Watch Out For MR. MERCEDES

Article first published as TV Review: MR. MERCEDES on Seat42F.

Coming to AUDIENCE Network, AT&T presents MR. MERCEDES. You might already know this is the title of a book by Stephen King, the first of a trilogy, in fact. But if you don’t know what it’s about, I’ll tell you. Detective Bill Hodges, recently retired, cannot let go of a serial killer case he never solved. Though, admittedly, it’s probably harder to let go when the murderer is stalking and taunting you, as is happening to poor Bill. Thus begins our cat and mouse game.

I went in cold, knowing nothing about this show, and that was apparently a mistake. The opening sequence is interesting, introducing a couple of sympathetic, engaging characters, and it’s easy to get drawn into their story. Except, their story is short-lived because of a horrific event, one of the most disturbing things I’ve ever seen on television, and it makes it very hard to get back into the series as we move past the beginning.

Get drawn back in, you will, though. Brendan Gleeson (Braveheart, Edge of Tomorrow) is terrific as Bill, a grumpy old man who want the kids (‘ tennis balls) to stay off his lawn. The source material is well reviewed, and the great David E. Kelley (The Practice, Boston Legal) serves as showrunner and frequent writer. The supporting cast is, across-the-board, fantastic, the direction is great, the pacing is swell, and the villain gets quite a bit of screen-time, too. So it’s nearly impossible, if you don’t turn the show off five minutes in, to not want to watch more.

Does this mean the beginning was a mistake? No, not exactly. Yes, MR. MERCEDES did not have to make us care about its victims right off the bat, nor make the attack itself so damn gory. However, I think by doing it the way the show does, it effectively communicates the brutality of this killer, the randomness of his targets, the danger present, and the stakes of the tale. So as much as I did not like what happened and have no desire to see it again, I can’t be upset at the choices the series makes for pure quality of storytelling. It’s not gratuitous, it’s purposeful, and that’s the bar by which I measure whether violence is acceptable.

The heart of the piece is the contest between Bill and Brady Hartsfield (Harry Treadaway, Penny Dreadful). Both men are explored pretty in-depth, Bill through his interactions with neighbor Ida (Holland Taylor, The Practice), lawn mower Jerome (Jharrel Jerome, Moonlight), and former partner Dixon (Scott Lawrence, JAG), and Brady’s with his mother Deborah (Kelly Lynch, Magic City), coworker Lou (Breeda Wool, UnREAL), and boss Robi (Robert Stanton, Jason Bourne). Each of these supporting players makes an impression with how they interact with the leads, but also stand out themselves as well-developed individuals, which is quite a feat for an hour-long pilot. Somehow they simultaneously exist as the stars of their own worlds, and support that central dynamic.

And we haven’t even gotten to the introduction of Janey, another lead not in the pilot, played by the always-magnetic Mary-Louise Parker (Weeds).

Sadly, Anton Yelchin (Star Trek) was slated to play Brady before he died. I could totally see him in that role, and I think he would have been great. But Treadaway is a fine replacement, and I don’t think anyone will remember that he wasn’t first choice. Ditto Taylor as Ida, as Ann-Margaret previously had that role before illness forced her to step aside.

King’s adaptations are hit or miss, and usually have what I think of as a very specific, not super high quality, tone. But like the best screen work that’s come from him, like Kubrick’s The Shining, MR. MERCEDES doesn’t feel like it fits that mold. Instead, it’s an intense psychological drama that stands apart as its own thing. I think this could be a really strong series to watch, though unfortunately it’s not on a network most people get, viewership confined only to DirecTV and AT&T U-verse subscribers. I wish it had broader reach.

MR. MERCEDES premieres this Wednesday.

BIG LITTLE LIES Big Fun With Little to Complain About

Article first published as BIG LITTLE LIES Review on Seat42F.

HBO is known for attracting top talent, especially for their limited-run programming. Nowhere is that trend more apparent than in the new miniseries BIG LITTLE LIES, premiering tonight. Written by David E. Kelley (The Practice), directed by Jean-Marc Vallee (Dallas Buyers Club), and boasting an all-star cast, this seven-part story is the less-cheesy version of a primetime soap. It takes place in an affluent neighborhood, and focuses on the mothers of first graders. And oh yes, there’s a mysterious murder.

BIG LITTLE LIES doesn’t tell you who’s dead and who did the killing right away. Its hook is based on suspense. We know something bad happened slightly in the future, but we don’t know why or to who or even who did it. The whole thing is told on an earlier timeline, which makes viewers pay more attention to every interaction between characters, seeing if they can figure out the twists before they are revealed.

The fact that the show is a miniseries, rather than an ongoing program, is also a benefit in drawing in eyeballs. The stakes are higher when the audience knows that nobody is coming back for a second season. That means we can’t just dismiss a star or main player from being the criminal or victim out of hand. There is no motivation to keep anyone’s hands clean, and that makes it all the more compelling.

Reese Witherspoon’s (Walk the Line, Wild) Madison Martha Mackenzie seems the most central role. In a marriage she values with a steady man, Ed (Adam Scott, Parks and Recreation), she still can’t get over her ex, Nathan (James Tupper, Revenge), nor does she care much for his new wife, Bonnie (Zoë Kravitz, Max Max: Fury Road). In the meantime, she’s dealing with a rebellious teenager, hanging out with her two best friends, and battling another mother for dominancy at school.

Madison’s pals are Celeste Wright (Nicole Kidman, Moulin Rouge!, Lion) and Jane Chapman (Shailene Woodley, Divergent, The Secret Life of the American Teenager). Jane is new in town, and is slow to give up information about herself. Celeste has been around for awhile, and quit her law career to stay home and raise a family for her younger husband, Peter (Alexander Skarsgård).

None of the three seem all that happy, especially when they come into contact with the mother on the other side of their war, Renata Klein (Laura Dern, Enlightened, The Founder). Each deal with their own issues, and while they seem relatively sweet, it’s also easy to see how any of them could either be pushed to murder, or be murdered by someone else.

On paper, the plot seems a lot like ABC’s Revenge, which I gave up on midway through. Comparing BIG LITTLE LIES to Revenge is the best way I can think of to illustrate the extreme examples in the genre of what works and what doesn’t. Revenge may have been fun, but it never rose to Desperate Housewives levels of quality, a like-minded show I’d put in the middle of the rankings. This one is at the top, giving us the juiciness audiences want, while still making a quality series by nearly any measure.

I like BIG LITTLE LIES. It’s wonderfully acted, beautifully shot, and has a terrific style and tone. It deals with material that would be very easy to make cartoonish, and yet keeps it from being so. Even the child actors, though less talented than their adult peers, are well selected, adding to the drama, rather than distracting from it. After watching two hours, I am fully invested in seeing this through to the end.

BIG LITTLE LIES premieres tonight at 9/8c on HBO.

Another Kelley GOLIATH

Article first published as GOLIATH Review on Seat42F.

The prolific David E. Kelley, gone from the broadcast airwaves for a few years, returns to television on Amazon this week with GOLIATH. Like most of his former series, GOLIATH is a legal drama. But with the freedom of streaming services, unbound from the set running times, act breaks, and episode counts of the broadcast networks he called home for so long, it’s a new beast from the old hand. And, let’s be honest, what fan of legal drama doesn’t want another one from this guy?

GOLIATH stars Billy Bob Thornton (Fargo, Friday Night Lights) as Billy McBride, a washed-up alcoholic who is past the peak of his career. Spinning into a personal hole, Billy has a bad relationship with his ex-wife, Michelle (Maria Bello, Touch, Prisoners), and daughter, Denise (Diana Hopper, Hidden Truth). He doesn’t start in a very good place.

Billy’s break comes when a woman brings him a big case that would pit Billy against his former partner, Donald Cooper (William Hurt, Humans, Into the Wild), and the firm Billy was forced out of, which Michelle is still involved in. Now, personal and professional life is intermixed as Billy fights for justice, and possibly for a little revenge from those who wronged him.

It’s an enticing premise. Everyone wants to cheer for the guy who is down, and who we expect to turn it around, especially when his opponent (Donald) seems so clearly in the wrong. It’s a black-and-white dynamic, and while the odds are stacked against Billy, David-and-Goliath-style, we are sure that the misfit crew he puts together, which includes a real estate attorney and a call girl, will win the day.

If I were to compare this to any of Kelley’s other series, I would say, on paper, it is most like Harry’s Law, which featured a noble, flawed character staging a comeback. Except, GOLIATH is a much darker drama and the case will be ongoing over at least the course of the season, whereas Harry’s Law was funny and procedural. So GOLIATH still has some of the classic Kelley elements and similarities to his past work, but isn’t just a retread.

The writer takes to the looser format very well. Watching GOLIATH, I was struck by how much it resembles some of the higher-quality series on the premium cable and streaming networks. It doesn’t have the same memorable juice as Fargo, American Horror Story, Westworld, Breaking Bad, and the others at the top of the heap, but it is a very solid entry that can hang in the same general stratosphere.

Helping this along is the excellent cast assembled. Thornton proved himself to any doubters with his last television role, and he is more than capable of taking the lead here. Yet, so are most of the other actors around him, so he is in good company with Bello, Hurt, Olivia Thirlby (Good Vibes, Juno), Molly Parker (House of Cards), Nina Arianda (Hannibal), Tania Raymonde (Lost), Sarah Wynter (24), Damon Gupton (Bates Motel), and more. There should be no complaints about the company.

The pilot starts off intriguing, but like the excellent Damages, it just seems to be scratching the surface initially. It sets up the scenario and introduces us to most of the players, but there are sure to be a lot of twists and setbacks as things unfold. At approximately eight hours running time, it looks to be a manageable, quick series, with no time for fluff and treading water, so I expect it will move quickly, but going by the pilot, not too quickly. I’m intrigued and plan to watch the full season.

GOLIATH’s entire first season will be available on Amazon Prime beginning today.

Wake up for Monday Mornings

Article first published as MONDAY MORNING Series Premiere Review on Seat42F

Grade: 95%

TNT will soon being airing the new drama MONDAY MORNINGS. It’s another doctor series, yes, but before you let that scare you away, as there are already so many medical shows on television, consider this: it’s from David E. Kelley and Bill D’Elia, who have excellent credits like The Practice, Boston Legal, and Harry’s Law on their resumes, and it has an amazing ensemble cast.

MONDAY MORNINGS doesn’t feel all that much like other doctor shows. It does have a little Grey’s Anatomy thrown in, since it’s about a bunch of medical professionals at the top of their game, mostly surgeons, who do their best, and deal with the consequences when they fail. But most of this group is more seasoned, less skewing towards the young interns. Also, the drama is less soapy, there’s not the focus on sex, and a lot of the action takes place at the Monday morning meeting. It’s a serious program, making the plot engaging and more realistic than others.

The event that the series takes its title from is a weekly meeting where the various staff members gather and rehash cases that went wrong. OK, so it’s not all negative, but that’s what we care about, right? Their decisions are called into question, and they examine their own behavior, with the goal being to make them better doctors. Punishments can be handed out, but aren’t necessarily the focus. It’s the perfect forum to exhibit character growth and raw emotion in, playing up both strengths and weaknesses.

In the first episode, we are introduced to a litany of characters, but each so well played and defined, that viewers already get the impression that they know them. Dr. Tyler Wilson (Jamie Bamber, Battlestar Galactica, Law & Order: UK) is the brain surgeon who is compassionate towards his patients, but doesn’t connect as well with his co-workers. Except for Dr. Tina Ridgeway (Jennifer Finnigan, Better With You, Close to Home), who seems closer to Tyler than her own distant husband. Dr. Sydney Napur (Saraya Rao, Lions for Lambs) understands, having just been dumped by her own guy for being too committed to her work, but it’s her drive for the job, and her willingness to be annoying when she needs to be, that gets the job done. Dr. Sung Park (Keong Sim, Glee, The Last Airbender) is overly blunt, but gifted, and Dr. Buck Tierney (Bill Irwin, CSI, Lights Out) is the pain in the ass. Dr. Michelle Robidaux (Emily Swallow, Ringer, Southland) is new, but she’ll get the hang of it.

This crew is presided over by Dr. Harding Hooten (Alfred Molina, Spider-Man 2, Chocolat), who is a bit of an enigma. We know he is gruff and tough on his staff, but he also shows a caring side to a young patient’s worried mother (Tara Summers, Boston Legal, Ringer). It’s a typical combination for an effective leader, but his intimidation clearly gets the best out of the doctors serving under him, so it’s hard to complain.

The most interesting, and probably the most important, character, though, is Dr. Jorge Villanueva (Ving Rhames, Pulp Fiction, the Mission: Impossible films). He is the soul of the place, and has a personal connection with everyone else. He tells them what they need to hear, when they need to hear it. There are hints in the “Pilot” that he might not be so good at managing his personal life, but he does unofficially handle the entire facility, and it looks like things, and people, would quickly fall apart without him.

It’s because of Villanueva that I really loved this “Pilot.” I enjoy the rest of the characters, to be sure, every single one of the main cast getting time to really shine in episode one. But he adds a layer of something intriguing that isn’t present as firmly in MONDAY MORNINGS’ peers. It’s an abstract quality that is hard to pin down, but it kicks the show up from good to great.

MONDAY MORNINGS is not a case of the week show, nor a medical mystery. There are both present in episode one, but they aren’t the focus. Rather, they are used to tell us something about the characters. This focus on the people is a winning combination in many a program, and is used to great effect here, with such a talented group to play with.

MONDAY MORNINGS airs Monday evenings at 10 p.m. ET beginning February 4th on TNT.

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Harry's Law is the only law

NBC's Harry's Law ends its hiatus last night with "After the Lovin'." Adam (Nathan Corddry) and Harry (Kathy Bates) disagree over the morality of taking a settlement from Harry's former firm after her old colleague, Sam (Christian Clemenson, Boston Legal, CSI: Miami), gets a nail in the head. Tommy (Christopher McDonald) is also accused of being immoral when a girlfriend finds out he is seeing other women, and sues him over it. And Cassie (Karen Olivo) tries to help a friend whose ex-husband (Jay Harrington, Better Off Ted, Private Practice, in a chillingly awesome performance) seems threatening.

Morality is something that can be subjective, and Harry's Law loves to play in the gray areas. Harry does what she thinks is right, even if that crosses the boundaries of what is known to be legal. Adam tends to follow the letter of the law more carefully. But in "After the Lovin'," the letter of the law isn't clear. They cannot accept the settlement if Sam is not in his right mind. But is Sam sane? Traumatic events can put one's priorities in order. Does Sam agree to cutting a large check because his brain is injured, which the doctors deny, or because he has a change of heart?

To be completely fair, should Sam ever come to his senses and press charges, any judge is likely to side with Adam here. Given Sam's abrupt about face post-accident, it only makes sense that caution should be taken in this situation. Yet, Harry has a point about the evil of cigarette corporations, and wanting to get money out of them. Though her judgment is clouded because Sam works for Harry's old firm, which kicked her to the curb. But even setting that aside, Harry's client (Brent Jennings, Moneyball) deserves the money for losing his wife to addiction to the unhealthy product.

Seeing Adam and Harry at odds in "After the Lovin'" is actually a great development. Harry clearly has a motherly instinct for Adam, and Adam is hurt by Harry's questionable actions because of the high respect that he has for her. Harry threatening to fire Adam may have gone a little too far, but everyone says things that they don't mean when they are upset. Their business relationship is fundamentally stable, even if they disagree. It's great that they are there to keep each other in line when a line is in danger of being crossed.

Clemenson is fantastic in the regrettably small role of Sam. A veteran of creator David E. Kelley's former series, Boston Legal, Clemenson brings the same level of talent he consistently showed in his Emmy-winning performance, now with a different character. There are similarities between Sam and Jerry, to be sure, but there are also differences. Sam is more toned down, and less quirky. It's wonderful to see him again in any capacity, and hopefully Clemenson will return to the show soon.

The opening of Harry's Law, when Sam almost breaks the fourth wall at the beginning of "After the Lovin'," is absolutely fantastic. The fourth wall was frequently torn down on BL, though HL has a somewhat different tone. The scene brings to mind a memorable occurrence when Jerry sang the Boston Legal theme song, though, sadly, Harry's Law does not have a full theme for him to perform. Terrific reference for Kelley fans.

So Tommy is in trouble again in "After the Lovin'." And, at first glance, it seems that it's just his womanizing ways leading him astray. The latest victim? A girl he has been seeing for months (Melinda McGraw, Men of a Certain Age, Mad Men, The Dark Knight), who learns that they aren't exclusive. She is understandably upset, and perhaps thinks of taking legal action because she has been dating a lawyer and has court on the brain. Of course, this is an overreaction, and she drops the suit. But it shows the level of pain that she is feeling.

Tommy is far from blameless, of course. He acts dishonestly and without regard for her feelings. However, as is the case in other areas of Tommy's life, his being a player is a defensive mechanism for his insecurities. Tommy is afraid of being alone, and so keeps backups. He does love this woman, but is afraid that she will abandon him. Is it too late for him to make a real go of a relationship with her if he commits to sincerity and drops the act? Let's hope not. He should be happy. She seems like a warm person who may entertain a second chance, and Tommy needs lots of those.

Tommy's actions are not exactly defended by Oliver (Mark Valley), whom Tommy asks to represent him in "After the Lovin'," but still earns Oliver disgusted glances from Chunhua (Irene Keng) anyway. What did Oliver do to her? There has got to be more to this story than has been shown on screen, and it's important for both of these characters that the viewers are let in on that.

Cassie has a very tough case. Her friend (Emily Maya Mills) is scared, but there isn't any proof to justify a restraining order. Judge Beckland (Derek Webster) would like to help, but there's just no basis for him to do so. Add to that, the ex's counsel (Omar Metwally) believes his client is a good guy, and Cassie has no case. In fact, as "After the Lovin'" goes on, Cassie's friend seems paranoid, and viewers might be forgiven for thinking that she is trying to set her ex up. And in trying to protect herself, Cassie further hurts her client's standing.

Which reveals a glaring hole in our legal system, without offering a way to fix it. This is something that Harry's Law does plenty, but when the safety and well being of a child are on the line, it is even more disturbing than usual. Without the ex acting against the mother of his child, there is nothing anyone can do. But once he acts, it could be too late.

This is 'solved' in "After the Lovin'" by Cassie's friend's kid (Izabela Vidovic) loading a gun that her mother leaves pointed at the door. The ex comes by in the middle of the night and is killed. He is no longer a threat, but the cold way that the child seems completely unaffected by her actions is even more scary. How must the father have treated his daughter for her to be this way? Not a happy ending.

What's more, next week's episode of Harry's Law will feature another creepy kid. So tune in to the new time slot Sundays at 8 p.m. ET on NBC.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Harry's Law - "After the Lovin'" on Blogcritics.

Harry's Law finds the "Gorilla My Dreams"

     NBC's Harry's Law goes into some deep, moral issues with "Gorilla My Dreams." While duck hunting, Harry (Kathy Bates) and Tommy (Christopher McDonald) meet a young woman (Emily Rose, Haven, Brothers & Sisters) who is harboring an escaped gorilla. The zoo wants the animal back, but with an IQ near 90, and demonstrable self-awareness, communication skills, and emotion, the woman argues he belongs somewhere more kind. In the meantime, Adam (Nathan Corddry) defends a high school crush (Smallville's Erica Durance) who, after being abused and raped by her own husband, dresses up as Wonder Woman and beats on abusive spouses.

     First, the gorilla (pun intended) in the room in "Gorilla My Dreams." The gorilla is an obvious puppet, which does distract and take away from the story. Couldn't the series have hired a trained animal instead? Sure, the gorilla is required to do a fair amount of acting that might make it hard for a simple animal, but it would look far better. Also, no need to say the long name of that made up Cincinnati zoo so many times. The message is clear: Harry's Law doesn't want to be sued by the real Cincinnati Zoo.

     That aside, it's a fascinating story! Apparently, some European countries have already granted the great apes personhood in the eyes of the law. And why not? If they can think, reason, and communicate, doesn't that qualify them to deserve treatment above that of livestock? Yes, the law sees them as property, but perhaps they shouldn't be. Admittedly, that would make it hard for zoos and medical researchers to continue to use them in the manner they do. But that could be a good thing, too. If mankind is causing suffering of creatures how can feel it, be upset about it, and process what is happening, it doesn't seem right. One look into those big, black, mournful eyes, and there is no doubt in the viewer's mind that this monkey deserves to have his feelings taken into consideration.

     However, unlike David E. Kelley's previous legal dramedy, Boston Legal, a fantastic show, by the way, Harry's Law gets a little more realistic with these far-out cases. Harry loses, despite her best efforts, and the ape is returned to the zoo. This makes total sense from the standpoint of the judge, as there is no precedent in the American courtroom, and a TV series isn't likely to change that in the real world. Harry's Law would rather point out the flaws in the system and make fans grieve over the injustice then deliver a feel-good ending. This deserves kudos, because it is socially responsible. The message may resonate with someone who can change things, which would be a wonderful legacy to leave behind. And if it does, Harry, who vows to keep fighting for this particular ape, can revisit the case down the line and reach that happy ending yet.

     The second case in "Gorilla My Dreams" will resonate even more strongly. The justice system is feeling abused spouses, who have a hard time standing up to their tormentors, and an even harder time getting charges to stick. With little recourse, it's inspiring that a vigilante would rise up to offer protection. The reasonable arguments about why this cannot be allowed do ring true. However, that doesn't change the fact that something within the system is broken and needs fixing. As such, again, Harry's Law makes an issue out of something that isn't right in the world, hoping to shed a little light on it so that people may stand up and protest.

     Now, one may argue that Harry's Law is "just" a television show, and its sole purpose is to entertain, not spark societal change. But reviewing the body of Kelley's work, it seems obvious that there are other motivations as well. Plus, with the Arab Spring and Occupy Wall Street movements, now may be the perfect time to embark on such a mission. Current events have left the world hungry for positive action and a shift towards fairness. What better time to deliver a legal series to the airwaves that understands these feelings, and seeks to address them? Harry's Law might be a legal procedural, but it's a hell of a good one, and hopefully what is going on in the world at large will feed the show's success, and vice versa.

     Also, there were some escaped exotic animals on Ohio recently, so good pull from the headlines!

    From a purely television standpoint, it must also be mentioned that "Gorilla My Dreams" is packed to the gills with fantastic guest stars. Besides Durance and Rose, Tony Plana (Ugly Betty, Desperate Housewives) plays the judge deciding the vigilante case, Robert Picardo (Star Trek: Voyager) is an expert that testifies for the firm, and Bill Smitrovich (Kelley's The Practice) is Harry's courtroom opponent. Plus, Matt Servitto returns as Judge Kirkland for Harry's case, and he is always welcome. The fact that this show attracted so much talent for just one episode, and not even an event or sweeps episode, should overtly hint that something wonderful is happening here.

    Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

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Harry's Law atones for "Sins of the Father"

     NBC's Harry's Law begins season two with a three-part episode, culminating in "Sins of the Father" this week. Harry (Kathy Bates) finally gets to court with Eric's (Alfred Molina, Law & Order: LA, Spider-Man 2) case. She argues fiercely, though a few, last minute surprises pop up. In the end, Harry plays a hunch and exposes D.A. Roseanna Remmick's (Jean Smart, 24, Samantha Who?) misconduct, spurring Judge Kirkland (Matt Servitto, Brotherhood, The Sopranos) to dismiss the case. It's only later that Harry realizes the real cold, calculating killer is Eric's daughter, Bethany (Daisy Betts, Persons Unknown).

     The Eric Sanders case is an intriguing legal mystery, recalling some of the best arcs of creator David E. Kelley's previous series, The Practice. There are twists and turns, a true villain of a prosecutor, and a fair-minded judge. There's a client that it is unclear whether he is guilty or not, and enough surprises to keep anyone interested. As such, "Sins of the Father," and the first two parts, "Hosanna Roseanna" and "There Will Be Blood," together make up a fascinating story and a strong season premiere.

    Harry's Law leaned more towards Kelley's Boston Legal than The Practice in season one, focusing on outrageous characters and situations. Considering that BL's run was much shorter than The Practice's, it may be a wise decision to pull back towards the serious. A dark, gruesome murder is not what one might expect from Harry's Law, so it certainly serves the purpose of defining the retooled show. Especially considering that the preview for episode four looks to be just as severe.

     But the show has not completely lost its fun side. The shoe store is still present, though Jenna (Brittany Snow), who runs it, has been reduced to guest star status, and is rarely seen. Instead, she has been replaced by Cassie Reynolds (Karen Olivo, Adrift in Manhattan), a serious and tough lawyer. Adam (Nate Corddry) is still around, but is less featured thus far. On the more outrageous side, Tommy Jefferson (Christopher McDonald) has been promoted to series regular, and shares office space with Harry. Which is good for Harry, because she needs him to loosen her up. Oliver Richard (Mark Valley, Boston Legal, Human Target) joins Harry for this case, and as he is a main character, probably for others. His constant insistence on repeating "Take it outside" lets him be a little goofier than his previous Kelley character, and it is nice to see him re-enter the universe.

     The biggest change in Harry's Law is a depressing one, though hopefully just temporary. While the series begins with Harry seriously depressed, she feels purpose throughout season one, helping those who truly need her. As season two begins, it is apparent right from the beginning she is back in her slump. She trudges around looking miserable, and has no fun on Eric's case. Tommy points this out to her, basically telling her that life is too short to be miserable. Thus, despite her new success, it may not be long before Harry chooses to downgrade again. Or, better yet, just reform the place she runs. It's nice to see her with staff and business, even if it comes a bit too quickly. So reappropriate the firm's resources, or give the darker cases to Oliver and Cassie. Harry has lost her spirit and she needs it back.

     That little musing takes nothing away from "Sins of the Father," in every way a brilliant, serious legal drama. Kudos to Harry's Law for producing such an engaging three-parter. Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

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Harry's Law dances its "Last Dance" of the season

     NBC's Harry's Law just completed its first season this past Monday night. Only twelve episodes in the freshman season, not atypical, considering it did not premiere in the fall, though it is ending its run over a month before most of the spring finales. That's bad news, because it's been an enjoyable ride. At first, I thought it a lesser sibling to David E. Kelley's other awesome legal dramas, The Practice and Boston Legal, but it began to come into its own in the second half of the season, setting itself apart from the other two, and starting to define its identity. Good news for fans of the show, it looks pretty likely it will be renewed for a second season, though it is not yet official.

     While overall I am quite satisfied with the first season, I have some requests for season two. First, expand the cast. Four main characters is pretty small, especially for a Kelley series. Tommy (Christopher McDonald), Rachael (Jordana Spiro), and Damien (Johnny Ray Gill) all deserve upgrades. I would not argue against Peyton (Paul McCrane) or Judge Coulis (Amy Aquino) also making the cut, though find them less likely to, since they are more outside of the central circle. In a perfect world, Kim (Camryn Manheim) would join them, making a case for focusing on both the prosecution and the defense as The Practice did. But that is likely unrealistic, as she has already starred in a Kelley drama. I'd add Richard Kind to the list, but despite my affection for the actor, his character of Marty may not have the legs for full-time status. Just please make him recurring.

     I'm also almost ready for a new office. Because the shoe store has served so little function, I think it will be time to upgrade the digs by at least the middle of season two. I like the idea of Jenna selling shoes at the same place the other practice law, but it has not yet been very important to the story, and certainly never been a major plot element. We can loose the store easy enough, though they should stay in the same neighborhood, as that has become a character unto itself. Kelley said that Harry would begin to work her way up the ladder as the series went along, so let's see a bit of that. Just not so far up that she forgets where she is starting from. In conjunction with the set improvements, we also need some more income. Perhaps Tommy could join forces, but retain his type of clientele?

     In the finale, Harry (Kathy Bates) defends Josh 'Puck' Peyton, a frequent court room sparring partner of hers. Peyton, known for his tendency to repeat phrases, has been facing a bit of a breakdown, having stripped and ranted in the courtroom an episode earlier. Apparently, the craziness continued as he walked into a house that wasn't his, something that happened off screen before the episode begins. Harry is drawn to Peyton as she seems to be to all misfits who are essentially good people, and defends him. He gets off with a time served sentence, and a beautiful friendship is born. Let's hope Peyton's leaving the D.A. will not keep him off the series.

     Could there be something more than friendship between Harry and Peyton? While Harry seems to resist any romantic story, Peyton does ask her to be his date to a legal gala. She turns him down because she already has a date, the often obnoxiously over the top Tommy Jefferson. Here, Harry is sought after by two men, at least to accompany them for the evening. Yet, only her offense at Tommy complementing another woman shows even the slightest interest on her part of anything beyond one evening. Personally, I'd love to see Harry pursue either Tommy or Peyton, both fun characters. This is a side of the character that needs development.

     I do not understand the hesitation to take these steps towards romance. Perhaps it's because Harry's personality is so off putting, though that argument begins to fall apart when you look at just how many people befriend her whether she wants them or not. Either way, I think the older group needs to be given their relationship due as much as their younger counterparts.

     Both Tommy and Harry have had exes appear on the show, both played by fabulous actors. Harry's Marty (Richard Kind) is a defense lawyer, while Tommy's Kim is an assistant D.A., which opens up the door for both of them to return. It also means a Tommy-Harry pairing could come complete with already introduced past baggage to get in the way.

     Adam (Nathan Corddry) has ended his love triangle as things come to a head with Rachael (Jordana Spiro) in the finale. The two work together to try to stage an appeal for a client on death row (The Blind Side star Quinton Aaron). Of course, their feelings get in the way, as Adam has recently left his girlfriend and declared ongoing emotions for Rachael. Rachael, in turn, proposes to her boyfriend as a reaction. Her strong mood swings, one moment hating Adam, the next calling him her best friend, exhibit her own feelings for him, even if she has trouble deciding what to do. Kim lets the engagement slip in her office, making Adam ask for time apart from Rachael as soon as the case is finished.

     Honestly, I didn't know which element of the Adam and Rachael scenes to care about more. Obviously, I love me a good serial plot, and things between Adam and Rachael have been brewing for some time. I could have jumped up and down cheering when she shows up at his office at the end of the episode and kisses him. I assume she then left to break up with her fiance.

     On the other hand, Aaron makes a fantastic guest star, and his story is extremely moving, especially after he loses his appeal. I hope he returns in season two so that Adam and Rachael have anther chance to save him from execution. I believe he's innocent! Both Kim and Adam and Rachael made such strong arguments, I can accept that the duo lost. Yet, Aaron is such a great get for the show, it would be a shame not to see him again.

     I'm still not totally on board with Jenna (Brittany Snow) and Malcolm (Aml Ameen) as a couple. She has such a strong personality that he is likely to be completely overshadowed by her. Plus, Malcolm is on the verge of getting his life together, and has a lot of work ahead of him. I don't know he can possibly do well in law school and put up with the very high maintenance Jenna. I like both of them separately, but think they would work better with other people. Should they continue, at least stop the pattern of her getting angry at him in every episode and giving him the silent treatment until he has to apologize for something he didn't even know he did. Three consecutive episodes of it is fine, as have already been done, but any more, and it'll get old really quick.

     Thank you Kelley, Bates, and the rest for a nice show that proved pretty darn entertaining. I look forward to more of it.


Article first published as TV Review: Harry's Law - "Last Dance" on Blogcritics.

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Harry's Law Doesn't Do Hugs

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

     I have been excitedly anticipating the premiere of David E. Kelley's new series, Harry's Law. Not only was I a huge fan of Kelley's The Practice and its parody-like spin-off, Boston Legal, but I adore the legendary Kathy Bates, who stars as Harriet 'Harry' Corn. Adding to my delight was the casting of Nate Corddry (Studio 60 On the Sunset Strip, United States of Tara), whose credit list is still rather short, but who is a reliable delight, and whose career seems to be gaining steam. Having just finished watching the pilot, I was far from disappointed.

     I expected Harry's Law to be more like BL than TP, but that was not the case. It was a serious show, with just enough humor mixed in to make it enjoyable, as well as set it apart as different from the scores of other legal shows currently on the air. Admittedly, there were some outrageous moments, including the first five minutes, when Harry miraculously was uninjured in two serious accidents, and Corddry's impassioned speech to the judge. Zany characters, such as the prosecutor who repeated himself, were kept low key enough to not be distracting. However, much of the show was Harry grumbling at the people who forced themselves into her life, intent on accompanying her on her new adventure.

     Oh, did I forget to mention that there are Eli Stone elements? Not that Harry is finding god, but that she is embarking on something totally different from her life thus far, and finally finding herself, as well as meaning. After thirty-two years in patent law, Harry gets herself fired in less than a month when she stops caring. Granted, I am baffled that the firm didn't try to fix her attitude, as she is billed as top of field, rather than just ditching her, but it was a necessary first step on her journey of self discovery.

     I was further thrilled that the series is set in Cincinnati, Ohio. Though I have not lived in Ohio for a little over a year, I spent most of my life there until recently, and still love the state dearly. Sadly, I see little of the real Cincinnati in the sets, but I'll give it time and the benefit of the doubt. The street set provides my only real complaint, though. The neighborhood Harry opens her new office in is supposed to be crime-laden, yet still looks beautiful, with well cared for green trees, and some of the cleanest stone buildings I've ever seen. Couldn't the prop people make the street look at least a little dingy?

     If it seems like I'm taking awhile to get to specifics of the show, it's because this is a series hard to define. The real success isn't in the broad scopes, but the details, which come heavy and fast. Harry's world is a specific place, somewhere outside our own, but every bit as authentic.

     As you may have heard, the actual office in Harry's Law is a unique set. She now works in a shoe store. It was abandoned, with its stock, by the previous tenants. Harry wanted the shoes gone, but her assistant, Jenna (Brittany Snow, American Dreams) saw the value in the merchandise, and insisted on selling the footwear on the side. She even painted the storefront window to read 'Harriet's Law and Fine Shoes'. Will they restock once the current supply runs low? I hope so. Kelley has promised that Harry will face real growth should the show run for awhile, and will likely grow in power and clientele, making me fear the shoe element may be abandoned in a year or two. Might I suggest her shoe retail business grow with her? It's a really charming element.

     The shoe store is far from the only charm in this show, bursting at the seems with Kelley's trademark handiwork. Both of Harry's death defying stunts were not only humorous, but also served the purpose of introducing new characters. Adam (Corddry) hit her with a car, and insisted on working for her in atonement. The other accident was caused when Malcolm (Aml Ameen, The Bill) attempted to jump to his death, and landed on Harry instead. Malcolm ended up being Harry's first case, and was hired on as a paralegal at the end of the episode. A unique way to introduce main cast.

     I may be emphasizing the humor too much. There is a lot of heart here as well. Despite Harry insisting that she doesn't do hugs, she found herself the recipient of a number of them. Number one on the list was because of her defense of Malcolm. She knew Malcolm was a lost cause, but made a last ditch effort to appeal to compassion. She hoped to turn one jury member in her favor, despite Malcolm undeniably falling on the wrong side of the law. Harry failed at that, but she did win over the judge. Harry puts up a show that she doesn't care, but it's a token move, as most everyone can see right through her. Harry is going to do the right thing, no matter what it costs her. How can you not like a character like that?

     On Boston Legal, sometimes Kelley's characters got up on their soapbox, arguing political views. Harry did the same in the pilot of Harry's Law, making a plea for legalizing drugs. Yes, the message is liberal, though as Harry points out, it began as a conservative idea. As someone that mostly agrees with Mr. Kelley's liberal agenda, I take heart at his preachy writing. However, on BL, the liberal Alan Shore was balanced by the conservative Denny Crane (though I admit Crane softened as the series went on). What Kelley seems to be trying to do now is to put both sides of the idealistic aisle in one person: Harry. It's a delicate balance, one I assume will lean liberal a little more often, but I applaud the effort. Most of us fall somewhere in the middle, and can see both sides of many issues. I like that Harry is a real character that can, too.

     Fleshing out characters is something Kelley does extremely well. Not only are Harry and Adam well defined, helped along by extremely talented performers, but Jenna, Malcolm, and sympathetic neighborhood thug / self appointed security officer, Damien (Johnny Ray Gill), is, too. There is such a strong voice in this show, it's hard not to be impressed. Kelley has certainly created another triumph.

    Please do check out Harry's Law, which is destined to be a great series. Good first night ratings make me optimistic that your time will be well invested. Harry's Law airs Monday nights at 10 p.m. on NBC.

Article first published as TV Review: Harry's Law Doesn't Do Hugs on Blogcritics.