though, especially after so much of the installment takes care to set up the opposite, that makes the writing so darn good, and the series highly addictive.

Lest we’ve forgotten the type of man Frank is, he tells us, just after he kills Zoe. He looks at the camera and reminds us he hasn’t let us slide. It’s a chilling end to the episode, the camera lingering on his cufflinks with the initials F and U, very appropriate for Frank’s attitude towards everyone. This is a man that can lie about having taken a life without batting an eye, never loses a wink of sleep for his actions, and most people in his circle would be wise to follow Janine’s example and run far away. He is the reason to watch HOUSE OF CARDS, a compellingly psychopathic character, unique in the television landscape, and masterfully developed by an actor at the top of his craft.

Wright also deserves major credit for “Chapter 14.” At first, I couldn’t figure out why Claire abandons her quest to have a child late in the episode. But after consideration, it has to be that Gillian’s pregnancy left her vulnerable to be manipulated by Claire. Claire doesn’t accept weakness, and if she can use a baby to go after someone else, she isn’t about to leave herself open to the same. Wright conveys all this without dialogue to explain it, and it makes Claire an interesting terror, one who is a quieter, but still appropriate, match for Frank.

At the end, we see Claire learn about Zoe’s death, but her non-reaction indicates she either likely knows that Frank is involved or strongly suspects as much, but she doesn’t care or trusts that Frank had a good reason. She has accepted her husband for who he is, and while may not always respect his wishes, making sure he gets a birthday cake, knows which buttons she can and cannot push, effortlessly getting him to quit smoking, at least for now. And he accepts her influence without a fight, showing us something neat about their seemingly closed-off relationship.

“Chapter 14” should satisfy all fan expectation, and be a highly enjoyable piece of television in its own right. The only disturbing thought I’m left with is, how could anyone possibly ever bring down Frank? The only one with a real motivation and opportunity to do so at this time is Lucas, but he’s hopelessly out of his depth.  I look forward to watching more.

All thirteen episodes of HOUSE OF CARDS’ second season are available now on Netflix.

THE NEWSROOM - "Election Night: Part II" Review

Article first published as THE NEWSROOM - "Election Night: Part II" Review on TheTVKing.

With the fate of HBO's The Newsroom officially still undecided, despite what star Jeff Daniels tweets, this week's season two finale, "Election Night: Part II," may very well serve as a series finale for the Aaron Sorkin drama. If it does, it will be a great loss for television, a medium that is bettered by such intelligent writing, bold characters, and inspiring stories, showing the media how they should be reporting. But in terms of closure, the episode satisfies pretty well.

"Election Night: Part II" has the team covering the results of the 2012 election, while waiting for the hammer to drop after the Genoa fiasco. Will (Daniels), MacKenzie (Emily Mortimer) and Charlie (Sam Waterston) are trying to resign to spare their colleagues' careers. Yet, the rest of the senior staff plans on leaving, too, showing their solidarity. This angers Will, but insults the others when he insists they not do this folly. They stick together and do the right thing; he taught them that.

One fantastic element of The Newsroom is the cohesion of the gang who work at ACN. These are not just co-workers, these are friends. They are united in a noble mission, and without the heads of the organization, the mission would fail, making the job not worth having. It is essential for everyone to stay together, and even after losing all credibility for Genoa, they can only recover by remaining on the job, working to build themselves back up.

This is the decision both Leona (Jane Fonda) and Reese (Chris Messina) come to, too. The heads of the company will not accept any resignations because they've studied the evidence and know that even though Genoa was false, the newsroom did as thorough job as possible given what they had. The snake Jerry Dantana (Hamish Linklater) screwed them; they didn't screw themselves.

I don't know why Charlie can't be gracious with Reese when Reese decides not to accept their resignations. Yes, Charlie has already decided that they will withdrawal their offers to quit, but he and Reese so rarely see eye to eye, he should celebrate, not fight, when this occurs. Yet, perhaps emotions are just running unusually high, as Charlie spends much of the episode yelling, faced with losing the profession he loves deeply, and so he can't bring himself to make nice with someone he considers so despicable.

It's funny how Reese and Leon have changed sides this year, now supporting those they tried to fire not so far in the past. I think crisis have a way of bringing people together, and also ACN being disgraced personally shames the Lansings, so they want to fight back, for their names as well as the network's. Even if their motivations are selfish, it's sure nice to see the pair of them in the room at the end, joining our beloved heroes.

We know The Newsroom's crew is righteous because even the lawyer who takes their depositions, Rebecca Halliday (Marcia Gay Harden), thinks so, and she seems a tough one to win over. She vows to defend them and argues against settlement. I hope she sticks around for a possible third season, as she will be needed to help with the major hanging thread of the Dantana plot, Don's (Thomas Sadoski) defamation lawsuit.

The Newsroom can never just do one thing at a time, though, so "Election Night: Part II" is about more than just the decision of who should stay and who should go. They also get to cover the 2012 election results, which is done in a very entertaining way. From Will constantly cutting off Sloan (Olivia Munn), to Neal (Dev Patel) being tasked with helping Sloan and MacKenzie with trivial things, to the bickering with the D.C. anchor, to Will gleefully sparring with Taylor Warren (Constance Zimmer), there's a lot to watch, and all of it very, very fun.

Taylor is another familiar face I'd like to see return. She ingrains herself in several characters, and her inquiry about having Jim (John Gallagher Jr.) work for her appears to be sincere. She's a sassy, combative type who unintentionally causes trouble, but her heart is in the right place, and she's a fair judge of character, even amongst people she disagrees with. She makes quite the impression this season, and the show could use more of her in the future.

Alas, any episode of The Newsroom would not be complete without some romantic stuff. Sloan and Don finally share a kiss in a spectacular, public fashion. This has been simmering all year, even if it usually is a very minor part of the subplot, and it's gratifying to see them get together, especially if this is it for the show.

Will and MacKenzie have an even better story, getting their feelings and secrets out in the open. MacKenzie is able to get the chance to explain her actions, with Will actually paying attention, and Will admits to wrongdoing, too. The viewers get to understand where both have been coming from, which leads to even more of an urge to see them put the past behind and get this couple together. They do, as Will produces the ring he lied about returning and proposes!

I don't think the dynamic of The Newsroom will change at all with Mac and Will married. They will still disagree and do all the things they normally do because they are passionate about their jobs and have always been united on that front. This doesn't change that. Unlike other shows where adjustments must be made for such a development, the only thing different will be them not pining over one another. Very cool.

The third couple fans root for is Jim and Maggie (Alison Pill), but they are not in a good place to be together, and any union at this point would seem false. That's probably why "Election Night: Part II" just has them bonding as friends over a screwed up call, and has Jim working to fix things between Maggie and her estranged roommate, Lisa (Kelen Coleman). Besides, Jim is happy with Hallie (Grace Gummer), as he should be, as it is a healthy relationship. Maybe, seasons down the line, this could change, but for now, they are where they should be.

Is The Newsroom the perfect show? Of course not. Characters frequently deliver parables instead of answering questions. The succeed as heroes when realistically they would fail. Personal moments happen most often in their place of business. And sometimes people devolve into caricatures. Yet, these aren't complaints because they are done so well, and are part of the charm of the fabric. The things that make it schmaltzy also make it awesome, and so while it isn't perfect, it is pretty darn good, and I sincerely hope it comes back, as it ranks among my favorite shows on the air right now. Even if Charlie acts a little too one-note in this episode, and I disliked knowing Genoa was a bomb from the start of the season.

HBO will likely announce the fate of The Newsroom soon.

Grey's Anatomy drives a "Hard Bargain"

Article first published as Grey's Anatomy drives a "Hard Bargain" on TheTVKing.

In ABC's Grey's Anatomy this week, the hospital is ready to be sold to Pegasys, the medical company that runs hospitals like factories. This fact weighs very heavily on Owen (Kevin McKidd), who doesn't believe in what Pegasys is doing, but feels like the deal is the only way to keep Seattle Grace Mercy West running, and protect the jobs of all of the employees.

There is another way, put forth by Callie (Sara Ramirez), but we'll get to that in a moment.

Owen is put in an incredibly difficult position in "Hard Bargain." He has a responsibility, as the boss, to do everything that he can to keep things running. Yet, he knows that the Pegasys buy out would be a bad thing in the long run. It comes down to the classic scenario of how much can one give up and still find reason to go on? Is just keeping the doors to the facility open enough, or if the place is gutted, is it worth it to work there?

This is a debate called into question swiftly in "Hard Bargain," as Dr. Bailey (Chandra Wilson) is denied a treatment that could save her patient. She goes off on a rant, considering quitting. And she's right. What the place is turning into will be a shadow of its former self. If the doctors aren't free to do everything possible to help their patients, how can they be expected to continue to save lives?

I'm curious as to why Pegasys even wants SGMW. The deal is dependent on keeping the current staff, which preserves the reputation and value of the place. But, by tying the employees' hands, that reputation will start to fall. Is Pegasys really so short-sighted? Do they not understand the worth of a long-term investment?

It's worst for Owen because his image will be irrevocably tarnished. The other doctors, in this environment, will fall out of favor in their fields. But Owen will be ruined in the eyes of those that trust him, and whom he cares deeply about, the staff. As he speaks to the nurses, convincing them to give this new approach a try, there's obvious desperation and pain in his eyes. Once the transfer of ownership is complete, though, things won't get better, and those that work for Owen will come to feel betrayed. He may feel guilty about booking the plane that crashed and started this mess, but he doesn't deserve the hatred of everyone.

Which is why Cristina (Sandra Oh) likely agrees to the plan put in place her fellow survivors to wrest control of Seattle Grace Mercy West. She loves Owen, and even though she can't make him privy to the plan, for legal reasons, she is doing it to save him, at least as much as the facility itself.

The fact that Cristina can't tell Owen could irreparably harm their just-renewed relationship. The act that she has to take, quitting her job with the others in order to kill the Pegasys sale, is a direct slap in Owen's face, making all the effort he has been putting in to saving the hospital a waste. She knows how hard he has been working, and for her to do this to him, with no explanation, is nearly unforgiveable.

I hope that Owen eventually understands. Surely he knows Cristina well enough to think there's another play behind her deed. He's a smart man, and when he sees the specific group that quits, he must suspect something, or will when he gets over his shock. Sure, Cristina can't explain to Owen anything specific, but can't she at least just tell him to trust her? I mean, she is part of a far better option that what Owen is pursuing.

The scheme put forth is to buy the hospital themselves. Callie, Arizona (Jessica Capshaw), Meredith (Ellen Pompeo), Derek (Patrick Dempsey), and Cristina, for various reasons, pool their resources and hire a man named Stan Grossberg (Eddie Jemison, Hung, Ocean's Eleven) to install them as the board of directors. It's a crazy, risky move, but it's one that, if it works, will preserve SGMW the way it is now.

Obviously, cost is a huge factor. They have resources, but those probably aren't enough. However, with Pegasys pulling out and Dr. Cahill (Constance Zimmer) pessimistic about locating another buyer, as well as the huge drop in value the hospital suffers by losing these five doctors, who all have to quit their jobs to stop Pegasys from buying, perhaps they can pick up the place at bargain prices.

The risk here is that others will unknowingly interfere. Owen and Cahill will keep working on other options because they have to, seeing themselves as the saviors, since they don't know about the plan. Webber (James Pickens Jr.) could also somehow be a stumbling block, since he is already suspicious of them, but they don't confide him, either.

Will the docs be able to save anyone? And can they do so before Bailey and others, including the new interns, abandon ship? I assume so, as otherwise the series would be dead in the water. But this ride of getting there is fantastic, proving that Grey's Anatomy can still be great, moving, and as surprising as ever, nine seasons in.

Also, I hope that Cahill is inspired by the heroic struggle to save a great institution, and chooses to remain on staff after all this is over. She has an in with Owen, and that should be enough to at least earn her a job offer, even if the five member team isn't a fan of her.

There are also some interesting romantic developments and funny moments this week. However, with all the fantastic drama of the hospital saga going on, it's hard to focus on those. They do help round out the episode, and that's important. They just don't make great topics for a review.

Grey's Anatomy airs Thursdays at 9 p.m. ET on ABC.

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.

House of Cards - "Chapter 7"

Article first posted as House of Cards - "Chapter 7" on TheTVKing.

"Chapter 7" marks the halfway point of the first season for Netflix's House of Cards. All thirteen episodes dropped on February 1st, and I thought now would be a good time to check in, before finishing out the season. Expect my next review of the series to post next weekend, covering the season finale.

By "Chapter 7," one of Frank's (Kevin Spacey) biggest missions in the early episodes has been completed. President Walker (Michael Gill) signs Frank's education bill into law. Frank stands behind him, proud as can be, knowing that he has earned himself more of the power that he craves so much, and the trust and respect of the POTUS. Considering that a few short episodes ago Walker stole away Frank's promised Secretary of State position, it's quite a feat.

Not that Frank's intentions are noble; they never are. The education bill is just one more stepping stone on the way to amassing the influence that he really wants, which will likely end with the highest office in the land. Walker may be president now, but he won't be forever, and he's far from the only player in the game. Frank holds many of the cards, and he is biding his time, waiting for the ideal time to make a move. For now, having Walker trust and rely on him is enough. But that won't make up for the betrayal that Frank feels.

Frank is such a complex character, using people as pawns in his game. As he's said, he doesn't crave money, he craves power because it means more and goes further. Getting to stand behind the president for the photo ops helps him achieve that, and it goes a long way towards furthering his other goals.

Of course, one doesn't reach such lofty heights without acquiring a few enemies. Walker's chief-of-staff, Vasquez (Sakina Jaffrey) has no love lost for Frank, and the better he looks, the more it discredits her in front of the commander she serves so loyally. She won't allow him to keep running an end game around her, and a showdown between Frank and Vasquez will surely rear its head soon enough.

Of more immediate concern could be Vice President Matthews (Dan Ziskie, Treme). They try to push Matthews aside at the bill signing, he doesn't get a cherished pen (Frank just gives his away, a trinket, rather than something meaningful), and he isn't consulted about the Democratic replacement for Governor of Pennsylvania, his old office. This makes him feel useless, which is a dangerous thing.

Most people don't consider the Vice President's position all that important. If something happens to the president, then the office matters. Other than that, Vice Presidents often don't get a lot to do. Matthews clearly isn't OK with that, and at least wants the tokens of the job, such as choice photo positioning and ceremonial writing implements. If he isn't paid off with these things, he could stir up trouble.

It's not immediately apparent if Matthews blames Frank for any of any of his slights. Frank plays nice and offers some kind words. This may enough to satisfy Matthews, should others do the same. Or it may make Matthews feel like a fool when he realizes that he has even less say than he thinks he has, played like a fiddle by a master musician, which, make no mistake about it, Frank is.

Frank's choice for the governor's office is Peter Russo (Corey Stoll, Law & Order: LA), an inexperienced Congressmen who has a weakness for drugs and prostitutes. On paper, that may seem like a recipe for disaster, but to Frank, Russo represents an opportunity. After all, if Frank can turn Russo's track around and build him into a great leader, Russo will not only be in Frank's debt, but may even be a puppet Frank can play with at his will. That is, as long as Frank doesn't make him too great.

So far, Russo has fallen right into Frank's trap. Frank manipulates him into getting sober and doing the campaign Frank's way, the whole time letting Russo think things are his idea, and that he has some control over his own race. Instead, it's Frank behind the scenes, pulling the strings, that is making Russo something, and Frank can just as easily undo all this hard work. Should Russo get too big for his britches, Frank can take him down. Frank is just betting that he won't.

The wild card here is Christina Gallagher (Kristen Connolly, The Cabin in the Woods), Russo's former assistant and lover, whom Frank brings back into the circle. The idea could be that Christina will keep Russo in line, convincing him not to call on hookers anymore, and provide him the emotional support that he needs to find his confidence and win. It works in the short term, but given Russo's appetites, there is no telling if she will be enough in the long-term. She wasn't before Frank came along, so it is a shaky gamble.

I am curious as to whether  Doug (Michael Kelly, The Adjustment Bureau) is actually a recovering alcoholic, or if he attends meetings just to keep an eye on Russo. Doug seems to speaking directly to Russo at their most recent gathering, and reports back to Frank on what transpires at the "anonymous" event. Frank trusts Doug explicitly. Is that because Frank rebuilt Doug the way he is doing with Russo, or because Doug is willing to do anything, even act like he has a substance abuse problem, or hide a prostitute, for that matter, to keep their situation status quo.

I love that House of Cards doesn't lay all this out explicitly. It makes viewers think for themselves, and allows guesses and leaps of logic. Even when Frank mugs to the camera, breaking the fourth wall and revealing something of his thoughts, he is still putting on a show, only telling what he wants to tell. He's trying to manipulate us, the audience, as well as the characters that surround him. It makes for an intriguing drama.

As Frank muses about Zoe (Kate Mara), the young reporter he is sleeping with, people only show others what they want them to see. Everyone has a persona. Zoe wants Frank to think that she only wants sex and information from him, and that she's a game player like he is. She is, to an extent. But despite her protestations that she get some meaningful benefit from him, such as a big scoop, she also seems smitten, and her romantic feelings could ruin things for both of them.

I worry about Zoe going forward. Frank thinks he has her under control, and that's what he assures his wife, Claire (Robin Wright). And yet, Zoe isn't always predictable, and she thinks a bit too much for herself to just be a stooge. Her heart guides her sometimes, leading her to decisions she probably shouldn't make, but that's not all she is. Should she begin feeling cast aside by Frank, she could seek revenge, and she has the smarts and tenacity that she could prove a threat in the way others have not.

Frank has kept her, and most everyone else in line, for a long time. But he has a lot of irons in the fire, and there are bound to be slips.

I'd like to take a moment to touch on Frank and Claire's marriage, even though it really isn't featured in "Chapter 7." It's one of the most surprising unions presented on television, an open arrangement, with both allowed to take lovers that are discussed freely with their spouse. They use each other for political gain, and are a powerful team in D.C. But there is also real affection there, with both putting the other first when they need to. It's an odd arrangement, certainly unconventional, but it seems like it's been working for them for a long time. Even when cracks show, it's likely that it will keep working, since they have honest communication, at least, what passes for such for people like them.

In Zoe's arena, the unstable element is Janine (Constance Zimmer). I think that Zoe is sincere about wanting to work with Janine again, and not just because it's a boon to her online employer. But I also think Frank asks Zoe to do the profile on Russo as a favor, and Zoe passing it to Janine isn't what Frank had in mind. Janine is too seasoned to buy Russo's falsehoods, and if she digs deeper, she could cause a few headaches. I see things potentially becoming awkward if Frank comes down hard on Zoe to kill the profile, and Zoe has to ruin what she's rebuilt with Janine, or worse yet, their mutual boss.

There are even more characters and plot arcs I could go into, but this article has gotten long enough. House of Cards is a very intricate web of a political drama, with amazing acting and brilliant writing. Each installment only gets better as we're drawn further into Frank's world. In his position, he has to keep a lot of balls in the air, and even though we only see a portion of them it's a hell of a spectacle to watch and keep track of. This should run for ten seasons, the creative team and cast willing.

House of Cards season one is available in its entirety to Netflix streaming subscribers.

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.

A carefully constructed House of Cards

Article first published as HOUSE OF CARDS Review at Seat42F.

Grade: 96%

Netflix recently launched an original series entitled HOUSE OF CARDS. Based on the book and British series, HOUSE OF CARDS dives into the world of intrigue and betrayal in politics. The first thirteen episodes all went live on February 1st, and another thirteen have been ordered.

HOUSE OF CARDS centers around a man named Francis Underwood, who is known by all as Frank. Frank, representing South Carolina, is a powerful force in Congress, serving as the Majority Whip in the House of Representatives, and is expecting to be named Secretary of State by the president that he helped elect, Garrett Walker (Michael Gill, Guiding Light). But Walker sends his Chief of Staff, Linda Vazquez (Sakina Jaffrey, Definitely, Maybe), to dash Frank’s dreams. Frank pretends to play nice, but secretly vows revenge.

The first thing HOUSE OF CARDS did right was cast Kevin Spacey (American Beauty, Horrible Bosses) as Frank. Spacey brings a level of gravitas to the screen that immediately raises the bar. He plays the part with nuance, and despite being a relatively despicable guy, there is also something intriguing about Frank that makes you want to keep watching.

Frank’s anger is justifiable, so it’s easy to root for him to come out on top, even when his actions cross a line. He may not be a hero, as he is as deep in the muck and the crooked games as his foes, but he doesn’t deserve to be treated this way, and he won’t stand for it.

It’s the duality of someone who is both righteous and a pig that makes Frank such a challenging role. It’s hard to imagine few besides Spacey that would do the part justice.

Frank is aided in his mission by this loyal, and just as ruthless, wife, Claire (Robin Wright, Moneyball). Again, this is another character who has layers, and who must be someone the audience can get behind, even when she’s doing wrong. Once more, casting should be lauded, as Wright handles the part deftly.

Frank and Claire have an interesting marriage, and right away, I find myself wondering if they have ever gone up against each other. If they have, or if something might cause them to be at odds in the future, I have no idea who would win. They are definitely cut from the same cloth, which makes their marriage seem a little cold. But it’s clearly working for them, and they seem to care about one another, so who I am to judge?

Claire is also someone that Frank seems to use as a partner, rather than a pawn. That looks to a rare position in Frank’s life, as the others around him are milked for how they will best serve Frank. This is made extremely clear early on when Frank manipulates the man behind the education bill Frank is supposed to be guiding, offers a couple of positions to possible allies, including his choice for Secretary of State since it can’t be him, Senator Catherine Durant (24′s Jayne Atkinson), and toys with Vazquez.

The other side of HOUSE OF CARDS is about the reporters who cover the political beat in our nation’s capital. There is a smart young woman named Zoe Barnes (Kate Mara, American Horror Story, 127 Hours), who yearns to see her name in print, or at least in a featured blog on the paper’s website. Her bosses shoot her down, until she manages to wrangle a deal with Frank, setting up a mutually beneficial arrangement.

I really dig the paper angle. Obviously, Zoe is the true do-gooder in HOUSE OF CARDS, the one still mostly unspoiled by the election game, and who clings to morals and ideals. She may dance on the line when trying to land Frank, but her work is put forth with a noble purpose. At least in the first episode. It’s likely, as time goes on, this will shift. If you splash in the mud, you do get dirty, and her ambition is definitely pushing her in that direction.

A senior report, Janine Skorsky (Constance Zimmer, Entourage, Grey’s Anatomy), is saddled with assisting Zoe. Zoe asks for help nicely at first, and Janine turns her down. Now, Janine is stuck with the upstart, owing to the rich vein of scoop that Zoe has tapped into. I am anxious to see how their relationship will play out, if Janine can play nice and benefit from being a mentor, or if she will be the bitter, shoved aside veteran.

Between Frank and Zoe, we have two colliding plots that are excellent. They are surrounded by a sweeping cast and a beautiful, engaging setting. Considering the next twelve episodes are already posted, I think I’ll stop here so that I can get back to watching. I can think of no higher recommendation of the series than by saying how much I am itching to see more.

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