NASHVILLE Falls to Pieces

Article first published as NASHVILLE Falls to Pieces on TheTVKing.

ABC's Nashville, the soapy drama set in the world of country music, came rocking back last night with "I Fall to Pieces." Two weeks after the events of last spring's cliffhanger finale, Rayna (Connie Britton) is still in a coma, Deacon (Charles Esten) is in jail after telling the police that he drove drunk, causing he and Rayna's crash, and Juliette (Hayden Panettiere) worries about how Rayna's failing health will overshadow her own album release. So, not much has changed, despite the huge event.

Actually, Juliette is not nearly as bad as she seems. If she's fooling anyone, it's herself. Yes, she milks Rayna's coma for all it's worth at her album release concert, which is a terribly selfish thing to do, and should tick fans off. But once Juliette actually visits Rayna in the hospital, the young star falls apart, rethinking her uncaring attitude. Rayna has made an impact on Juliette's life, and while Juliette can try to deny it all she wants, she's a better person for it. It's why she decides to arrange Deacon's bail, even if she has a bad history with addicts.

Deacon is actively self-destructive, lying about driving. He's in a very dark place prior to the car wreck, and he sees a way to remove himself from the world, at least for awhile. Perhaps there's also the thought going through his mind that he doesn't want to live if Rayna is dead, but more importantly he is punishing himself. He thinks he belongs behind bars and separate from everyone else.

In flashback, we see Deacon and Rayna's early relationship. Besides being an impressive visual, with both performers looking much younger, this gives us a chance to view them at both their best and their worst. It's easy to see how Deacon can blame himself for screwing things up, but it's also certain they work well as a couple. Maybe when all this is behind them, they can make a go of it, with Rayna able to forgive Deacon after seeing how low he's sunk and how bad he feels. That is, if Deacon can stay sober.

Deacon does have some help in that regard. Scarlett (Clare Bowen), having turned down Gunnar's (Sam Palladio) proposal, works on securing bail for Deacon, and decides to move in with her uncle. As much as Deacon attempts to run Scarlett off, I'm glad she sticks around anyway. It's a rough sacrifice for her to make, putting parts of her life on hold to help Deacon, but maybe she'll finally get through to him and help him heal. As long as this doesn't destroy her just-launching music career, it's a nice development, giving both family when they need it.

Gunnar hasn't given up on Scarlett, even if she did say no to marriage. They share a very nice moment, performing together once more, and he vows to work to win her back. When last season ended, they were not in a healthy place to move forward, and two weeks doesn't fix everything. But "I Fall to Pieces" hints that there will be a second chance for them, and maybe they won't end up split for so long like Deacon and Rayna.

Rayna's accident does bring her family together in a way they haven't been for some time. Tandy (Judith Hoag), Lamar (Powers Boothe), and Teddy (Eric Close) are actually able to be in the same room together! It won't last, especially as a new secret rears its ugly head, so it isn't as touching as it should be. But at least Rayna's loved ones are there for her in her time of need.

Lamar has actually been downgraded to recurring status this season. That's not a guarantee that he'll be sent away or locked up, but that does increase the likelihood that he won't remain as involved in his daughters' lives as he has previously. It's sad to see parents and children drift apart, but if Lamar really did what Tandy hears he's done, he doesn't deserve the girls in his life, anyway.

"I Fall to Pieces" remains just as full of everything that makes Nashville so deliciously compelling as it was in season one. It's a prime-time soap, to be sure, but it embraces that part of itself and is well-suited for the genre. I look forward to more tumultous romances, twists, and turns this year and for many more after.

Nashville airs Wednesdays at 10 p.m. ET on ABC.

SUITS Should "Stay" On My TV

Article first published as SUITS Should "Stay" On My TV on TheTVKing.

USA's Suits aired their summer finale, "Stay," this week. It was an emotional roller coaster, with character development at the forefront, and larger plots taking a back seat to the personal stuff. We see several characters make some very important decisions, and several come to terms with how they feel about a woman. Basically, Suits doubles down on the main players in the show, terrifically reaffirming that this is not your typical legal drama.

Harvey Specter (Gabriel Macht) is not soft. He has trouble with relationships because it's hard for him to open himself up. That's what ran Scottie (Abigail Spencer) away before, and it's what has made it difficult for him to have friends, save a select couple.

Yet, "Stay" sees his ice-cold heart crack and melt. Harvey offers Mike (Patrick J. Adams) as sound advice as he can, knowing he is not a relationship guru. He finds a way to connect to Ava Hessington (Michelle Fairley) emotionally, prompting her to drop her suit against Pearson Specter. And most importantly, when Travis Tanner (Eric Close) bullies and torments Scottie, he comes to her aid. This sets the stage for Harvey to not only realize his feelings for Scottie, but after some coaxing, admit that he wants her to stay and be with him.

This is a big step forward for Harvey. He'll never become a teddy bear or lose his edge, but he does have room for multiple facets in his life, and Dana Scott brings out a side of him we haven't really seen before. Can Harvey make a true relationship work, or will he sabotage it, as he does so many other things? Does he have the capability to just be happy?

Mike sort of follows in Harvey's footsteps, almost screwing things up with Rachel (Meghan Markle) because he doesn't want her to go to college at Stanford, far away from him. It's not until he realizes how unhappy Harvey is and does some serious soul searching that he can be supportive of Rachel no matter what her decision. It's true that long distance doesn't work, and it probably won't for Mike and Rachel, either. But at least Mike handles things graciously and allows Rachel the space to make her own decision, setting the stage for an eventual reconciliation when she returns, after they eventual break up when she leaves.

Except, her leaving is not how this plays out. It's not completely unexpected; she is way too valuable a member of the ensemble to just send out for a few years. So instead, we see her make a deal with Jessica (Gina Torres) that will allow her to continue to work at Pearson Specter after she graduates in exchange for sticking her neck out for Mike and Jessica, then tells Mike she's staying to go to Columbia. It's comes across as a more sweet vibe than girl-giving-up-her-dreams-for-a-man-sy, but there could be resentment and regret down the road from this decision...

Louis (Rick Hoffman) also has to figure out how to be romantic when his arrangement with Sheila (Rachael Harris) falters. For Louis, their tryst is as much about business as she is about pleasure. Sheila, however, wants more. They have a strange dynamic, both being such similar people, and neither particularly prone to a traditional relationship. But I'm glad they make it work because Louis deserves happiness, and she seems a good one to give it to him.

Yes, this makes "Stay" sound like it's all a bunch of mushy stuff, but that just isn't true. Like the characters themselves, there are many layers to the show. Donna (Sarah Rafferty) saves the day when she uses Stephen Huntley's (Max Beesley) feelings for her against him. There are intense deposition scenes. Jessica tricks Donna into spilling some gossip, then goes after Mike and Rachel to protect her firm. And Louis uncovers a startling secret about Mike.

We know Mike faked his Harvard tenure, but no one ever got the chance to stick a paper file in the big file room at the school? It's completely keeping in what we know of Louis that, left alone in said file room, he checks for Mike's file. This overlooked snafu could unravel the whole charade.

The question is, what will Louis do with this information? He's shown a great ability to do the right thing, which protecting Mike may or may not be, depending on perspective, even when that is against his purpose, and sacrifice for the greater good of the business. He and Mike have even been friends from time to time, though not lately. So it's very conceivable Louis could get past this. However, it's also very likely he may make some very big trouble before he realizes what he should do, or this may be the straw that finally breaks Louis's back and makes him stand up, or he could convince Jessica that it's wrong to keep Mike on staff. It's hard to tell.

This development does bring Mike's original story full circle, with the last main character finally finding out about his deceit. Well, on his way to finding out, anyway. The beginning of Suits is long gone, and the show continues to grow. It's sort of a relief that this should be the last time Mike's falsification poses a real threat, at least from the inside, and now the story can move on to other things. But given how well Suits delivers drama and tension, I'm also in no hurry to see this played out, as it should make an amazing thread in the back half of the season.

Suits will return this winter to complete its third batch on USA.

NASHVILLE Sings

Article first published as DVD Review: 'Nashville - The Complete First Season' on Blogcritics.

Last fall, ABC’s Nashville introduced us to Rayna James (Connie Britton, Friday Night Lights), a country music queen whose career is on the downswing. Her production company has an idea – team her up with hot young ingenue Juliette Barnes (Hayden Panettiere, Heroes) – and Rayna can rise to the top again. It’s synergy made in production heaven.

As the 21 episodes of The Complete First Season, now available in a five-disc DVD set, reveal,  things are quite a bit more complicated. For one, Rayna and Juliette do not get along in the slightest, both having preconceived notions about one another, and clashing upon meeting. For another, they’d both like to work with Rayna’s long-time guitar player and former lover (and recovering alcoholic), Deacon Claybourne (Charles Esten, Big Love, Enlightened).

On the home front, Rayna’s life is no easier. Husband Teddy Conrad (Eric Close, Without a Trace) is involved in politics, as is Rayna’s manipulative father, Lamar Wyatt (Powers Boothe, Deadwood), and close family friend Coleman Carlisle (Robert Wisdom, The Wire), making the race for mayor of the big city quite messy. Toss in Rayna’s heir-apparent sister, Tandy (Judith Hoag, Big Love), and Rayna’s daughters, Maddie (Lennon Stella) and Daphne (Maisy Stella), and it’s no wonder Rayna is distracted on the road, priorities warring for attention.

As Juliette struggles to stay in the public eye, her every decision becomes gossip fodder, fueling her perception (somewhat warranted) as a diva. Whether she’s going through tumultuous relationships, dealing with addict mother, Jolene (Sylvia Jefferies, The Notebook), or fighting with manager Bucky (David Alford, Stoker), she is constantly judged, and her motivations dissected. Nashville shows us the pressures of someone in this position, a timely tale in today’s celebrity-obsessed world.

Nashville may center on the big stars, but it also takes us to the other end of the music scene. Deacon’s niece, writer Scarlett O’Connor (Clare Bowen, The Clinic) is just getting started, unintentionally being found in a bar along with her performing partner, Gunnar Scott (Sam Palladio, Episodes). Gunnar is love with Scarlett, complicating the arrangement, especially as Scarlett is with Avery Barkley (Jonathan Jackson, General Hospital), a band leader who soon becomes jealous of his girlfriend’s success.

If you think that’s a sprawling cast, you’d be right. But it takes that many people to keep a soapy drama chugging along week after week, as broadcast television demands a lot of installments per year. Nashville holds its own on the cluttered landscape, carving a new path deserving of attention. The personal dynamics may be familiar, but the setting is fresh, the plot twists keep coming, and it’s rarely stale.

The series also boasts some fine performances. Britton is well-known among many television fans for her previous work, and it’s no surprise at the range and layers she exhibits in such a plumb starring position. What may be unexpected is that Panettiere, mostly known as “the cheerleader” from a superhero series, matches her scene for scene, a worthy partner on screen. These two women are Nashville, and they could not have been any better cast.

Of course, Nashville would be nothing if its music sucked, with songs playing such an integral part in the production. Thankfully, there is a crack team behind the original numbers, delivering us ballads, pop standards, and moving soul-searchers, with a bit of rock tossed in here and there. There aren’t any real duds, and the musical numbers are often delivered with great effect, not being forced or squandered to fill an episode. As someone who isn’t even really into the country genre, there is still plenty to appreciate in Nashville.

There are a smattering of special features in this release, nothing groundbreaking, but serviceable enough. Deleted scenes and bloopers, the go-to inclusions, are present, along with a trio of featurettes about the titular city, the music behind the show, and a set tour. Unfortunately, there are no commentaries, and the extras are short on time with the actors, which is a bit of a disappointment. Who doesn’t want to see Britton and Panettiere talk about one another and the show? Perhaps that will be made up in future season sets? Still, combined with the episodes, worth a look.

Nashville – The Complete First Season is available now.

NASHVILLE Alive and Well

Article first published as NASHVILLE Alive and Well on TheTVKing.

If anyone in the television industry still thinks that Hayden Panettiere, the cheerleader from Heroes, can't hold her own against Tami Taylor herself, Connie Britton, that person need only watch "I'll Never Get Out of This World Alive," the first season finale of ABC's Nashville, to have their mind forever changed.

Panettiere's Juliette, a young country music superstar, prepares for the CMAs, in which she hopes to beat Britton's Rayna James, a legend in her own time, for a prestigious award. But Juliette's night is sidelined when her drug addict mother, Jolene (Sylvia Jeffries, Eastbound & Down), is found dead of an overdose, her sober companion Dante (Jay Hernandez) murdered by a gun beside her. Juliette tries to go on, but soon finds herself bogged down with grief.

Panettiere's performance is extremely impressive. The way she captures Juliette, who is not herself naturally a nice person, with all of the layers of her emotions, is extraordinary. Juliette has wished for Jolene to be dead, but also loves the mother who has made her life so complicated. This isn't a story just anyone can relate to, with most people having better dynamics with their parents, but it's easy to see just how talented Panettiere is when capturing all of Juliette's conflicting feelings.

This continues past the CMAs, to Jolene's funeral, and then a tribute performance at the Bluebird. We see Juliette honor her mother, and be angry at her. We also see Juliette get support from the people she clashes with, Rayna, Deacon (Charles Esten), and her former manager Bucky (David Alford). It's a time for Juliette to reconsider her life and her values, and she comes out stronger than ever.

Which means, unlike in Nashville's freshman year, she may be ready for a serious, mature relationship. The most likely candidate to begin this journey with her is Avery (Jonathan Jackson), who has undergone his own trials this season, only to emerge from the other side a better developed person. They both deserve love, are good people, and have worked to improve themselves. I hope this happens for them.

Oh, and Juliette wins the award, which should matter next season, even if it doesn't right now.

At the opposite end of the spectrum, things completely fall apart between Rayna and Deacon. The pair may have destiny on their side, but a host of tribulations have kept them separated from some time, and it's past mistakes that haunt them now. Deacon learns that Rayna has lied to him about the parentage of their daughter, Maddie (Lennon Stella), and falls off the wagon in a severe way.

If there is ever a sympathetic reason to give up thirteen years of sobriety to return to one's bad habits it is learning that the woman who you consider the love of your life has a daughter by you that she has claimed to be another man's for a very long time. Still, it's very depressing to see Deacon, a beloved character who has been doing so well, sink to such depths.

Rayna is going to have to distance herself from Deacon. She has two daughters to worry about, and they can't be around someone so unstable. In fact, the ending of "I'll Never Get Out of This World Alive" finds Rayna flipping Deacon's truck as they fight, crashing. This is clearly not a healthy relationship and has to end until Deacon pulls himself back together.

Despite the recent death of Dante and Jolene, it's unlikely either Rayna or Deacon did not survive the wreck. They are too central to Nashville, and the series would not be the same without them. But it should serve as a wake-up call for their behavior.

In the meantime, with Deacon so messed up, Teddy (Eric Close) won't have any trouble keeping Maddie. There is a reason Rayna chose him to be Maddie's father, and Teddy loves Maddie. He won't do anything to jeopardize the girl, and will be there for her at this time when she needs him. It's not fair for Maddie to only blame Rayna for the lie, but Teddy is a good influence in Maddie's life and should remain so.

That is, as long as he beats Rayna's father, Lamar (Powers Boothe) at his political game. Lamar crosses a major line by taking legal action against Teddy, something that could disrupt his granddaughters' lives and ruin the just-repaired relationship between Lamar and Rayna. It's a stupid move for someone who wants to keep his family, and even if Lamar wins his baseball stadium, he still loses.

The proceedings seem to hang on Lamar's other daughter, Tandy (Judith Hoag), who has every reason to turn against Lamar after he promotes someone else over her. Tandy has had her share of problems with Rayna, but her immediate anger is at Lamar. So Teddy should have the upper hand, at least for now.

In other relationship news, "I'll Never Get Out of This World Alive" finds Gunnar (Sam Palladio) proposing to Scarlett (Clare Bowen). We don't see Scarlett's answer, but it's unlikely she'll say yes, or if she does, she won't go through with the nuptials. Scarlett and Gunnar's problems are too complicated to fix with a ring, and their careers are in drastically different places, Gunnar willing to give his up for her, which is the makings of resentment and more issues. They may very well end up together, but Nashville is a drama, and there's plenty of drama to milk out of both characters before allowing them to settle down.

Lastly, there's Will Lexington (Chris Carmack, The O.C.), the late addition to the cast. Will is trying to cover up his homosexuality because that could hurt him in his desire to be a country music star. Despite his only recently joining, we've learned enough about him to care, and although he isn't always on his best behavior, he doesn't deserve to be ruined. It will be interesting to see how this plays out, a plot that seems quite timely to the current social climate.

Nashville has proven itself to be a fine, compelling series, and this finale may be one of the best hours the show has delivered yet. I'm glad that it will be getting a second season beginning next fall on ABC.

Welcome to Nashville

Grade: 92%

First there was FOX’s Glee. Then NBC’s Smash. Now ABC enters the musical fray, appealing to a different demographic, with NASHVILLE. While Glee mixes showtunes and pop, and Smash goes mostly for original, Broadway-style tunes, NASHVILLE embraces country, both old and new, with an interesting, soapy drama and some decent original music.

The leads are familiar to those the slightest bit familiar with the country music scene and recent films and television portrayals of it. Rayna James (Connie Britton, Friday Night Lights, American Horror Story) is a legend who is past her prime. Whereas before she sold out arenas, now ticket sales are dwindling. Her record label asks her to “co-headline,” really, open, for young sensation Juliette Barnes (Hayden Panettiere, Heroes). Rayna is insulted and refuses, even when record label threatens to drop her.

Is Rayna being unreasonable, a diva, if you will? Well, not completely. She acknowledges and apologizes for her diva moments. She just isn’t ready to admit she’s not as successful as some trampy young starlet who isn’t nearly as good as Rayna. Who can blame her for that?

It’s easy to stay sympathetic for Rayna because Juliette is a mess. Autotuned to correct a weak voice and freely trading carnal relations for favors, Juliette is a picture of everything that’s wrong with modern music and fame, country or otherwise. Even with a drug addict mother (Sylvia Jeffries, Eastbound & Down), thrown in to soften Juliette, it’s still hard to feel sorry for someone who so openly snubs Rayna and tries to steal Rayna’s band leader.

Said band leader, Deacon Claybourne (Charles Esten, Big Love, Enlightened), is the poor sob stuck in the middle. He is in love with Rayna, who is married to another man, and is offered sex and large amounts of money by Juliette to defect. A joint tour could save him the pain of having to choose, but with that looking unlikely by the end of the “Pilot,” he will probably be a source on conflict for the women.

Oh, and Rayna’s controlling and despicable father, Lamar Wyatt (Powers Boothe, Hatfields & McCoys, 24), is convincing her pushover husband, Teddy (Eric Close, Suits, Without a Trace), to run for mayor of Nashville, further complicating her life. This also sets the stage for a possible Deacon / Rayna romance if Teddy goes too far in service to Lamar.

The style of music will set NASHVILLE apart from its peers, but so, too, will the quality and tone. Whereas Smash and Glee might borrow from other sources, or use a limited catalogue, NASHVILLE freely explores different aspects of the genre. While the tunes are new and original for the series, it’s sort of like HBO’s Treme in that it uses the music to capture the spirit of an industry and a town. Whether it’s Juliette’s frothy popular fare, Rayna’s classics, or Scarlett’s (Clare Bowen) poetry that boyfriend Avery (Jonathan Jackson, General Hospital) turns into a new style entirely, there is a soul here that is missing from other television shows.

Add to that, NASHVILLE does the drama well. It’s not as over-the-top as Dallas, but there’s a Southern charm that can disguise snaky backstabbing that really gives flavor to the characters. There is no doubt that varying people have different agendas, and some are willing to be pretty unscrupulous to get what they want. There will be shades of grey, and while some of the villains are obvious, others will probably be created or revealed as the series unfolds, and several will probably straddle the line depending on the circumstances. These are fully developed people here, not just caricatures. Even setting the music aside, it’s a marvelously executed, engaging tale.

Which is why NASHVILLE deserves a watch. Some series can do one thing right, but few juggle multiple elements so deftly. A terrific cast, great music, and wonderful writing combine to make this one of the best new entries into the fall television season. The country aspect may be enough to appeal to many middle Americans, turned off by the specific genre that Glee and Smash fit into. And while it feels familiar enough to be welcome in our homes, it’s also different enough to feel like something new and special. Kudos all around.

NASHVILLE premieres this Wednesday, October 10th on ABC.

Suits makes a "Discovery"

Last night's Suits on USA was called "Discovery." Mike (Patrick J. Adams) mouths off to Harvey (Gabriel Macht), and in retaliation, Harvey assigns Mike to Louis (Rick Hoffman). Working a case together, Mike actually comes to respect Louis, forming a pleasant bond. That is, until Louis plants a recorder in Harvey's office and hears the pair calling him pathetic. Meanwhile, Harvey asks Donna (Sarah Rafferty) to dig into an old case when he is accused of forgery by Tanner (Eric Close, Without a Trace).

"Discovery" has some of the best Louis scenes of the series so far. Here he is, exposed and raw, and at his best, professionally. Mike gets to see how talented he is, and also how much it hurts Louis to always be put down, never getting his due. It opens up a vein of sympathy, really making Louis a sympathetic character in a way that he has never been. He may be a dick, but he's good a reason for being that way.

Sadly, Mike's relationship with Louis is over almost before it begins. This isn't really Mike's fault. Mike is smart enough to know that Harvey isn't going to listen to a flat out defense of Louis. Thus, Mike finds himself agreeing with Harvey's negative comments just to get a little bit of a good word in. Louis doesn't realize this, focusing just on the bad stuff Harvey and Mike say.

The thing is, Harvey doesn't trust Louis for a reason. While viewers get to see Louis as a good man, Harvey knows the depths that Louis can sink to, and also his limits. I mean, Mike does, too, confronting Louis about his bad behavior. But while Mike still tries to look past that, Harvey has no patience left for that. In this, Louis has made his own bed, and has no one to blame but himself for the way he is treated.

Louis isn't the only one with insecurity, though. Harvey feels pretty righteous standing up for himself against Tanner, but he is vulnerable. Whether he purposely acted in the wrong or not, there is something here that seems to be Harvey's fault. And with Tanner determined to bring Harvey down, viewers certainly haven't seen the last of this story. Which is fine, because it's cool to see a less confident, not quite so smooth, version of Harvey.

The question is, how much support does Harvey have? Because he's going to need all he can get. Jessica (Gina Torres) is with him, of course, but now Hardman (David Costabile) is in the loop, too, because Louis tells him everything he overheard to get even. Hardman claims that he will be working on Harvey's behalf. And he may, if only to protect the firm. But by showing this weakness to Hardman, especially is Hardman helps beat it, leaves Harvey, and by extension, Jessica, vulnerable to further manipulation from the returned partner.

Hardman is the possible bad good who is seemingly on the good side, for now, while Donna is currently the good girl who did wrong. She discovers an incriminating paper in the files, and her name is signed to the document. This might mean that Harvey is culpable for fraud, and it's Donna that left him exposed. This is her worst nightmare, and she will do anything to make up for it. But how will she tell Harvey this, knowing how bad it looks, and is there anything she can do to protect him and herself?

Despite the seriousness of this discovery, the file search does lead to a wonderfully funny moment featuring Donna and Mike. As Harold (Max Topplin) catches them, they pretend they have had sex to cover for it. While amusing, this opens up an interesting pairing. Any chance Suits might ever consider going there? Donna may be a bit older than Mike, but she's still extremely attractive, and he would be lucky to have her. Then again, this would seem a bit wrong, so it's probably not a good idea.

Equally disturbing is Harold's worship of Rachel (Meghan Markle). There is a very sweet moment when Harold hits on Rachel in "Discovery," but the two are so mismatched that everyone knows it will never happen. Well, everyone but Harold. His earnestness is charming. Hopefully he will find love. Just not with Rachel.

Another excellent entry for one of the best shows running this summer! Catch Suits Thursdays at 10 p.m. ET on USA.

Check out my new website, JeromeWetzel.com! If you like my reviews, please follow me on Twitter! Click here for all of my Suits articles! First published as Suits makes a "Discovery" on TheTVKing.com

Chaos gives a fun pilot that doesn't feel like CBS

     The first thing that struck me about CBS's Chaos is that it does not feel like a CBS show. I say that as a compliment. CBS is known for its crime procedurals, which tend to follow the same formula most weeks. While the network has some truly excellent series that break the mold (for example, The Good Wife and The Big Bang Theory), Chaos is not what I expect from them. It feels more like a FOX offering, or perhaps NBC. As such, I applaud CBS for delivering a fun, highly enjoyable pilot.

     In the beginning, Rick Martinez (Freddy Rodriguez, Six Feet Under, Ugly Betty) arrives to work at the CIA, only to find that his job no longer exists due to budget cuts, a timely twist that I'm sure many viewers can relate to. Because his dream employer has always been the Agency, Rick begs Director Higgins (Kurtwood Smith, That '70s Show, Worst Week) for any position, listing his various skills, many self-taught. Higgins relents, placing him within a rogue-ish department known as ODS as a mole, assigned to report back to Higgins on any rules the other men break. Hesitantly, Rick agrees to accept the odd job.

     The colorful group of men that make up ODS, led by Michael (Eric Close), operate outside of direct oversight, having high connections that allow them to break the rules. They are onto Rick from the moment he walks in the door, and have him blackmailed inside of an hour. Most of the rest of the episode involves a real mission, where Rick struggles to earn their trust, and ends up siding with them against Higgins before the end of the pilot. Because the ODS guys are likable, while Higgins is almost villain-like, Rick must be with them in the scheme of things to make a valid central character. However, in the eyes of legality, Higgins is a hero trying to clean up a department of misfits.

     There is action and a little suspense, but the strongest element of this spy series is the humor. Rick swallows a live scorpion at one point. A team member, Casey (Tim Blake Nelson, O Brother, Where Art Thou?) is known as the Human Weapon. Another, Billy (James Murray, Primeval), speaks with a thick Scottish brogue after leaving his native country under suspicious circumstances. A CIA man with no office wanders the halls and tries to befriend others in hopes of landing a more stable assignment. I welcome very much these gags because we already have more serious series in the genre, and its nice to see a network show that holds fun in high regard.

     While every single main character shines and has distinctive characteristics right after the bat, I find Fay (Carmen Ejogo, Kidnapped, Away We Go) the most interesting. That's because her attraction to Rick seems genuine, but she works for Higgins, and was once married to Michael. As such, her loyalties are surely pulled in several different directions, and it's hard to know if she can be trusted or not. I hope the series goes on for quite a while before we find out Fay's true motivations.

     If you'd like to check out Chaos, it airs Friday nights at 8 p.m. ET on CBS.

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