BARRY, Barry, Quite Contrary

Article first published as TV Review: BARRY on Seat42F.

BARRY, a new comedy on HBO, is the story of a hitman named Barry who accidentally attends an acting class and decides he wants more from his life than being an anonymous killer. Starring Saturday Night Live’s Bill Hader in the title role, BARRY is more than just a dark comedy. It’s the story of a man who has been manipulated and lost, looking to figure out who he is and take hold of his own path once more. But it’s not so easy to quit being a murderer, especially when your boss doesn’t want to let you go.

Hader is excellent and understated in the role. Known for playing over-the-top characters, as most SNL vets are, Barry is a quieter role for the actor. The character description is colorful, but in actuality, Barry is awkward in a calm way. He isn’t a good actor, but we find that out not through a huge, splashy screw up, but from quick, low line reads. Even his breakdown at the end of the first episode is more moving than loud, giving us a glimpse into the tortured soul. It’s a little exposition-heavy, but it tells viewers frankly who Barry is and why.

The premise is goofy, but it isn’t played as such. The criminals are deadly serious. The actors are hopelessly earnest. The acting teacher, a terrific turn by Henry Winkler (Happy Days, Arrested Development), is a familiar type, but because he’s played by Winkler, will surely be more than that. In tone, it is closer to other HBO series than something on a broadcast network. But it isn’t as quirky as some of its peers.

Where the show gets the biggest is in the violence, but those sequences are quick, not drawn out. The blood probably isn’t more than there would be in real life. Interestingly, the first time a dead body is shown, we just see Barry in the aftermath, and there’s a certain amount of disconnect between him as he is portrayed and the scene. Later, we witness his true skills, and we see why Fuches (Stephen Root, Brooklyn Nine-Nine, Justified) doesn’t want to let Barry quit.

There’s also a bit of a love story between Barry and his enthusiastic classmate, Sally (Sarah Goldberg, Hindsight). But again, it’s more of a subtle thing. I mean, the attraction, at least on his end, is obvious. But it’s not like they talk about it or spend needless minutes flirting. Barry is too socially inept to say anything to her, and she just seems like a warm, welcoming person. I hope BARRY doesn’t go there with them, as the journey will be richer if it’s just about Barry’s inner growth, and not fueled by sexual chemistry. But it seems quite likely that this will be dealt with more overtly later.

I admit, I’m surprised to see Hader in a role and program like this. It’s true that some of the best comedic performers make great dramatic actors because they understand human emotion on a deep level. Hader appears to be no exception, creating an odd character that is both familiar and unique. I’m very interested in the portrait of the man being painted here, story aside, though the narrative is intriguing, too. It seems the perfect vehicle for him, like Flaked was for Will Arnett, showcasing range in a part that didn’t feel like a natural next step for the actor, but it quickly becomes apparent no one else could play it on the same level.

I don’t want to oversell it. I don’t think BARRY is the next huge hit. But I do think it’s a worthy premium cable entry that will make for a fascinating watch.

BARRY airs Sundays at 10:30PM ET on HBO.

Climb Aboard THE GREAT AMERICAN DREAM MACHINE

Article first published as DVD Review: 'The Great American Dream Machine' in Blogcritics.

Have you ever heard of The Great American Dream Machine? If you’re like me, born more than ten years after the two-season PBS series came to an end, probably not. But if you were alive in this era, I can’t imagine you’d forget. After watching just a small sampling of the show, I certainly won’t stop thinking about it anytime soon.

The Great American Dream Machine is billed as a variety show, but it’s not in the vein of what we think of today as being in that genre. There’s no stage or host or transition bits. Instead, it’s a series of shorts on a variety of topics and done in a myriad of styles, making up a disjointed, but thoroughly engaging show.

Sometimes, the segments are documentaries. For instance, stuntman Evel Knievel, someone I’d heard about but know very little of, is interviewed. It’s a casual portrait of a man, presenting what he thinks of himself more than a listing of his achievements. It’s deeply personal in a short running time, and unlike most documentary-style things you might see today.

Sometimes, the pieces are meant to be both humorous and informative. For instance, a man named Marshall Efron examines the various sizes of canned olives available. While what he presents is relatively straight forward, the way in which he talks about the government regulations and inconsistencies within them are more satirical than what you’d be taught in school.

And sometimes, the bits are just bizarre, just as a singing pig that some seek to eat, or a French-language sexual interlude, or a music video about computer dating (which apparently existed pre-1970, surprisingly), or Chevy Chase and Ken Shapiro as mimes mouthing along to music. And that’s all just in the first episode! I’m not sure what is supposed to be meant by these, but they are creative looks at different subjects.

Instead of telling you what The Great American Dream Machine is, it might be easier to tell you what it isn’t. It isn’t silly like Monty Python; it’s a style of comedy being more intellectual and less superficial. (That’s not a knock on Monty Python; there’s room for both in this world). It isn’t as edgy nor as polished as Saturday Night Live would be just a few years later, more raw in presentation. It isn’t stuck in its metropolitan roots, as although it’s based in New York, it frequently ventures across the country.

One thing The Great American Dream Machine is is a fascinating time capsule. For someone who didn’t live in this era, the bits where average people are interviewed, a technique still appearing on television today, is eye-opening. It’s amazing how similar and different attitudes are then to now. Some things never change, and some have changed drastically.

In its time, The Great American Dream Machine was attacked by conservatives for being too controversial for television. While on its face it does seem like a conservative show, given the title and a lot of the middle-of-the-country segments, it also has a bit more sex than most television would have in that era (though still tame by today’s standards). As someone interested in history, I am intrigued by this program.

I think another way to illustrate this series is high-quality is to mention some of the names involved. Besides those appearing above, personalities like Andy Rooney, Albert Brooks, Elaine Stritch, Charles Grodin, Penny Marshall, Carly Simon, Tiny Tim, Henry Winkler, and many, many more are involved. Such a group could not be assembled for just any show.

S’more entertainment has released a four-disc DVD set that captures many of the great moments from The Great American Dream Machine’s two-year run, nearly thirteen hours of content in all. Whether you have never heard of it or remember it fondly from your past, I recommend checking it out. It’s dated, but in a good way, capturing a time and a spirit that doesn’t exist any more, and is endlessly interesting.

The Great American Dream Machine is available now.

"Moving Up" in the PARKS AND RECREATION World

Article first published as TV Review: 'Parks and Recreation' - 'Moving Up' on Blogcritics.

This week’s season finale of NBC’s Parks and Recreation, “Moving Up,” is nearly a perfect episode, and would have served extremely well as a series finale. Leslie (Amy Poehler) contemplates taking a huge job opportunity in Chicago, which would mean leaving the town of Pawnee, Indiana, which she doesn’t want to do. Meanwhile, the long-awaited Unity Concert unfolds, and the rest of the ensemble have strong development, too.

Leslie is the main character in Parks and Recreation and usually has the biggest stories. “Moving Up” is no exception. For most of the hour-long double episode, she is wavering back and forth over a life-altering choice. She’d really like the opportunity to run the National Parks Service in the Midwest, but that means abandoning the town she loves at a crucial time, as they are still reeling from the merger with Eagleton that she is instrumental in. If she does go, Councilman Jamm (Jon Glaser) will likely dismantle her accomplishments. To add insult to injury, her co-workers have added a plaque for her to the founder’s statue with a quote from her reinforcing her dedication to the place. How can she leave?

Yet, on the other hand, Leslie is a dynamic player that must keep growing. City Council didn’t work out for her, but she can’t just go back to the local Parks Department. For her to advance, she has to leave the small pond she’s been swimming in. Her husband, Ben (Adam Scott), is supportive, but also helps her to realize this, knowing she won’t be happy if she passes this up. Leslie can’t stay stagnant. She needs to step up and tackle the next challenge, and I’m not just talking about the triplets she is pregnant with. She has to accept the job, a huge promotion that she has worked hard for and deserves. Even Michelle Obama (herself) weighs in on the decision, urging Leslie to take the job.

“Moving Up” has the perfect solution when Leslie tells Grant Larson (Brady Smith) that she wants the position, but wants to move the office to Pawnee. Parks and Recreation doesn’t take the easy way out and just drop this bit and move on. Instead, in true Leslie fashion, she creates a strong argument as to why this is a good idea, complete with thick binder, and in the face of the evidence, Grant has to agree. No one can stand in the way of Leslie when she sets her mind on something, pursuing it doggedly. She gets to stay in the place she loves and perform her dream job.

The closing moments of “Moving Up” are set three years later, Leslie running a busy department and firing an inept employee (Mad Men‘s Jon Hamm). I really hope the next season of this show sticks to that new timeline, as there are hints of an event set up here that provide a dangling mystery. Though, if it starts just a little earlier, Hamm’s cameo, as funny as it is, might actually feel justified, providing an opportunity for Hamm to be a recurring player in season seven.

How else could one ask for Parks and Recreation to end? Leslie gets everything she wants and everyone is happy. This is how it should be.

The rest of “Moving On” is a love letter to the town and the people that populate it, too. The concert itself features a number of terrific musicians, many with ties to the series, and a huge tribute to Li’l Sebastian. Local celebrities, recurring characters, participate, too, and then all head to Tom’s Bistro, which Tom (Aziz Ansari) has made a success, allowing Tom to rub his accomplishment in Dr. Saperstein’s (Henry Winkler) face in front of his children (Jenny Slate and Ben Schwartz), bringing Tom’s arc full circle.

Others get their due, as well. Ron (Nick Offerman) finally defeats Tammy’s (Megan Mullally) hold over him, happy with his new family and loving it, and publicly comes out as saxophone player Duke Silver. Andy (Chris Pratt) gets to reunite with his band, whom he misses. April (Aubrey Plaza) shows new-found maturity and is totally blissful in her marriage, which her and Andy decide to dissolve so they can wed all over again. Donna (Retta) is right in the thick of things, being her awesome self. Ben earns the town free Wi-Fi and is gifted the copyright to his successful game by the accounting firm that worships him. And Larry (Jim O’Heir), formerly Jerry, is now Terry and working for Leslie.

So, all is right in the world. Parks and Recreation has been treading water a bit this season, making recent episodes less compelling, but this is resolved in a single hour. These developments not only illustrate beautifully who the characters are and how far they’ve come, but propel them forward with new, interesting stories. I don’t know if this is done because the show’s fate was in doubt (it has now been renewed), but one could not have asked for a better season finale, highlighting what this show has accomplished thus far and really stoking enthusiasm for next year.

CHILDRENS HOSPITAL "Going" Away Again

Article first published as CHILDRENS HOSPITAL "Going" Away Again on TheTVKing.

Cartoon Network's Adult Swim's Childrens Hospital brings their fifth season to a close this week with "Coming and Going." Feelings are in the air. Or rather, lack of feelings, as the cast splits into twosomes to deal with their issues. Owen (Rob Huebel) has never had an orgasm and has the urge to feel what that's like, so Lola (Erinn Hayes) reluctantly agrees to help. Glenn can't experience emotional feeling at all, so Blake (Rob Corddry) makes it his mission to fix Glenn. And Sy (Henry Winkler) tricks Chief (Megan Mullally) into going out with him in the hopes of sparking some romantic feelings from her, meaning they miss the war zone at the hospital, but their opera provides a beautiful soundtrack for the disaster.

Each episode of Childrens Hospital completely stands on its own, with almost no continuity from each week to the next, except in the vaguest of terms. For instance, in the fourth main plot this week, the one that doesn't fit into the theme mentioned above, Cat (Lake Bell) helps Valerie (Malin Akerman) give birth, even though we've never seen Valerie pregnant until now, and it's been well established in multiple installments that Valerie is actually Derrick Childrens (Jon Hamm), a man in disguise. Doesn't quite add up, does it?

Yet, that has never stopped the show from being funny. Instead of worring about continuity, it frees up the characters and writers to do whatever they find amusing in the moment. This has led to a lot of strange, stand-alone episodes, like the Shakespeare-esque entry a couple of weeks ago, yet never a shortage of laughs. Each episode is like a mini play or sketch put on by an extremely talented group. The ensemble is excellent across the board, and they only let in the best guest stars, which this week included Jack McBrayer and one of the show's writer/producers David Wain, who plays Rabbi Jewy McJewJew.

There are some connecting threads through most (not all) of the episodes. Season five finds the cast shipped off to Japan to work a hospital on an army base. This has been a recurring setting, and so informs the stories. It has made this season a little different overall from the first four, in terms that there have been new things that didn't necessarily lend themselves to the old set, but quality and tone have been maintained.

"Coming and Going" fully takes advantage of the place in a big way when, due to a series of unfortunate mishaps, the base is attacked by the American military. Yes, the base is made up of American military already, but somehow those outside of the base think that terrorists have taken over. It's kind of a loose premise, not at all believable, but one that works for the bits.

This means that each of the four main plots unfold as bombs explode around them. Maybe giving birth or having sex near a battle isn't completely unheard of for a TV drama, but who dares use such set ups for a comedy? Even as men go down, there isn't anything serious about the proceedings, with raising a flag being the way to stop the fighting, as bizarre as anything else.

It's also the small touches that make the episode. From Owen later admitting that he has had orgasms before, and was just confused by what the term 'orgasm' meant, to Glenn being killed, only to find out it was the hospital's previously never-seen "other Jewish doctor" who dies, despite it being obvious that Marino is the one going down, there are quirky, weird, unexpected touches all over the place. Valerie asks a little girl to deliver her baby, whom Cat immediately accepts as "Doctor Littlegirl." It's all as bizarre and wonderful as that.

What's impressive about this episode, over the rest of the fantastic weekly episodes, is, given a double-length running time of half an hour, there is not only time to run more stories simultaneously, but also they are all expertly interwoven. Normally, several of the cast sit out for many episodes per year so that a cohesive plot can emerge in less than fifteen minutes. Here, that is not the case, all of the principals present, and their stories are connected by synchronized occurrences and a great soundtrack.

In all, "Coming and Going" is an awesome example of a top-notch series. Childrens Hospital is gone for now, but hopefully a sixth season won't be too far away.

PARKS AND RECREATION Skips Over to "London"

Article first published as PARKS AND RECREATION Skips Over to "London" on TheTVKing.

For the season six premiere of NBC's Parks and Recreation, our favorite city employees hopped across the pond to "London" so that Leslie (Amy Poehler) could receive a civic award. It was a fun and funny trip, with some big opportunities, nice emotional moments, and a couple of major turning points. What a fantastic start to the year!

"London" begins with the quickie proposal and wedding of Ron Swanson (Nick Offerman) to Diane Tammy Lewis (Lucy Lawless). Just kidding about that middle name, by the way, but when Diane calls herself that I literally yelled at the screen; awesome bit. Anyway, no sooner does Ron pop the question than they rush upstairs, coincidentally running into April (Aubrey Plaza) and Leslie on the way, whom they invite to be best man and maid of honor, respectively. A few minutes later, before the opening credits even begin, the ceremony is done and they retire to their individual homes to celebrate the reception separately, or so Ron orders.

This is a perfect wedding for Ron's character. He has such an easy relationship with Diane, who loves Ron for who he is and has similar sensibilities. She rolls with the punches when his friends get involved, though he keeps the whole thing in check and on course. It's a little hokey that the exact two people who should be invited to attend get to, but that's easy to overlook in such a perfect sequence.

Then, it's off to London, England. Leslie has been down on herself. She tries to win the voters over one by one to avoid being recalled from office, but despite working her rear end off, nothing seems to be helping, and leaving the country is used against her. Frustrated, and feeling out of her league next to her fellow winners (including a mostly-accent-less Heidi Klum), Leslie unloads, complaining about the residents of her fair town that do not appreciate her. The moment is, of course, webcast, and bumbling Jerry (Jim O'Heir) has even arranged a viewing party, so the blunder does not escape notice.

It's hard to blame Leslie for her outburst. Even though Ron advises her to be the adult and treat her represented public like her children, any one would get upset at what Leslie is going through. All she does is try to help the people she's been elected by, and no one notices, always dumping on her. It's not fair.

This makes me think Leslie will lose the recall election. Despite how far she has come and the fact that this will rob her of a major triumph, it seems to be in the cards that she has far more obstacles to overcome before she gets her happy ending. I have to believe it will all pay off in the end, but we're not at the end, with Parks and Recreation showing no sign of losing steam. So for now, more bad news.

Of course, with Chris (Rob Lowe) slated to be leaving the series in a few months, along with Anne (Rashida Jones), that does possibly leave a vacant city manager job open, and since it's not an elected position, Leslie could slide in and begin working without worry about what people think. I'm just saying...

Speaking of Anne, though, it's great that she and Chris, also beaten down by the lack of caring from the locals when announcing Anne's pregnancy, go to Leslie, knowing she will react with the enthusiasm they seek. This shows that Leslie is the source of support people need, if only they know to go to her.

And it's not like Leslie has given up completely on being her cheerful, helpful self. She still does things for those she cares about. She arranges the perfect (solo) honeymoon for Ron, finding the one place in Europe Ron will enjoy. That is a beautiful gift and a testament to not only their friendship, but the amazing person Leslie is.

One person does notice Leslie's efforts and that's April, the girl who wrote the latter to win Leslie the award. April is really growing up, and her show of faith in Leslie, as well as taking the time to cheer her up proves this. Perhaps with Anne leaving, April can reluctantly step into the position of Leslie's best friend?

Another sign of April's maturity is how she encourages Andy (Chris Pratt) to take a several-months-long job in London with an important man (Peter Serafinowicz, NTSF:SD:SUV). Besides providing a convenient reason for Andy to be gone while Pratt makes a film, it also shows a step forward in their relationship, considering grown up priorities and her putting his needs first. This is huge, and I think they'll weather things OK because they go into it with just the right attitude. Good for them!

The other subplot unfolding in "London" is that Tom (Aziz Ansari) finally figures out who the competition that is running him into the ground is: the father of Jean-Ralphio (Ben Schwartz) and Mona-Lisa, who just so happens to be Anne's doctor. This man (played by Arrested Development's Henry Winkler) wants revenge for how Tom allegedly treats his children, but even exonerating himself from his friends' lies does Tom no good because their dad has now built a successful business he's not willing to give up.

I love the kooky family these three funny actors have built to plague Tom's life. I'm sad for Tom, of course, as he has as many troubles as Leslie in fighting for his goals, more than he deserves, but unlike her, there's real humor in the episodes that bring down Tom. For now, anyway. The longer this goes on, the sadder it gets. Though I'm still not rooting for Jean-Ralphio and family to stay away.

"London" serves just about every one of the central characters well, providing some really good humor and excellent character development. Parks and Recreation is maturing just as nicely as April is, and I'm enjoying watching these people become who they are meant to be, surely dreamers who will eventually see their wishes realized.

Parks and Recreation airs Thursdays at 8 p.m. ET on NBC.

ARRESTED DEVELOPMENT Season 4 Takes Flight

Article first published as ARRESTED DEVELOPMENT Season 4 Premiere Review on Seat42F.

Grade: 100%

Today is a glorious day for fans of high-quality comedy series, as Netflix revives ARRESTED DEVELOPMENT. Canceled by FOX after just three short seasons, it now returns today with fifteen brand-new episodes, released all at once through the company’s streaming service.

It is immediately apparent from the start of the premiere, “Flight of the Phoenix,” that this is the same show that fans love and miss. Ron Howard’s narration remains, as does a tweaked version of the theme song, the entire cast, and a host of recurring bits and characters. In the first episode, we get such classic gags as the Peanuts sad walk and a revisit to Michael’s turn as a lawyer in an Elementary school play, and see familiar guests  like Barry Zuckerkorn (Henry Winkler), Lucille 2 (Liza Minnelli), and Sally Sitwell (Christine Taylor).

Not that ARRESTED DEVELOPMENT is going to rest on its laurels and just give us the same story again. There are fresh jokes that are set up to be recurring, such as Michael’s (Jason Bateman) prayer pose and his enrollment in the University of Phoenix. Which means that, going forward, the series should continue to build upon itself as it always has, keeping what works, and enriching the tapestry further.

The character development continues, too. When last the series aired, Michael had been spiraling dowwardn. He is originally introduced as the character that has it all together, but over the course of the episodes, slowly loses it, proving he is just as screwed up as the rest of his family. Now, he has reached a very low point, and is at his worst, a logical step forward based on the past.

“Flight of the Phoenix,” flashbacks aside, covers two main time periods, six months apart. In the first, Michael is living in his son, George Michael’s (Michael Cera), dorm room. In the second, lest anyone hope that he improves himself in the interim, as the ending of the episode seems to hint might happen, we see Michael willing to sleep with Lucille 2 for money. So no matter what happens to Michael in Phoenix, which has yet to be revealed, it won’t be a happy ending for him.

Other elements have also advanced. It’s really cool to see the neighborhood around the model house finally get built, especially because that is still only the beginning of the company and the family’s problems. The Bluths will never be successful in business, and one will always wonder how they’ve stayed afloat this long. But their foibles are hilarious, and a lot of why we tune in.

We don’t learn a lot about where the rest of the characters are in “Flight of the Phoenix,” set years after the season three finale, but with enough connecting threads to jump back in on without feeling like we’ve missed anything. This is because of scheduling conflicts. During the many years between seasons three and four, most of the cast moved on professionally and obtained other work. In order to put together these fifteen half hours, accommodations have been made so that different characters will appear in different installments.

This surprisingly doesn’t feel too jarring. Some members of the Bluth clan have always been featured more than others at times, owing to the large group and limited story-telling time. While Gob (Will Arnett), George Sr. (Jeffrey Tambor), Lucille (Jessica Walter), and Buster (Tony Hale) all are briefly seen in the first episode, their stories will be told in other half hours, which is fine. Michael is the main character, if such a strong ensemble series has a main character, and putting him first feels very natural.

One assumes that the later time period we see Michael in will be where this fourth season will come together, reuniting the Bluths for their big (hopefully not permanent) ending. We’ll probably get this part of the puzzle in small pieces, doled out a little bit in each installment.

The one major element that has changed is that Lucille and George Sr. are no longer played by Tambor and Walter in long-ago flashbacks. To be fair, this always stretched the believability a little bit, and the new actors, Kristen Wiig (Saturday Night Live) and Seth Rogen (50/50, Knocked Up), are experienced and wonderful at recreating the parts. While many, myself included, are a little reticent to see someone else tackle such familiar characters, it is so well done that there should be no complaints.

In all, Netflix has done a fantastic job in resurrecting ARRESTED DEVELOPMENT, with key players both behind and in front of the camera right where they should be. I predict this will be considered a great success by fans of the show, and will likely spark at least discussion of continuation of the story after this. Now, I need to get back to my TiVo and watch more.

Don't forget Childrens Hospital

Adult Swim's Childrens Hospital returns for season four with "The Boy with the Pancakes Tattoo." A young boy comes into the hospital with the word 'pancakes' tattooed on his arm. The doctors quickly realize that this boy has also brought a form of airborne amnesia with him, and then they forget. Soon Glenn (Ken Marino) is left alone to figure out a cure before he, too, succumbs to the virus.

Even though Childrens Hospital is only a ten minute show, a lot is crammed into "The Boy with the Pancakes Tattoo," including a ton of non-specific movie references. Glenn wakes up in a supply closet with no memory of what has happened, but his name written on his hands. A virus takes down the staff one by one. There is a twist ending, revealed through flashback. The world descends into chaos.

It is also a supremely funny episode. One-liners zing one after the other in a constantly flood of humor. Some of the best moments: Lola (Erinn Hayes) talking her way through the process of losing her memory; Glenn asserting than an eleven year old is too young to be douchey; Nurse Dori (Zandy Hartig) figuring out her name through the context of Glenn's question; the brain scans being different only in color; the amnesia virus being defeated by being given amnesia; Lola's line about this being one of the craziest Tuesdays she's had all week; sound effects of a door being sealed, even when it's clear that it's still open a crack; Chief (Megan Mullally), Owen (Rob Huebel), AND Lola all thinking they are at a restaurant after losing their memories; Sy (Henry Winkler) randomly fingering a 'code' into the keypad behind him as he slips into his panic room; the fact that clowns can't catch amnesia.

Yes, that is right. For some strange, unexplained reason, clowns are immune. Which means that Glenn isn't the only one who doesn't immediately go down. Blake (Rob Corddry) also remains sane. But rather than helping Glenn, he crowns himself King and tricks Val (Malin Akerman) into believing she is his girlfriend.

And with only a ten minute running time, these are only some of the wonderful jokes. Wow.

Now there are inconsistencies and flubs in "The Boy with the Pancakes Tattoo." Some of them are listed above as the best parts of the episode. In a show like Childrens Hospital, continuity doesn't matter, as long as the actors play their parts well, and this bunch does, better than just about anyone else out there. The only thing that bothered me about the episode was that the virus is airborne, yet Glenn removes his mask when talking to Blake, and it takes Blake shoving Val's spit into Glenn's mouth to infect him.

But that can be overlooked, especially considering how many dots are connected in this episode. There are so many little things, like the pancake through line, or Val's arc, or the guest stars popping up in multiple places that lend such credibility to what they're doing here. It's like someone realized this 'mistake,' and decides the sight of Blake fingering mouths was silly enough to override any concerns. And that person or persons is right.

The point is, Childrens Hospital is crammed with very, very funny jokes and site gags pulled off by amazing comedic actors, an ensemble without exception, all at the top of their games. "The Boy with the Pancakes Tattoo" is a non-stop riot, and it amused greatly. Really, what more can you ask from a show like this? Absolutely nothing.

Childrens Hospital (not a cartoon) airs Thursdays at midnight on Cartoon Network.

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

Childrens Hospital The Complete Third Season checks in to DVD

Cartoon Network's Adult Swim isn't just for animated shows anymore. One of their best live action shows is Childrens Hospital. Originally a webseries doctored to deliver episodes running around 10 minutes each, The Complete Third Season, includes 14 installments from the first season created just for television.

Childrens Hospital is a unique, odd comedy. Although all the doctors and patients are white and speak English without an accent, the setting is Brazil. The story revolves around a staff of health care professionals who heal sick people and sleep with each other. But despite being as good looking as the more serious shows of the same description, these performers double as comedians. One doctor only heals through the power of laughter. Another is the owner of the facility in disguise.

Sometimes episodes build upon previous installments, and sometimes they are stand alone artistic pieces. The only constant in the Childrens Hospital universe is that viewers never know what to expect when tuning in, and no matter what it is, it will be funny.

The show's strength comes from its extremely strong ensemble. From creator Rob Corddry (The Daily Show), to Henry Winkler (Happy Days, Royal Pains), to Megan Mullally (Will & Grace), to Malin Akerman (Watchmen), each star has serious acting chops and plenty of screen experience. Also in the cast are Lake Bell (How to Make It in America), Erinn Hayes (Worst Week), Rob Huebel (Human Giant), and Ken Marino (Party Down). These people know what they're doing, and how to really sell their parts, rolling with whatever twists each new script throws at them.


Of course, when the playground looks as fun as Childrens Hospital, everyone else wants in on the action. Which means that the show has an unusually high number of familiar faces popping in for recurring roles and guest spots. Among those featured on this DVD are Jon Hamm (Mad Men), Tom Lennon (Reno 911!), Nick Offerman (Parks & Recreation), Sarah Silverman (The Sarah Silverman Program), Kate Walsh (Private Practice), Paul Scheer (The League), Jordan Peele (Key & Peele), as well as many other veterans of Ken Marino's previous shows, The State and Party Down. Plus, Michael Cera (Juno, Superbad) gives voice to the hospital PA.

Honestly, the list above of people involved in Childrens Hospital is far from comprehensive. That alone should tell you what kind of quality you're getting. But if famously talented people aren't enough to entice, the show has great, sharp writing covered, too. Medical cases range from a boy stuck in a box of quicksand, whom only Lola (Hayes), who is not at the hospital, can save, to Blake (Corddry) needing to transplant an executed killer's heart into a boy before he turns 18 at midnight.

Watching the characters be doctors is cool, but it's the special episodes that really kick Childrens Hospital up a notch. Season three has several that qualify. "The 70's Episode" is a "lost" episode from the 1970's, still featuring the same cast "way back when." "Childrens Hospital: A Play in Three Acts" is a piece in the style of Thornton Wilder. "Party Down" has the cast of canceled series Party Down catering a bar mitzvah. And "Newsreaders" is a "what if?" that gives almost all of the characters their own spin-offs.


I understand that a lot of this review sounds like gushing. There is a good reason for that. This show deserves great things said about it and a much bigger audience than it currently has. However, it's also hard to break down in detail what makes it so good because each episode is so different, and the writers seem to reinvent the characters constantly. It's an ever-shifting universe that defies pinning down. However, the overall tone and extremely high quality serve the show well.

As awesome as the episodes are, the special features on this single disc DVD set are lacking. The special features include more than 30 minutes of deleted scenes, bloopers, and gags, but they are very oddly organized. And without the context of the episode they belong in, they just aren't as funny. The extras also include six minisode promos in which Dr. Owen Maestro (Huebel) shrinks and goes inside of a body to teach kids about medicine, but these, too, lack much of the show's magic, likely because only one actor from the series appears.

Overall, this DVD set is definitely worth the buy, despite the lack of satisfying extras. Whether you're a loyal fan or a newbie, this is a great batch of episodes to purchase and watch over and over again. It is clever, creative, and fresh in a way few comedies ever achieve. Childrens Hospital The Complete Third Season is available now.

If you like my reviews, please follow me on Twitter! Please click here to buy the first two seasons of Childrens' Hospital on DVD.  Check out my new website, JeromeWetzel.com! Article first published as DVD Review: Childrens Hospital The Complete Third Season on Blogcritics.

'Daddy Daughter Time' for Up All Night

This week's Up All Night episode title, "Daddy Daughter Time," does not refer to Chris (Will Arnett) spending time with baby Amy, which happens most weeks. In fact, Chris begins working at the show, instead of being home during the day. He is horrible at first, but with a little coaching from Reagan (Christina Applegate), he improves markedly. Unfortunately, his popularity on screen and behind the scenes annoys Reagan, who feels as if her work space has been invaded.

"Daddy Daughter Time" actually refers to Ava's (Maya Rudolph) father, Marty (Henry Winkler, Childrens Hospital, Royal Pains), who comes to visit with his Asian wife and their children. This is much to Ava's dismay, as she is looking for some one-on-one time with Marty.

Who would have guessed that the mixed race daytime TV host would have a hippy Jewish father who writes children's books about African American youths? If that sounds like a weirdly amusing improv sketch, that's OK, because Winkler and Rudolph are veterans of comedy. Their chemistry is easy and realistic, and seconds after Winkler's first appearance on screen, any lingering questions about paternity go right out the window.

The story itself isn't particularly original. After all, how many kids, even after they grow up, feel neglected when one of their parents starts a new family? However, Ava handles the situation with less narcissism than she does many other things, and seeing the two performers together makes up for any staleness.

Chris coming to work with Regan also smacks of it's-been-done-a-million-times-before syndrome. This is a common cliché for sitcoms, though in the past it's mostly involved a stay-at-home wife going to their husband's place of employment. And maybe that's the point. In this gender reversing series, perhaps Up All Night just wanted to show that it can work the other way, too.

The problem is, using these worn out plots doesn't help Up All Night set itself apart as a series that should be watched. Fans can tune in sporadically, whenever they have time, and don't miss much. What's more, each episode does little to carve out its own niche identity, and "Daddy Daughter Time" is no exception to that rule. So what's left is a show that's enjoyable, because of the awesome trio of performers at the center, but has no hook to keep viewers coming back week after week. Somehow, enough still do.

Up All Night is a serviceable, but far from brilliant, sitcom. The actors deserve better. Sadly, a second season looks like a very real possibility, keeping the cast stuck in this world a bit longer. Though if the writing gets a little smarter, the producers ditch Missy (Jennifer Hall), and Jason Lee comes back full-time, there could be something great here. Oh, and more of Sharon Osbourne (The Talk, America's Got Talent) as a rival of Ava's wouldn't hurt, either.

If you are so inclined, catch Up All Night Thursdays at 9:30 p.m. ET on NBC.

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Childrens Hospital presents "Children's Hospital: A Play in Three Acts"

     On this week's Childrens Hospital, the regular story is abandoned in favor of an old-style play, evoking Thornton Wilder or Tennessee Williams. While the episode title is "Children's Hospital: A Play in Three Acts," it is not divided into acts, though it is a narrated play. The plot follows Owen (Rob Huebel) as he leaves his friends and fiance to take a hospital job in the big city. Owen soon realizes that the city hospital is cold and heartless, as does the audience, because of lighting and music. Our hero returns in time to save Sy (Henry Winkler), who has taken ill quite rapidly.

     This episode of Childrens Hospital is special because it is a departure from the normal scenario. While the series has done this before, including going back to the 1970s a few weeks ago, it never gets old. The point of Childrens Hospital is not to tell a narrative, but to deliver pure, belly-aching comedy. Allowing an entry to take place in a different universe, with odd clothes and dialogue patterns, only let the cast stretch, expanding their source material to draw upon. As such, "Children's Hospital: A Play in Three Acts" is yet another great episode in the series.

     Interesting, Ken Marino plays two roles this week. Not only does he tackle his usual main character, but he is the seducer from the city who lures Owen away from his home. Is this done because Marino plays a close friend of Owen's character, and the familiar visage better tempts Owen than a total stranger would? Not likely. Though that could be a possible explanation for anyone who would likely to deeply analyze the situation, Childrens Hospital defies critical thinking. Looking for explanations only prevents total enjoyment, and should be avoided. Normally, that would be a negative mark against a show, but in this case, Childrens Hospital works so well that it would be folly to question their techniques.

     Do not miss Childrens Hospital, Thursdays at midnight on Cartoon Network.

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     Please click here to buy the first two seasons of Childrens' Hospital on DVD.

Article first published as TV Review: Childrens Hospital - "Children's Hospital: A Play in Three Acts" on Blogcritics.

Childrens' Hospital returns for a third hilarious season

     Cartoon Network's Childrens' Hospital began its third season this week with "Run, Dr. Lola Sprat, Run." At the Brazilian-set hospital, though clearly the show is filmed in Los Angeles at the same place where Scrubs was shot, with no attempt to make anyone or anything seem South American, a boy comes in trapped in quicksand. The rescue workers managed to put part of the quicksand in a trough, and that's what they bring in. Because it is Saturday, no one is working at the hospital, so administrator Sy (Henry Winkler) must call the team in to save the boy's life. Dr. Childrens is revealed. None of the doctors can figure out what to do, until Dr. Lola Spratt (Erinn Hayes), who has been delayed, arrives. Meanwhile, Dr. Owen Maestro (Rob Huebel) and Valerie (Malin Akerman), also a doctor, attempt to figure out why Nurse Dori (Zandy Hartig) has suddenly been getting fat these past nine months.

     The opening credit sequence this week is goofy, as it has fake actor names for all of the people playing the main characters, except Rob Huebel. Why Huebel didn't get a psuedonym, too, is a mystery, but it's funny for some reason.

     Even better, we get to see what all the doctors are up to un the weekend, since they certainly wouldn't be practicing medicine. The Chief (Megan Mullally), who can barely walk with her ailments, is a super hero, flying around town, saving lives. Owen is an airplane pilot who doesn't wear pants or underwear. Glenn (Ken Marino) is dating Lisa Edelstein from House (herself) in a hilarious cameo. And Valerie is actually Dr. Childrens (Mad Men's Jon Hamm reprising the bit from last season's finale), the hospital's namesake in disguise. And those are only a few of the beginning scenes. Fantastic cameos really make this bizarre set up work, as Edelstein and Hamm commit fully to the parts.

     Which is why Childrens' Hospital works. Sure, it's just a parody of ER, Grey's Anatomy, House, etc., but it's also one that is so extremely funny because of series star, writer, and creator Rob Corddry. Who else would name the loudspeaker guy after the man who did it on M*A*S*H, and get Michael Cera to voice it?

     One sequence that works a bit slyly is Lola Spratt is taking voice over lessons as the episode begins. There are three main female doctors on the show. Dr. Cat Black (Lake Bell) narrated the first season. Because of other acting commitments, Bell dropped to part time in season two, so Valeria replaced her in both the hospital and the narration, though both work together well enough now. Perhaps season three is Lola's turn, as she is featured in this first episode, the title of which bears her name, and she can do the voice over work. That only leaves one question. Who's turn will it be for season four? Sy?

     Other gags this week include Blake (Corddry) slapping blood on his scrubs purposely before he even goes on shift, giving him the trademark red stains, as well as Glenn adjusting his yarmulke. Valerie only discovers Dori is pregnant because she reads an article in a magazine, not because Dori offhandedly mentions she likes to get high and have sex in opium dens. Of course, the magazine says nothing on if the baby might be a karate instructor, a fear shared by Dori and Glenn.

     The only thing that fell flat in this season premiere is Lola's extended encounter with an ex, who she has to behead. It drags the story down, slowing the pacing and the boyfriend is more dumb than silly.

     Childrens' Hospital works so well because not only is the humor strong, but the performers also commit fully. Despite the ridiculous things they say and do, the characters appears to take everything completely seriously. They freak out, worrying the boy might drown in quicksand, even though all it takes is Lola smashing the trough with an axe (complete with spoken sound effects). It's a show very hard to review, other than to say it will make you laugh more than virtually anything else on television, and you absolutely must watch it.

     Childrens' Hospital airs Thursday nights at midnight.

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     Please click here to buy the first two seasons of Childrens' Hospital on DVD.

What is Childrens Hospital?

     What is Childrens Hospital?  The title of the first episode, which aired last Sunday on Cartoon Network's Adult Swim, is "Hospital Isn't a Place".  Wikipedia tells me that it is named after Dr. Childrens.  It also says that it is a web series for TheWB.com created by Rob Corddry (The Daily Show).  Rob not only gets writing and directing credit, but also is one of the stars, playing a doctor who always wears clown makeup.  Disturbing, yes.  Funny, doubly yes.

     Although this started as a web series (apparently in 2008, from the dialogue), two episodes will air each week for the next month or so.  Each episode is about 5 minutes.  The two this week were divide by a faux commercial for a crime show called "NTSF:SD:SUV", or "National Terrorism Strike Force: San Diego: Sport Utility Vehicle."  It advertised a 12 hour season finale special event, so I'm thinking that it isn't real.  Like Childrens Hospital, it mocks a popular television genre.  After all of the webisodes have aired, new episodes will begin running on August 22nd.

     CH spoofs popular medical dramas.  It's biggest source seems to be Grey's Anatomy, as the narration, personal drama, and sex seem to best match that show.  It also pulls from ER and M*A*S*H.  The best M*A*S*H reference was a voice on the hospital loudspeaker asking Captain Pierce to report to Colonel Blake's office, two characters from the old sitcom.  Also, the character who does the announcements is named Sal Viscuso, an actor who frequently did the announcements on the show it copies.  The voice is performed by Michael Cera (Juno, Arrested Development), a big name talent who isn't even seen on screen.

     Cera isn't the only well known personality to populate the medical comedy.  The series stars Lake Bell (How to Make It in America, Boston Legal), Erinn Hayes (Parenthood, Worst Week), Rob Huebel (Human Giant), Ken Marino (Veronica Mars, Party Down), and Megan Mullally (Party Down, Will & Grace).  Some of them have funny names, such as Bell's Cat Black, some have funny mannerisms, such as the Chief's crippling ailment, that seems to be not only undefined, but change throughout the episode.  The first two episodes boasted guest stars the like of Nate Corddry (Studio 60 on the Sunset Strip, United States of Tara), Nick Offerman (Parks and Recreation), and Ed Helms as Dr. Ed Helms (The Office).  Bell will be reduced to recurring status when the season two episodes kick in August 22nd, but the cast will add Malin Akerman (Watchmen) and Henry Winkler (Happy Days, Arrested Development).

     So, what is Childrens Hospital?  Sadly, I cannot tell you that, or even what it's about, and that makes it hard to review.  I'll let all of those names up there stand for the show, and if that doesn't encourage you to watch it, I don't know what will.  That much talent doesn't come together for crap.  I can tell you, the first episodes were hilarious!  Childrens Hospital airs Sunday nights 10:30 on Cartoon Network.