ONCE UPON A TIME Improvements in "Sight"

Article originally written for Seat42F.

Last night’s installment, “Shattered Sight,” may be my favorite this fall for ABC’s ONCE UPON A TIME. Ingrid The Snow Queen’s (Elizabeth Mitchell) spell falls over Storybrooke, making practically everyone turn against one another. Ribbons prevent Emma (Jennifer Morrison) and Elsa (Georgina Haig) from fighting Ingrid directly, bound as they are to her by the love injected in the material, so they seek out Regina (Lana Parrilla) to break the enchantment with her pure hate. But the real key to everything may be missing memories, some of which are shown via flashback.

Ingrid’s arc has been a moving one. She loves her sisters dearly, and the tragedy that befalls her at a young-ish age is an understandable reason why she turns cold. Her sole mission is to regain the love she’s lost, casting Elsa and Emma in the role of her sisters. Ingrid does not act out of cruelty, and while she doesn’t care if others get hurt, being selfish and narrow-sighted, she only casts the “Shattered Sight” spell to get to her end goal.

Which is why her heroic self-sacrifice is tragic. It doesn’t make up for everything she has done, but had she lived longer, I’m sure she would have worked to do so. The scenes we see of her with a young Emma (Abby Ross) prove that she does care about some people. Sure, the found-letter from Ingrid’s long dead sister proclaiming that she still loved Ingrid and regretted what she did to her is a little convenient, but it makes sense for a fairy tale, which is what this is. That does not cheapen Ingrid’s end, though, a bittersweet conclusion for a mostly-excellent arc.

It’s also a little too easy for Elsa and Emma to get Regina to break the ribbon bond. That was the result of something Ingrid spent decades planning, and Regina can make it go away in a second, accidentally? Then Elsa and Emma run from Regina, who is fully reverted back into Evil Queen, and manage to get away from her? And they’re not even worried about what unleashing the Evil Queen into the town will do?

That being said, Elsa and Emma are busy, so maybe they decide that letting evil Regina out is a risk they have to take. Plus, Regina goes to the jail, which leads to an awesome fight scene between her and Snow (Ginnifer Goodwin), so it’s hard to complain too much. In fact, the whole sequence with Snow, Charming (Josh Dallas), and Regina, ending in an uncomfortable laugh as the three try to process the emotional toll of what they just went through, is terrific. It’s some of the best work Goodwin has done in the series, and as much as I adore redemption-path-Regina, it’s fun to see her as the Evil Queen once more. Regina is my favorite character on ONCE UPON A TIME, and “Shattered Sight” affords Parrilla another opportunity to play her brilliantly.

One character nearly absent from “Shattered Sight” is Rumple (Robert Carlyle), and that could very well be why the hour is so good. Rumple arguably has the best plot in the show from its inception up through the middle of last year. Since then, all his development has been tossed out and he’s been ruined worse than just about any character on television I can think of. His story line this fall has been abysmal, completely out of the established persona, and while Carlyle remains a fine actor, Rumple has been an anchor weighing ONCE UPON A TIME down lately.

Unfortunately, the conclusion of this episode means that Rumple’s “scheme” hasn’t come to fruition, so my guess is that he will be front and center next week. Assuming the writers stay consistent with what they’ve done with Rumple recently, ignoring the previous version of him, he’s bent on power and getting his family away from Storybrooke. I just can’t bring myself to look forward to that, still sad about what’s been lost here.

Because Rumple isn’t important in “Shattered Sight,” though, with the focus on Ingrid, who is mostly well developed, and the episode contains some emotional and fun scenes, with a great battle and an exciting climax, it works very well. I kind of wish it were the fall finale so ONCE UPON A TIME could go out on a high note, but even though it isn’t, that doesn’t take away from a heck of a memorable hour.

ONCE UPON A TIME concludes this run next Sunday at 8 p.m. ET on ABC.

ONCE UPON A TIME Needs a Long Look in the "Mirror"

Article first published as ONCE UPON A TIME Review Season 4 Episode 8/9 Smash the Mirror on Seat42F.

A lot happens in last night’s special two-hour ONCE UPON A TIME on ABC, “Smash the Mirror.” We see the rest of the Arendelle flashback story, bringing us up to the point in which the Snow Queen (Elizabeth Mitchell) comes over to our world. We witness the battle for Emma’s (Jennifer Morrison) soul, both internally and externally. And a former villain is given hope for a happy ending. Let’s get started.

First, despite the glaring flaws in this fall’s run, the Frozen tale has been nearly flawless. “Smash the Mirror” picks back up where last we left it, Anna (Elizabeth Lail) imprisoned by her aunt. Elsa (Georgina Haig) learns of this and quickly concocts a plan to stop the Snow Queen, refusing to believe ill of her sister. Their plan fails, unfortunately, with Elsa ending up in an urn, Anna and Kristoff (Scott Michael Foster) frozen (hehe) in the castle, and the Snow Queen messing with Elsa’s memory before The Apprentice (Timothy Webber) sends her to our world, circa 1982.

The story of the sisters, Elsa and Anna, is a strong one. Anna goes to other realms to save Elsa, and Elsa never stops believing in Anna, even when Anna is under a spell that makes her say horrible things. There is an argument to be made that Nasty Anna is buried deep inside the real Anna, an expression of the suffering she has endured. But an essential part of Anna is that she keeps hope and moves past such issues, always deciding to believe in Elsa. Seeing Elsa pay this back is extremely gratifying, and it’s this bond that the Snow Queen will never have.

There’s very much a there-but-for-you-go-I element in “Smash the Mirror.” Had the Snow Queen’s surviving sister stuck by her, no matter what bad things the Snow Queen accidentally did, her fate might have turned out very differently. The Snow Queen desperately wants what Elsa and Anna already have. Knowing they won’t accept her as one of them, she goes to extremes to force such a relationship. What she will have to end up realizing, but hasn’t yet, is such bonds cannot be forced. They have to be given freely.

ONCE UPON A TIME does make the plot quite cohesive, providing a believable way the Snow Queen comes to our land, sets the stage for her memory spells, and provides a possible motivation as to why she does what she goes. Once the Snow Queen knows she can make people forget and start with a clean slate again, it would be tempting to do so anytime things go bad. That’s surely what happened with Emma, though we haven’t seen that yet.

The Snow Queen is a formidable foe. She goes toe-to-toe with Rumple (Robert Carlyle) this week and wins. While she herself is not the instrument of victory, she does manages to link Emma and Elsa to herself, which is the next stage in her plan, and goes against Rumple’s desires. It will be interesting to see how she can be defeated because, despite knowing she must fail, she is in a pretty good position at the episode’s end.

Emma is still a bit out-of-character in “Smash the Mirror.” After making Henry (Jared S. Gilmore) very slightly bleed, she goes into a panic, and eagerly accepts Rumple’s offer to remove her powers. It takes her forever to get to his cabin, and the others have plenty of time to track her, which doesn’t seem right, but from an emotional standpoint, these hours do a better job of illustrating the turmoil in Emma’s heart than others have. She wants to rid herself of power because she’s afraid of it, but Elsa, who has personal understanding, gets through to Emma and helps her accept herself.

It’s a little strange how easily Emma has things under control at the end of the episode, a new stage for ONCE UPON A TIME. Yet, perhaps it’s a timing thing. Finally able to see who she is and live up to her potential, she gets a handle on the powers. Even if the path to get there is a little bumpy, there are some strong character moments for Emma, and her fireworks scene is an earned triumph.

More uneven than Emma is Rumple’s plot, though. This Rumple takes Hook’s (Colin O’Donoghue) heart and seeks to destroy Emma so he can have power and take over the world. This is absolutely ridiculous. Rumple has never been shown to have these ambitions, and in fact works directly against such things in past seasons. The Rumple in “Smash the Mirror” is a completely new character than before, and not in a good way. ONCE’s biggest glaring mistake this year is to toss out Rumple’s entire arc and start fresh with an unrecognizable antagonist. It makes me ill to see how he has been handled.

Hook, to a lesser extent, is in a similar boat. His actions, from betraying Emma, to confessing to her, have bene erratic and nonsensical. I get the urge to be a hero and worthy of Emma, but then it’s more confusing when Hook acts against those interests. He has been used poorly as of late, too.

On a polar opposite, Regina’s ONCE UPON A TIME arc has been stellar. This week, she gets assurances from Robin Hood (Sean Maguire) that she’ll have a happy ending, ponders the path not taken, has a touching moment with her son, and is given encouragement by Snow White (Ginnifer Goodwin), of all people, who admits her own bratty past. I was worried for a bit the show would let Regina slip, negating her growth, but the other characters have rallied around her, even those who one doesn’t expect to, and in their eyes, Regina finally sees her best self reflected.

What’s more, Robin’s discovery in the library, with the help of Will Scarlet (Michael Socha), gives Regina hope. Robin finds an alternate page to Henry’s storybook, one in which Regina is not a villain. This proves the book isn’t set in stone so Regina can still change her ending! Yay!

Which begs the question, are new pages being added to the book? If so, why hasn’t anyone mentioned it? And because the page just appears in Robin’s bag, does that mean the author is still around? Possibly hiding in the magic library? Maleficent is still in the basement, isn’t she? And where is the Sorcerer’s Apprentice, who can see past and future, these days? Anyone else get the feeling the Apprentice might actually be the Sorcerer? Hmm.

For everyone awesome ONCE UPON A TIME moment, and there are many in “Smash the Mirror,” there is an unfortunate one, sometimes small, but always present. When looking at the TV schedule from last night, ONCE is only about the sixth or seventh best show on Sunday nights (behind The Walking Dead, The Newsroom, The Good Wife, and arguably several others) right now. There are a heck of a lot more than six shows on Sundays, but that’s still not a position to really brag about. If only it would get its act together, like it did a year ago, it could rise to match or exceed some of its currently-better peers. The potential is high, but the series just doesn’t live up to it as much as it should, making its wins, such as last night’s episode, bittersweet.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

ONCE UPON A TIME Reveals the Secrets of "The Snow Queen"

Article first published as ONCE UPON A TIME Review Season 4 Episode 7 The Snow Queen on Seat42F.

In this week’s installment of ABC’s ONCE UPON A TIME, we see the origin story of “The Snow Queen,” including her relationship with her sisters and their falling out. At the same time, her plans for Storybrooke move forward as she manipulates a vital piece of the puzzle to fall into place.

Once, The Snow Queen (Elizabeth Mitchell), Ingrid, had a strong relationship with her two sisters, Helga (Sally Pressman, Army Wives) and Gerda (Pascale Hutton, Canada’s Arctic Air). They shared a very special bond, looking out for one another and protecting each other. Ingrid had to hide from the world, but not from her family, who loved her as she was. We even get a glimpse of them quite young, with The Walking Dead’s Brighton Sharbino easily sliding into the episode’s titular role.

Then, Ingrid makes a mistake. In trying to punish the Duke (Jonathan Runyon, Miami Medical), a sleazy suitor trying to gain power from the sisters, she accidentally kills Helga. It’s a mistake, but an extremely costly one, which ruins the bond between Ingrid and Gerda, too. In retaliation or self-defense Gerda locks Ingrid in a bottle and wipes her memory from all the land.

“The Snow Queen” is a tragic tale of love gone sour after an unspeakable sin is committed. Ingrid is surely as upset with herself as Gerda is, even if she resists going into her prison, but in the intervening years, her pain turns to evilness. Ingrid is not only out to recreate that once perfect happiness she had, thinking she just needs two sisters with powers (to allow greater understanding between them), but she also has stopped caring about others. She feels wronged, an understandable emotion, and a fitting backstory for this season’s ONCE UPON A TIME villain.

In order to fulfill her desires, Ingrid needs two new sisters. Elsa (Georgina Haig), her niece, is an obvious choice because they share the same lineage and exact talents. Emma (Jennifer Morrison) may be a little different, but Emma’s feelings of abandonment and alienation are close enough to Ingrid’s experiences for easy manipulation. It takes almost no effort for Ingrid to get Emma in the mindset she wants, and while Emma won’t betray her loved ones, she is feeling separate from them. Though Ingrid may already have tried and failed with Emma, Emma’s memory of their previous time together being missing. Elsa will be a tougher nut to crack, unless wiped memories can assist.

Ingrid’s plan is not fully exposed, but “The Snow Queen” is on the right track there. Ingrid still needs three ribbons she and her sisters gave to Rumpelstiltskin, and he’s amiable when she gives him what he wants. The upcoming weeks should reveal all, and this installment puts us well on the path to an acceptable end game.

Rumple’s sourness is less digestible. He seems positively gleeful at whatever dark task Ingrid tells him he must do. As I’ve mentioned before, this twist negates Rumple’s entire character arc in ONCE UPON A TIME before this subplot, and it’s hard to imagine he really wants to go out and control the larger world. It just doesn’t make sense, given what we’ve seen of him before.

The other side story serviced in “The Snow Queen” finds Robin Hood (Sean Maguire) unable to fall back in love with his wife, so he kisses Regina (Lana Parrilla) once more. To do so, he must break his code, which doesn’t bode well for his continued heroics. Yet, Regina has tried to do the right thing and get over him many times. While their love may be less than pure, it’s hard not to root for the two to find a happy ending together, which may be where ONCE UPON A TIME is taking them. I just hope service is paid to why this isn’t completely a good idea. Since Regina is the cast member being best handled this year, that seems likely-ish.

One complaint I have about “The Snow Queen” is the way-too-brief appearance of Aurora (Sarah Bolger) and Ashley (Jessy Schram) in Mary Margaret’s (Ginnifer Goodwin) mommy class. It’s a fun scene, if a bit corny, and it contributes nicely to Emma’s arc, but why bring back these familiar faces only to waste them in such a quick moment? Will they be recurring in this capacity, or will Ashley disappear for another three years with no explanation?

“The Snow Queen” is one of the better episodes ONCE UPON A TIME has delivered this fall, a huge step back from the pit of last week. The characters are consistent within the hour and the season even if some of them, mainly Rumple, don’t match their series journey. I was very worried about what came after “Family Business,” but this has calmed much of that.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

ONCE UPON A TIME Is All About "Family"

Article first published as ONCE UPON A TIME Review Season 4 Episode 6 Family Business on Seat42F.

Tonight’s installment of ABC’s ONCE UPON A TIME, “Family Business,” starts well enough, but quickly goes downhill by the halfway point. As everyone searches for the elusive Snow Queen (Elizabeth Mitchell), we see some of Belle’s (Emilie de Ravin) backstory, which sparks behavior in her that is not at all in keeping with her character. The Snow Queen’s mission, too, is revealed, but again, doesn’t quite make sense.

Let’s start with Belle. Introduced as a match to the animated version, Belle is a sweet woman who believes in the goodness of people above all else. “Family Business” finds her desperate to remember her mother’s (Frances O’Connor, Mr. Selfridge) death. This mission takes her to Arendelle and an encounter with Anna (Elizabeth Lail), Oaken (Darcey Johnson), and Grand Pabbie (John Rhys-Davies). Then, the Snow Queen shows up and Belle puts her memory before Anna’s life, allowing the Snow Queen to capture Anna.

One might argue that this experience is what makes Belle so good. Maybe this one mistake is why she learned her lesson and went straight, becoming hero-like, if not a full-blown hero. That would actually make sense. Except, in present day Storybrooke Belle lies to Elsa (Georgina Haig) and Rumple (Robert Carlyle) about knowing Anna. This is not something our Belle, who holds Rumple to a very high standard, would do. Then, she compounds her sins by using the dagger to control Rumple, again, breaking character completely.

Now, bad Belle is a device that moves the story along. Because of her, we find out the Snow Queen’s purpose. But that doesn’t excuse poor storytelling. There are any number of ways the same information could be conveyed without ruining arguably the show’s purest character, and that makes “Family Business” a huge disappointment.

The Snow Queen’s end game is also not befitting the character. In this episode, we learn the Snow Queen’s desire is to have the residents of Storybrooke turn on themselves and kill each other off until only she, Elsa, and Emma (Jennifer Morrison) are left alive. She thinks Elsa and Emma could then replace her departed sisters and the three could be a family. Yet, the Snow Queen sees in the flashback story that just wanting a family doesn’t make it so. How can she possibly believe that Elsa and Emma will want to be with her after everyone else dies? Even if the three are alone together, the girls would likely turn on their elder.

The dark magic introduced in ONCE UPON A TIME, the Snow Queen’s malicious mirror and the Sorcerer’s hat, are solid parts of a good story. I like them both and think they could be well used in the narration. Instead, making them part of this ill-begotten twist, they are tainted and probably won’t end up being what they should be. They present danger, but ignore the obvious threats they possess.

I’m confused about the prophecy surrounding Emma. The Snow Queen found Emma a long time ago and is dropping hints to remind Emma of this, presumably so Emma will remember how much she liked the Snow Queen and they can be a family again. But why take the memories away at all? And why didn’t the Snow Queen keep Emma when she had her? Why come back now? It just doesn’t seem like these pieces will come together satisfactorily.

We’re also left to wonder about Anna. Is she in Storybrooke? Is she back in Arendelle, still locked in the dungeon? What happened to Elsa in the meantime? This is too many questions posed for a story that has robbed me of my confidence in a comprehensive ending.

“Family Business” is not without its good parts. Regina (Lana Parrilla) telling Robin (Sean Maguire) she may not be able to save Marian (Christie Laing) is a rich scene, full of interesting pathos. Hook (Colin O’Donoghue) joking that everyone in Storybrooke is related is funny and right on the money. But these small gems aren’t enough to save this dud of an episode. ONCE UPON A TIME is not doing well with its exposition or the structure of its arcs, and those are to very important, vital elements of the show.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

"Breaking" Down ONCE UPON A TIME

Article first published as ONCE UPON A TIME Review Season 4 Episode 5 Breaking Glass on Seat42F.

This week’s episode of ABC’s ONCE UPON A TIME is called “Breaking Glass,” a title that doesn’t really fit exactly with the episode. And that isn’t the only strange thing in the mostly entertaining, but occasionally inconsistent, installment which finds a friendship forming, inner strength being found, and a mother learning how to be more than that again.

First, we have Emma (Jennifer Morrison), Regina (Lana Parrilla), and Elsa (Georgina Haig) all on the hunt for the elusive Snow Queen (Elizabeth Mitchell). The Queen has taken to the woods, and when Emma goes to Regina for help, not only does Regina refuse to do so, but the Snow Queen manages to lure the left-alone Elsa into a trap (after Elsa sits in the car for an incredibly unrealistic long time). Emma and Regina become reluctant partners on the trail, until all have a big showdown in which the Snow Queen triumphs.

We still don’t know the Snow Queen’s plan, but it involves getting Regina’s pocket mirror in order to complete a larger mirror in her lair. Incidentally, this also allows Sidney (Giancarlo Esposito) out of his entrapment when he switches allegiances, but the Snow Queen doesn’t really want him, and it’s certainly too late for him to go crawling back to Regina, so he’s left a bit adrift. But back to the Snow Queen, it’s all ice and mirrors as she plays with everyone, accomplishes her goals, but reveals nothing to the of herself to the characters or the viewers.

The Snow Queen seems interested in Elsa, whom we know is her niece, though Elsa isn’t aware. The Snow Queen gets Elsa out of the way so she can attend to the task at hand, but when Elsa is able to break free, the Snow Queen seems proud. My guess is that the Snow Queen would like to help Elsa, but only if she proves herself worthy of her attention, and Elsa is well on her way to doing so. However, the help will probably only come if it benefits the Snow Queen, at least in casting Elsa (who really needs to change clothes) as an apprentice and heir-apparent.

The Snow Queen doesn’t seem to care so much about Regina and Emma. True, one could argue that the way the bridge disintegrates is designed to lead the women somewhere rather than to kill them, but the Snow Queen is just a little too careless with their lives to seem like she worries about keeping them alive in any way.

Which makes the revelation that Emma lived with her as a teenager, something the Snow Queen has wiped from Emma’s memory, and that doesn’t quite justify the pointless Emma flashbacks in “Breaking Glass,” all the more puzzling. Why is the Snow Queen interested in Emma, and how did she get out of Storybrooke during the original curse? Or why did she join the town sometime during that curse, as seen in pictures?

The welcome outcome of this ONCE UPON A TIME adventure is that Emma and Regina acknowledge something like a friendship. I do feel like Regina shuts Emma down too much, even in keeping with her character, and the way that Emma sees Regina as a much-needed friend comes out of nowhere, not satisfactorily answered in the flashbacks. But “Breaking Glass” gets the women to a place they need to be, on the road to a real relationship, and that is very moving.

Regina needs Emma’s friendship as much as Emma needs Regina. The latter reasons are obvious, as Emma could use some help with her magic. The former may be less so. Regina is losing her humanity, treating Sidney like a pawn again and considering dark options, even as she doesn’t go through with them. Henry’s (Jared Gilmore) faith in his adopted mother helps keep Regina good, but an adult friend, one who can see through the bull in a way Henry can’t, as well as someone whose faith in her that Regina doesn’t expect, can help Regina even more. Emma is important in Regina’s redemption sticking and continuing forward.

Another great scene is a small one in which Hook (Colin O’Donoghue) shows interest in Emma’s past. This romantic, compassionate Hook doesn’t quite gel with the schemer seen last week, but it is the Hook fans want, and the Hook that Emma deserves. Hopefully, ONCE UPON A TIME will give us more of this Hook and less of the other one.

Elsewhere, Mary Margaret (Ginnifer Goodwin) thinks David (Josh Dallas) leads her on a wild goose chase after the escaped Will Scarlet (Michael Socha) in order to get her groove back. It turns out not be a trick by David, but the side story is a good use of Mary Margaret and David, usually flat, uninteresting characters, and the more Will can be worked into the story, even if his narrative is unfolding as fitfully as the Snow Queen’s, the better.

ONCE UPON A TIME is having a rough fall, better than last spring’s batch, but lacking the cohesiveness and the rich layers of the previous autumn’s Neverland arc. “Breaking Glass” does much to get the show back on track, but unfortunately, in doing so, it has to stray from some established bits in recent weeks. Here’s hoping ONCE figures out what it needs to do and sticks with it in time to salvage this story.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

ONCE UPON A TIME Might Want to "Apprentice" Itself to a Storyteller

Article first published as ONCE UPON A TIME Review Season 4 Episode 4 The Apprentice on Seat42F.

This week’s installment of ABC’s ONCE UPON A TIME is called “The Apprentice.” Rumple (Robert Carlyle) tries to steal a magical box from the Sorcerer’s Apprentice (Timothy Webber, Men in Trees, Arctic Air) that would allow him to keep the Dark One’s powers, but without the limitations. Meanwhile, Hook (Colin O’Donoghue) and Emma (Jennifer Morrison) have their first date, a thief plagues the town, and Elsa (Georgina Haig) searches the town census for signs of her missing sister.

I need to start this paragraph by saying I STRONGLY disapprove over the spoiling of Rumple’s character this year and last spring, negating his growth arc from the first couple of seasons. Still, at least “The Apprentice” finally offers a plausible explanation as to why Rumple cannot have a happy ending, mentioning that villains cannot find their bliss because that’s not how the storybook works. It would be nice if this were established before now, but still, at least it’s offered now. In Regina’s (Lana Parrilla) quest to end up with true love for herself, might she also show Rumple a way to finally, once and for all, get back to who he should be?

This week’s ONCE UPON A TIME doesn’t give us any positive signs in Rumple. His quest to get the box from the Apprentice is something every Dark One has attempted, as we see in a Zoso (Brad Dourif) flashback, and it is only done for evil purposes. Rumple is tricking Belle (Emilie de Ravin), the woman he supposedly loves, and taking out innocent men to get what he wants. These are not good signs.

Hook lets his inner villain out, too. It’s one thing for him to get his hand back (which, by the way, the fact that the hand is not really cursed is totally predictable), but it’s another for him to engage in a game of mutual blackmailing and lying with Rumple. True, Hook has never had that catalyst moment, as Rumple did, where he turns over a new leaf and truly proves himself, but fans of ONCE UPON A TIME don’t expect him to behave this badly. It’s a bit inconsistent for the character, and not a welcome development.

Henry’s (Jared Gilmore) actions also don’t make sense. Isn’t Rumple suspicious when his only grandchild, whom Rumple has strangely ignored for awhile despite Henry’s connection to Rumple’s beloved son, suddenly wants to spend time with him? Rumple is too bright to be fooled by the kid unless love blinds him, and there is no hint of that. Their family connection also should have been explored more fully before now, and that’s glaringly obvious when it is approach at this juncture.

The Frozen arc takes a sharp left turn this week when Anna (Elizabeth Leil) accomplishes her task of figuring out why her parents went to the Enchanted Forest and she returns home. One does not expect this, given Elsa’s efforts to find Anna, so there’s definitely more story in their land to tell. I like when the writers surprise me, which doesn’t happen every week on ONCE UPON A TIME, and that kicks this episode up a couple of notches.

Less enticing is the Snow Queen’s (Elizabeth Mitchell) behavior. She appears only briefly in “The Apprentice” to taunt Emma. It’s fine if the show is taking the slow-reveal approach and only giving us bits of the Queen’s motivation at a time. But it’s weird to get so much of her last week, and then just a brief look at her this one that has her behaving strangely with no discernable reason as to why she is doing so. That needs to sort itself out.

I’m sorry if this review has leaned negative, as I mostly liked it. There is just a lot more to say about the complaints than the impressive bits. There are lots of good things to say about “The Apprentice,” too, though. I love how Snow (Ginnifer Goodwin) and Charming (Josh Dallas) make too big a deal over Emma’s date, the Lady and the Tramp reference at the restaurant, the hints about Will Scarlet’s (Michael Socha) true mission in Storybrooke, which has to be to find the Red Queen again, and the meta references where the characters basically acknowledge their storybook roots. This style of humor is exactly what the show should strive for more of, as it works extremely well for the premise and makes for entertaining dialogue.

“The Apprentice” isn’t a bad episode, but it’s not a great one either. It is very Rumple heavy, and I like his Dark One stories, but his behavior in Storybrooke is troubling, as is Hook’s. If the characters and tone were a little more consistent, that would improve the overall presentation a lot.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

ONCE UPON A TIME Stumbles On "Rocky Road"

Article first published as ONCE UPON A TIME Review Season 4 Episode 3 Rocky Road on Seat42F.

This week’s installment of ABC’s ONCE UPON A TIME, “Rocky Road,” is an interesting because it’s full of exposition, leaving us with more questions than answers. As our heroes race to save a slowly-freezing-to-death Marian (Christie Laing), they encounter a new villain who seems a little too familiar with them. In flashback, the introduction of said baddie doesn’t exactly match up with what’s happening in Storybrooke, indicating that there are more secrets that must come out to understand the tale.

The “monster” is the Snow Queen (Elizabeth Mitchell). Trapped in an urn, locked in a cave, she is accidentally freed by Hans (Tyler Jacob Moore, Shameless) as he attempts to capture Elsa (Georgina Haig) and steal her kingdom. Once she is freed, it is Hans that is in trouble, and Elsa looks to have a new mentor in the woman that claims to be her aunt.

Yet, in Storybrooke, the Snow Queen isn’t so benevolent. She has attacked Marian for unknown reasons, and tells Elsa that Elsa was locked in an urn by Anna and that the Rock Trolls erased Elsa’s memory. Elsa can’t believe Anna would entrap her in such a way, and is confused by what has been supposedly removed from her brain, kicking off a whole new set of mysteries.

This is a pretty compelling narrative, two sisters on their own quests, long separated, beset by challenges. They will surely find their way back to one another because fairy tales have happy endings (usually), but it’s clearly not going to be easy, and the fall run of ONCE UPON A TIME will document that.

We are also briefly introduced to new main character Will Scarlet (Michael Socha), a.k.a. The Knave. We don’t know why he’s come over from Wonderland (he starred in the short-lived spin-off of this series) or gone back to his thieving ways, but his introduction is a fun one, and I look forward to hearing why he isn’t still with the Red Queen, who should be by his side, and hopefully will be again.

Some fans of the series are sure to be disappointed by “Rocky Road” and the episodes surrounding it because of how heavily it leans on the guest characters. Elsa and the Snow Queen aren’t part of the core cast, and by focusing on them so much, it gives the more familiar people less screen time. Personally, while I would like to get back to some of the larger arcs that seem to move so slowly, I am enjoying this Frozen tale, and I think the recent hours are good enough that I don’t have much reason to complain, at least not about story structure.

After all, there’s still development for most of the main cast. Emma (Jennifer Morrison) uses her powers to good effect in “Rocky Road,” and she finally confesses to Hook (Colin O’Donoghue) why she’s keeping him at arm’s length. It’s not him, of course, it’s that every man she gets close to winds up dead, which sort of backs up what Elsa tells Hook, that responsibility trumps personal feelings. And we see Mary Margaret (Ginnifer Goodwin) adjusting to motherhood and a mayorship, two tough challenges that she honestly should be doing better with, but she’s getting there. Her story is a little lame (Mysteries of Laura style), but at least she has something to do, which isn’t always the case.

Best of all, there is movement on both of Regina’s (Lana Parrilla) fronts. First, she teams up with a willing Henry (Jared Gilmore) to find the author of the storybook so she can get a happy ending. It’s cool to see how amazed she is when Henry jumps at the chance to help her, and it’s nice knowing he’ll make sure she doesn’t turn back to the dark side to get what she wants. He anchors her to her heart, and she doesn’t deserve to backslide after coming so far. Robin Hood (Sean Maguire) also admits to Regina he’s still in love with her but just can’t be with her, which does seem to soften Regina’s bitterness, just a little. Let’s hope Robin comes clean with Marian that it just isn’t working between them anymore, which could, but probably won’t, create a new villain.

How weird is it that Regina removes Marian’s heart? I have no idea what the implications of this will be, but I dig the twist.

I don’t like a couple of things going on this season. I still hate how Rumple (Robert Carlyle) has slipped back into his shameful ways, and I really don’t like that Hook is covering for him, though I’m sure Hook just sees it as none of his business. It also doesn’t feel right that Granny (Beverly Elliott), Grumpy (Lee Arenberg), and the other townsfolk should turn so cruelly on Mary Margaret. They’ve been through so much together; they should be more understanding, and it seems out of character that they are not.

Fans of Marvel might also have caught the Thor and Avengers comic books Regina gives Henry. It’s a shameless bit of cross promotion, but nothing new for ONCE UPON A TIME. At least it’s worked into the story nicely, the illustrated tales being compared to Henry’s storybook. Any chance there might one day by an Agents of S.H.I.E.L.D. / ONCE UPON A TIME crossover event? It would be incredibly hard to do correctly, so I’m guessing not, even though it could be awesome.

“Rocky Road” isn’t the best episode because it doesn’t have a lot that makes it stand on its own. But I did find it enjoyable, and it planted the seeds for what I assume will be some neat things coming up. For that reason, it works.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

ONCE UPON A TIME Puts on the "White" Hat

Article first published as ONCE UPON A TIME Review Season 4 Episode 2 White Out on Seat42F.

Tonight’s ONCE UPON A TIME is called “White Out.” Panicked as she searches for her sister, Elsa (Georgina Haig) accidentally traps Emma (Jennifer Morrison) in an ice cave, where she slowly begins to freeze to death. David (Josh Dallas) and Hook (Colin O’Donoghue) try to figure out a way to free Emma before it’s too late, and Mary Margaret (Ginnifer Goodwin) steps into her new role as mayor. Meanwhile, back in the Enchanted Forest, David is inspired to become a hero after an encounter with Anna (Elizabeth Lail), queen of encouragement.

“White Out” is really good with character development, but poor on plot logic. The power goes out and the people go to Mary Margaret, who has absolutely no electrical training, to solve the issue? They don’t just ask her to have someone fix it; they expect her to get the current running again herself. And somehow, she is able to, doing things that have nothing to do with the downed power line that causes the problem in the first place, and with a baby near dangerous circuits. Emma is too weak to talk or sit up, but then is able to limp out of the cave. Hook keeps sticking his hook into the ice, even after David stops him. Elsa thinks she can’t melt the ice, but does tunnel through on the first try, only to have that option fail again when she attempts to repeat it. These things just don’t make a lot of sense.

Luckily, most of the episode is character-centric. Take Mary Margaret, for instance. With the townsfolk looking to her as mayor after Regina shuts herself off, Mary Margaret has to find her strength and step up. She is their leader, and she needs to start acting like it. It’s not a surprise that ONCE UPON A TIME goes to this place, only that it hasn’t done so before now. It makes sense for Mary Margaret to take on this role, and gives her something to do in the hour other than sit at home.

The scenes between Elsa and Emma are even better. Here are two women that have a lot in common. They’ve had to fend for themselves, having lost loved ones, and have powers they don’t understand or entirely control. They are expected to save the day, even when they don’t know how, and they are emotionally stunted. Yet, during their entrapment, they find a way to connect and become friends, a bond that lasts past when they get free. It’s because of this connection that the danger Elsa has placed others in can be overlooked, Emma able to see past the mistakes, which all the characters have made at one time or another, to the type of person Elsa really is.

It helps that David knows Anna, too, from before he meets Snow and becomes king. When David lacks courage and conviction, Anna helps him find it, much as she does for her own sister in the film Frozen, which is set prior to the events depicted in ONCE UPON A TIME. Anna is just the type of person who can bring out the best in people. Snow and the kingdom have her to thank for David becoming the man he is, and because of David knowing Anna, he knows a little about Elsa, too, making him smart enough not to strike out at her.

Thus, only two episodes in, ONCE UPON A TIME has avoided painting Elsa as a villain. This is good because fans of the movie wouldn’t like her being evil, and it allows the plot to move forward. There are enough misunderstandings in this show, so no more are needed.

Among the other great character bits in “White Out” are Emma falling into Hook’s arms once freed and Henry (Jared Gilmore) refusing to give up on Regina (Lana Parrilla). It really is a moving, heart-warming episode.

There are also some new baddies introduced this week. Bo Peep (Robin Weigert, Sons of Anarchy) is a wicked mob boss / warlord who still lives on in Storybrooke, and thus may pop up again. The owner of the ice-cream shop (Elizabeth Mitchell, Lost, Revolution) has some dark, icy powers, too. Their arrival is none too soon, as Regina is no longer bad enough to cause real trouble, and ONCE UPON A TIME needs a villain to defeat. That’s the nature of fairy tales.

Regrettably, Rumple (Robert Carlyle) also appears to be going down the wrong path. He clearly has something to do with Anna’s disappearance, which apparently happened many years ago, making it more tragic, and doesn’t speak up about what he knows when David comes asking. This, combined with other recent actions we’ve seen him take, does not bode well. It’s really sad that he’s being like this, given his heroic sacrifice last year and recent marriage. It kind of ruins the character to bring him so far, then have him backslide so much. Hopefully, that will straighten itself out soon.

In all, “White Out” is a pretty good installment. The weaknesses tend to be minor things that are swept quickly past, while drawn out scenes give us meaty dialogue and pathos that explore the various personalities featured. There may still be no sign of our Knave (Michael Socha), other than the actor’s name in the opening credits, but season four is shaping up to be an intriguing mystery that I look forward to seeing solved. It’s already far better than last spring’s Oz arc, a sign the show is back on track.

ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

"Love" REVOLUTION, Finally

Article first published as "Love" REVOLUTION, Finally on TheTVKing.

NBC's Revolution is finally finding its legs in the second season, which paused with the mid-season finale "Everyone Says I Love You" last night. In the installment, there are many people missing, and some doubting their sanity when they see things they don't expect to see. It's not much of an episode for closure, but it does further a number of arcs in a satisfying manner.

Aaron (Zak Orth) is front and center at present, suddenly having the power to heal even more wounds, and not just for himself, which he discovers when Cynthia's (Jessica Collins, Rubicon) knife wound disappears. But it's not actually Aaron doing any of this. The nanotech that saturates the world recognizes Aaron as the man who woke him up and is bending to his will, as well as appearing to him (and only him) in the form of a childhood friend.

Revolution has barely begun to scratch the surface of what the nanotech means for the characters or the planet. It definitely doesn't understand human emotions, letting Cynthia die again later in the episode, after Aaron has been screaming at it to go away. Yet, they understand preservation, killing Dr. Horn (Zeljko Ivanek, Damages) and the other Patriots who threaten Aaron. Have they already outgrown the human they've been helping now, and what drives them? These are interesting questions that the show will hopefully delve into down the line.

This series must strike a balance between character development and mythology, something the entire first season struggled with (not to mention plot holes and bad acting from the younger cast members, which seems to have mostly fixed itself over the summer break). There are plenty of viewers who are watching to unlock the mystery of this dystopian America and find out what political faction can seize control, but there are others who just want to see what will happen to the people they've become attached to.

"Everyone Says I Love You" mainly serves the characters, letting Miles (Billy Burke) fess up to long-hidden feelings for Rachel (Elizabeth Mitchell) after a very revealing flashback, Rachel tells her daughter, Charlie (Tracy Spiridakos), just how much she is loved, and Rachel is worried about her MIA dad (Stephen Collins, 7th Heaven). Yet, this also ties into the larger arc. For instance, Miles is looking for Aaron to heal him from an infection. But will the nanos abandoning Aaron mean that Miles is out of luck?

I feel like this is a good way to handle things. Rather than keeping the elements separate, the series is starting to really weave an interconnected story and use all of its very talented adult cast appropriately, allowing them more layers and history. Thus, it's improved markedly.

Monroe (David Lyons) is one who has benefited from this shift. Once a pretty flat villain, he's now a broken man, having lost his nation, and is only getting by because of the hope that he might find his long-lost son. Miles is the key to the boy's location, tying Monroe and Miles together once more, and along the way Monroe has to do some things to protect our heroes, something we don't expect from him prior to this. Very interesting, and dynamic.

And, of course, Revolution is still going to try to shock fans with the Big Reveal from time to time. Among the many happenstances in "Everyone Says I Love You," the most surprising may be when Tom (Giancarlo Esposito) finds Julia (Kim Raver) alive and remarried. This not only throws Tom for a total loop, making his grief a waste of time, but also destroys the reason behind the mission he is on. There's no telling how he may proceed now, especially because it seems Julia isn't willing to just come home with Tom and their son, Jason (JD Pardo), but also asks that Tom abandon his quest.

Practically everything Revolution has done in its sophomore year has been a step up over the freshman run. If it continues this in the second half of the season, it just may crack into must-see, recommended TV. It's certainly got some great elements!

Revolution will return soon to NBC.

REVOLUTION Still Same Old, Same Old

Article first published as REVOLUTION Still Same Old, Same Old on TheTVKing.

NBC's Revolution begins its second season tonight with "Born in the U.S.A." It's been six months since the bombs decimated Atlanta and Philadelphia, and the survivors of the Tower have spread out. Some are settled in a small town, others have taken off to find missing relations, and still others are out on their own, heading down a self-destructive path.

First things first: the power is back off. Turns out, it only stayed on for a few minutes. Why? Well, no one knows, or at least no one viewers are familiar with knows. There are hints that this is still an ongoing thread, though, and I look forward both to further exploration of the topic, and movement on the getting-it-back-on front. This central storyline often takes a backseat to personal issues, but it's really what drives some of the most exciting episodes, and should be paid more attention to.

The most likely to be involved in this arc is Aaron (Zak Orth). Though he has moved into a house with a woman (Jessica Collins, Rubicon) and teaches elementary school, he still worries about what is going on in the world at large, and is curious about strange behavior by fireflies and other insects. He's got to be the one to figure things out, or at least spur the others to go somewhere they can find more information.

I have to admit, "Born in the U.S.A." really upset me by killing off Aaron. He ranks at the top of the list of favorite characters, and it would be a shame to lose him so early in what could be a long run. I was furious at the show and ready to rail against it had there not been that final scene of him opening his eyes again. Without it, this review would likely be colored by strong emotion and be much less positive.

Aaron dies when the small town where he, Miles (Billy Burke), and  Rachel (Elizabeth Mitchell) are living are attacked by raiders. This is an interesting turn and definitely one that people in their situation would have to deal with, but I can't help comparing Revolution to The Walking Dead here. The town is surrounded by a wall, like Woodbury, though it keeps out living humans, not zombies. And the leader of the raiders (Matt Ross, Big Love) does have shades of The Governor in the way he runs his camp and the falsely pleasant demeanor he tries to exude.

Unfortunately, while we know fans of good TV like this sort of development based on The Walking Dead's ratings, Revolution is much more poorly written than that show, meaning it suffers when it invites comparison. I'd rather they try to differentiate themselves more. It may be that this similarity was not purposefully conceived, but now that it's obviously happened, it's best to abandon it quickly and move on.

Miles is still playing the hero in "Born in the U.S.A." He tries to leave the town, but comes back when he rightly fears they will be attacked, leading to he and the sheriff getting captured. I guess this means the sheriff is probably expendable and will die soon. Miles could end up getting his job, and then he'd have a real reason to stay, even though that would be out of character for him. Though it wouldn't be the first time Revolution let someone veer out of character, and Miles always walks a thin line between believability and stereotype.

The gripping drama of this setting goes to Rachel who is deeply damaged by the events at the Tower. She is haunted and feels guilty, looking like a hollow shell of a person. Mitchell handles this beautifully, really making us understand her pain. Sure, she'll have to come out of it sooner rather than later, but I'm in no hurry to see that happen if only because I like that Mitchell has meaty material to mine, as the scripts aren't always worthy of her.

Rachel is staying with her father (Stephen Collins, 7th Heaven) during her time of healing. It's nice that she gets to go home to a caring parent who can take care of her, as that seems like just what she needs in her sorry state, even if he doesn't seem to be really helping much. Of course, I like Collins and I like this part, especially because it expands what we know of Rachel, so he joining the cast as a new main character is a welcome development.

Rachel's dad talks about how she has always gone for the wrong guys until she met her now-deceased husband, Ben (Tim Guinee). I can definitely see some truth in that, coming through in the way Mitchell plays Rachel. However, her dad is totally wrong that Miles is one of those "wrong" guys. Miles certainly has been selfish and careless from time to time, but bringing Rachel home at a critical junction should have earned him points, and defending the town ought to, too. And Rachel isn't exactly a perfect girl, either, making her share of mistakes. Really, Miles is a great combination of the bad boy and the noble man, at least in the episodes that serve him well, so perhaps he's the right mix for Rachel to end up with, even if he is her brother-in-law, since that seems to be where Revolution is heading.

In season one, Charlie (Tracy Spiridakos) is initially painted as the main character. This is unfortunate, because while she works OK as a member an ensemble, her role isn't strong enough to hold the show. Considering this, I was hoping she'd stay with the group for awhile and not get played up. No such luck.

In "Born in the U.S.A.," Charlie strikes out on her own in search of Monroe (David Lyons). We don't know why she does this because the episode doesn't tell us explicitly, so we must assume it's holdover anger from last year. Maybe she still wants revenge for her brother's death? And her father's? She certainly doesn't want to be Monroe's friend, aiming an arrow at him. But it's hard to find anything compelling about her story. Plus, she was settled for a couple of months in the town with the others before she went hunting, so it would be nice if Revolution explained why she decided to depart when she did, what is so urgent about her quest.

In fact, we only get a couple of small glimpses at the intervening six months. This is fine, letting the story reset itself, and there's always the possibility of seeing more down the road.

Before Charlie has the chance to kill Monroe, he is nabbed by some bad guys. I'm much more interested in his story than Charlie's. His nation fallen, Monroe is hiding in New Las Vegas, getting into fights for money, gambling away his earnings, and generally acting like he doesn't care about his life. This makes sense, given the circumstances, and while we don't know why he is kidnapped specifically, there are plenty who'd like to get their hands on Monroe after everything he's done. Yes, we'll have to deal with Charlie intruding in the arc, but this still should be pretty interesting over the next few weeks.

One group that may want Monroe is the United States government. Sailing in from Cuba, rebuilding the White House, the unseen President wants to be back in charge. I assume this is the same President from when the power went out, so his term is long expired and he failed to hold the country together, which doesn't give me a lot of confidence that people will fall in line for him. But he could either publicly hang Monroe as a traitor to score some points, or use him to make Monroe's former subjects fall in line. Either way, the government seems the most likely organization with the ability to catch Monroe.

That being said, though the government is the most obvious choice, it could also be someone with a personal vendetta, like Charlie. There's got to be plenty of those out there. What I'm saying is, take my theory with a grain of salt, though it seems reasonable to me.

The reason we know the government is on the move, besides a brief, unexplained glimpse of activity at the White House, is that a representative sails to shore near Tom (Giancarlo Esposito) and Jason (JD Pardo), who are looking in Atlanta refugee camps for the missing Julia (Kim Raver). The pair haven't decided whether to approach the boat yet, but they likely will be involved in whatever is going on here.

Now, this could pull them away from their current mission. They can't exactly keep asking about Julia if the government is rounding folks up and moving them or assigning them some task. However, in this post-apocalyptic world, it makes sense few would have time to indulge in such hopeless pursuits as looking for someone who quite likely will not be found.

It must be said that the balance between Tom and Jason has definitely shifted, and that is to be appreciated. Both have been through a lot, and it has shaped them in different ways. Though they're not at odds as much as they once were, there is still thick tension between them. I wonder how long they can remain a pair alone.

I like the approach Revolution has of tying their characters into the larger arcs, approaching the big issues from the small scale. There's many things the show does wrong, including being cheesy and under developing its stories and players, but this is not one of them. It is far more interesting to have Tom and Jason, two familiar, main characters, get caught up in something and experience it from their viewpoint than to introduce a bunch of new people or take the situation broadly in an army vs. army scenario.

"Born in the U.S.A." has some good beginnings and a few really nice scenes for the a couple of the most excellent actors in the cast to show some range. It does still suffer some of the flaws of season one, being predictable and inconsistent, but for now I think it's worth keeping tabs on, as it still could eventually reach its potential, evident by several elements already present, and that would make for an amazing show.

Revolution airs Wednesdays at 8 p.m. ET on ABC.

REVOLUTION Out of the "Dark"

Article first published as REVOLUTION Out of the "Dark" on TheTVKing.

With this week's "The Dark Tower," NBC's Revolution completes its freshman run. Inside The Tower, the race is on to turn the power back on, while outside, allegiances both personal and on a larger scale are rocked by new developments.

After watching "The Dark Tower," I am disappointed that Revolution has still not corrected the issues that have plagued it all year. The plot holes are still numerous, and while the focus has (thankfully) shifted to the adult actors, away from annoying kids, the characters continue to act in ways that don't feel right.

For instance, Jason (JD Pardo) falls in line behind his father, Tom (Giancarlo Esposito), as the new leader of the Monroe Republic (which will presumably get a name change). Yet, they've been fighting all year, lacking trust and affection between them. Granted, they are father and son, so there could definitely still be a level of love there, but nothing in the writing or acting really shows this to us, skipping over the nuances that would have been the clues, and just showing quickly changing minds.

The Nevilles are far from the only relationship like this. Charlie (Tracy Spiridakos) spontaneously evolves a mother-like bond for Nora (Daniella Alonso), while hating her own mom, whom she is warm to not long ago. Miles (Billy Burke) chooses Nora over Rachel (Elizabeth Mitchell), even though his mind has been on the latter a lot more lately. Rachel coldly murders Dan (Glenn Morshower) when he disagrees with her. Grace (Maria Howell) betrays her friends. Randall (Colm Feore) kills himself.

Now, all of these can be explained through plot developments, but not really by internal motivation. It's not the facts that are wrong, but the emotion. Circumstances seem to dictate how the characters act, rather than personality, values, or beliefs. The characters switch sides without much warning, and while perhaps it's believable that they do so, the writers don't take the time to show the evolution, nor do the actors play to the tiny bits that would give us warning that something is coming.

People die far too often, too. I'm not just speaking of main characters, who we've lost several of already. We are frequently introduced to a new player, and before we even get to know them, they're killed. This has happened with a number of parts played by very good actors who it would have been nice to see stick around. Death is obviously a large factor in the world they live in, but that doesn't mean we need to see someone bite the bullet every week. Let us have time to care about them, so when they do die, it means more.

I wonder if the problem is the pacing. Things happen rapidly and in very quick succession on Revolution. Fast movement can be good, but it also needs to balance itself with natural attitudes and actions. Maybe Revolution is just trying to go too fast.

Though that doesn't excuse the hokey shadow-Lincoln president-in-exile living in Guantanamo Bay. Coming on the heels of Randall's Civil War-esque preaching, this "surprise" ending feels forced and silly.

There are also two questions left at the end I'm not so happy with. One, is Julia Neville (Kim Raver) dead? We see her in Atlanta as the missiles launch, but that would be a crappy, uninspired ending to her, again coming too early. Two, why do we see Aaron's (Zak Orth) wife, Priscilla (Maureen Sebastian) again? She hasn't been much of a part of the story, so her cameo here in unearned. Will she be blown up, too? Is there something else planned for her next year?

Which is not to say that "The Dark Tower" is without merit. I absolutely love seeing Miles and Monroe (David Lyons) have it out with one another, removed from the battle field and distractions of others. We finally hear Miles's explanation as to why he couldn't kill Monroe, and we learn why Monroe hates Miles so much. There is a true brother bond between them, no matter what happens. These words make sense, and if more of this occurred, there would be less to complain about.

I also like seeing Miles mourn over Nora. They didn't quite work as a couple, but this acknowledges the real feelings between them. It also removes Miles and Rachel's obstacle towards being together, which means we won't have the pining and conflict that the predictable love triangle brings.

Thirdly, it's nice that the power comes back on. This dystopian future is cool, but given the way the story has been moving, it would have been very disappointing if it didn't happen in this episode. We still don't know if it's back everywhere, or what this will mean for the U.S. and the world, but it does move the plot along in a direction that it needs to go.

Revolution is full of so many good ideas, and the premise is fascinating. There are some really terrific stars in the ensemble, too. If it would only be allowed to truly breathe and live, rather than being forced to check off a predetermined 'to do' list, it could be really great.

Revolution will return next fall to NBC.

Revolution is "Nobody's Fault"

NBC's Revolution brought its fall run to a close this week with "Nobody's Fault But Mine." Miles (Billy Burke), Charlie (Tracy Spiridakos), Aaron (Zak Orth), and Nora (Daniella Alonso) finally make it to Philadelphia. It doesn't take long for them to be found out by Tom (Giancarlo Esposito) and his men, though, which in turn leads them to discover that Rachel (Elizabeth Mitchell) is still alive. As expected, this installment ends with a big showdown against Monroe (David Lyons).

Revolution continues to struggle to find its way. There are some things it does correctly. The concept behind the story - all electricity stops working, but a conspiracy could bring it back, years later - is interesting. Burke and Esposito deliver fantastic performances, and Lyons makes an intriguing villain, especially once some back story is revealed. The production team knows how to stage a thrilling fight sequence.

But Spiridakos, who seems to be the de facto lead of the series, is not nearly good enough in the role, at least not yet. The main quest to rescue Danny (Graham Rogers), completed in "Nobody's Fault But Mine," isn't half as interesting as the implications of the loss of power and the struggle for control of the world. Focus should be on the political factions, the military campaigns, and the science behind it all, but instead, we get tales about characters who just aren't developed enough.

Now, they might yet be. There have been hopeful signs, such as finally seeing Miles and Monroe as friends, and dealing with their falling out. But Revolution doesn't go far enough, fast enough. Why did Miles try to kill Monroe? Why has Monroe turned his back on his friend, and why does he continue to go down a terrible path? The show might be trying to tease a tidbit at a time, but it's no Lost, so it's unlikely that viewers will have the patience to wait for nuggets if the present storyline isn't that compelling.

One thing that is highly intriguing is seeing Flynn's (Colm Feore, The Borgias) fully electrified base. What is he doing? Will he be a friend or a foe to the Matheson clan and their friends? This is actually more interesting than anything else that concerns the central players.

Of course, as I said, Revolution does know how to deliver adrenaline, and the showdown that results in the Mathesons narrowly escaping, only to see that Monroe has a working helicopter, is an awesome cliffhanger that will hopefully draw viewers back when the show returns in March.

So, moving forward, what needs to happen are larger, sweeping arcs with big scale stories. I'm sorry, but Revolution just isn't pulling off too much of the character-driven stuff, so it should play to its strengths. Fixing the plot holes is also important, because it's a little tiring to keep making unbelievable leaps to arrive at the next set story point. And either help Spiridakos grow into a true leading lady, or shift the focus more towards characters like Miles, Tom, and Aaron, who can handle the increased scrutiny.

Revolution isn't a bad show, but it's not yet living up to its potential, and if it doesn't find it's way, it may not get a second season. We don't need yet another FlashForward or The Event, which are hurting the genre, and could prevent more brilliant fare like Fringe and Lost from even being attempted. That would be a shame, and it's the reason Revolution's failures are so frustrating.

Revolution will return to NBC in March.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! First posted on TheTVKing

Not exactly a Revolution

Grade: 66%

NBC’s REVOLUTION is exactly the type of series that belongs on TV. It is sweeping and expansive, with a large cast of characters in an interesting and different world. All electricity has been gone for fifteen years, and people have gotten by in a variety of ways. Now, things seem to be at a tipping point, with those in charge, who are not very nice, intent to bring back the power for their own gain. A small band of heroes stands in their way. This mix of the classic story with a new twist sounds fantastic!

The execution, however, leaves a little something to be desired. First of all, why kill off two of the best members of the cast in episode one? We see Rachel Matheson (Elizabeth Mitchell, Lost, V) only in flashback, just before the electricity shuts down. Then, in the future, her husband, Ben (Tim Guinee, The Good Wife), is quickly snuffed out. Both of these are excellent performers, and I sincerely hope that at least one of them isn’t really dead, even though the old plot device is a bit overused in this genre.

Second, the heroes’ journey gets off to a rocky start in that the initial gang is a bit clumsily assembled. Viewers are introduced to Ben’s daughter, Charlie (Tracy Spiridakos, Majority Rules!), who is brave, high spirited, and tasked with the fate of the world. Yet, Charlie makes a mistake right away by trusting Nate (JD Pardo, American Dreams) just because he helps her once. She has been raised in this dangerous world. Are we really supposed to believe that Charlie is that naive? And even if we believe her instincts, as Nate may end up being someone worthy of her trust, the character of Nate is extremely uneven in this “Pilot,” trying to prove Charlie’s feelings about him are both unearned, but not entirely misplaced. It doesn’t work.

The rest of Charlie’s group is also a bit odd. Aaron’s (Zak Orth, Romeo + Juliet) involvement is adequately explained because of his connection to Ben, and what he has been entrusted with, which supports that Charlie has reason to rely on him, too, even if he is given a hard time. But then there’s Maggie (Anna Lise Phillips), whom Ben had only recently started dating. Yes, Ben tasked her with taking care of his children before dying, but she doesn’t seem the type who would so operate in such a blindly loyal fashion. She is shrewd and jaded, not exactly someone who should fall in with Charlie and Aaron easily. Yet, she follows Charlie with hardly any argument. Why?

The trio of Charlie, Aaron, and Maggie head out on a quest to find Ben’s brother, Miles (Billy Burke, Twilight), who is also sought after by the evil militia. Miles has a connection to the baddies, and also to Ben, neither of which is fully explored in this episode. Instead, viewers just see that he is tough, resourceful, and can single handedly take on an entire squadron of soldiers. Miles seems to be the unrealistic superhero of the piece. Burke brings just enough mystery to the character’s face to make it mostly believable. Though his decision to join Charlie or not is also handled unevenly, with a glaring missing connection between plot points.

The villains are fleshed out a bit better. We don’t see much of the militia leader, Sebastian Monroe (David Lyons, The Cape, ER) in the first episode, be we do get quite a bit of his henchman, Tom Neville (Giancarlo Esposito, Breaking Bad, Once Upon a Time). Tom is hardened, but fair. He serves Monroe, but he isn’t evil himself, just doing what he needs to do to make a life in this new world. He seems genuine when he talks to his captive, Ben’s son, Danny (Graham Rodgers), whom the hero troop wants to rescue. Esposito, already proven a brilliant actor in other work, delicately shapes a fully defined character in a landscape that doesn’t naturally lend itself to such a feat, a triumph on his part.

And then there’s Grace (Maria Howell), who helps Danny, but also seems to unexpectedly have a connection to Ben. While she is just as ill-defined as the rest of the cast, she is also the mysterious stranger, which means this fits a bit better on her. She doesn’t get a lot of time in the “Pilot,” especially after we learn her secret, so she still has time to make a great initial impression. Let’s see if she can do so when much of the rest of the characters haven’t quite landed.

The pacing is a problem, quite possible the biggest one. A lot happens in the “Pilot,” and in a show like REVOLUTION, that shouldn’t necessarily be the case. Many of the issues that arise occur by forcing events along too quickly, instead of taking time. Charlie and the others could have spent several episodes making their way to Miles, really earning them their prize. Instead, it feels like the writers want to rush through the introduction so that they can get to the story they want to make. This is a mistake, as if the relationships and motivations are explored more delicately now, then the set up will be ripe when the bigger action arrives. Fixing the pacing could solve many of the other complaints.

Television is capable of making a great sci-fi show (see: Lost, Battlestar Galactica, Fringe, etc.). Yet, many of the efforts of the last few years fall a little flat (see: Terra Nova, V, FlashForward, The Event, etc.) Why is this? Do producers think that delivering a good hook absolves them from having to develop the characters completely? The draw of great genre shows has always been rich, complex people filling out the strange worlds that are presented. Viewers want to relate to the characters, not just see interesting new landscapes and special effects. REVOLUTION has the potential to be a great show, if it can fix the problems with the “Pilot,” which thankfully are not universal across every character and scene. But there is much work to be done if it’s going to be the next cult favorite.

REVOLUTION premieres September 17 on NBC, and is currently available online.

V celebrates "Mother's Day"

     What an exciting finale ABC's V delivered! While the show is frequently uneven, and suffers from major plot holes, more so than almost any other show on television, when things work, they really work. The second season finale, entitled "Mother's Day", has few problems. In fact, it is probably one of the strongest episodes to date. Considering the steadily increasing quality, I am really holding out hope for season three, as the series may hit its stride given one more chance. Plus, with a cliffhanger like this, we just need to see more!

     The culmination for control of the V race came to a head. Lisa (Laura Vandervoort) lures Anna (Morena Baccarin) into a trap, intending to kill her. Anna sees what her daughter is about to do in a conveniently located reflective surface, and fakes emotion convincingly enough to stop Lisa. I can see why Lisa gives her mother the benefit of the doubt. Lisa has developed emotions, and so would want to think the best of her mother, no matter what past experience has taught her. Despite Erica's (Elizabeth Mitchell) anger at her, I think Lisa is justified in her actions.

     Sadly, that justification comes with steep consequences. Anna kills her mother, Diana (Jane Badler), whose friends have helped her escape, then installs Lisa in Diana's former dungeon. Anna's backup queen egg hatches, and Anna has her new daughter made to look exactly like Lisa and given her memories. Lisa 2.0 mates with, and kills, Tyler (Logan Huffman), whom Lisa is in love with, while Lisa watches helplessly on a video screen.

     This series has proved to me that Vandervoort's bad run on Smallville was either a fluke, or she has improved greatly in her acting ability. This episode gave her an even bigger chance to shine, as we got to see her as the Lisa we've grown to love AND a ruthless, cold blooded killer more chilling than even Anna. If for no other reason, V needs a third season pick up so we can watch Vandervoort work her magic in the duel role. From what we've seen so far, she is good, like Nina Dobrev in The Vampire Diaries level good.

     The really scary thing about this episode is that Anna finds the true nature of her evil. Up until now, Anna has fought against human emotions, even as they threaten to overwhelm her. The human skin the Vs cover themselves with somehow plays on them, making them more susceptible to feelings. When Anna fights against those emotions, it weakens her. Now that Anna discovers emotions can be used as a weapon, which she wields extremely effectively, she is more dangerous than easily imagined. This is the real consequence of Lisa's failure.

     Also scary? Anna now has a way to bliss mankind, effectively making us her slaves. Little Amy (multiple actresses, as she is rapidly growing), a human / V hybrid, is able to easily deliver bliss to humans, and she loves Anna. While I have viewed Amy mostly as a distraction, and have not at all liked the affect she has had on her father, Ryan (Morris Chestnut), clearly she is something more. Should the series be renewed, I would expect an adult actress to be cast to play a fully grown Amy, and stop the rotation of children. Anna and Amy together may just be unstoppable.

     Of course, humanity does have hope, however slim. Erica Evans began the series with a small cell of people she just met. Earlier this year, she found out how vast a net the Fifth Column casts, before taking over the group. Now, in the finale, she (and we) learn of Project Aries, (led by Marc Singer, like Jane Badler, a cast member in the original V) an international group determined to take out the V. It's interesting, because Erica thought she was fighting alone, and keeps finding larger and larger circles of people who already have the same goal. My question now is, given the scope of anti-V organizations, why didn't they do something before now? Why has Erica been the only one to really strike a blow against the Vs?

     As mentioned above, the body count last night was very high. We lost Tyler, who was mostly an annoying distraction to his mother. We lost Ryan, who has become annoying while being distracted by his daughter. It was only slightly surprising that Dianna died, because Anna had to overcome her somehow, and what transpired is far more exciting than Anna hiding and plotting quietly to take out Diana as she rules in peace, as next season could have been. As such, I don't see any really big losses to the cast, other than possibly Diana, but for the reasons above, I'm OK with it. If anything, the writers did a good job pruning. Time to bring in some fresh blood.

     Thankfully, Chad (Scott Wolf), who used to be annoying, but it just getting started in his usefulness, is merely captured by the Vs, not killed, though why not, I can't imagine. Unless Anna just plans on blissing him and doesn't want to bring in a new reporter to train all over again. I would also like to know where Hobbes (Charles Mesure) has gone, but I am hoping that his character will return to his roots, freed of the burden of Erica. I like the two of them together, but she did tame the beast, so to speak.

     Which just leaves Jack (Joel Gretsch). I really saw a love triangle developing between Erica, Hobbes, and Jack, now that Jack has lost his priesthood collar. It is incredibly ironic how Jack talks of looking to the sky, meaning god, for answers, and that's how Erica finds him at the end of the episode. Only instead of looking at god, he's being blissed by Amy.

     V is on the bubble, but I urge you to write and e-mail ABC asking for its renewal. There is also a facebook site set up for just such a purpose.

Article first published as TV Review: V - "Mother's Day" on Blogcritics.

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