DVD Review: ‘The Wonder Years: Complete Series’

Article first published as DVD Review: ‘The Wonder Years: Complete Series’ on Blogcritics.

While there are many classic TV shows one will remember with fond nostalgia, few are as precious as The Wonder Years. The coming-of-age sitcom, which aired from 1988-1993, is set in the late 1960s, during the Vietnam era and after the run of assassinations. It simultaneously ushers a boy through puberty and documents a transitional time in American history, as concerned (if not more so) with emotion and context than being funny. The laughs tend to come from authentic situations, rather than goofy gags, and the characters are realistic and loveable. Finally, this complete series is available on DVD from StarVista/Time Life.

As the story begins, Kevin Arnold (Fred Savage, The Princess Bride) is starting junior high school alongside his best friend, Paul Pfeiffer (Josh Saviano). They may be a bit dweebish, but Kevin still catches the eye of the beautiful girl-next-door, Winnie Cooper (Danica McKellar, Young Justice). If Kevin should ever get a little full of himself, though, he has jerk older brother Wayne (Jason Hervey), stoic dad Jack (Dan Lauria, Sullivan & Son), not-quite-understanding mom Norma (Alley Mills, The Bold and the Beautiful), and peacenik sister Karen (Olivia d’Abo, Law & Order: Criminal Intent) to ground him. Viewers are privy to Kevin’s thoughts via narration by Daniel Stern (Manhattan, Home Alone).

The Wonder Years ran for six seasons and received numerous accolades. Premiering in the prime post-Super Bowl slot, it won the Outstanding Comedy Series Emmy for its very first, six-episode season and Savage became the youngest-ever Emmy nominee for Oustanding Lead Actor for a Comedy Series. These were only the beginning of a run that would score many trophies, pushing the boundaries of its genre and production. While it does feel, at times, like an after-school special, it takes that format and deepens it in such a way to move anyone that views it, leaving the cheese out, for the most part.

Sadly, the series finale is not what many would have liked. Mired in struggle between the network and the producers, who wanted to mature the material along with Kevin (something ABC resisted mightily in a family-friendly program) the show came to an abrupt end after season six. The writers only had Stern’s narration with which to craft a true ending, no more opportunity for filming existing. This set contains the originally-broadcast version of the hour-long finale, as well as the edited-down, two half-hour editions. Those involved did a terrific job, considering, and the somewhat unsatisfying ending is realistic. Still, even with the rough stop, The Wonder Years remains an important body of work, remembered fondly for good reason, and is well worth the time it takes to relive it.

Part of the reason why The Wonder Years may have taken so long to get to disc is because is has a phenomenal soundtrack, with literally hundreds of classic songs featuring the likes of Simon & Garfunkel, Jimi Hendrix, Bob Dylan, Carole King, and more. These are integral to the story, and the show would really be missing something without them. I do not know if every track has been retained, but the press materials report that over three-hundred numbers from the original broadcasts have been licensed for the DVD, so the vast majority, at least, are present and accounted for, which matters a lot in this release.

The picture and audio quality in this DVD release do not appear to have been updated. However, The Wonder Years had a dated look even for its time, so the production fits the style of the piece. It isn’t distracting enough to pull one out of the story.

Whatever efforts were not put into updating the video presentation are more than made up for in the quality of everything else. Should you choose to obtain the complete set, it comes with 26 discs packaged in binders replicating Kevin and Winnie’s school tomes, each with a helpful book that has notes and episode descriptions. They sit alongside a really cool yearbook, full of photos and information about the show, in an actual metal locker (which comes with series-themed magnets to decorate it with). There are a couple of different limited editions of this set that have even more inclusions, so the really die-hard fans may want to check those out, too.

The Wonder Years Complete Series has a TON of extras. Over 23 hours of bonus features boast lots of new featurettes and fresh interviews with many of the key people that made the series a reality. All seven of the show’s leads are among the participants, as well as several notable guest stars. There are outtakes galore (including of Winnie and Kevin’s first kiss), a cast reunion, a look at the teachers on the series, and so much more. I cannot stress enough how much is here, and it will take days, if not weeks, for most people to sift through it all.

The Wonder Years Complete Series isn’t perfect, but it’s darn close. It was certainly well worth the wait, one of the coolest series sets I’ve seen. As a fan myself, I’m super excited to dig even further into this than I’ve had time to do so far. The Complete Series is available now, and individual seasons will start being released this week.

MANHATTAN Ignites

Article originally written for Seat42F.

WGN America is making huge plays these days to elevate itself from ‘superstation’ to full-fledged cable network, including creating their own content. Their first original drama, Salem, is good. Their second, MANHATTAN, which premiered last night, is even better.

Set in Los Alamos, New Mexico, which was unnamed in the 1940s when this story takes place, the series dramatizes the invention of the atomic bomb, with a focus on those who helped design and formulate it, as well as their families. A highly secretive project, the men and women employed by the U.S. government at this isolated site were among the best and the brightest. Their spouses often were not, and were not even trusted with knowing what the employees were desperately working on, racing against Germany to end the war.

MANHATTAN is besieged by the ticking clock. The Americans believed that Hitler was also working on the bomb-to-end-all-bombs, and that he was close to finishing it. Thus, they are spurred on not only by patriotism, which nearly all of them possess in spades, but also by the fear of the consequences should they lose the race. As one character muses when his daughter wants to go to college in New York, to paraphrase, ‘A densely populated city on the East Coast? No way.’

The pilot, “You Always Hurt the One You Love,” introduces us to a lot of characters, but thankfully, it keeps the core cast small enough to handle. There’s: Frank Winter (John Benjamin Hickey, The Big C), a brilliant scientist leading a small team competing with Akley’s (David Harbour, The Newsroom) much bigger, more well-funded one; Frank’s wife, Liza (Olivia Williams, Dollhouse), a botanist with a PhD who isn’t allowed to plant crops in the complex; new recruit Charlie Isaacs (Ashley Zukerman, Rush), who is physically nauseated when the purpose of the place is revealed; and Charlie’s wife, Abby (Rachel Brosnahan, House of Cards), who wants to go home, and will likely get Charlie into trouble.

These four are surrounded by a large group of wonderful players, including Daniel Stern (Home Alone, City Slickers), Josh Cooke (Dexter), Harry Lloyd (Game of Thrones), Eddie Shin (Men of a Certain Age), Michael Chernus (Orange is the New Black), Christopher Denham (Argo), Katja Herbers Alexia Fast (Jack Reacher), Richard Schiff (The West Wing), and Mark Moses (Mad Men), but keeping these two couples at the core helps ground the narrative.

Many issues are brought up and dealt with in MANHATTAN, even when just considering the pilot. There’s the military state, security that may be over the top or could be construed as necessary, depending on your perspective. There’s the political nature of the hierarchy, as Frank finds out when he approaches Oppenheimer (Daniel London, Mildred Pierce) with a better idea than Ackley’s, but is shot down anyway. There is the splintering of marriage when trust is broken, mainly because of the constraints of the job. There is the constant threat that even the best intentions could get one into serious trouble, and rumors and gossip spread quickly. There is the challenge of living in a new environment in the middle of nowhere, a major stressor on those who aren’t in the office at all hours.

Yet, despite the extremely full hour-plus running time, MANHATTAN is not overwhelming. Instead, it presents a complex structure with interesting topics and people, an authentic-seeming look at an important part of history. The moral quandaries of The Manhattan Project are still debated today, so MANHATTAN, besides being an entertaining drama, is also a way for modern people to sort out mixed feelings about it, and also get some historical perspective. I find myself thoroughly engrossed and excited about this series.

MANHATTAN airs Sundays at 9 p.m. ET on WGN America.

HOUSE OF LIES Begins to Emerge From the "Wreckage"

Article first published as HOUSE OF LIES Begins to Emerge From the "Wreckage" on TheTVKing.

Showtime's House of Lies premiere had a lot to address. When season two closed last year, The Pod had split apart, with the characters all on the outs with one another. Now, as some time has passed, the episode must catch up with each of the four, and give them all arcs to start things out on.

I love that "Wreckage," the first episode back, doesn't restore the status quo. It would be inauthentic for The Pod to easily come back together, either at their old firm or at Marty's (Don Cheadle) new one, though other shows do it all the time. Instead, this week shows where each of the individuals have ended up, and how unhappy they are with the situation, missing their former colleagues. Which means they probably will reunite, just not in episode one.

At least Marty's home life is going well so he's not fighting a battle on both fronts. A sweet scene between Marty, his son, Roscoe (Donis Leonard Jr.), and his father, Jeremiah (Glynn Turman), seems light and fun, especially compared to the rest of the half hour. Surely Marty can find some comfort in that.

Marty may just be the most miserable of the quartet. It's hard to tell because he's so good at hiding his feelings. On a trip to China to woo the head of a mid-size company (Daniel Stern, Home Alone), something that would have been beneath Marty at his height, he seems quite unimpressed with his new team (Ryan Gaul, Rob Gleeson, and Genevieve Angelson). But he's also resigned to them. This Marty is not too proud to claw his way back up to the top, even as he's definitely nowhere near that point at the start. He's broken, but not defeated.

Marty later tries to change his circumstance by forming an alliance with Jeannie (Kristen Bell). This could be good for business, two competitors working the competing companies they represent together, pushing both for more. However, in this instance, it seems more that Marty just wants to be with Jeannie. Otherwise, why not go for the bigger fish himself? At least Jeannie seems amenable, which means Marty didn't completely burn the bridge with her.

The relationship between Marty and Jeannie is key to House of Lies. Sure, the chemistry of the foursome is important, but these two share something more than that. They are the emotion-laden island in the middle of all the craziness. They have feelings for one another that may or may not turn into something real (my guess is they will), and Marty cares about her as so much more than the job she does, which is less obvious in how he treats the guys. Plus, if Marty can win Jeannie back to The Pod, the other two will follow easily enough, whether he wants them to or not.

Jeannie isn't in a bad place, professionally, but she doesn't seem happy. Working at her old job, leading a pod consisting of Doug (Josh Lawson) and some newbies (Brad Schmidt and Lauren Lapkus), she comes across as numb and disinterested. All three of these people are pretty annoying, Doug constantly talking about their glory days, and that could be what is bringing Jeannie down. But Doug was always annoying before, so it's more likely what she doesn't have that's affecting her, rather than what she does have.

I said before that Marty has it worse than anyone else, but it's possible that Clyde (Ben Schwartz) might edge him out. Working for Monica (Dawn Olivieri) turns out to be the hilarious hell viewers might have expected, and her management style sabotages any alliances Clyde might form with his new co-workers (Eugene Cordero and Milana Vayntrub). I think Clyde realizes this is an untenable position that he can't stay in, and will likely be the first of the main players to try to make a switch.

Clyde has always seemed cooler than cool, like nothing can upset him. Even as we realize that's an act, one must respect the way he plays the game, something that should serve him well. Seeing the frustration and disbelief on his face in "Wreckage" proves there are situations that can tip Clyde's balance, and there's new material for the talented Schwartz to chew in this premiere, which is welcome.

Nearly all of these new characters mentioned above have familiar faces, but likely no name recognition. Some of them were in House of Lies Live, and it's good to see them again. Others have been working the comedy scene, occasionally popping up in sitcoms. It's excellent that House of Lies gives this class of people work because they are often under-utlized on TV, and I think "Wreckage" proves there is fresh talent out there.

I don't know that any of them will prove lasting on this series, though. Any one of them could, but by necessity, the three pods as they exist now cannot last. And serving another seven new characters just isn't tenable. So sadly their presence will be short-lived, but at least they are all, across the board, making the best use of the time they have.

House of Lies has set up an interesting third year. Catch it Sundays at 10 p.m. ET on Showtime, and if you missed the first episode, it's currently streaming free on Showtime's website.