GRIMM "Jack"ed Up

Article originally written for Seat42F.

This week’s installment of NBC’s GRIMM finds Nick (David Giuntoli), Hank (Russell Hornsby), and Wu (Reggie Lee) tracking a serial killer who slays prostitutes. The style of these killings seem to match the notorious Jack the Ripper, who is not thought to be a Wesen, but has been around for hundreds of years. I guess “You Don’t Know Jack” as well as you thought you did.

“You Don’t Know Jack” is a little bit better than previous weeks, continuing a slight upward trend for GRIMM. After far too many cases-of-the-week, reducing what was once a clever serial story to a boring procedural, GRIMM is finding its legs again shortly before the finale. Lots of crime shows go for bigger arcs near the end of the year, so I wouldn’t count on this one sticking, though I certainly hope it does.

The meat of this hour is really about changing Juliette (Bitsie Tulloch) back into a normal person, not Jack the Ripper murdering women. Adalind (Claire Coffee), Rosalee (Bree Turner), and Monroe (Silas Weir Mitchell) dig up Adalind’s mother to make a potion. They then test it on Adalind, removing her Wesen side once again, before unsuccessfully trying to get Juliette to drink it.

I don’t know why Nick and his friends ever think Juliette will agree to down the liquid. She has made it quite clear over the past few weeks that she likes who she is now. She may not be in her right head; the old Juliette that viewers are familiar with would never act like this. But by now, even the densest or most blinded-by-love character on GRIMM should have realized this, too, and Nick doesn’t even seem all that upset by the change in her. This approach to Juliette does not work, and it makes no sense that the characters go about things this way.

Adalind isn’t handled all that well, either, instantly earning sympathy from the group, whom she goes along with. While once Adalind may have been able to work with these people, by this point in season four, they should be very far apart, and were just an episode or two ago. I understand circumstances have forced them to rely on each other, but that does not justify Adalind spilling out her heart to her mother in front of others or Nick’s tender way of helping Adalind lie down. This is weak storytelling.

It also doesn’t feel right that everyone just allows Adalind to drink the potion. She is super concerned with protecting the unborn fetus within her in other scenes, but swallows without hesitation when the time comes. Nick doesn’t seem to want the child nor intend to be involved, but he watches out for pregnant Adalind, except at this moment. Given the lack of confidence in everyone that the plan is going to work, why doesn’t anyone try to talk Adalind out of being the lab rat? They now value her baby over Juliette?

The case is actually the more interesting story, though I’m not complaining about the scant screen time it gets in “You Don’t Know Jack.” When the first two women die, I didn’t find myself caring, but then Jack takes out Henryetta (Garcelle Beauvais). Granted, she isn’t truly important to the story, but she is a familiar face, and one that doesn’t fit Jack’s victim profile. Why does he kill her?

This is important because it’s hard to know what this means for Renard (Sasha Roiz), who is still suffering from hallucinations and random bleeding. He runs away when Henryetta tries to talk to him about his condition, but he’ll come to his sense eventually and return for her help. Unfortunately, it’s too late for that now, her body already growing cold.

I can’t say I feel a lot of suspense with the cliffhanger of the gun going off. Monroe seems the most obvious person that could be shot, but he’s fine in the preview NBC ran for next week’s GRIMM at the close of the hour, yet another reason why I don’t usually watch those. Still, despite GRIMM promising a significant death coming, and I hope to hell they aren’t trying to pass Henryetta off as “significant,” the concluding scene just doesn’t feel big enough to off a main character in.

I’d also like to lodge a complaint about how much of the trailer’s contents survive the fire. Metal weapons, sure, I guess, but books? Come on! They would be nothing but ashes. Unless there’s some magical protection on them, which doesn’t seem likely, given the portions of pages missing.

“You Don’t Know Jack” is an improvement because it concentrates more on the mythology of the series and deeper story, but its plot holes and skimming over what could be emotional growth moments cheapen it, not at all rehabilitating the negative view I’ve come to have of this series.

GRIMM airs Fridays at 8 p.m. ET on NBC.

"Bad Luck" For GRIMM Fans

Article originally written for Seat42F.

GRIMM returns on NBC this week with “Bad Luck.” It begins by picking up right where the previous installment left off, with Nick (David Giuntoli) finding out that Juliette (Bitsie Tulloch) is a Hexenbiest. From here, there is some play on the program’s serial arcs, but most of the hour is taken up by yet another case-of-the-week that really doesn’t figure into the large scheme of things.

I don’t know why GRIMM has reverted to all of these stand-alone stories, but it’s becoming quite frustrating. At its best, the show unravels a cool narrative with a deep mythology. But far too often the concentration has been on isolated crimes that are solved at the end of an hour, reigniting a worry I had at the start about the direction the show will take. This worry was alleviated for awhile, but has now returned stronger than ever. This seems especially apparent this season, as in the past there were fewer of these type of hours. There are plenty of formulaic crime shows on television; we don’t need another one, even if Nick is technically a cop. Why is GRIMM wasting our time?

“Bad Luck” is a prime example of my complaint. It teases us with a Nick / Juliette story, then immediately starts following a murderer that is hunting rabbit-like Wesens. He cuts off their left foot, which is supposed to bring good luck in fertility. It’s a brutal, archaic practice, and Nick, Hank (Russell Hornsby), and Wu (Reggie Lee) track him down and stop him. Case closed, and we’ll likely never see these characters again.

What’s the point of that? Besides getting a too-brief glimpse of Romy Rosemont (Glee) playing the matriarch of the hunted clan, what benefit does the central plot of “Bad Luck”provide? Does this story matter in the larger picture of GRIMM? No. While viewers long to get back to the crumbling relationship, with Nick making an effort to accept the new Juliette and Juliette not allowing him to because of her own anger at the situation, instead we waste time with a local murder and kidnapping. Nick isn’t the type to just take Henrietta’s (Garcelle Beauvais) word that Juliette can’t be saved. Why isn’t he devoting more effort into solving the problem?

The episode further messes with fans by dropping a Renard (Sasha Roiz) / Adalind (Claire Coffee) scene in the middle in which Adalind has seemingly switched sides, turning on Viktor.  This is a pretty big development, if true, and shifts the dynamics of the struggle. The threatened revolution against the royal family only gets more intense as a baby’s life hangs in the balance. So why can’t we spend time on that? It certainly rates more than a minute or two in the middle of a full hour.

“Bad Luck” ends with an even more startling revelation: Adalind is pregnant with Nick’s baby! This is huge! We don’t know what a hybrid Hexenbiest / Grimm would look like, or how that could affect the balance of power in GRIMM’s universe. We also don’t know how this will affect Nick and Juliette, who are already on the outs, though I don’t see Nick taking up with Adalind, even if she is bearing his child, because they hate one another. 

Unfortunately, rather than exploring the vast implications of such a development, I’ve lost faith in GRIMM seeing it through. We’ll probably still continue to get a few minutes per episode that deal with the bigger arcs. But when the vast majority of the time is spent on matters that don’t pertain strongly to our leads, keeping us away from the far more interesting stories, it becomes hard to continue to watch. GRIMM was a solid series and could be so again, but right now, if I wasn’t writing about it, I’d seriously consider quitting watching it. A few great bits, such as the tie-in to the lucky rabbit’s foot myth, a character that could be called Peter Rabbit, and the young girl in distress defending herself instead of letting holier-than-thou Nick save her, do not make up for the larger mess.

GRIMM airs Fridays at 9 p.m. ET on NBC.

“Maréchaussée" Threatens GRIMM

Article first published as GRIMM Review Season 4 Episode 12 Maréchaussée on Seat42F.

This week’s episode of NBC’s GRIMM is called “Maréchaussée.” For those unfamiliar with the term, as I was, it refers to the secret French police force that worked under the monarchy and who were basically bullies whose victims had no appeals process. To no one’s surprise, the Wesen royals have their own Maréchaussée, seen this week in the form of a bounty hunter (Arnold Vosloo, 24, The Mummy), who comes to town to take out a couple of false fortune tellers. Then he receives a new assignment: Nick (David Giuntoli).

I’m torn in my opinion of this episode. On one hand, the central Wesen guest star is connected to a larger story and group, and the title of the episode makes reference to that. So that makes it a mythology episode that moves along the arcs, the type of serial story I enjoy from Grimm. On the other hand, Nick, Hank (Russell Hornsby), and Wu’s (Reggie Lee) hunting of said Maréchaussée plays out very much like the police procedural crap this show has been spitting out recently, without enough variation in the main thread to set the hour apart. “Maréchaussée” toys with what once made GRIMM good without fully delivering on it.

During the investigation, it’s Wu who is now the human super-computer of knowledge and problem-solving. This serves a dual purpose, proving that Wu should have been a part of the team all along and giving him something to do in the episode, both good things. The problem is, Wu continues to get little acknowledgment from his teammates and he still feels tacked into the group, rather than a full-fledged member of it. Wu’s story starts the year so promising, and it, like this episode, fails to be what it should.

Yet, I can’t help buy enjoy “Maréchaussée.” There are some great subplots, which I’ll get to in a minute, and the case above is entertaining. Vosloo is a great guest star, if not used enough. His murder of the fortune tellers feels good because they deserve to die. Having the viewers know there’s something a little bigger going on and our heroes in the dark is engaging, as we wonder when they’ll put the pieces together. Even though the bounty hunter is killed, more will definitely be following. So, overall, while this isn’t one of the best episodes of GRIMM, it’s far from one of the worst, and certainly better than the last few.

A big development that happens this week is that Viktor (Alexis Denisof) and Adalind (Claire Coffee) come to Portland. They are hunting for Adalind’s baby, whom Renard (Sasha Roiz) sent away. It’s surprisingly only that it takes them so long to arrive, given that their focus this season is finding the infant, and now that they’re here, all sorts of delicious drama can take place.

Viktor has major political power and has plenty of people at his command. This makes him a very real threat, one Renard can’t just put off. It’s a good thing that none of the major players know where the baby actually is because that means Viktor’s interrogations can only go so far. The bad news is, once Viktor realizes the dead end, he’s going to get more dangerous and violent. And there is a way for Nick to get in touch with his mom, so the child isn’t completely safe.

Renard has a secret weapon, though, and that’s Juliette (Bitsie Tulloch). Henryetta (Garcelle Beauvais) tells Juliette this week that she can’t be cured of her Hexenbiest affliction and that she’s hella powerful. This understandably disappoints Juliette, but it also gives the good guys a very valuable ally that Viktor doesn’t know about. Juliette could be a game-changer here, especially given the bad-ass way she takes out the bounty hunter.

What’s also a game-changer is that Nick doesn’t know about Juliette because he’s the worst detective and most unobservant husband ever, and it’s going to really hurt their relationship when he finds out she’s been keeping this from him. She’s scared and ashamed, but she should turn to Nick, since Nick is the one who deals with these type of creatures. The fact that she hasn’t told him is nearly inexcusable.

Nick should forgive her, though. After all, she forgave him for keeping all his Grimm stuff a secret much longer. As wrong as it is for her to keep this to herself, indicating a very big lack of trust in their relationship, he should just consider this making them even. From here, they can either both put the past behind them and be better to one another, or they can break up. There should be no long, rocky road because they’ve already gone through that and it clearly hasn’t fixed them.

Next week looks to be a better episode, as there just doesn’t seem to be time for another case-of-the-week. Though, I won’t rule one out, since Grimm seems to be making many bad storytelling decisions as of late. We’ll see.

GRIMM airs Fridays at 9 p.m. ET on NBC.

"Part" of GRIMM is Good

Article first published as GRIMM Review Season 4 Episode 11 Death Do Us Part on Seat42F.

Reggie Lee as Sgt Wu, David Giuntoli as Nick Burkhardt, Russell Hornsby as Hank Griffin | GRIMM

 

NBC’s GRIMM is back to case-of-the-week stuff in this week’s “Death Do Us Part,” unfortunately. A team of ghost hunters encounter a Wesen that murders one of their own. When Nick (David Giuntoli), Hank (Russell Hornsby), and Wu (Reggie Lee) investigate, they discover a love triangle and a man gone insane in the creepy house. From there, it’s not hard to stop the haunting.

The main plot of “Death Do Us Part” is utterly predictable and trite. Right from the beginning of the hour, there is never a doubt in my mind that the husband is the killer and still hanging around. The official ruling from the connected original case five years ago is that the lover killed a husband and wife in bed, but that makes no sense to anyone who ever watches crime shows. It’s always a jealous spouse who is the guilty party, as it is here.

There is also no reason to ever suspect ghosts are real here. It would be cool if Grimm were to expand its world and the crazy man, Stetson (Derek Phillips, Friday Night Lights), really did see his dead wife, but he didn’t. This universe is full of strange creatures, but only living strange creatures, which keeps it somewhat grounded. It’s hard to complain about that choice, but since the episode is so annoyingly boring, I was hoping for a hint of something cooler.

In the end, Nick and his colleagues don’t even stop the killer. The dead lover’s spouse, Lily (Rebecca Wisocky, Devious Maids), shoots Stetson, thus ending his reign of semi-terror. Then they let her get away with it.

In this specific case, it’s true, the killer Wesen couldn’t really be jailed in the traditional sense. But he was mentally ill, not evil, and needed help and sympathy. Instead, he’s just executed. And the cops don’t do what cops are supposed to do, which is seek justice. Instead, they sweep it under the rug. There are very legitimate reasons that Nick, Hank, and Renard (Sasha Roiz) have gotten used to taking the law into their own hands, and a lot of times, that’s acceptable. Not here.

I was hoping Wu would be the voice to speak up and remind the others about the responsibility of the badge. Instead, in a mere couple of weeks, he’s settled right into being the gopher again, albeit a gopher in the know. There’s a scene in the trailer in “Death Do Us Part” where Nick ‘graciously’ allows Wu to read what he found about the Wesen they are hunting. This is the most Wu ever gets acknowledged by his co-workers, despite the fact that he finds the baddie in the book and an image on a melted camera. Wu is highly capable; now we just need to see him come into his own.

The one part of “Death Do Us Part” that is interesting is the thread where Renard introduces Juliette (Bitsie Tulloch) to the mysterious Henryetta (Garcelle Beauvais, Franklin & Bash). But, as has become the case for such stories, it’s relegated to a few little scenes, moving forward very slowly. It’s also worth mentioning that Nick, a trained detective who isn’t that consumed with his case this week, continues to ignore Juliette’s strange behavior, which is completely unrealistic.

Once upon a time, Grimm was growing into a series to watch. In the tradition of Buffy the Vampire Slayer, it was crafting a compelling mythology and an engaging narrative. Now, it’s mostly gone back to being a police procedural that just happens to have supernatural creatures in it.

This follows the same trend of Sleepy Hollow over on FOX, about which a studio exec told the press it had become too serial. This is a disturbing trend for the broadcast networks. I’ll speak more in depth about this in my Jerome-ing column on Blogcritics.org this week, but at a time where choice in programming has never been broader, cable and internet companies are cranking out high-quality shows that earn accolades and legions of passionate fans. The Big Four continue to ignore that, looking at an outdated commercial-based model where only the least technologically-literate people looking for easy “fast food” television turn. This pool is shrinking as evidenced by the rampant ratings erosion. Forcing GRIMM back into a restraining box is not the answer.

GRIMM airs Fridays at 9 p.m. ET on NBC.

FRANKLIN & BASH "Alive" Again

Article first published as FRANKLIN & BASH "Alive" Again on TheTVKing.

TNT’s FRANKLIN & BASH is pretty much exactly what people mean when they talk about summer fluff television. Similar to the old USA shows, FRANKLIN & BASH follows two silly, fast-talking lawyers, Jared Franklin (Breckin Meyer) and Peter Bash (Mark-Paul Gosselaar), as they charmingly get into trouble, then show true compassion as they win emotionally-charged cases.

Season three kicks off this week with two new hours, “Coffee and Cream” and “Dead and Alive.” I can’t really say there is anything startling about the case-of-the-week in either. They are pretty typical of FRANKLIN & BASH installments, with the boys having to color outside the lines, but in the end, helping their clients. In the first, twin magicians want the guys to keep their secret while avoiding legal charges, and in the second, they must prove a man is still alive when a clerical error considers him dead.

These episodes are fun enough, and what fans of the show expect. They don’t stretch reality much further than other courtroom dramadies have done, and there are enough humorous moments to keep viewers entertained. A drop by Piers Morgan’s (guesting as himself) show seems slightly outrageous, but allows a nice introduction of a new character.

The problem is, the titular duo just don’t go far enough anymore. When the series first premiered, they seemed completely goofy, off in left field. As the show has gone on, their actions just aren’t shocking. Maybe we’ve grown used to their antics, or maybe the writers have just run out of ways to top themselves, but it’s more ‘business-as-usual’ than ‘wow!’ by now.

Luckily, while mostly procedural, there is a little bit more than that going on, and this third year may just be the one where everything changes. The most obvious development is the introduction of Rachel King (Heather Locklear) as the new boss. She immediately rebuilds the wall between Franklin and Bash’s offices, and cracks down harder on the rules than previous leadership.

The thing is, though, she isn’t that huge an adjustment. She lets Bash and Franklin do what they do, but just wants to keep better tabs on them. Maybe she’s evaluating the circumstances before taking much drastic action, or maybe she sees the benefit of their behavior. She is definitely a long-game player, which means her motivations won’t become clear for some time. Yet, her hindrance of the pair is more for show than making any real impact in the dynamic.

Lest anyone fear the eccentric head of the firm, Stanton Infeld (Malcolm McDowell) is gone, worry not. He may hand over the reins to King, who is actually Hanna’s (Garcelle Beauvais) replacement in the cast, but he’s still present. He has just decided that he isn’t a firm enough hand for the guys, and so is letting someone else do the dirty work.

What’s interesting to me about Rachel’s arrival is how Damien (Reed Diamond) is affected. At first, he is upset that Uncle Stanton is letting someone else take over the business, but then Rachel helps Damien prepare for an eventual judgeship. Who is Stanton grooming? He’s moving around a lot of pieces, and it looks like only he and Rachel may know what’s going on for now.

Besides the professional developments, Bash also gets a serious love interest. We know he isn’t a womanizer, at least not completely, and is open to love. But it’s nice to see someone brought in via a natural development who can turn his head and whom Bash doesn’t immediately figure out. This gal is introduced as someone who can hold her own, strong, but with a sense of humor. They have a nice chemistry, and I really hope this goes somewhere.

Pindar (Kumail Nanjiani) and Carmen (Dana Davis) are still around, too. In fact, the former has a very important story in “Coffee and Cream” that affects the entire team, drastically changing one element of the show, which I won’t spoil. It’s both hilarious and heart breaking, going a little darker than the series has before, but forcing evolution in a way that feels right.

There are definitely signs in both “Coffee and Cream” and “Dead and Alive” that the series and its main players are growing and changing, even while the central plot remains predictable and rote. There are some strong characters here, and should the more serial arcs be pursued, there could really be some movement in the coming weeks, which would be welcome. Otherwise, it remains the television equivalent of the summer blockbuster: a nice way to pass the time, but neither filling nor deep.

Unleash the Franklin & Bash!

TNT's Franklin & Bash completed their sophomore run this week with "6:50 to SLC." Bash's (Mark-Paul Gosselaar) law license is suspended because he misses a payment, which makes representing his buddy, Tommy Dale (Chris Klein, Wilfred), who is having problems with his campaign for governor, difficult. Meanwhile, Leonard Franklin (Beau Bridges) of Franklin & Franklin would like to purchase Infeld Daniels, whether Stanton (Malcolm McDowell) likes it or not.

It's a shame that Franklin & Bash has become such a procedural. Even in this episode, which spends at least half of its time focusing on firm politics, there is a case of the week that must be dealt with. In the beginning, that was OK because Franklin and Bash often made these cases fun and exciting with their big stunts. In this one, not so much.

Yes, there were great guest stars in "6:50 to SLC," like Klein and Paul Schulze (Nurse Jackie), who played Dale's campaign manager. And the story of two wives cheating on their husbands with each other is pretty scandalous. But they somehow made this boring, probably because of how toned down the two lead characters have become in court. In a story about Bash's old friend, this should never have been allowed to happen. It may be more realistic, but it's not as much fun to watch.

The other story, where Franklin's (Breckin Meyer) father tries to steal the firm right out from under their boss, is much more compelling. Stanton is a larger than life character, played a by a brilliant acting veteran who bites into the role with gusto. So when he is threatened and his vulnerabilities are laid bare, it makes for very engrossing television. Stanton shows his age a bit here, but he also shows his scrappiness and shrewdness, which got him to where he is today. The resolution is shocking and smart.

Stanton must reveal the real reason he hired Franklin and Bash and made them partners. They are a poison pill, a tool he can use to self-destruct the firm. They are not happy at all to learn this, two years (or only one year?) after they began working for him. But they do what must be done because they are stand up guys, making a huge fuss on an airplane. Stanton's later apology, and the boys' forgiveness, shows that there is a deeper bond here than a cynical arrangement. But their relationship with their awesome boss is rocked a bit, in a good way.

The other moments of greatness in "6:50 to SLC" come from Carmen (Dana Davis) and Pindar (Kumail Nanjiani). These are entertaining, quirky characters, who do not get nearly enough plot. Sure, it's nice to see Franklin and Bash make peace with Karp (Reed Diamond) and Hanna (Garcelle Beauvais), but I would trade an emotional Hannah scene for a funny Pindar bit any day. Again, going back to the complaint that Franklin & Bash has mostly become a rote procedural, more of these two characters would punch up the episodes.

Some hopes for season three, besides more outrageous antics and screen time for the boys' employees? Bring back their flying ban as a plot point, and make sure that Shiri Appleby returns for a sizable arc. It might be nice to see how Franklin handles a real relationship, and what she can do to the dynamic of the group.

This law show may have lost its way in the second season, becoming more predictable and monotonous. Hopefully, there will be a season three, which gives them time to make up for it.

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

FRANKLIN & BASH Season 2 Premiere Review

Mark-Paul Gosselaar, Breckin Meyer and Garcelle Beauvais : Photo : Trae Patton/TNT

TNT's FRANKLIN & BASH returns tonight with the season two premiere, "Strange Brew." Stanton Infeld (Malcolm McDowell) would like to make Jared Franklin (Breckin Meyer) and Peter Bash (Mark-Paul Gosselar) full partners at his law firm, where they have been working. To do so, the duo must earn the votes of two thirds of the existing senior partners. Infeld sends them to meet with a beverage company head (Kevin Nealon, Weeds), who, if they woo as a client, will help their chances. Unfortunately for them, keeping the client happy may mean abandoning their values.

FRANKLIN & BASH is about two lawyers who care about more than just the law, or their careers. They care about people. Their bold, outlandish stunts are part of their draw, but the real reason Infeld is so in awe of the boys is because they bring something to the firm that it's lacking. Infeld is ingrained in his ways, though, and so he doesn't always give them a leash of unlimited length. "Strange Brew" tests the resolve of all three, as Infeld insist they keep the client happy, and Franklin and Bash think about how much they might want a spot at the big table.

The series is pretty light-hearted. As such, while FRANKLIN & BASH may flirt with heavy drama, it stops short of committing to it altogether. Things work out in the end because the core fan base doesn't want the story to end on a downer. The characters can face tough situations and question themselves, but at the end of the day, the good guy must win, and justice has to prevail. It's not a new formula, but it's certainly one that regular viewers of this particular show count on. In this, "Strange Brew" may take the path of least resistance, but that's what the people are looking for them to do.

This does not make FRANKLIN & BASH a bad show. While it will never sweep the Emmys or any other awards ceremony, it is still very entertaining. That is why, even when the ending might seem a little too neat, it is still a good episode.

Besides, Franklin and Bash are not the only ones affected by their promotion. They have friends to consider, too. Their new position allows them to hire Carmen (Dana Davis) and Pindar (Kumail Nanjiani) full-time. This is good, because as a subplot of the episode reveals, Pindar is in need of the mental health care that will come with being a permanent employee. Some of his social problems can now be traced back to his ex-roommate's girlfriend, whom Pindar clearly had an attraction towards. Though, how Pindar deals with the woman speaks to a previously existing condition.

Becoming senior partners is not without risk. Hannah (Garcelle Beauvais) tells Damien (Reed Diamond) she supports the change because of a moral clause that might help them get Franklin and Bash fired for good. Is Infeld aware of this clause, and does he already have a plan to get around it, like he negated the five year waiting period that would have delayed partnership for some time to come? Or is he just not considering the implications, as he sometimes doesn't. Franklin and Bash's behavior will not change, and to keep the show going, they will not be fired, no matter how much Hannah and Damien scheme against them. So where is this plot going? Perhaps it's just a new source of ongoing, low-stakes conflict for the coming season.

Another great thing about "Strange Brew" it the wealth of guest stars. Besides, Nealon, Martin Mull (Clue, Sabrina The Teenage Witch) and Ernie Hudson (Ghostbusters, Oz) both play judges for various trials that Franklin and Bash bring to court. Kat Foster ('Til Death) is an attractive cop that Bash hits on while fighting a case against. Eddie Jemison (Hung) is an old friend of Franklin and Bash's, who was arrested by the hot cop. Is this a sign that good comedy actors are now lining up to appear on FRANKLIN & BASH?

Basically, "Strange Brew" is a return to same zany-hijinks-in-a-legal-setting recipe that attracted viewers last year. The quality of the stories and acting remains about the same. In short, it's mindless summer fun. FRANKLIN & BASH airs Tuesday nights at 10 p.m. ET on TNT.

Article originally published at Seat42F.com

Franklin & Bash end on a high note with "Go Tell It On the Mountain"

     TNT's Franklin & Bash ends season one with "Go Tell It On the Mountain." In the episode, the body of Infeld's (Malcolm McDowell) long-missing best friend is found, and it is clear Infeld killer him. Franklin (Breckin Meyer) and Bash (Mark-Paul Gosselaar) try to defend their boss, even after Infeld admits to being guilty. Their job is not made easy as a senior partner from New York (Tricia Helfer, Battlestar Galactica) arrives, and tries to play Damien (Reed Diamond) and Hanna (Garcelle Beauvais) so that she can take over the office. In the meantime, the titular duo also help a Mexican wrestler (Danny Trejo, Grindhouse), who seeks to keep his character. Franklin takes an interest in the wrestler's daughter.

     Infeld is an eccentric in the tradition of Denny Crane, but killing a friend makes things a tad more serious than the series usually treads. The fact that he did so to save the rest of their party makes it an acceptable action, but still regretable. The plot thread for this final story actually begins in the penultimate episode, giving it a bit more heft and importance. Helfer's character coming in and perfectly creating chaos surrounding the Infeld trial is nearly flawless, and this makes for easily one of, if not the, best episode of the freshman season. It's why I am so happy that Franklin & Bash has already been given a second year order.

     While Franklin & Bash is a lot of fun, there is some real character development as "Go Tell It On the Mountain" brings things home. Damien and Hanna have some growth, and they have motivations outside of just winning the case of the week. It makes them seem more real and fleshed out in a way the show needs to continue. Of course the main duo have already been given their due, but they are not the only stars of the show. Using Infeld, Hanna, and Damien in wonderful episodes like this one will give the show a much longer shelf life, and keep things interesting enough for viewers to continue tuning in.

     Besides the drama unfolding, a handful of wonderfu guest stars really sell the episode. As mentioned before, Helfer is fantastic, as she usually is. Hopefully her character will return to create more headaches, as she is in a great position to do so. Trejo plays more calm than normal, and keeping his character in a mask almost the entire episode helps. It's not so easy to dismiss the man who makes cult films when some people may not even realize who it is. Plus, it lets Trejo stretch a bit more as an actor. Finally, Star Trek: The Next Generation's Gates McFadden is solid as the judge in Infeld's case. It is very nice to see her back on television, and hopefully she will also return in season two.

     Franklin & Bash will return next summer to TNT.

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Franklin & Bash defend "Jennifer of Troy"

     TNT's Franklin & Bash presents "Jennifer of Troy." In the episode, a woman named Jennifer (Saturday Night Live writer Jillian Bell) claims she is fired from a men's magazine for being too beautiful. Franklin (Breckin Meyer) and Bash (Mark-Paul Gosselaar) take the case, and soon discover she is not at all traditionally hot. Yet, she does have a very addictive personality, and when they discover jealousy is the real motivator behind the firing, they manager to win. Meanwhile, Infeld (Malcolm McDowell) and Damien (Reed Diamond) go into China Town to clear Franklin and Bash's friend, who in trying to help, F & B inadvertently sully the entire firm's name.


     The A story about a girl who thinks she is a hottie is pretty interesting. It calls into question what the definition of beauty actually is. Jennifer is not ugly, and her infectious personality soon garners the attention of both Bash and Infeld. It is said confidence is the biggest attractor, and she has it in spades. She isn't arrogant, but genuinely kind, and interested in helping others. She is extremely outgoing, and very comfortable with herself. It's hard not to start to find her more and more attractive as the episode goes on. Even Hanna (Garcelle Beauvais), who sneers when first learning the details of the case, begins to like their client.

     When it comes down to it, Jennifer is not fired because of her beauty, but because the magazine owner's daughter, Katherine (Rebecca McFarland, Two and a Half Men), grows jealous of the fatherly relationship her dad, Big Mack (Robin Thomas, Life Unexpected), develops for Jennifer. Katherine cannot handle being replaced, so in a way, it is Jennifer's positive elements that attract people that cause her to be fired.

     Should Jennifer's "delusion" be taken away? There are hints that it might stumble slightly when, in the courtroom, Big Mack admits he sees her as a kid, despite the fact that he's slept with tons of women her age. Yet, her smile is firmly back in place by the time they meet in the hallway outside. It would be hard to go through life believing a delusion, especially in the environment where Jennifer works. She has surely been told many times she is not beautiful. Yet, she manages to dismiss those doubters and keep her self confidence. Good for her!

     In the end, that is what makes her beautiful. It's not a fantasy. Men do find her attractive. It's a self-fulfilling prophecy. That alone should be a lesson to women who are down on themselves. Jennifer is a real example of how most women can be seen as attractive if they put their minds to it. Kudos to Franklin & Bash for including such a nice, heartwarming message in their show.


     Damien actually shows a bit of a nice side in "Jennifer of Troy." He makes a bet he is pretty sure he will win against Franklin and Bash over Jennifer's case. When he loses, he shows up at their party and hands over a prized possession, his loss for the bet, with no obvious hard feelings or ill will. Is that because he is growing respect for the results they get? Or because he didn't really care about the object anyway? Being a gracious loser makes Damien a little less of a jerk, which is interesting, as his character is introduced as a one dimensional tool. Might there be something more there? Very cool.

     The B plot concerns Gene (Leonardo Nam, Vantage Point), who fixes Franklin and Bash's internet system. They learn Gene has been disgraced in his China Town community, and it considering moving to Chicago. This means he does not have time to fix their latest system crash, and so, for purely selfish reasons, the titular pair go to China Town themselves and serve an injunction against the store owner (François Chau, Lost) who has accused Gene of being a thief. This just makes things worse, as soon bad posters of Bash and Franklin are all over the neighborhood.

     It should not be surprising that Stanton Infeld has a deep interest in China Town and a respect for its culture. He is worldly and eccentric, and China Town is nearby. Why wouldn't he be curious about how the area operates? His desire to get in there and fix the situation surely stems as much from his wish to interact with the Chinese-American people and observe their customs as it is in fixing the good name of his firm.

     The twist in "Jennifer of Troy" is that Gene is in love with the store owner's daughter. Not particularly fresh, but a timeless classic. Of course the shopkeeper has deeper motivations than one frozen rabbit, for which Gene is more than willing to pay for. He wasn't trying to steal it anyway. The man just wants Gene to stay away from his kid, not believing the computer tech is good enough for her. Infeld is able to convince the man to drop all the accusations and allow Gene to stay in town.


     Watch Franklin & Bash Wednesday nights at 10 p.m. ET on TNT.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

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Article first published as TV Review: Franklin & Bash - "Jennifer of Troy" on Blogcritics.

Franklin & Bash premieres on TNT

     TNT's newest series is Franklin & Bash, a legal dramaedy about two men named, well, Franklin and Bash. Jared Franklin (Breckin Meyer, Robot Chicken, Road Trip) is a goofball who refuses to sell out or work for his father. Peter Bash (Mark-Paul Gosselaar, Saved By the Bell, Raising the Bar) plays much closer to the rules than Franklin, and yearns for some real income. They are assisted by Carmen Phillips (Dana Davis, Heroes, The Nine), an ex-con, and Pindar Singh (Kumail Nanjiani, Michael and Michael Have Issues), who lives with them, and is afraid to leave the house. This works out OK, because Franklin & Bash work out of their home, until they are recruited by Stanton Infeld (Malcolm McDowell, Entourage, Heroes). At his firm, they meet the uptight and slightly sleazy Damien Karp (Reed Diamond, Dollhouse, 24), and the sexy Hannah Linden (Garcelle Beauvais, NYPD Blue, The Jamie Foxx Show).



     While the last thing TV needs is another legal procedural, Franklin & Bash is a lot more fun that Gosselaar's previous short-lived TNT legal drama, Raising the Bar. Perhaps this indicates a willingness by the network to push the envelope, and try something new. With a pilot like this, it is extremely hard to tell how good the series will be, as much of the screen time is devoted to setting up the scenario that the show will spring from. Not only that, but there is a lot going on in this first hour.

     In "Pilot," there are three separate legal cases playing out, quite a bit for any law show to handle, let alone in a first episode. In the first case, Franklin and Bash represent a man who got into a car wreck because of a distracting advertisement. They go up against, and get a settlement from, Infeld & Daniels LLC, which is why Stanton Infeld recruits them after watching them in action. Then the pair split off. Franklin, while not assigned to the case, works to help an airline pilot that Karp is assisting the airline company in tossing all their blame on. Bash clears a woman accused of being a prostitute. Between all of that, they also settle into their new offices and throw a party. How is there time in the day?

     It is a little unclear why Stanton wants Franklin and Bash. Is it for their enthusiasm and antics? That's what they demonstrate in court in front of him. But later in the episode, he sides with Franklin against Karp because he likes how Franklin stands up for what he believes in. These seem to be two conflicting ideas. Are viewers expected to believe Stanton sensed the righteousness behind the stunts right away? Or that he likes how they operate, and the morals are just bonus?

     Equally confusing is just what kind of man Karp is. He sticks to the rules so much that Hanna dumps him for not sleeping with her because it is against company policy. Yet, he is more than willing to sell out the little man to keep a big client for the firm. So he follows the guidelines of the place he works for, but not the law? Is he only choosing self preservation and his career over Hannah? Again, two completely different sides, at odds with each other. Is he a stick in the mud or a sleaze ball?

     Then there's the side bit where Hanna almost sleeps with Franklin, her ex Karp's polar opposite. Just what kinds of guys does Hanna go for? Is she just going to have sex with Franklin because she knows it will tick off Karp royally and get under his skin? If so, that does not bode well for her character. Which is a shame, because Franklin is a nice guy and he seems interested in her. Of course, Franklin's sole criteria for finding a woman attractive is hotness, so he, at least, makes sense.

     What is Pindar's illness? He says he is germophobic, but is fine with a huge party and lots of strangers at his home. Yeah, he takes three showers, but he doesn't hide from everyone. He pukes in Carmen's car, when it's just the two of them, but holds it together on a crowded city bus with a man sneezing right next to him. Franklin and Bash treat him like he's perfectly fine, laying a heavy guilt trip on him if he fails to show up in court, and they know him well, which points to him not being too severely sick. He overcomes his phobias to save the day, so assumedly, he has gotten over whatever ails him, and can now report to work normally. Why even put those things in in the first place when he can beat them so easily? Viewers cannot be expected to feel for Pindar is he suddenly is paralyzed by the same fears again next week.

     Finally, Carmen seems at odds with her description of "ex-con." What is her crime? Depending on what she has done, she may be sympathetic. Best guess for why Franklin and Bash hire her is that she is smart, pretty, and can put up with them. They seem to have a soft spot for good people stuck in bad situations, so that likely describes her. Hopefully some sort of flashback will show exactly what she was involved in.

     Franklin and Bash themselves are the only really defined characters in "Pilot." They are tons of fun, whether demanding a wall be taken out between their offices, or talking about sleeping with celebrities at a lunch counter. These two are the stars, and they fit the bill nicely. Both actors can do comedy or drama, and both are veterans of the industry. Great casting move on two counts. It's like a better version of The Defenders, the already canceled freshman show from earlier this year.

     Really, the cast is terrific all around, but the writing is confusing. I guess we are supposed to be distracted by the crazy things the characters do and not to think too much about who they are. And it mostly works for one episode. Which means only time will tell if the series is any good or not, depending on how they move forward. Should the contradictions be sorted out, it could be a very interesting, funny series. Should the writing continue to be weak and make little sense, or the plots fall into a typical procedural, it will not remain on my TiVo. They deserve one more chance.


     Franklin & Bash airs Wednesday nights at 9 p.m. ET on TNT.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To sign up to be notified when the Franklin & Bash DVD and Blu-rays are released, please click here.

Article first published as TV Review: Franklin & Bash - "Pilot" on Blogcritics.