No "Loser" With THE GOOD WIFE

Article originally written for Seat42F.

CBS’s THE GOOD WIFE was one of the few broadcast network shows airing on Easter Sunday, but those who ignored this installment, “Loser Edit,” because of the holiday missed out. Alicia (Julianna Margulies) grants an interview to Petra Moritz (American Horror Story’s Lily Rabe), who is doing a profile on her. But when Petra gets a hold of the firm’s hacked emails, which reveal Alicia’s affair with Will, it becomes a race not to hide the truth, but to deflect and minimize damage.

The persona of Saint Alicia has always been an interesting one. Those who know Alicia know that she’s not a saint, but in general, she’s a very respectable woman deserving of much of the praise she gets. Still, she is human, and there are temptations. Will is one of those temptations, and while we viewers, who witness what Peter (Chris Noth) does and how their marriage is basically over before anything happens with Will, understand Alicia’s choices, the public, who only see that packaged image, will not.

Is spin the best way to handle this? Eli (Alan Cumming) and Josh (David Krumholtz) think so, having Alicia deny as much as possible, admitting only to a flirtation, while scooping Petra in a petty way by distracting her and setting up other interviews in the meantime. But this dodging, this outright lying, while it does protect Alicia’s public image to some degree, also sends her further down the path of a politician. Alicia doesn’t settle in naturally to the role, but the more she compromises herself, the more she seems like Peter and others we’ve seen in that arena, and the further detached she becomes from Saint Alicia.

Even as “Loser Edit” finds Alicia weathering this storm OK, it spins up an even greater one as accusations of election tampering are lobbied against her. It’s certain that Alicia is not at all involved in voter fraud in her own election, but because there have been strong suspicions that Peter has rigged results in the past, this story carries a lot of potential damage for THE GOOD WIFE. The show is great at pulling skeletons out of closets, picking up threads long forgotten about, and this is the latest continuation of a story from an earlier season. It should be quite exciting.

While Alicia undergoes all of this, Diane (Christine Baranski) gets to work for her new client, R.D. (Oliver Platt). R.D. brings her into a mock trial on civil protection for homosexuals versus religious rights. It’s definitely another ripped-from-the-headlines case, this being a contentious issue of our day. After being given permission, nay, orders, to take the kid gloves off, Diane fights hard and wins the day, though seeing how she does so gives R.D. ideas on how to fight for the other side in a real court of law.

What I love about the way that THE GOOD WIFE handles this is that we get to see thoughtful opinions on both sides from nuanced characters. I agree with Diane, as will many viewers of the show. Her position is well known and, I think, well understood. What’s interesting about R.D., though, is that he approaches the issue from an argument I haven’t heard very well-articulated, someone who respects people who keep consistent values, and who can separate the individual from a widespread practice. He may not be doing right by his nephew (Wesley Taylor, Smash), nor the country in general, but one would be hard-pressed to argue that R.D. is stubborn or hate-filled. Very well done articulating a position that is so often misunderstood or miscommunicated.

The third subplot brings back Andrew (Tim Guinee), who is able, without much effort, to expose Kaldina’s (Archie Panjabi) data falsification. Even if the intention behind it is correct, Kalinda does something very, very wrong that will have bad ramifications for her, Diane, and likely the firm as a whole. Finn (Matthew Goode) tries to help a bit, because he apparently is the most understanding, nicest guy in the world, as anyone else in his place would be furious, but it won’t be enough. Kalinda is about to leave the show for good, and she will not be going quietly.

These three threads, all of which continue serial stories on THE GOOD WIFE, are all excellent, as is par for the program. It always impresses me how THE GOOD WIFE can churn out twenty-two high quality episodes a year, a feat that seems to elude practically every other broadcast network drama, staying timely, engaging, and surprising. Only a few weeks remain this year, but I am ready for the ride!

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

THE GOOD WIFE Has "Meat"

Article originally published as THE GOOD WIFE Review Season 6 Episode 16 Red Meat on Seat42F.

THE GOOD WIFE gets into some “Red Meat” in this week’s installment on CBS. You may take that title literally, as Diane (Christine Baranski) goes hunting with her husband and his rich, conservative buddies. But there is also ample opportunity to take it figuratively. The Good Wife is always juicy and filling, and “Red Meat” is no exception.

The main plot revolves around Election Day for Alicia (Julianna Margulies). Things are looking good for her, so Marissa (Sarah Steele) and Finn (Matthew Goode) try to distract her with video games so she doesn’t worry too much. Unfortunately, a little worry is necessary when Peter (Chris Noth) blows up Alicia’s chances, sending Josh (David Krumholtz) and Johnny (Steven Pasquale) scrambling. They even considering having The West Wing’s Melissa Fitzgerald (herself) do a robo-call, though they don’t know who she is. Thankfully, Eli (Alan Cumming), almost always a fan of Alicia’s these days, and relatively honorable where she is concerned, convinces Peter to help fix his mistake, and Alicia wins.

Peter and Alicia’s marriage is over. This has never been more clear than in “Red Meat.” When Eli has to convince Peter to help his wife after Peter is the one that screws things up, that’s a sure sign there’s nothing left there. He has little respect or love for her, using her merely as a political tool. She has seemingly shut down most of her emotion towards him as well, and hopefully now that the election is over, they can get a divorce. It might not be what Eli wants, or the most helpful thing for their public image, but it’s time for them to move on.

Alicia has two romantic options going into “Red Meat,” but both seem to be gone by the end of the hour. Although Finn offers to cancel a date to go out with her, Alicia doesn’t let him. And while I think she would take up with Johnny, Johnny sees Alicia and Peter together and wrongly assumes their marriage is still viable, so he leaves town. Either would be good matches for Alicia, but I have to admit, I’m sad that Johnny seems less likely at this point because they were very good together. Thank god Marissa is sticking around to help Alicia, even if she only provides for less physical urges.

Alicia offers Prady (David Hyde Pierce) her number two spot and he declines. This is disappointing, but understandable. He doesn’t believe in Alicia’s approach, and how can he serve an office he doesn’t respect? A friendship of a sort may have formed between the two, and I do hope they come back into one another’s circles in the future. But they are just too far apart in outlook for the District Attorney’s office to be place for it.

While this is going on, Diane is off hunting with Kurt (Gary Cole). She can’t resist turning it into a work trip when she finds out a big name in the tech industry, Gil Berridge (James Snyder, Adonis), is present, but that’s still relaxing for her, as she enjoys her career immensely. Despite screwing things up with Gil, she does find herself in an engaging political debate with R.D. (Oliver Platt, The Big C), who turns out to be even richer and much more open to her pitch, providing her firm stays out of abortion issues.

“Red Meat” is pure fun for Diane. We get to see her out of her element, but also somehow in her element at the same time. She’s surrounded by those she has fundamental disagreements with, but as in her marriage, she makes it work, and she ends up having fun. Diane is a complex, wonderful character, and I’m glad that THE GOOD WIFE gives her this focus, away from cases, to explore her personality.

Back at the firm, that leaves Cary (Matt Czuchry) and David Lee (Zach Grenier) as unlikely partners. Thank goodness Diane will soon be back, as I can’t imagine David Lee getting a position of too much power again, given his recent bad behavior. Still, Alicia leaving the firm will shake things up, especially for her co-founder, Cary, and I look forward to The Good Wife milking the dramatic possibilities.

Finally, Kalinda (Archie Panjabi) continues to work for Lemond (Mike Colter) in a situation she should absolutely not be in. That Lemond has decided to get out of the drug business after his son is kicked out of yet another school doesn’t improve Kalinda’s position any. Now Lemond wants Kalinda and Alicia to protect him for jail, which will not be easy. I don’t think Lemond will find Alicia all that cooperative, no matter what he did for her campaign, and Kalinda is the easiest one to take his frustration out on. Even if Alicia doesn’t like Kalinda any more, I’m sure she’ll try to protect the investigator from harm. Will she be able to?

We still have half a dozen episodes in this season of THE GOOD WIFE, but “Red Meat’ is starting to build towards the finale, as have other episodes that have come before it. The story is extremely serial at this point, and it’s enjoyable to watch each unexpected new twist.

The only complaint I have about “Red Meat” is, where are Alicia’s children? Shouldn’t they be around while she’s waiting for the results, and certainly at the celebration after?

THE GOOD WIFE airs Sundays around 9 p.m. ET (depending on inexcusable sports overruns) on CBS.

TV Review: THE GOOD WIFE "Sticky Content"

Article first published as THE GOOD WIFE Review Season 6 Episode 9 Sticky Content at Seat42F.

Despite the easy dirty jokes that can be made at the title of this week’s installment of CBS’s THE GOOD WIFE, “Sticky Content,” which just happens to be the ninth episode of season six, the hour is, in fact, quite serious. The FBI plays Cary (Matt Czuchry) a tape of Lemond Bishop (Mike Colter) ordering his execution. Kalinda (Archie Panjabi) works to verify the authenticity of the recording. Meanwhile, Alicia (Julianna Margulies) considers what type of campaign ads to run.

I am terrified that THE GOOD WIFE might kill Cary. On one hand, he seems far too vital to the story to do away with. Just last year, the show killed off someone just as important, which does set precedent, but it seems too early to repeat the stunt. But Cary is a rich character who the writers have dumped on in the past for good drama, and there’s always a chance the show will go there.

Cary thinks the tape is fake, and I’m inclined to agree with him, given all the static on the tape and the untrustworthy way law enforcement has been portrayed this season. But, after Lemond sees Carter Greyson (Victor Williams, The King of Queens), the body guard the firm hires for Cary, the threat becomes quite real, if it wasn’t already. Why else would Cary have a bodyguard for than if he is turning on Lemond and needs protection from the drug dealer?

Cary stupidly goes to confront Lemond one-on-one, just as Kalinda confirms that the tape is real. It may not be the wisest decision Cary can make, but at least he has guts to directly confront Lemond. Cary’s frankness may rise from desperation, which makes him no less brave for laying his cards on the table. It’s one of the best scenes in recent memory from THE GOOD WIFE, which has plenty of excellent contenders for this category, a moment full of tension and pregnant pauses, with both actors involved doing brilliant work.

Cary leaves this meeting apparently feeling reassured, but I’m not sure why. Surely he knows he can’t trust what Lemond says in “Sticky Content.” Lemond doesn’t have the same moral code most of us do, and I would not put lying past him in the slightest. Even when he admits the truth, or part of the truth, to Cary, there is a nagging suspicion he plans on going through with the execution order, maybe even more so than before. If I were Cary, I would not sleep soundly any time soon, even if Lemond should be put behind bars.

I do think it may be time for Cary to cooperate with investigators. Past time, in fact. Having Lana (Jill Flint), Kalinda’s girlfriend, present when Cary, Kalinda’s boyfriend, is played the tape is dumb and brings messy emotions into the mix, which at least contributes to Cary’s resistance. It could also hurt Cary’s legal career to flip on a client. But with a man as cold and dangerous as Lemond, getting him off the streets is necessary. Though the outcome here would have to be witness protection for Cary, which would remove him from the show as surely as killing him does.

The ending of “Sticky Content” shows Lana is likely in trouble for leaking the tape to Kalinda. I don’t care. Lana is whiny and needy and Kalinda belongs with Cary. Though a fired Lana could provide someone for Kalinda to run away with for a happy ending when she departs later this season, which would be acceptable.

In the B story, Frank Prady (David Hyde Pierce) asks Alicia to keep the campaign clean, much to chagrin of Alicia’s campaign manager, Johnny (Steven Pasquale), and advertising editor, Josh Mariner (David Krumholtz, Numb3rs). Can she take him at face value? I want to believe him, as he seems like a decent guy. Alicia’s distrust of him in a previous episode have biased me against him, though. Her wariness is based on circumstantial evidence, and THE GOOD WIFE has not revealed whether he is noble or not. But I have a hard time knowing if I should root for him.

Prady is just one of Alicia’s obstacles in “Sticky Content.” Seeing Peter (Chris Noth) with Ramona (Connie Nielsen) sparks some jealousy in Alicia, almost sending her into the arms of Finn (Matthew Goode). She stops herself, but not by much. Alicia’s later cold dismissal of Peter, telling him she’s annoyed that he threatens their political careers, is insincere, covering her pain. But might she finally be ready to move on from the dead marriage, getting over Peter once and for all? If so, Finn seems a good choice for moving on with.

It does certainly look like Alicia is slowly getting more comfortable with politics. She does have some trouble recreating a sincere moment, but the fact that she listens to her advice guys and lets them play on her sympathetic moments shows a change within Alicia. I don’t know if this is a good thing or a bad thing, politics being a dicey arena, but growth is always welcome, and it will probably make Alicia a tougher competitor in all areas of her life.

“Sticky Content” is another great episode of THE GOOD WIFE, providing engaging plot, intense drama, and enjoyable moments. I’m glad the show has continued to stay at the top of its game, still not having come down from last year’s high benchmark.

THE GOOD WIFE airs at 9 p.m.-ish (depending on football) Sundays on CBS.

Partners should split up

Grade: 80%

CBS has a new sitcom from the creators of Will & Grace. Called PARTNERS, the show is about two male best friends, one gay, one straight, who have been together through it all. They started out as childhood friends, and now design buildings together. Michael Urie (Ugly Betty) plays Louis, the gay one, who thinks far too frequently about himself. David Krumholtz (Numb3rs) is Joe, the straight one, who may finally be ready to settle down and get married.

In the “Pilot,” Joe is ready to break up with his girlfriend, Ali (Sophia Bush, One Tree Hill), when she gives him an ultimatum: put a ring on it or else. Joe doesn’t like being pressured. Louis tells him to listen to his gut, and Joe agrees. But when Joe goes to Ali to end things, she preempts his prepared speech by apologizing for her words the other day, assuring him that she isn’t trying to pressure him into anything that he’s not ready for, and affirming that she loves him. This attitude totally changes Joe’s mind, and he spontaneously proposes.

Unfortunately, Louis isn’t aware of this when he runs into Ali the next day at yoga, and accidentally lets it slip that Joe had been planning on breaking up with her. This not only ruins Ali and Joe’s relationship, but also causes Joe to freeze Louise out… permanently.

I have a big problem with this entire scenario. Is Ali and Joe’s relationship really so rocky that both consider calling things off? If so, how does that possibly make them ready to tie the knot? These totally opposite attitudes are not the makings of a healthy marriage, even if they are a staple of mediocre sitcoms. Solving emotional problems this severe between a couple neatly in half an hour can take viewers out of the fantasy, hurting the overall impression of the series.

Even worse is Joe’s decision to cut Louis off completely. This is his best friend whom he has known since they were little kids. First of all, why didn’t Joe call Louis to tell him the good news the night he proposed, considering how close they are? That’s what a normal person would do. Second, anger is fine, but to sever both professional and personal ties with him for a mistake that was understandable given the circumstances? It’s not an auspicious start.

PARTNERS has a very good cast. Krumholtz and Urie do a fantastic job as Joe and Louis, even if their chemistry is not one hundred percent solid yet, selling the parts as much as can be expected, given the material. Bush is also good, and I love Brandon Routh (Chuck, Superman Returns) as Louis’s ditzy boyfriend. Magic can happen with this excellent cast, all of whom have developed interesting personalities for their roles. Just give them something worthy of their performances.

The set, music, and tone are similar to Will & Grace. A couple of the performers get a bit cartoonish, in a fun way. There is a light heartedness that doesn’t take itself too seriously. In fact, when the series tries to dig too deep into drama is where it falls short. Making this a more recognizable comedy, not trying to push too much seriousness on it, would play to the strengths of those involved.

The fault with the “Pilot” seems to lie mainly in the writing. Reducing such characters to predictable, unrealistic situations will kill the series. Given that PARTNERS is by the Will & Grace people, it can probably recover, and maybe even turn into something great. The “Pilot” just does not live up to what any of the team on this show can do. Many good shows have sprung from bad first installments. Hopefully, PARTNERS will be one of them.

PARTNERS premieres September 24^th on CBS.

The Newsroom doesn't put up with "Bullies"

HBO's The Newsroom is generally about a crusader and his gallant team championing the facts, standing up to those who would deceive and mislead the American public. But what makes the kind of man who becomes this kind of leader of the righteous army? That is the question at the heart of this week's episode, "Bullies."

Will McAvoy (Jeff Daniels) can't sleep. He doesn't know why, and he doesn't want to know. But viewers do, and the only way Will can conquer his problem is to open himself up to inquiry. It's funny, but wholly authentic, how someone who can be so brave on the air shudders at the mere hint of personal analysis. Yet, that is exactly what happens. Luckily, Will does have some sense and wisdom, which is why he visits a mental health professional.

The doctor is named Jack (David Krumholtz, Numb3rs, The Santa Clause), a quirky prodigy, like just about every other character on The Newsroom, and Will has been paying him for two years without visiting. Actually, Will has been paying for four years, having previously been treated by Jack's father. It's as if, no matter how much Will protests, he knows he needs help, but just can't bring himself to ask for it, at least not until today. Jack sees right through the facade, and despite Will's attempts to just get a prescription for sleeping pills and get out, Jack makes Will confront those demons keeping him up at night.

The source of Will's issues? He has become a bully himself. Will is the son of an abusive alcoholic. The need to fight back is what drives him, first to become a prosecutor, and then to become the king of news. But there is a point where Will is no longer acting in self defense. Rather, he has become the bullier of bullies, kicking a man long after he goes down. Will might not want to admit to the bully label, but he knows what he's doing is wrong, and cannot live that way.

The subject of Will's attack this week is the former chief of staff for Rick Santorum, who happens to be a gay black man. Santorum is famously against homosexuals, and Will uses that angle. The staffer almost breaks, pleading with Will, near tears, to stop defining him by a simple label, and realize that his gayness is far from the only part of him. Will refuses, assaulting him over and over again. There's a moment where viewers think Will will back down, as the interview subject gives a wonderful speech. But Will can't resist one final blow, and respect for himself goes out the window.

This is a complex topic, both the conversation being had, and the psychology behind Will's actions. Will is right in that this man should not be working for someone who doesn't respect him. But the man is also right in refusing to be put into a box, and in defining his own priorities the way he wants to. That's what American freedom is about. Both are right, and yet, because they focus on different points, they can't reach an agreement. The Newsroom's masterful writing balances both opinions, as well as the way they are portrayed, so expertly, it leaves one in awe of "Bullies."

The question going forward is, now that Will knows his weakness, what kind of man will he be? Surely he will not slip back into the aggressor when it is unwarranted, checking himself. However, he also can't hang his head and be a passive anchor. So he must find his balance, being a protector, but not delivering unnecessary blows. Under the powerful skills of Daniels, this character is likely to remain intriguing and deliciously layered.

While this war rages within Will, a number of other significant events are going on around him. He rails on the internet, demanding a stop to anonymous posting. One commenter strikes back, delivering a death threat. This means Will now has a bodyguard (Terry Crews, Everybody Hates Chris, The Expendables). Adding the new guy into the mix changes the office chemistry slightly, and hints at a larger arc. Will anything come of this story, or is it just an excuse to bring in the talented, funny Crews to the ensemble? Either is totally acceptable.

Also, Will buys an engagement ring to gain the upper hand with Mackenzie (Emily Mortimer). He's not proposing, he's just messing with her so he can avoid embarrassment.

Or is he? A scene at the end where Will tears up the ring receipt, rather than returning it, might be a sign that he is forgiving Mackenzie for her past indiscretion. A year spent working together, seeing her passion, has rekindled something within him. It might take a bit longer, but he's thawing towards her, and there is definitely some spark left for the pair. One day, as cruel as this ploy might be now, he may actually give her the ring with all sincerity.

A year working together. Only six episodes in, The Newsroom has already covered an entire year in the lives of these people. This is an extremely rare pace for a show, and it's a little sad that so many news events get skipped over. It also means that the characters are soon going to reach present day, meaning season two (and any more after) will, by necessity, be more condensed. I don't know if I wish they'd started the timeline earlier, so they could keep up this rate, or if I'm looking forward to the series slowing down a bit, even if that means having to play into television drama conventions a bit more.

Another casualty of Will's unhinging is Sloan (Olivia Munn, Perfect Couples, Attack of the Show). She asks her trusted mentor for advice soon before going on air herself, and he urges her to not back down, turning her into a bully, too. Without the gravitas and reputation Will has, Sloan is called to task by Charlie (Sam Waterston), resulting in her suspension. Charlie does manage to fix things, but Sloan suffers a huge personal blow, and Will is feeling mighty guilty.

Sloan's story in "Bullies" is interesting because it proves the kind of woman that she is, and that Mackenzie chose very well in finding someone to sit alongside Will. It also shows that Sloan is still green and stubborn, unwilling to back down to Charlie, even though she really should to protect her career. She makes a mistake, but rather than apologizing and being humbled, she doubles down, yelling at her boss. Sloan will be a fine reporter some day, but she definitely has some growing to do in how she fits into the business.

An interesting result of the Sloan story is the revelation of Don's (Thomas Sadoski) vulnerability and compassion. He is deeply upset at Sloan for going off on her guest on his show. But knowing that she will get enough anger from Charlie, he holds himself in, and instead offers her support. This is a side of Don we haven't seen too much of, and makes him a much more sympathetic character. Credit The Newsroom for not just demonizing the man, who we've been rooting for to be dumped since day one.

There have definitely been hints that Don's girlfriend, Maggie (Alison Pill), might be interested in another man, Jim (John Gallagher Jr.). Amid the Sloan fiasco, Don still worries about that as much as anything. Are these feelings making him softer in his work, as his priorities shift? He really does seem to love Maggie. And while in most shows Maggie leaving Don for Jim would be a given, I'm not so sure The Newsroom will go down that path. It will probably still happen, but how interesting, and true to life, would it be if it didn't?

The Newsroom is an exemplary show with very realistic characters in an exploration of justice and shades of grey. It is brilliantly written and executed, with a team, yes a team, not a cast, of truly gifted performers. I dare anyone to hold up any show against The Newsroom, no matter their political beliefs, and find this series lacking. It will not happen. "Bullies" shows yet another side of the story, going in another direction from past episodes, and still upholds the expected level of excellence.

Watch The Newsroom Sundays at 10 p.m. ET on HBO.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published as TV Review: The Newsroom - "Bullies" on Blogcritics.

Stay home from The Playboy Club

    The Playboy Club just premiered on NBC. In the "Pilot," Clyde Hill (Randy Steinmeyer) tries to rape new bunny, Maureen (Amber Heard, Hidden Palms). Maureen kills him, only to learn that "Clyde" is a mob boss. Luckily for her, lawyer Nick Dalton (Eddie Cibrian, CSI: Miami, Ugly Betty) is around to help her hide the body. Nick's girlfriend, Carol-Lynne (Laura Benanti, Eli Stone) catches the two of them together and gets the wrong idea, causing her to end things with Nick. Clyde's death does not go unnoticed, and soon Maureen grows frightened.

     The biggest problem with The Playboy Club is the writing. Character after character delivers cheesier and cheesier dialogue, constantly taking viewers out of the moment. This begins immediately with the opening monologue, delivered by Hugh Hefner himself, who substitutes "every bunny" for "everybody." It continues, though, and before long one is left wondering if there are any experienced writers at all working on the series.

     The mob angle is interesting, because it provides plenty of action outside of the club, and raises the stakes. Plus, it seems logical for 1960's Chicago to be heavily involved in mob affairs, and thus, it makes sense. Action can be good, and the sight of Maureen stabbing "Clyde" to death with her stiletto is actually amusing and cool. Too bad the threat represented by the next mobster who comes to talk to Maureen, all but disappears when she delivers some "snappy" banter.

     The Playboy Club looks great. The period costumes are welcome, especially those as iconic as the Plaboy bunny outfits. The club, with it's bright, primary color paneling, and dark, smoky main room is authentic. Nick's apartment is even better. Sure, it's stocked with neat, vintage furniture and sliding bathroom doors, but this look could still be considered "in" under the right circumstances. Many people would love to live in that apartment, even today.

     The acting isn't too bad. Heard is decent. Benanti is fantastic as the first "mother bunny," showing club manager Billy (David Krumholtz) that she can't be fired or pushed out. Her victories are triumphant, and her musical numbers showcase her talent nicely. Cibrian isn't bad, per se, but his character evokes a wimpier, weaker Don Draper, so he kind of falls flat. Don Draper would take state's attorney with no problem, while Dalton just dreams about holding the job. The other bunnies, each with their own hook (gay, married, black) are just not all that memorable.

     As far as the claim that The Playboy Club shows just how empowering it could be for women in that time period to be a Playboy bunny, that's bull. Some of the girls do have strong personalities, but none, except Carol-Lynne, has the slightest chance of making major decisions for themselves anytime soon. This would be OK because it's period correct if the series didn't try to pretend that's not the case. It feels forced and fake.

     Many reviews for The Playboy Club have been scathing. I wouldn't go quite that far. There are some good elements in place. But, as mentioned, the dialogue is trite and horrible. If it doesn't improve quickly, it will likely sink the series before it even gets the chance to start.

     You can catch The Playboy Club Monday nights at 10 p.m. ET on NBC.

     Click here to catch up with streaming episodes of The Playboy Club.

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