Get Down With THE GET DOWN

Article first published as THE GET DOWN Review on Seat42F.

From Baz Luhrmann (The Great Gatsby, Moulin Rogue) comes a brand-new period drama on Netflix entitled THE GET DOWN. Set in 1977 (except for a brief framework bit in 1996), the series portrays the creation of hip hop in Bronx, New York through the eyes of a group of youngsters. Teeming with music and style, it’s an impressive drama.

Personally, I don’t care for most modern hip hop, but when the genre is performed well, it’s amazing. THE GET DOWN serves the style in the best of ways. In a world where disco reigns, that is, the minority neighborhoods in a run-down part of the city, the beat feels fresh and exciting. It’s impossible not to get caught up in the characters, and root for them when they grab the mics.

Specifically, I’m talking about rooting for Ezekiel (Justice Smith, Paper Towns), the central protagonist of the program. Having lost both his parents, Ezekiel turns to poetry and rhyme to help him cope. He naturally drifts towards a style that will become a musical movement, and his friends and teachers, or at least one teacher, are suitably impressed.

But, if not for a quirk of fate, it might go no further than that. Ezekiel is afraid to express his feelings, afraid of what his peers might think of him. He’s a kid who’s struggling, considering dropping out of school, and certainly not ready to expose his soul to the public. Multiple characters in the series call this cowardice, and Ezekiel almost lets his fear get the best of him.

I don’t think it’s spoiling anything at all to say Ezekiel overcomes this. If he didn’t, there would be no story. The kid meets Shaolin Fantastic (Shameik Moore, Incredible Crew) one night, and inspired, finds his voice. Which, while serving as the climax of the ninety-minute pilot, will only be the beginning of Ezekiel’s story.

Baz Luhrmann worked with Nas to make this series, and that influence shows, lending authenticity to the piece. He also chooses to depict the music in the context of larger society, with a politician, Francisco “Papa Fuertre” Cruz (Jimmy Smits, Sons of Anarchy), possibly fighting to save the neighborhood, and possibly just trying to line his pockets. Combined with street art and some other cool design elements, what is painted is a complex portrait of individuals in a time and place that they are not just a product of, but help shape the environment themselves. Taken all together, it’s very cool.

Of course, this being a drama, there’s a love interest; there’s always a love interest. Ezekiel is all about a girl named Mylene (Herizen F. Guardiola, Runaway Island), who is talented in her own right and dreams of being a singer. Mylene doesn’t let others define her, resisting Ezekiel’s advances not because she doesn’t return his feelings, but because she is determined to let nothing keep her from our career goals. In episode one, most of her story is shown in how it relates to Ezekiel. Hopefully, this will not be the case as the show goes on, with Mylene deserving of the spotlight in her own right.

There were a few things about THE GET DOWN that seemed off. The pacing moves a little slow in places, and the great Giancarlo Esposito (Breaking Bad) seems pretty wasted in the first installment. But overall I thought this series was well-made, well-performed, and while the initial description didn’t appeal to me all that much, I find myself wanting to view the additional five episodes that are set to release this Friday.

THE GET DOWN premieres August 12th on Netflix, and a second half dozen episodes are already ordered.

"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.

Lana Parrilla Soars in "Save Henry"

Article first published as ONCE UPON A TIME Review Season 3 Episode 9 Save Henry on Seat42F.

The latest installment of ABC’s ONCE UPON A TIME, “Save Henry,” is more about a mother than the son named in the title. Through flashback, we see how Regina (Lana Parrilla) comes to adopt Henry (Jared S. Gilmore) and how it ties into the larger story. In the present, Regina, Emma (Jennifer Morrison), and Snow (Ginnifer Goodwin) attempt to rescue the boy and escape Neverland.

Regina has long been one of the most fascinating characters on the series. While she has done evil things, I do not believe that she is ultimately a true villain because she still has heart. We see this in the hole she feels in her life when she is absent a Henry. And we see how much she loves young Henry and that she will do anything to get him back.

It’s true, Regina kills the first Henry she loves, her father, in order to enact the curse that creates Storybrooke. This is a truly vile thing to do, and as promised to her by Rumple (Robert Carlyle), Regina soon begins to feel the loss, craving something to plug that hole. She finds that something when she gets Rumple to secure her a baby, which just happens to be the son of the savior that can ruin her.

We witness Regina’s early struggles as a mother, unable to stop her child from crying. Does baby Henry sense the darkness in her? And when she finally connects with him, does he sense the love? This is a woman who would go to the ends of the earth for her child, and would not make the same mistake with him that she made in dealing with the elder Henry.

That’s why, when Peter Pan (Robbie Kay) has the three ladies bound to a tree that feeds off their regret, Regina alone is able to break free. It’s not that she doesn’t have remorse for the mistake she’s made; it’s that her focus is on the greater feelings she has for Henry, which makes the rest of it worth it to her. Her love for Henry is true, and she is rewarded by Henry calling her “mom” as she tucks him in, safe back on the Jolly Roger near the conclusion of “Save Henry.”

Will this relationship be what ultimately can redeem Regina? It’s hard to say at this point. There is little doubt she would do bad again if Henry were threatened. But I’m starting to think that she will not do anything too evil without Henry’s survival on the line. She knows that she cannot keep Henry and fall back to her bad habits, so unless she has a driving purpose, or unless Henry dies, she likely won’t truly cross the line again. Not fully.

A sign of this is the way Regina wipes her own memory of whom Henry’s mother is, even though that hurts her chances of stopping Emma. Like Rumple, who has to put Henry’s welfare before his own in order to repair the relationship with his son, Neal (Michael Raymond-James), Regina puts her existence on the line to protect the son she has fallen for from herself. It’s a selfless, noble gesture, done before we even know Regina has such things in her.

Parrilla is a fantastic actress, and she deftly handles the role with a level of skill nearly unmatched in the show. Once more, I am drawn to the way she can find the subtleties and buried qualities in the part, and make us care about someone that we should have written off long ago. I do think both the story arc of the character and her popularity can be majorly attributed to Parrilla’s impressive talent, and wish for more episodes featuring her soon.

The conspiracy and coincidences in “Save Henry” leave a lot of questions unanswered. Does Mr. Gold always know he is Rumple? Is his knowledge triggered by Emma arriving? Is Regina destined to get Henry, or is this something Rumple builds into the curse? Why does Pan send Michael (James Immekus) and John (Matt Kane) to look for Henry eleven years ago, instead of only recently? These answers matter.

It’s fun to get back to Storybrooke and its charming residents. Granny (Beverly Elliott), Archie (Raphael Sbarge), Dr. Whale (David Anders) and even Sidney (Giancarlo Esposito), or Sidney’s voice, play a role in Regina’s flashback. I didn’t realize how much I missed them until they are glimpsed again in the sleepy hamlet. I’m looking forward to getting back there next week.

The only real complaint I have is that Snow, Emma, and Regina set off on their own to face Pan. I understand Neal staying behind to look after the Lost Boys, and can even see why he shouldn’t be left by himself. But the Boys seem to be mostly defeated, happy to help in return for a home, so more than three people can go after Pan. David (Josh Dallas) or Neal, at least, could have gone, too, leaving the other, Hook (Colin O’Donoghue), and Tink (Rose McIver) to watch the ‘captives.’ It’s another case of using half measures against a foe that has proved deserving of more.

It is weird that Henry is quickly dying without his heart when others survive for months or years just fine on the show without one. However, that could have something to do with Henry’s heart specifically, which we know is special, or the way Pan wants to use up the energy from it.

I will not complain about how easy Pan is to defeat in “Save Henry.” It certainly seems too good to be true that he is stopped at the tree, but his sneaky twist at the end, taking over Henry’s body and recruiting Felix (Parker Croft), his one loyal servant, to cause more trouble, is a very satisfying continuation of the arc. He is not defeated; he rises again!

ONCE UPON A TIME still has two full hours left in this fall run, airing Sunday nights 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.

Community Christmas in April

Article first published as Community Christmas in April on TheTVKing.

NBC's Community celebrates Christmas this week with "Intro to Knots." Jeff (Joel McHale) throws a holiday party at his apartment for the study group and Chang (Ken Jeong). Annie (Alison Brie) invites Professor Cornwallis (Malcolm McDowell) when she learns he is giving them a poor grade. Hijinks ensue when Chang ties up Cornwallis, and Cornwallis begins playing mind games with the study group.

I really dig the concept "Intro to Knots" is going for, even if the execution leaves something to be desired. Cornwallis, a wonderful professor to add to Community's recurring cast, getting into the heads of our main characters for his own amusement, and the study group triumphing over him, is a classic Community story. It exposes some things about our cast, and forces them to look at themselves, again.

The problem is, the plot only goes half-heartedly into things. Aside from revealing that Shirley (Yvette Nicole Brown) is in the running for valedictorian against Annie, nothing major comes out. Cornwallis has the opportunity here to really break down the group dynamics, and he just casually figures out there's a love triangle between Jeff, Troy (Donald Glover), and Britta (Gillian Jacobs), not even picking up that Annie is part of it. Weak sauce.

It's surprising that Annie is left out of the romantic analysis when "Into to Knots" provides her and Jeff a small alone scene, one of the best they've had this season. We get to see Annie trying to play house with Jeff, and it's a reference to the unkindled feelings between them. I think Jeff and Annie should end up together, and while he's not mature enough for her yet, nor she him, he has been making great strides this year, and could be ready to give it a go by season's end. I hope this scene is a promise of things to come, as hinted when Jeff likes her curtains.

Jeff has been growing a lot this season, but faces a backslide in "Intro to Knots" when he admits to tanking his part of their group project for Cornwallis. The others don't judge him, and we can see why when Jeff not only tells Britta that he is only keeping with the persona he has built, but he also delivers a heck of a speech about they are all flawed people who keep screwing up. Jeff may not take a step forward this week, but his self-actualization is promising. Plus, the party may be his attempt to make up for the guilt he feels at screwing up their grade, a good sign.

I could nitpick and say Cornwallis is stupider than he should be be accusing Jeff of untying him when Cornwallis gets free while everyone is distracted by the Dean (Jim Rash). Jeff is the one by the door, so everyone is seeing him the whole time and he is the one with the least opportunity to betray the others. However, I think Cornwallis is just trying to distract the group and get them to turn on each other, and in the moment, when Jeff is winning against Cornwallis, it's the emotion that the professor plays to more than logic, so it sort of makes sense.

I am not sold on the continuing rivalry between Annie and Shirley, which seems to come out of nowhere in the fourth season. I like that it gives Shirley more play in the larger scenarios, as she tends to be often forgotten in years past, but I'm not sure bickering is the way to go about expanding her role. She is a proud, strong, smart, busy mother. Why can't that be her story?

That said, as much as I love Annie, I really hope Shirley gets to be valedictorian. Annie will have other endings, but for Shirley, it would be a great, triumphant way to finish off the character.

Most of the players just get fun little moments this week. The Dean tries to intrude, and for some reason, gifts them all kittens. Everyone buys Jeff Greendale wear, which for some reason is funny. Troy gets a little jealous of Jeff and Britta's past. Troy makes a little bit of effort, though just a bit, to fulfill Abed's (Danny Pudi) Die Hard Christmas wish. And Chang has issues with knots and a fascination with bubble wrap. All of this is mildly amusing, even if not as smart as Community fans are accustomed to.

There are hints in "Intro to Knots" as to what this season is building towards when they take a moment to remind us of the dark timeline from "Remedial Chaos Theory." Evil Abed is still around, and has still vowed to destroy the group. Is he the one pulling Chang's strings? Will he be the bad guy that must be battled in the season finale?

I don't know if I like this. Before, one could dismiss Evil Abed's continued appearances as part of Prime Abed's fantasies. To really commit to Evil Abed being the villain, and this cannot be dismissed as Abed himself, given that Abed is with the group when Chang calls his master, is very strange, even by Community's standards. It also doesn't explain away why Abed sucks this year, something I desperately want a justification for, unless Evil Abed has taken over Abed, but then he couldn't be Chang's controller, so it doesn't quite fit.

I am also highly disappointed that Pierce (Chevy Chase) is said to be with Gilbert (Giancarlo Esposito) in this episode, rather than still lost in the woods. As I said in last week's review, Pierce getting lost is lame compared to other possible scenarios. But since the writers did it, they should stick with it. I don't see the point of drawing things out now, knowing Chase will not return in the next few episodes to finish out any kind of story.

"Intro to Knots" gets a few things right, but also quite a few things wrong. And the plot being set up for the rest of the season in this week's installment only makes me dread how the final weeks of the series could be screwed up even more, rather than building excitement. This could be considered the beginning of the end for Community, and not in a good way.

Community airs Thursdays at 8 p.m. ET on NBC.

Community "Paranormal Parentage" a little too normal

First published as Community "Paranormal Parentage" a little too normal on TheTVKing.

Two episodes into the fourth season of NBC's Community, and I still feel like something is a little off. The idea that the characters will spend the evening in Pierce's (Chevy Chase) haunted mansion in "Paranormal Parentage" is a solid one, and knowing that he tricks them into coming because he feels left out is obvious, but makes sense. Some of the things that happen during this adventure are great. Others fall a little flat.

For instance, why do we keep seeing shadowy figures following everyone around? We glimpse one behind Abed (Danny Pudi) in the control room, but neither Pierce nor Gilbert (Giancarlo Esposito), whom we learn to be creeping around the place, approaches Abed. Why not? And which one of them (I'm assuming Pierce) somehow manages to be seen in a costume of Pierce's dad behind Annie (Alison Brie), and then disappears by the time she turns around? And what happens to Jeff in the library? Is the liquor laced with something? Why does the episode tell us? Weak sauce.

I feel like Community is still reaching for the weird, but it's not landing in the same way it used to. All the ham jokes at Britta's (Gillian Jacobs) expense are great, and I love that Shirley (Yvette Nicole Brown) knows what Pierce's dungeon room is when Troy (Donald Glover) doesn't. I also greatly enjoy that Dean Pelton (Jim Rash) manages to match Jeff's (Joel McHale) costume, and that Abed brings up Cougar Town again.

I don't like that Abed completely ignores all the film-references ripe within a haunted house, and instead is simply excited to find Pierce's control room so that he can watch Cougar Town. Or the fact that Gilbert is secretly taking care of Pierce is explanation enough about why he is standing over Pierce in his sleep. Or that Pierce, old man that he is, is able to sneak around the house without being seen. How great would a few background shots of him tripping and almost getting caught be? Or being seen by a character or two who doesn't feel the need to expose his secret? Maybe everyone but Jeff?

Community is known for their Halloween episodes. If they can't deliver one of those, I worry about the rest of the season. I'm already mourning the loss of the best sitcom currently running on television.

Well, that's all I have to say about the episode specifically. On to some season- and series-long arc musings!

I do kind of like that Troy and Britta are dating this year, but I would like some more focus on it. It doesn't feel like it's quite working for me, and I want to see that. When they fall apart, I don't want it to seemingly come out of nowhere.  For fans to accept their inevitable breakup, we need to see why it can't work between them so that there is no doubt about the reasons they aren't together.

As much as I like Annie and Jeff as a pair, and I think that's the direction Community has been going in for awhile, I believe the show would be better served to have Jeff and Britta end up together. The scenes they have in "Paranormal Parentage," where she psychoanalyzes him and they bicker, is a great demonstration of the sizzling chemistry they possess. They won't ever be cuddle-on-the-couch sappy romantics together, but they have passion, and can push each other's buttons like an old married couple already. Wouldn't their union be a satisfying finale?

We all know that Chevy Chase is leaving the show. I see Pierce's departure going one of two ways. Most likely, his character will be killed off, which completely works on a number of levels, and would pay homage to the great Chevy Chase, the legendary comic actor who sort of withered away on a sitcom he never quite belonged on.

Or, hear me out, they should just replace him with Fred Willard and make no mention of the change. They could even adjust his personality, as Abed does in his head when imagining Fred as Pierce in the season premiere this year. Fred is fantastic in his own right, and could add something cool to the show. Plus, this opens up some possibilities and conspiracy theories about how much of what went on over the last four years is real. Since it is unlikely Community will last beyond this season anyway, and Chevy is staying through episode ten (or thirteen), it would be awesome to see an episode of two with Willard and a "normal" school, and then have the lid blown off the illusion in the series finale.

Just an idea. Feel free to use it. :)

Community airs Thursdays at 8 p.m. ET on 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.

Please "Live Free" Breaking Bad!

Grade: 88%

AMC’s BREAKING BAD moves into its final season this week with “Live Free or Die.” After the usual cryptic opening set in the near future, the premiere does not set up a new story. Instead, the events of the hour deal with the aftermath of last year’s finale. With Gus (Giancarlo Esposito) recently killed, everyone tries to process that news, and figure out their next step.

Gus may be dead, but Walt (Bryan Cranston) and the others aren’t out of the woods yet. Remember that video camera that followed Walt around the lab? So does he. But before he can get his hands on the footage, Hank (Dean Norris) and the police take Gus’s laptop as evidence. Locked up in a very secure evidence room, it seems there is no way that Walt’s nefarious activities won’t come out. Mike (Jonathan Banks) advises they all run.

Walter White has come a long way on his journey to becoming a kingpin. In earlier seasons, the former chemistry teacher would have panicked, or perhaps not known what to do. And Walt will do something, because he has no intention of uprooting this life he has built himself, or fleeing from anyone. While Mike doesn’t even consider any other option, Walt remains calm, and quickly devises a plan.

Actually, it’s Jesse (Aaron Paul) who suggests the genesis of the scheme. Again, another character who has shown a lot of growth. Jesse used to be an idiot junkie. But after learning much about chemistry and attitude from Walt and Mike, he is able to keep a clear enough head to remember that magnets can destroy computers, and that might be something that they can use.

So after Jesse convinces Mike not to kill Walt, the three of them embark on the crazy mission of driving a giant junkyard magnet right up to the wall of police headquarters and cranking it all the way up. This is effective, and while their ride is sacrificed, they do make a clean get away. They are safe, for now.

Is there anyway that the magnet can be traced back to them in the upcoming investigation? Many, many criminals surely have things in the evidence room that they would like destroyed, and surely there are multiple laptops, even if Gus’s is the only one shown. But while the magnet may be nondescript, it shouldn’t take the police long to find the one junkyard in town that has a new one. After that, it is anyone’s guess how the employees at said junkyard will react to an interrogation.

Long before that happens, though, there might be a more immediate problem. The alliance between Mike, Jesse, and Walt is temporary. Who will fill the power vacuum left by Gus? One of them, or someone else? If it is someone else, they might stick together a little while longer. If it’s one of the trio, someone will have to end up dead, because these are some very strong personalities that just won’t become subservient.

It won’t be Jesse. Jesse is a follower. He naively trusts both Mike and Walt, and that will likely be his undoing, sadly. He may suggest a course of action, but he believes in them, is willing to stick his neck out for them, and is happy to take orders, rather than give them. Walt has already used this against Jesse, manipulating him by poisoning a child. Should Jesse realize this, the tide may change. But until that happens, Jesse is blind to his friend’s machinations, which means that he is putting his faith in someone that he shouldn’t.

Surprisingly, perhaps, Mike has developed a bit of loyalty towards Jesse. While Mike wants to shoot Walt immediately, he stands down when Jesse gets in the middle. It could also very well be that Mike only participates in the magnet plan to protect Jesse. Their mentor-mentee relationship was formed as another way to control Jesse, but if Mike’s affection for the lad wasn’t real, why would he go along with this?

Maybe it will take Mike and Jesse to bring Walt down, should the true depth of Walt’s dark soul ever be exposed. Walt has everything that he needs, but after each accomplishment, he only gets more over confident, and desires more power and money. This cannot go on forever. Look at Gus, a true power player, who is eventually stricken down. The play BREAKING BAD presents is a tragedy if ever there was one, and Walt will not, can not, end up on top.

Elsewhere, Ted (Christopher Cousins) wakes out of his coma. This sends Saul (Bob Odenkirk) and Skyler (Anna Gunn) into a panic, as just before Ted was injured, he was ready to expose their money laundering. Only a lucky fall saved them then.

Skyler rushes to the hospital to confront Ted, and see what must be done now. Given how disturbed Skyler was by Ted’s accident in the first place, as well as her horror at what Walt has become in killing Gus, it is unlikely she would sign off on any plan that would cause Ted further harm, no matter what the consequences to herself. Thank goodness Ted is now compliant, thinking his life is in danger if he doesn’t keep his mouth shut. Which means that Skyler shouldn’t have to follow her husband’s descent to protect her family.

What is more surprising is how Walt reacts to learning about the Ted situation. Previously, Saul and Skyler kept this issue from Walt. Saul tells Walt the story, and after a bit of anger, where Walt is clearly threatening Saul, Walt returns home, hugs his wife, and tells Skyler that she is forgiven. This is arrogant and creepy, something that plays well on Skyler’s face. What has Walt become? Does she even recognize who her husband is these days? And can she ever love a man like this?

BREAKING BAD is a masterful character study. With only fifteen episodes left, there is a real sense that some things will soon be coming to a head. Each character is going to have to figure out what they want, and what they are capable of doing to get it. There has to be betrayal, because many of these goals will run counter to each other. If the writing continues to be as good as it consistently has been for the past four years, viewers are in for one heck of a finale!

BREAKING BAD’s final season airs Sundays at 10 p.m. ET on AMC.

Community triple dose ends season

NBC's Community had the rare opportunity last night to air not one, not two, but three episodes! Of course, not knowing this far ahead of time, each of the final three are stand alone stories, while still contributing to the larger whole. Also, not knowing if the series would be renewed or not, the final episode gives enough closure that it could serve as a series finale, with just a few seconds of content cut out. Thank goodness, this is not the case, and Community will return next year mid-season. #SixSeasonsAndAMovie

In the first half hour, "Digital Estate Planning," the gang, still expelled from Greendale, goes with Pierce (Chevy Chase) to his deceased father's company to learn how he will get the estate. Upon arrival, they learn that Pierce's father, Cornelius (Larry Cedar, Deadwood), has left them a video game in which to compete for his inheritance. Not only that, but the man explaining this to them, Gilbert Lawson (Giancarlo Esposito, Breaking Bad, Once Upon a Time), is actually Pierce's half brother, and he wants the money!

"Digital Estate Planning" is awesome because much of it is done in 8-bit animation, with the characters becoming part of the game. It contains a number of great jokes and references, such as Britta (Gillian Jacobs) "screwing up drinking" and Troy (Donald Glover) and Abed (Danny Pudi) singing a new version of their talk show theme song! It is also awesome because it forces Pierce to look at himself and who he is, as well as face the fact that he has a sibling. There is some serious soul searching, once Pierce eventually figures out how to stop running his character into walls. And the finale of this episode hints at a major plot point at the end of the season, which is also an overall theme in Community: People are stronger together than apart.

Plus, Abed finds love with an 8-bit girl whose family is slaughtered by Annie (Alison Brie) and Shirley (Yvette Nicole Brown), and they have hundreds of children!

Episode two, "The First Chang Dynasty," is the long-awaited show down between the study group and Chang (Ken Jeong). They plan an elaborate, Ocean 11 style, heist to rescue the Dean (Jim Rash) from Chang's evil clutches. This is also a great excuse to dress in costume, and Britta's goth gal getup is extremely memorable.

Unfortunately, "The First Chang Dynasty" is one case in which the group's ineptitude does not pay off. Chang may be evil and like using his own name incessantly, but he's also smart. He thwarts their attempts to fool him, and is only stopped because members of the school board happen to walk in on the entire thing. Thus, Greendale returns to normal. Or as normal as Greendale gets.

"The First Change Dynasty" is a wonderful episode because, underneath the goofiness, the bond between these students and their dean is felt. This is again echoing the same theme as "Digital Estate Planning," really setting up how the season will end. The characters get into trouble, and it takes a noble sacrifice by Troy to save them. This reaffirms just how far they would go for each other. And it's great that Jeff (Joel McHale) rewards the Dean with a kind touch that sends him collapsing to the floor in ecstasy.

It's a little disappointing that the Dean doesn't give the group credit for the Biology class after the events of "The First Chang Dynasty," as that class is what leads to the Chang mess in the first place. But at least he revokes their expulsion. "Introduction to Finality" picks up months later, as Jeff tries to study for the summer Biology final, which the other members of the study group seem utterly unconcerned about.

How odd that in "Introduction to Finality," Jeff is the only one that cares about school! Once upon a time, he was the least interested in the curriculum, anxious just to graduate and get back to his life! But in this episode, Jeff really commits to Greendale one hundred percent. Not only does he keep trying to study, in spite of the insanity going on around him, he also sacrifices any chance to return to his career in a trial in which he defends Shirley against Pierce, who is represented by Jeff's former colleague, Alan (Rob Corddry). It really brings things full circle, and demonstrates the kind of man Jeff has become!

It's a good thing that Jeff picks this moment to stand up for his friends and choose happiness because an Evil Abed is afoot in "Introduction to Finality." Depressed over losing Troy, who we'll get to in a minute, Abed becomes Evil Abed, intent on bringing darkness into this timeline. He easily takes out Britta, sending her into a spiral of self doubt. But when he tries to go after Jeff with a bone saw, which is hilariously delayed because he needs an extension cord, he is instead surprised to be confronted with total goodness. Troy isn't the only one who cares about his friends in the group, and seeing this affirmed by Jeff's actions cures Abed of his own depression.

It's odd that it takes an act of martyrdom to cure Abed, considering another action of the same is what drives him there in the first place. Troy sacrifices his happiness and freedom to keep the group out of trouble, agreeing to enroll in the Air Conditioning Annex. But, it turns out, Troy gets there at the opportune time, as Murray (Dan Bakkedahl) kills Vice Dean Laybourne (John Goodman) in order to assume the position, and Troy, as the chosen one, is the only one who can stop Murray from getting away with it.

What results from this crime is that Troy must engage Murray in a battle to the death in air conditioning repair. Yes, it's silly, but it's still a great, inspiring sequence! Especially when Troy spares his foe, rather than letting Murray die. Community has a tendency to go a bit over the top, which is part of its charm. But when Troy defeats Murray, the others want to lock the killer in some bizarre chamber, and it takes Troy to bring a dose of reality to the situation, instructing the others to hand Murray over to the cops to be tried for murder. One may not think a bit of realism can be funny, but this one truly is!

Then, with balance restored to the Community universe, "Introduction to Finality" plays a version of the show's theme song, with images of each of the characters finding a good ending flashing over it. It's a heart-warming, touching sequence, and one of the best in the show's run. What's more, on top of the expected endings, a couple of dangling threads are tossed in, since the series is, indeed, returning. Chang's next mission? Take over a rival school, surely to do battle against Greendale. And, it turns out, Star-Burns (Dino Stamatopoulos) faked his death! It's the perfect ending to an awesome season!

Community will return to NBC next year, likely in January. #SixSeasonsAndAMovie

If you like my reviews, please follow me on Twitter! To buy Community DVDs or catch up with streaming episodes, please click here. Article originally published as Community triple dose ends season on TheTVKing.com

"Desperate Souls" inhabit Once Upon a Time

     ABC's Once Upon a Time returns from its December break with "Desperate Souls." In fairy tale world, Rumpelstiltskin (Robert Carlyle) is a poor man who just wants to keep his son (Dylan Schmid) from being drafted into the army. Unfortunately, the Duke (Michael Phenicie, Angel, Knot's Landing) has the power of the Dark One behind him, which makes Rumpel's plight seem hopeless. Until a beggar (Brad Dourif, Deadwood, Lord of the Rings) tells Rumpel that the power of the Dark One is controlled by a dagger. If Rumpel steals the dagger, he will be able to stop the madness. Rumpel succeeds, but soon learns that by doing so, he makes himself the Dark One, a torment not easily escaped.

     After a rough start to the series, Once Upon a Time has blossomed into quite a show! "Desperate Souls" is a wonderfully complex story about evil, redemption, power, and sacrifice. Rumpel is a sad little man who has no control of his own life, until he turns to a darker power. He doesn't realize the cost of the magic, an ongoing theme in the series, and bites off more than he can chew. Once Upon a Time's central story is of darkness sweeping over good, and the hopeless nature of defeating such an abstract foe. In this, "Desperate Souls" does a great job of capturing that spirit with a tragic tale.

     "Desperate Souls" also provides some surprising back story for a fan favorite character. Rumpel is not the first character to have an entirely different history than has been traditionally known, but his is, perhaps, the most surprising. One always views Rumpel as an imp who plays games with others for his own amusement. Now we learn that it may be desperation and a slim hope of redemption that drives him, not ingrained evil. Is there any way for Rumpel to ever escape his curse, perhaps in a large, self-sacrificial way? Or is he destined to forever be who he is, a troublemaker no one can love?

     The implications of this episode are far reaching. One that might be of serious interest is, where is Rumpel's son? Is he dead, through some fault of Rumpel's? Did he leave his father after seeing the monster Rumpel has become? Is there any chance Rumpel can get his son back, who is his entire reason for living when the back story begins? Also, how much of the real Rumpel is left inside the shell of a body? Is the Dark One completely in control of the host? There is startling personality shift when Rumpel gains his power, and he is certainly not the same person anymore.

     The next piece of Rumpel's past that must be revealed to give viewers an idea of his motivations is what Rumpel's beef with the Evil Queen (Lana Parrilla) is. In the real world, Mr. Gold works tirelessly to defeat her. His motivation cannot be purely altruistic, as kindness is gone from the Dark One-possessed man. So does Regina have a hand in Rumpel's son's fate? Might she be the key to getting him back? It seems like these two stories may be intertwined in some unexpected way, and I'm anxious to learn what that is.

     One small point that is kind of fascinating is the lack of power Rumpelstiltskin's name has over him in this incarnation, a distinct departure from his traditional story. It would be tricky to work that element into the type of tale Once Upon a Time chooses to tell, but is it a simple convenience, or is there more to it than that? Only time will tell.

     Back in the real world, the main story of "Desperate Souls" is Emma's (Jennifer Morrison) quest to be the new sheriff in Storybrooke. Not wanting her enemy to have that power, Regina appoints newsman Sydney Glass (Giancarlo Esposito, Breaking Bad) to the position. But Mr. Gold finds a loophole in the town's by-laws that states Regina, as Mayor, only has the power to appoint a candidate, not a sheriff (a distinction that makes no sense, and provides the episode's one glaring misstep). Gold lends his support to Emma, but she is determined to prove to Henry (Jared S. Gilmore) that only by doing good can one truly win.

     Is Emma really the pure hero she seeks to be? Learning that her act of saving Regina from a fire, a move that wins her serious popularity in town, is orchestrated by Mr. Gold, she defiantly calls him out in front of the townsfolk. This wins her the election, which Mr. Gold later says is his plan all along. So she is manipulated, despite her best efforts. How much sway will Gold hold over her now? She already owes him one favor, does her ascent to office mean she now owes him two? He certainly would like to take credit for her win. She can't publicly let him, but now she will always be plagued with doubts and second guesses about whether she deserves to be in the position. Should she resign to cleanse her soul?

     It's also doubtful at this point that Once Upon a Time has a happy ending in store for it's central characters. Sure, fairy tales always do, but the amount of darkness in this story, even before the events of "Desperate Souls," seem overwhelming. Even when Emma tries to be good, she is tainted. She is acting like a hero, but cannot make much headway. It is early in the story, and thus it may be too soon to expect any sort of victory for the good guys, especially after Graham's (Jamie Dornan) tragic murder in the previous episode. But something has got to break soon to give at least a sign of hope to Emma.

     Hope is what some of the characters are getting. Emma's win is celebrated by her friends, including Henry, Archie (Raphael Sbarge), and Granny (Beverly Elliott). They don't know what Emma knows, and so see good things coming to pass. Is their optimism enough to inspire Emma, and to turn the tide for the right side? What would they think to learn that they've all been played by Mr. Gold, someone they fear and dislike? Truth always comes out eventually.

     What's really interesting in "Desperate Souls" is the parallels drawn between Emma and Rumpel. Both are, as the title suggests, desperate souls. Both are seeking to save themselves, their sons, and others, and are thwarted by tricky dark power. Rumpel's ending is obviously tragic, at least for now. Is Once Upon a Time hinting that Emma is doomed for a like fate? Her similarities to Rumpel aren't all encompassing. She is a much stronger person that he was, prior to the incident. Can she avoid making the same mistakes that he did? And might he see himself in her, and thus, possibly lend her a hand where he won't anyone else? Their paths seem destined to run together, but the question remains, in what way? It gives one a lot to think about before next week's episode.

     It's no wonder that "Desperate Souls" is so good, considering it is written by Jane Espenson, of Buffy and Battlestar Galactica, among others, fame!


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Article first published as TV Review: Once Upon a Time - "Desperate Souls" on Blogcritics.