Climbing the FAMILY TREE

Article first published as Climbing the FAMILY TREE on TheTVKing.

HBO's Family Tree is little more than a curiosity for most of the freshman run. It's vaguely amusing in a very understated way, but while the characters resemble those from Christopher Guest films, there isn't a clear zaniness that elicits laughs out loud or quotable lines. It's this bit of pizzazz that is absent, as the story unfolds slowly over eight episodes.

But I feel the season finale, "Cowboys," which aired this week, is different. Maybe it just took me awhile to adjust to the tone and style of the series, but in this last episode, I finally connected with the material. It meant something more, the characters actually mattered, and there was pay-off from the journey we've been on.

Tom (Chris O'Dowd) is on a mission to find out about his family, but by the end of "Cowboys," he isn't looking any longer, at least for this day. He's enjoying the last bit of his trip to California before he goes home, hanging out with his newly-discovered relatives, and spending time with the gal he likes, Ally (Amy Seimetz, The Killing). He's relaxed, luxuriating in a place he enjoys being, with people that he is fond of, even though he's only known them a short time.

This occurs despite the startling revelations Tom inadvertently stumbles onto. Al (Ed Begley Jr.) tells Tom about a bunch of conspiracies, including the faked moon landing and JFK's assassination secrets. This stuff is crazy, and Tom doesn't buy any of it for a moment. Yet, shortly thereafter, he tells Amy that he'll miss Al and the rest of the kin, and Tom means it. It doesn't matter what Al believes, he's family, and Tom is glad to know him.

It's this connection, which we see in the brilliant O'Dowd's face, that makes the whole series mean something. For the first time, we see just how desperate Tom is to be part of the family, and how grateful he is to find his roots. We see how much he loves those whom he is a part of, and likes being around them. His life seems so much better than in the first episode, and without even realizing it, there has been growth and development.

Does that mean Tom will stay in America? At the end of "Cowboys," he is kissing Ally, whom he sleeps with, and says he doesn't want to leave. It's an ambiguous ending, but combined with the stated fondness for his West Coast relations, it seems to indicate that Tom is more than a little tempted not to return to England.

This season of Family Tree split the action between England and the United States, and that worked well. There were wonderful actors playing parts on both sides of The Pond. That could easily continue into a sophomore year, should the show be renewed. If Tom goes home and stays there, that would drop a valuable portion of the cast, and I'd hate to see that happen.

But regardless of how the tale might continue, "Cowboys" is a perfect ending that leaves viewers wanting more. If we're lucky, HBO will grant us that.

THE OFFICE "Finale"

Article first published as THE OFFICE "Finale" on TheTVKing.

How do you say goodbye to a beloved series after nine (!) seasons on the air? Well, it helps to give every single person in the sprawling cast a nice moment, with even bigger payoffs for the show's leads. Toss in the most-missed character in the series' run, a slew of recurring returning players, a handful of well-known guest actors used in smart, not distracting, ways, and supersize it to 150% longer than the normal installment so it doesn't feel rushed.

That's what NBC's The Office did last night, to great effect. There are two major stories intersecting in one weekend: Dwight (Rainn Wilson) and Angela (Angela Kinsey) are getting married, and all of the former Dunder-Mifflin staff are gathered together for a reunion panel, post the airing of their documentary. Thanks to some wrangling by Jim (John Krasinski) and Pam (Jenna Fisher), both are scheduled on the same day so that everyone special gets to participate in both.

This level of caring extends to how Jim approaches Dwight's bachelor party, intent on making it perfect for his best friend. Dwight and Jim have fought like brothers over the years, but "Finale" is the ultimate payoff, not only proving Jim's affections, but showing how much Dwight cares for Jim, too, when he gives Jim and Pam a generous severance (which we'll get to later), and how he's upset at Jim backing out being "bestest mench" at the wedding. Fear not, it's just Jim's greatest "prank" to date, as he arranges for Michael Scott (Steve Carell) to fill the role, a great present for Dwight.

Despite NBC and Carell's reps repeatedly and vigorously denying Michael's appearance in this last episode, it's more than a one-scene cameo. Michael is at both the ceremony and the reception, happily celebrating the union of two people that he deeply cares about. He may only get two lines (at least to the best of my memory), but they are such classic Michael Scott dialogue that it's all that is needed. His presence makes the event perfect.

Well, that, and the fact that everyone gifts Angela cats.

Angela's cat fetish isn't the only major plot part featured for a supporting player, with each of the vital members of the Dundler-Mifflin staff whose names have not graced the opening credits, save once, before now, have a tribute in this episode. Kevin (Brian Baumgartner) gets a couple dumb moments and a cake. Phyllis (Phyllis Smith) and Stanley (Leslie David Baker) get to tell each other how much they miss one another, now that Stanley has retired and, happily divorced, moved to Florida. Phyllis also saves Angela's walk down the aisle, after causing Angela's walking hardships, and tries to fatten up her new desk mate (Better Off Ted's Malcolm Barett) into a new Stanley. Meredith (Kate Flannery) is proud of her son, hired to be Angela's bachelorette party stripper, and gives him tips at work. Kelly (Mindy Kaling) ditches her husband (Sendhil Ramamurthy) to run away with Ryan (B.J. Novak). Nellie (Catherine Tate) finally gets a child, when Ryan's fleeing results in an abandoned baby. Erin (Ellie Kemper) gets to meet her biological parents (Joan Cusack, Shameless and Ed Begley Jr., Family Tree). Andy (Ed Helms) has found his niche in the world. Toby (Paul Lieberstein) feels valued when his colleagues insist that he hang out with them. Oscar (Oscar Nunez) is running for office, and even has an assistant (Ben and Kate's Dakota Johnson). Darryl (Craig Robinson) is very successful, and riding in limos. Creed (Creed Bratton) sings a song, and is arrested at the end.

It's important that The Office serves all of these personalities, and there are a lot to get to, as the long paragraph above attests, so the increased running time is invaluable. The show is about so much more than five or six main characters; it's about the huge family that has come together under these conditions, bonded through the experiences they have undergone together. All of these bits, and the large hang out of the staff at the end, Dwight and Angela even postponing their honeymoon to be there, mean so, so much. It's very gratifying for the fans to see the characters care about each other as much as we care about them.

Even better, in the group photo in the warehouse, the behind-the-scenes crew get to join their colleagues and be included in one of the last moments for The Office.

Not that the more central players are given the short shift this week. Pam feels bad, especially after the documentary panel, that Jim always gives up everything for her. The viewers remark that Jim adores Pam, and she doesn't seem like she deserves it, something Pam also realizes when she tries to watch the show herself, and finds it too painful. So she makes the ultimate sacrifice, calling Michael's realtor ex-girlfriend, Carol (Carell's real wife, Nancy Walls), to sell their house, and giving up her life to move to Austin for Jim's dream career. This is the perfect cap to their relationship, the one that proves their love is not one-sided.

I have very few complaints about this final hour. I think it's a little cheesy that Mose's (Michael Schur) kidnapping of Angela is faked out as sinister. I don't like that Pam paints the office staff on the warehouse wall, leaving the warehouse workers, who will have to look at it every day, out of the process, although the way that the cast sneaks away from everyone else during the party reinforces that they don't value the others so much, and they aren't exactly part of the same family.

It's also a little sad how many of the staff are gone from Dunder Mifflin. Dwight (deservedly) fires Kevin and Toby, Stanley retires, Creed goes on the lamb, Nellie moves to Poland, Andy moves to New England, Jim and Pam quit, following Darryl, and Michael has been gone for a very long time. Yet, they all feel exactly where they should be.

The best scenes in the "Finale" are the emotional ones: Michael talking about how proud he is his "kids," both literal and figurative; Dwight speaking of his relationship with his subordinates; Dwight and Kevin making up; everyone reliving the memories they share. It's hard to write this review without tears in my eyes. This is how we want to remember them, and because The Office gives us this nearly-perfect send-off, we will get that wish.

Thank you to everyone involved in The Office for a wonderful series to be thought of fondly and relived over and over again.

Climbing the Family Tree

Article first published as FAMILY TREE Review on Seat42F.

Grade: 94%

Many are familiar with the work of Christopher Guest, who has made such fantastic mokumentary films as Best in Show, A Might Wind, and This Is Spinal Tap. It’s about time, then, that he gets a weekly series on television. FAMILY TREE, which premiered on HBO last night, is that series.

Set in London, England, FAMILY TREE stars Chris O’Dowd (Bridesmaids, Girls) as Tom Chadwick, an unemployed, heartbroken man in his thirties who inherits a box of bits and bobs from his great Aunt Victoria. In that box are mementos from his family’s history, which he will make his mission to dive into and discover his roots.

It’s a simple premise, to be sure, and one that many can relate to. We’ve all had times in our lives where we lack direction and need to figure out our purpose. Many choose to examine the past to find clues as to a possible future. Tom is easy to relate to and sympathetic in his journey, wonderfully brought to complex life by O’Dowd.

Tom has help in his journey in the form of best mate Pete Stupples (Tom Bennett, PhoneShop), who lives in the past, but in a bad way. Whereas Tom seeks meaning and enrichment from his own history, Pete wants to maintain a silly, sex-obsessed, immature existence as long as he possibly can. He’s also the type of friend to latch onto a person and never let go, whether the other person wants them there or not. Tom is in exactly this position with Pete.

I’m not saying Tom should ditch Pete, even if Tom is a much more likeable person. They have a lot of shared stories together, and Pete is a nice enough bloke, certainly loyal. He provides the comic relief to the more serious Tom, which is probably why Tom doesn’t mind having him around so much, for laughs.

In the pilot, “The Box,” Tom and Pete take an old military photograph to expert Neville St. Aubrey (Christopher Fairbanks, Pirates of the Caribbean: On Stranger Tides) to examine. Tom at first believes that the man shown is his great grandfather, but Neville is able to discover that Tom’s relation is the photographer, not the subject, and in finding a photo of said great grandfather, Tom learns he is descended from a “Chinaman.”

If that amuses you, you will likely enjoy the humor exemplified in FAMILY TREE. It’s in a similar vein to other Guest works, silly and irreverent, but toned down a bit here, not so in-your-face as some of his movies have been. Many of the jokes are quiet, though unexpected, the nuance taking precedence over the slapstick. It’s a very specific brand, well executed.

There’s also an underlying level of sadness to the proceedings of “The Box.” Obviously, Tom is not doing so well, with little going right in his life. As positive as he tries to be about it, one can sense that any bit of optimism displayed may just be a coping mechanism. He’s had about all he can take, and only through embarking on a new adventure, learning about his heritage, can he get a foot hold and begin to pull himself back up.

Yet, Tom is not the saddest character introduced in “The Box.” That honor belongs to his sister, Bea (Nina Conti, Bromwell High), who walks around with a monkey puppet on her arm. Unlike Tom, who was raised in Ireland by their mother, Bea was subject to father Keith’s (Michael McKean, Clue) inept, unobservant style of parenting. Bea clings to the monkey as a way to find her voice, and thus is quite a depressed, and depressing, person. I look forward to learning more about her, and how she might be inadvertently helped by Tom’s work.

Somehow, Guest rings the humor out of such people, whether it be in interactions between the various characters, the situations they get into, or cut scene interviews with the players. There is always something to find amusing, even in the darkest bit of the half hour, and it is played to great effect.

Besides McKean, other frequent Guest veterans will appear in the series, including Ed Begley Jr. and Fred Willard. Guest has built his own stable of actors over the years, and although they are not the focus in his latest project, he certainly isn’t abandoning them, either. They get his tone and style perfectly, and will only enhance FAMILY TREE in their recurring appearances.

I like FAMILY TREE a lot. It has the distinctive Guest feel, but also comes across as fresh and original. There isn’t really another series on television to compare it to, at least not in anything but broad strokes, taking a simple story and telling it in a very unique manner. If it can find an audience, and it is certainly accessible enough to do so, it should make a great addition to the HBO lineup.

FAMILY TREE airs Sundays at 10:30 p.m. ET on HBO.

Betas

Article first posted as Betas on TheTVKing.

Another of Amazon's new pilots is Betas. Set in Silicon Valley, four computer programming geeks attempt to build the next great bit of code and make their dreams come true. But while it is hard to catch a break, their own worst enemies may just be themselves.

Betas reminds me a lot of The L.A. Complex, except about a different and specific slice of Americana. These are the young people who believe they can achieve fame and fortune through their own special skills, and then find that luck and networking plays as big a part as talent in this game. Not to mention, they are surrounded by others who can do what they do just as well, if not better. Are passion and drive enough to set one apart and make the wish a reality?

Funnily enough, Joe Dinicol, one of the stars of The L.A. Complex headlines Betas. This time, though, he isn't the dork, but instead, he's Trey, the visionary leader who tries to keep his buddies on track. He makes the transition well, and, ditching his glasses, is very believable as a sympathetic leading man. If the group at the center of this does succeed, they will have him to thank.

The others in Joe's gang are: Nash (Karan Soni, Safety Not Guaranateed), the genius with crippling social skills, whose hermit-like ways remind me a bit of Pindar on TNT's Franklin & Bash, with a dash of The Big Bang Theory's Sheldon tossed in for good measure; Hobbes (Jonathan C. Daly, Kroll Show), the older guy tired of being stuck, but not able to stop goofing around; and Mitchell (Charlie Saxton, Hung), the earnest romantic who looks up to, and is easily influenced by, the others.

Each of these boys, and despite their age, they are still boys, not men, are presented as a layered, realistic character. They aren't just stereotypes played for laughs, but developed individuals with personalities that alternately complement and clash one another. One can see how they are friends, but one can also see that they might not come together at a key moment, which could hurt them.

The series itself is also the mix of reality and indie vibe. Betas is not a laugh-a-minute sitcom, hewing closer to drama in many regards, even though it has funny moments. The tone is not silly, even when silly things happen, and instead feels like an authentic slice of life. There are Asian stereotypes, but in ways that might actually be seen in the world and feel necessary here, not so cartoonish that they feel ridiculous.

In the "Pilot," Trey tries to get interest from an eccentric investor named George Murchison (the great Ed Begley Jr.), who likes to jam on his flute with Moby (himself). Viewers can see that Trey has picked his target well, someone who is vulnerable and can be manipulated, though Trey's motives are to further his work, not hurt Murch. Trey plays Murch just right in order to spark his interest. The scene is a tad too familiar, but the results should prove sufficient to push the story along.

Of course, in a series like Betas, we must have romantic interests tossed into the mix. Trey's is Lisa (Margo Harshman, The Big Bang Theory, Bent), Murch's wary assistant who, of course, does not seem at all interested at first, though a soft spot slowly appears for Trey. And Mitchell's is Mikki (Maya Erskine), a fellow techie who he is scared of approaching until Hobbes pushes him, and then finds her completely accessible, especially when they bond over pranking the douche in the office, Dane (Tyson Ritter, The House Bunny). Neither gal really breaks new ground, but Harshman, especially, should be able to transition the role into someone interesting.

Betas won't be a show for everyone, to be sure, but it has a specific vision and mood that feels very well developed, and for those that get into it, it should become a beloved favorite. At times soapy, the characters are every-men who can, and probably will, achieve greatness. Fans will root for them and invest in their story.

The Betas "Pilot" is available now on Amazon.com.

Common Law brings a "Gun!" to the party

Freshman series Common Law brings its first season to an end with "Gun!" Travis (Michael Ealy) and Wes (Warren Kole) come to their senses, realizing that they need Dr. Ryan's (Sonya Walger) help after their new therapist (Ed Begley Jr.) has them going through his ex-wife's tax returns. To get back in her good graces, they finally open up about the events that led them to counseling, and with her guidance, they do something about the situation.

I stopped watching Common Law early in the season when I realized that, sadly, this series was destined to be more procedural than the direction most USA shows are moving towards. Every week, there's a case, and that's the main focus. And while the therapy aspect lends a certain original twist to the proceedings, there just isn't enough long-term story here to keep it interesting.

This is not the case with "Gun!" The last hour of the season is compelling and rich. Not only do we get flashbacks to where Travis and Wes were when they met, and what brought them to the point of Wes pulling a gun on Travis, but we also get to see them at their best. Whether in the past or present, these two have each other's backs, and are smarter than most everyone around them.

Unfortunately, this does not mean the show is improving upon my original assessment. An episode like "Gun!" can't be replicated week after week. Because of the conceit of the show, Common Law is destined to remain a case of the week affair. And while the guys will continue to grow with Dr. Ryan, especially now that they're voluntarily seeking her help and actively participating in their treatment, this does not lend itself to any big, sweeping arcs.

There is something to be said for character development. Many of the best shows on television concentrate on that. The problem isn't the therapy, which is actually quite illuminating, but that too much screen time is given over to Wes and Travis doing police work. Maybe they do it a little better than just about anyone else could, but that's just demonstrating skills, not revealing personality. So Common Law fails in this.

Even Mike (Jack McGee), who viewers learn something important about in this episode, gets the shaft because Common Law does not allow the characters to discuss his situation. Mike was kicked out of his house? Why? He did the therapy, and has become less angry. What's going on? I know it's a busy hour, but why tease this if it's not going to be expounded upon? This character deserves more.

Still, it's impossible not get a bit choked up when Wes and Travis do finally take down the group who killed their friend, Paek Man (Kelvin Yu). The music is pitch perfect, and the action is wonderfully orchestrated. As far as cop dramas go, this one is done right, and definitely is no less than deserving than others currently on the air. Dominic Purcell (Prison Break) makes a great villain. It all comes together just as it should, and there is a happy ending.

What if Wes and Travis hadn't solved the case so easily? At one point in "Gun!" it looks like Paek Man's killer will get away with it, and the partners will be separated. Why not pursue that for a few episodes next season, with the two working alone, investigating, then eventually teaming up again, off the job, to bring down their foe? Would that not make a far more interesting TV show than them saving the day in half an episode and restoring things to status quo?

Oh, well. Common Law isn't the first series, nor will it be the last, to squander potential in favor of formula. Let's just hope that they can figure out a way to do more episodes like "Gun!" and make stories last longer than forty-two minutes. Otherwise, thanks for this finale, but I've seen enough, and there's no reason to tune in very often in the future. Should there be a future.

Common Law has not yet been renewed for a second season.

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

'Raising Hope' wants its baby back

FOX's Raising Hope presents the second half of a two-part episode as their season finale this week. Entitled "I Want My Baby Back, Baby Back, Baby Back," this installment finds Jimmy (Lucas Neff) and family locked in a court battle for custody over Hope (Baylie and Rylie Cregut) with his "wife," Lucy (Bijou Phillips). This follows an episode of Inside Probe, in which Nancy Grace (herself) tells the family's story, and reveals that Lucy survived her execution. Lucy wins the legal battle, and Jimmy has to leave his parents and Sabrina (Shannon Woodward) behind in order to stay with his daughter.

If a comedy series is hilarious enough, it does not need to follow the rules of realism. This is a relief, because Raising Hope leaves such constraints far behind in the dust during these final two episodes. Not only does Lucy survive the electric chair, there is a jailhouse wedding, complete with a prisoner allowed a knife to cut the cake, a jury made up purely of miners who were trapped underground for six months, and so don't know Lucy is a serial killer, Shelley (Kate Micucci) is allowed to testify with a ukelele, and Lucy will most likely survive being hit by a bus. The last of which is welcome, because Phillips is such a joy during her guest stints on the show. And with Jimmy needing a divorce, she will have to return again.

But honestly, the fact that the events of "I Want My Baby Back, Baby Back, Baby Back" would never happen does not lessen the enjoyment of the episode in the slightest. Part of this is the comedic writing, which is just as sharp, tight, and unexpected as it ever has been, if not sharper. Part of it is nostalgia, as this week's installment and the one before it reference many of the show's earlier events and gags, as well as bringing back a large number of guest stars.

Best of all, most of the cast of My Name Is Earl, a previous show by Raising Hope's creator, Greg Garcia, appears again. Earl is alluded to as well, and the tone of both shows are similar. In fact, the Inside Probe stunt feels just like Earl's Cops episodes! So it all comes across as one big, happy, funny universe, drawn closer together with each crossover, of which there have been many.

Should Raising Hope have concentrated on pathos instead? Sure, there are tears and heartbreak when Jimmy leaves Sabrina so that he can stay with Hope. Viewers would be heartless not to feel for Sabrina as tears stream down her face, and the situation really evokes something inside of oneself. However, instead of capitalizing on these dramatic moments, leaving a heck of a cliffhanger, Lucy is hit by a bus, and Jimmy gets to return home.

Nor does it appear that Burt (Garret Dillahunt) and Virginia (Martha Plimpton) will face legal charges for fighting with law enforcement in the court room, as they are seen to be in their house and doing just fine.

And that's OK. Some sitcoms need the drama to infuse with comedy in order to keep their fans invested. Raising Hope does not. It's tongue-in-cheek style, with meta elements and constant self-referencing, has created a unique world that deserves to be on television. One can drop in to see what the Chances are doing each week, and continuously be very taken in by their spell.

What kind of show dares to have Nancy Grace lampooning herself, Ed Begley Jr. playing both god and the devil, and "introduces" Cloris Leachman each episode? Raising Hope, that's who, and it does so proudly. Never before has white trash been made look so attractive. The show doesn't just play on stereotypes, it redefines them. It will change the way you think about many things, and if the show contributes anything to society, it assists in tearing down the barriers of hate and judgment.

Does this make Raising Hope sound too important? Perhaps. But it deserves the accolades. There is absolutely nothing else currently running like it, and it continues to hit all of the right notes week after week. That is a laudable feat.

Is it the sharp writing or the amazing cast, which includes Gregg Binkley and a slew of talented, recurring players to fill out the world, that makes Raising Hope work so well? It's both, as well as everyone else in the crew who builds this specific place and time. There is really nothing to complain about in Raising Hope. It's that rare gem that knows what it is, and delivers extremely well on a remarkably consistent basis.


Thank you to Raising Hope for an awesome second season, and I am greatly looking forward to years of more terrific comedy. Raising Hope will return to FOX this fall.

If you like my reviews, please follow me on Twitter! To buy Raising Hope DVDs or streaming episodes, please click here. Article first published as TV Review: Raising Hope - "I Want My Baby Back, Baby Back, Baby Back" on Blogcritics.

The Good Guys is doing pretty good

Not in the ratings, sadly.  But creatively, summer's funnest show, FOX's The Good Guys, has gotten even better this fall.  Following the buddy cop formula, Bradley Whitford plays Dan Stark and Colin Hanks is Jack Bailey.  I've said it before, but I think Whitford, a fabulous actor, as proven by his long stint on The West Wing, is just plain having fun in this show.  That makes it enjoyable for the audience, when you see a guy clearly loving what he is doing.  Stark is obnoxious, backwards, sports a 70's 'stache, and goes on about the good old days.  Bailey is straight-laced, mostly by the book, though Stark has been rubbing off on him.  Hanks plays it wonderfully, too, finally a role that really suits him.

     The plot the last few weeks has gone a little further into character development.  Two weeks ago, we finally met Stark's old partner, Frank Savage (Gary Cole, Entourage, Office Space), who has long been retired, and given up his antics.  He lives a quiet life with wife, Cynthia (Rachael Harris, The Hangover, My Boys, Notes From the Underbelly), who does not approve of Dan coming back and upsetting their balance.  Also in that episode was Ethan Suplee (My Name is Earl, Chasing Amy) as Andy, the now-grown little boy that Stark and Savage saved back in the day, and a TV movie was made about it.  As the plot unfolded, one could see that Savage and Bailey are two quiet different partners for Stark.  Bailey tries to reign him in, while Savage lets the crazy fly.  They both clearly care about Dan though, with Bailey's affection grown into unwavering loyalty in just the short time they've worked together.  Do you blame him though?  Dan is nothing if not loyal, and while he can be a screwup, he is sincere and honest.  Obviously, while Stark and Savage have fun, with Bailey's influence, Stark can be a better cop than ever.

     This past week the guest talent kept coming, with Ed Begley Jr. (Gary Unmarried, Veronica Mars) as Jack's crooked but charming Uncle Nate, and Method Man (The Wire, How High) as an arson-happy villain.  Nate brought some needed background and depth to Jack, as usually the past we hear about it Dan's.  Dan also managed to drag his favorite snitch, Julius (RonReaco Lee, Worst Week, The Shield) into the fray, though Julius wasn't too happy about it.  It's always a pleasure to see Julius, and hopefully the series will keep him coming back.

     The show isn't all great guest casting, though the past two weeks have been among the best in the series.  It's about the characters that star every week.  There are two women in the opening credits, too, and though they don't often get much plot, they are wonderful actors.  Diana Maria Riva (Studio 60 On the Sunset Strip, The West Wing) plays the boss, Lt. Ruiz, while Jenny Wade (Reaper) is Jack's ex-girlfriend, whom he is still smitten with, A.D.A. Liz Traynor.  The two girls were featured a few weeks ago, as they attempted to bring down a Senator (Wade's former Reaper co-star Ray Wise) on their own.  It was nice to see the two out of an office, and while Bailey and Stark and definitely the heart of the show, hopefully the women will get more to play with, as they can certainly handle it.

     I highly recommend you check out The Good Guys, as they can really use a ratings boost.  The show is way better than many other shows with higher numbers, and one of the most laugh-out-loud cop dramas ever made.  It's not high quality television, but it's loads of fun.  The Good Guys airs Friday nights at 9pm on FOX.

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