GLEE "Bash"ing Not as Easy Any More

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

Glee takes a darker turn in this week’s episode, “Bash,” when Kurt (Chris Colfer) steps in to defend a gay man being beat up. The victim runs, abandoning his savior, and Kurt is kicked until he ends up in the hospital, exposing the seedy side of New York City, where hate crimes are on the rise. Kurt’s experiences affect all of his friends, and end up being a center piece for the entire hour, which is mostly a pretty good one.

It’s weird to think of New York as a place that isn’t tolerant, given the wide variety of people who live there, but I guess bigots are everywhere, and in a huge place where it’s easy for individuals to hide, some have begun to strike out. As Kurt says, they feel their way of life slipping away and it makes them angry, so they pummel the people they feel are responsible for it. It’s not rational, and it’s a truly ugly side of human behavior, but it is something we can understand. “Bash” does a good job in communicating this, and is emotionally moving.

The episode begins with Kurt, Blaine (Darren Criss), Rachel (Lea Michele), and Sam (Chord Overstreet) participating in a vigil for someone else who has been hurt. They sing a beautiful rendition of one of my favorite Sondheim pieces (this episode has a lot of Sondheim songs), “No One Is Alone” from Into the Woods. It’s a sad occasion, one sure to be repeated when Kurt gets involved in a similar incident, making the show take an even more unexpected turn as Blaine sits by Kurt’s bedside and sings the weakest number of the week, “Not While I’m Around,” which is appropriately melancholy, but lacks the power one might hope for.

It isn’t long before Kurt’s father, Burt (Mike O’Malley), flies into town, furious at Kurt for getting involved. “Bash” provides O’Malley yet another opportunity for a moving performance. We see the pain in his eyes, reflecting his child’s physical ailments, but the pride still shines through, knowing that Kurt is a good man, no longer a kid, who stands up for what he believes in. It’s a complex situation, Burt’s range of emotions all understandable and warring to surface, but love is the one that shines through the bets, making a for a terrific father-son scene.

And, because Glee must always let its heroes triumph, “Bash” concludes with Kurt’s mid-term performance of “I’m Still Here.” It’s a wonderful moment, Kurt recovered from his ordeal (mostly), surrounded by his loved ones. He will not let others bring him down, and he will continue to do what he does best. It’s an amazing song, performed fantastically, and surely earns Kurt top marks from his smiling professor, Carmen Tibideaux (Whoopi Goldberg).

Rachel is deeply affected by what happens to Kurt. She’s getting a little too big for her britches, choosing a duet with Blaine, “Broadway Baby,” for her own mid-term. It’s a great number, but Carmen is upset with Rachel for ignoring the guidelines of the assignment. Rachel, high on tech week for Funny Girl, pretty much tells Carmen where to stick it, resulting in Rachel quitting school. When Kurt steps in to confront Rachel, trying to reason with her that she needs an education, she tells him he doesn’t take risks. Needless to say, she feels responsible for Kurt interfering in the bad situation later in the installment, and while she doesn’t apologize to Carmen, she does resolve to stick with her friends, telling Kurt that she’s sorry.

In a way, Rachel taking responsibility for Kurt’s actions only shows even more how self-involved Rachel has become. Why does she think a few words she says will cause Kurt to change his behavior? Kurt isn’t easily manipulated, and as his best friend, Rachel should know that. Kurt’s decision has nothing at all to do with the diva, and so it makes Rachel seem pathetic when she infers that it does, even as the scene in which the two make up is sweet.

Rachel’s story is the weakest in “Bash,” and not just because she’s being a jerk. She tells her boss, Sidney (Michael Lerner), that she simply has to have time off of tech week for her school work, and he objects. She insists it’s just this one time, ignoring the fact that she just took a full week off to go back to Ohio, not to mention how her waitressing job must be distracting her even if, as Carmen says, Rachel has let her studies slip. Sidney agrees to let Rachel have one break, then she promptly spends much of the rest of the episode off set, rushing to Kurt’s bedside and hanging out with her friends, without a hint of complaint from the production. I don’t know how the writers expect us to buy the lack of continuity in any of this because it just doesn’t make any sense at all.

Oh, and if anyone is wondering, Blaine does make up his project for Carmen during “Not While I’m Around,” so his spot at NYADA is safe.

The other subplot happening in “Bash” involves the reunion of Mercedes (Amber Riley) and Sam. They fall for one another over reruns of The Facts of Life, which Sam hopelessly misinterprets, and then Mercedes opens up with a nice “(You Make Me Feel Like) A Natural Woman.” However, one lousy dinner with her backup singers (Dana Davis, Franklin & Bash, and Saidah Arrika Ekulona, Righteous Kill), and Mercedes dumps Sam out of fear of what racist people will think, and how that might hurt her career. Thankfully, Kurt’s bravery makes Mercedes come to her senses in an Amber Riley-original, “Colorblind,” and the couple reconciles.

I’ve always been a fan of the off-again, on-again pair. Not all Glee viewers root for Sam and Mercedes, but they fit together unexpectedly well. They may be different people, but they also like one another a great deal, offering support and advice without judgment. Their plot in “Bash” is a little hokey, but overall, I’m still holding out hope Riley will be re-signed as a series regular and stay in New York.

“Bash” isn’t the best episode of Glee ever, but it does continue the trend of a higher quality since the Ohio setting was ditched, and aside from Blaine’s song, which did its job, the musical sequences are much more even. The Kurt stuff doesn’t quite fit in the series, but it’s well handled. I think getting away from the cheesiness inherent in the high school story lines has been good for the show, and overall, it’s doing better.

Glee airs Tuesdays at 8 p.m. ET on FOX.

FRANKLIN & BASH "Alive" Again

Article first published as FRANKLIN & BASH "Alive" Again on TheTVKing.

TNT’s FRANKLIN & BASH is pretty much exactly what people mean when they talk about summer fluff television. Similar to the old USA shows, FRANKLIN & BASH follows two silly, fast-talking lawyers, Jared Franklin (Breckin Meyer) and Peter Bash (Mark-Paul Gosselaar), as they charmingly get into trouble, then show true compassion as they win emotionally-charged cases.

Season three kicks off this week with two new hours, “Coffee and Cream” and “Dead and Alive.” I can’t really say there is anything startling about the case-of-the-week in either. They are pretty typical of FRANKLIN & BASH installments, with the boys having to color outside the lines, but in the end, helping their clients. In the first, twin magicians want the guys to keep their secret while avoiding legal charges, and in the second, they must prove a man is still alive when a clerical error considers him dead.

These episodes are fun enough, and what fans of the show expect. They don’t stretch reality much further than other courtroom dramadies have done, and there are enough humorous moments to keep viewers entertained. A drop by Piers Morgan’s (guesting as himself) show seems slightly outrageous, but allows a nice introduction of a new character.

The problem is, the titular duo just don’t go far enough anymore. When the series first premiered, they seemed completely goofy, off in left field. As the show has gone on, their actions just aren’t shocking. Maybe we’ve grown used to their antics, or maybe the writers have just run out of ways to top themselves, but it’s more ‘business-as-usual’ than ‘wow!’ by now.

Luckily, while mostly procedural, there is a little bit more than that going on, and this third year may just be the one where everything changes. The most obvious development is the introduction of Rachel King (Heather Locklear) as the new boss. She immediately rebuilds the wall between Franklin and Bash’s offices, and cracks down harder on the rules than previous leadership.

The thing is, though, she isn’t that huge an adjustment. She lets Bash and Franklin do what they do, but just wants to keep better tabs on them. Maybe she’s evaluating the circumstances before taking much drastic action, or maybe she sees the benefit of their behavior. She is definitely a long-game player, which means her motivations won’t become clear for some time. Yet, her hindrance of the pair is more for show than making any real impact in the dynamic.

Lest anyone fear the eccentric head of the firm, Stanton Infeld (Malcolm McDowell) is gone, worry not. He may hand over the reins to King, who is actually Hanna’s (Garcelle Beauvais) replacement in the cast, but he’s still present. He has just decided that he isn’t a firm enough hand for the guys, and so is letting someone else do the dirty work.

What’s interesting to me about Rachel’s arrival is how Damien (Reed Diamond) is affected. At first, he is upset that Uncle Stanton is letting someone else take over the business, but then Rachel helps Damien prepare for an eventual judgeship. Who is Stanton grooming? He’s moving around a lot of pieces, and it looks like only he and Rachel may know what’s going on for now.

Besides the professional developments, Bash also gets a serious love interest. We know he isn’t a womanizer, at least not completely, and is open to love. But it’s nice to see someone brought in via a natural development who can turn his head and whom Bash doesn’t immediately figure out. This gal is introduced as someone who can hold her own, strong, but with a sense of humor. They have a nice chemistry, and I really hope this goes somewhere.

Pindar (Kumail Nanjiani) and Carmen (Dana Davis) are still around, too. In fact, the former has a very important story in “Coffee and Cream” that affects the entire team, drastically changing one element of the show, which I won’t spoil. It’s both hilarious and heart breaking, going a little darker than the series has before, but forcing evolution in a way that feels right.

There are definitely signs in both “Coffee and Cream” and “Dead and Alive” that the series and its main players are growing and changing, even while the central plot remains predictable and rote. There are some strong characters here, and should the more serial arcs be pursued, there could really be some movement in the coming weeks, which would be welcome. Otherwise, it remains the television equivalent of the summer blockbuster: a nice way to pass the time, but neither filling nor deep.

Unleash the Franklin & Bash!

TNT's Franklin & Bash completed their sophomore run this week with "6:50 to SLC." Bash's (Mark-Paul Gosselaar) law license is suspended because he misses a payment, which makes representing his buddy, Tommy Dale (Chris Klein, Wilfred), who is having problems with his campaign for governor, difficult. Meanwhile, Leonard Franklin (Beau Bridges) of Franklin & Franklin would like to purchase Infeld Daniels, whether Stanton (Malcolm McDowell) likes it or not.

It's a shame that Franklin & Bash has become such a procedural. Even in this episode, which spends at least half of its time focusing on firm politics, there is a case of the week that must be dealt with. In the beginning, that was OK because Franklin and Bash often made these cases fun and exciting with their big stunts. In this one, not so much.

Yes, there were great guest stars in "6:50 to SLC," like Klein and Paul Schulze (Nurse Jackie), who played Dale's campaign manager. And the story of two wives cheating on their husbands with each other is pretty scandalous. But they somehow made this boring, probably because of how toned down the two lead characters have become in court. In a story about Bash's old friend, this should never have been allowed to happen. It may be more realistic, but it's not as much fun to watch.

The other story, where Franklin's (Breckin Meyer) father tries to steal the firm right out from under their boss, is much more compelling. Stanton is a larger than life character, played a by a brilliant acting veteran who bites into the role with gusto. So when he is threatened and his vulnerabilities are laid bare, it makes for very engrossing television. Stanton shows his age a bit here, but he also shows his scrappiness and shrewdness, which got him to where he is today. The resolution is shocking and smart.

Stanton must reveal the real reason he hired Franklin and Bash and made them partners. They are a poison pill, a tool he can use to self-destruct the firm. They are not happy at all to learn this, two years (or only one year?) after they began working for him. But they do what must be done because they are stand up guys, making a huge fuss on an airplane. Stanton's later apology, and the boys' forgiveness, shows that there is a deeper bond here than a cynical arrangement. But their relationship with their awesome boss is rocked a bit, in a good way.

The other moments of greatness in "6:50 to SLC" come from Carmen (Dana Davis) and Pindar (Kumail Nanjiani). These are entertaining, quirky characters, who do not get nearly enough plot. Sure, it's nice to see Franklin and Bash make peace with Karp (Reed Diamond) and Hanna (Garcelle Beauvais), but I would trade an emotional Hannah scene for a funny Pindar bit any day. Again, going back to the complaint that Franklin & Bash has mostly become a rote procedural, more of these two characters would punch up the episodes.

Some hopes for season three, besides more outrageous antics and screen time for the boys' employees? Bring back their flying ban as a plot point, and make sure that Shiri Appleby returns for a sizable arc. It might be nice to see how Franklin handles a real relationship, and what she can do to the dynamic of the group.

This law show may have lost its way in the second season, becoming more predictable and monotonous. Hopefully, there will be a season three, which gives them time to make up for it.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Originally posted on TheTVKing

FRANKLIN & BASH Season 2 Premiere Review

Mark-Paul Gosselaar, Breckin Meyer and Garcelle Beauvais : Photo : Trae Patton/TNT

TNT's FRANKLIN & BASH returns tonight with the season two premiere, "Strange Brew." Stanton Infeld (Malcolm McDowell) would like to make Jared Franklin (Breckin Meyer) and Peter Bash (Mark-Paul Gosselar) full partners at his law firm, where they have been working. To do so, the duo must earn the votes of two thirds of the existing senior partners. Infeld sends them to meet with a beverage company head (Kevin Nealon, Weeds), who, if they woo as a client, will help their chances. Unfortunately for them, keeping the client happy may mean abandoning their values.

FRANKLIN & BASH is about two lawyers who care about more than just the law, or their careers. They care about people. Their bold, outlandish stunts are part of their draw, but the real reason Infeld is so in awe of the boys is because they bring something to the firm that it's lacking. Infeld is ingrained in his ways, though, and so he doesn't always give them a leash of unlimited length. "Strange Brew" tests the resolve of all three, as Infeld insist they keep the client happy, and Franklin and Bash think about how much they might want a spot at the big table.

The series is pretty light-hearted. As such, while FRANKLIN & BASH may flirt with heavy drama, it stops short of committing to it altogether. Things work out in the end because the core fan base doesn't want the story to end on a downer. The characters can face tough situations and question themselves, but at the end of the day, the good guy must win, and justice has to prevail. It's not a new formula, but it's certainly one that regular viewers of this particular show count on. In this, "Strange Brew" may take the path of least resistance, but that's what the people are looking for them to do.

This does not make FRANKLIN & BASH a bad show. While it will never sweep the Emmys or any other awards ceremony, it is still very entertaining. That is why, even when the ending might seem a little too neat, it is still a good episode.

Besides, Franklin and Bash are not the only ones affected by their promotion. They have friends to consider, too. Their new position allows them to hire Carmen (Dana Davis) and Pindar (Kumail Nanjiani) full-time. This is good, because as a subplot of the episode reveals, Pindar is in need of the mental health care that will come with being a permanent employee. Some of his social problems can now be traced back to his ex-roommate's girlfriend, whom Pindar clearly had an attraction towards. Though, how Pindar deals with the woman speaks to a previously existing condition.

Becoming senior partners is not without risk. Hannah (Garcelle Beauvais) tells Damien (Reed Diamond) she supports the change because of a moral clause that might help them get Franklin and Bash fired for good. Is Infeld aware of this clause, and does he already have a plan to get around it, like he negated the five year waiting period that would have delayed partnership for some time to come? Or is he just not considering the implications, as he sometimes doesn't. Franklin and Bash's behavior will not change, and to keep the show going, they will not be fired, no matter how much Hannah and Damien scheme against them. So where is this plot going? Perhaps it's just a new source of ongoing, low-stakes conflict for the coming season.

Another great thing about "Strange Brew" it the wealth of guest stars. Besides, Nealon, Martin Mull (Clue, Sabrina The Teenage Witch) and Ernie Hudson (Ghostbusters, Oz) both play judges for various trials that Franklin and Bash bring to court. Kat Foster ('Til Death) is an attractive cop that Bash hits on while fighting a case against. Eddie Jemison (Hung) is an old friend of Franklin and Bash's, who was arrested by the hot cop. Is this a sign that good comedy actors are now lining up to appear on FRANKLIN & BASH?

Basically, "Strange Brew" is a return to same zany-hijinks-in-a-legal-setting recipe that attracted viewers last year. The quality of the stories and acting remains about the same. In short, it's mindless summer fun. FRANKLIN & BASH airs Tuesday nights at 10 p.m. ET on TNT.

Article originally published at Seat42F.com

Franklin & Bash premieres on TNT

     TNT's newest series is Franklin & Bash, a legal dramaedy about two men named, well, Franklin and Bash. Jared Franklin (Breckin Meyer, Robot Chicken, Road Trip) is a goofball who refuses to sell out or work for his father. Peter Bash (Mark-Paul Gosselaar, Saved By the Bell, Raising the Bar) plays much closer to the rules than Franklin, and yearns for some real income. They are assisted by Carmen Phillips (Dana Davis, Heroes, The Nine), an ex-con, and Pindar Singh (Kumail Nanjiani, Michael and Michael Have Issues), who lives with them, and is afraid to leave the house. This works out OK, because Franklin & Bash work out of their home, until they are recruited by Stanton Infeld (Malcolm McDowell, Entourage, Heroes). At his firm, they meet the uptight and slightly sleazy Damien Karp (Reed Diamond, Dollhouse, 24), and the sexy Hannah Linden (Garcelle Beauvais, NYPD Blue, The Jamie Foxx Show).



     While the last thing TV needs is another legal procedural, Franklin & Bash is a lot more fun that Gosselaar's previous short-lived TNT legal drama, Raising the Bar. Perhaps this indicates a willingness by the network to push the envelope, and try something new. With a pilot like this, it is extremely hard to tell how good the series will be, as much of the screen time is devoted to setting up the scenario that the show will spring from. Not only that, but there is a lot going on in this first hour.

     In "Pilot," there are three separate legal cases playing out, quite a bit for any law show to handle, let alone in a first episode. In the first case, Franklin and Bash represent a man who got into a car wreck because of a distracting advertisement. They go up against, and get a settlement from, Infeld & Daniels LLC, which is why Stanton Infeld recruits them after watching them in action. Then the pair split off. Franklin, while not assigned to the case, works to help an airline pilot that Karp is assisting the airline company in tossing all their blame on. Bash clears a woman accused of being a prostitute. Between all of that, they also settle into their new offices and throw a party. How is there time in the day?

     It is a little unclear why Stanton wants Franklin and Bash. Is it for their enthusiasm and antics? That's what they demonstrate in court in front of him. But later in the episode, he sides with Franklin against Karp because he likes how Franklin stands up for what he believes in. These seem to be two conflicting ideas. Are viewers expected to believe Stanton sensed the righteousness behind the stunts right away? Or that he likes how they operate, and the morals are just bonus?

     Equally confusing is just what kind of man Karp is. He sticks to the rules so much that Hanna dumps him for not sleeping with her because it is against company policy. Yet, he is more than willing to sell out the little man to keep a big client for the firm. So he follows the guidelines of the place he works for, but not the law? Is he only choosing self preservation and his career over Hannah? Again, two completely different sides, at odds with each other. Is he a stick in the mud or a sleaze ball?

     Then there's the side bit where Hanna almost sleeps with Franklin, her ex Karp's polar opposite. Just what kinds of guys does Hanna go for? Is she just going to have sex with Franklin because she knows it will tick off Karp royally and get under his skin? If so, that does not bode well for her character. Which is a shame, because Franklin is a nice guy and he seems interested in her. Of course, Franklin's sole criteria for finding a woman attractive is hotness, so he, at least, makes sense.

     What is Pindar's illness? He says he is germophobic, but is fine with a huge party and lots of strangers at his home. Yeah, he takes three showers, but he doesn't hide from everyone. He pukes in Carmen's car, when it's just the two of them, but holds it together on a crowded city bus with a man sneezing right next to him. Franklin and Bash treat him like he's perfectly fine, laying a heavy guilt trip on him if he fails to show up in court, and they know him well, which points to him not being too severely sick. He overcomes his phobias to save the day, so assumedly, he has gotten over whatever ails him, and can now report to work normally. Why even put those things in in the first place when he can beat them so easily? Viewers cannot be expected to feel for Pindar is he suddenly is paralyzed by the same fears again next week.

     Finally, Carmen seems at odds with her description of "ex-con." What is her crime? Depending on what she has done, she may be sympathetic. Best guess for why Franklin and Bash hire her is that she is smart, pretty, and can put up with them. They seem to have a soft spot for good people stuck in bad situations, so that likely describes her. Hopefully some sort of flashback will show exactly what she was involved in.

     Franklin and Bash themselves are the only really defined characters in "Pilot." They are tons of fun, whether demanding a wall be taken out between their offices, or talking about sleeping with celebrities at a lunch counter. These two are the stars, and they fit the bill nicely. Both actors can do comedy or drama, and both are veterans of the industry. Great casting move on two counts. It's like a better version of The Defenders, the already canceled freshman show from earlier this year.

     Really, the cast is terrific all around, but the writing is confusing. I guess we are supposed to be distracted by the crazy things the characters do and not to think too much about who they are. And it mostly works for one episode. Which means only time will tell if the series is any good or not, depending on how they move forward. Should the contradictions be sorted out, it could be a very interesting, funny series. Should the writing continue to be weak and make little sense, or the plots fall into a typical procedural, it will not remain on my TiVo. They deserve one more chance.


     Franklin & Bash airs Wednesday nights at 9 p.m. ET on TNT.

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Article first published as TV Review: Franklin & Bash - "Pilot" on Blogcritics.