MARVEL'S CLOAK & DAGGER

Article first published as TV Review: CLOAK & DAGGER on Seat42F.

Marvel’s newest drama, airing now on Freeform, is CLOAK & DAGGER. Even if you’re familiar with the comic book version (or, more accurately, versions) of the characters, there are some differences in this incarnation, as is customary with each new Marvel venture. The central dynamic is intact, though, as two individuals develop powers that associate with light and dark. When they combine them, they are more powerful. Just don’t ask how.

As the television show begins, Tandy Bowen is a young girl interested in ballet. Riding with her father one night, their vehicle goes off a bridge. He perishes, but she is hit with a powerful energy wave. At the same time, young Tyrone Johnson watches his brother gunned down by police for a crime he didn’t commit. Diving into the water after his sibling’s body, Tyrone is hit with the same energy wave at the same time.

Jump to years later, Tandy (now played by Olivia Holt, I Didn’t Do It) is a teenage criminal. Living in an abandoned church because she doesn’t get along with her drug-addicted mother, Tandy, with the help of her boyfriend, robs rich people. Tyrone (Aubrey Joseph, The Night Of) seems to have things a bit better, going to a private school and playing basketball. But he’s haunted by his loss and obsessed with revenge against the cop who got away with the murder. When Tandy and Tyrone bump into one another, though, their powers are activated and things begin to change.

One would expect CLOAK & DAGGER’s protagonists to be adolescents, given the target audience and peer programming on Freeform, so that choice makes sense. The show is definitely geared towards that demographic, with romance being soap opera-ed as many a teen drama does, and high school junk crowding into daily activities. Superpowers and some actual issues, drugs and violence, deepen the concept a bit. But at the end of the day, the program embraces more tropes of the genre than it rejects.

This isn’t as much of a detriment as the pacing, though. After a really exciting pilot, the next two hours (I screened both parts of the premiere and this week’s upcoming episode) plod along very slowly, keeping the characters apart as much as possible. Even after they interact, their connection and powers aren’t clear, and CLOAK & DAGGER is more interested in exploring backstory and personal relationships than fleshing them out.

Normally, I would applaud a series who cares about the personalities more than the problems the characters face. Yet, in a show such as this, the premise needs to come along with it, and it doesn’t. Many more questions are posed than answered, but rather than presenting intriguing mysteries that will be solved, the plot seems to gloss over key elements. Presumably some of these things will have to come out as the series goes on, but viewers will be left scratching their heads about the rules of the world they’re watching and unsure as to why they’re being kept in the dark about them. Also, there’s no clear bad guy or shady organization to focus on.

Add to that the CLOAK & DAGGER is created by Joe Pokaski, one of the man responsible for the meandering and disappointing NBC series Heroes, which suffered and never recovered from some of the same shortfalls, and it’s hard to have faith that it will be worth watching.

Both Joseph and Holt seem talented and charming, right for the roles. Their mothers are played by Gloria Reuben (ER) and Andrea Roth (Rescue Me) respectively, and both actresses add a great deal to the story. However, I don’t think even the magnetism of these four will be enough to save a show that is close to being good, but not quite hitting the mark,

MARVEL’S CLOAK & DAGGER airs Thursdays on Freeform.

HEROES REBORN Rises From the Dead

Article originally published as HEROES REBORN Review on Seat42F.

More than five years ago, NBC’s Heroes ended their four-season run with a barely-begun Volume 6, “Brave New World,” and the words To Be Continued… Now, HEROES REBORN finally gives us that “Brave New World,” the title of its first episode back, as it begins a new Volume 1.

Because a number of years have passed since the events of Heroes, the new show can’t just jump right in. We get a series of flashbacks to introduce a number of the new players, as well as a huge, traumatic event that shakes the world. Then, the action picks up one year later, with the world living in fear of the Evos (what those with powers are called), and a fresh batch of heroes in hiding. The one man who may be able to usher them into a new era is the one who resisted attempts to change the world in the first place, and a familiar face.

Yes, Noah Bennet, a.k.a. HRG (for Horn-Rimmed Glasses), is the bridge between Heroes and HEROES REBORN. Having lost his estranged daughter, Claire, in the big attack, Noah (Jack Coleman) is trying to build a new life for himself. But HRG was never one able to sit on the sidelines, and as soon as Quentin Frady (Henry Zebrowski, A to Z) enters his life, it takes little prodding to get him back on track.

HRG is the perfect character to continue the story. He is involved with many of the heroes, but isn’t a hero himself. He also has history with The Company, which is very much a part of the new conspiracy and story. He is the relatable everyman, while also being the mysterious guy in the know. And his presence, a strong one in the new miniseries, is part of the reason that HEROES REBORN feels just like another season of Heroes.

Now, Heroes itself was a mixed bag, but in the early days, it was very good, and HEROES REBORN gets us back to those early days. There’s a lot going on that the audience doesn’t realize and must figure out. There is a high school student just learning how his abilities work. There are a pair of adorable Japanese geeks. There is a man who resists stepping up, but must in order to protect those he cares about. The Haitian (Jimmy Jean-Louis) may hold the answers. Mohinder (Sendhil Ramamurthy) is on the run from the law, presumably framed for something he didn’t do. So yep, pretty much the same stuff.

I mention Mohinder and The Haitian, and both are part of the two-hour premiere, sort of. They are not the only people who get shout-outs from the past, and I’m sure there will be others. One former player, in particular, has a surprising role in the second hour. But like Heroes, which introduced new players each season, HEROES REBORN keeps the world alive and growing, while bringing in fresh elements, with a bit more overhaul than previous new seasons.

There are a bunch of faces we’re seeing for the first time that are quite welcome. Tommy (Robbie Kay, Once Upon a Time) is the aforementioned high schooler who, like Claire, is hunted and must stay in the shadows. Kaye is a very talented young actor, and the perfect choice to continue this tradition. We also meet Luke (Zachary Levi, Chuck) and Joanne Collins (Judith Shekoni, The Twilight Saga: Breaking Dawn – Part 2), who have lost a son and seek revenge, as well as a mysterious man (Pruitt Taylor Vince, Deadwood), whose intentions are unknown. This grouping is the second big story, aside from HRG’s, that plays into the main mythology.

HEROES REBORN also needs a bit of humor, as Heroes had, and that’s where Miko (Kiki Sukezane, The Yokai King) and Ren (Toru Uchikado) come into play, serving much the same purpose as Hiro and Ando did in the first go-round. They’ll get involved with everyone else, eventually, but first they have their own quest.

Basically, HEROES REBORN re-creates what was great about Heroes, makes good use of its forbearer, and still manages to seem fresh and interesting. I hope this miniseries ends up being the start of another multi-season run, as the initial installments prove that the franchise has plenty of life left in it. As long as this time quality is maintained, perhaps partially by keeping the seasons shortened to thirteen episodes, as this one is, it would be great to get another four years.

HEROES REBORN premieres Thursday, September 24^th at 8 p.m. ET on NBC.

DIG Deeper

Article originally written for Seat42F.

USA’s DIG has an intriguing premise, the kind we need on television. Created by Gideon Raff (who created the show Homeland was based on) and Tim Kring (Heroes, Touch), DIG is a globe-spanning mystery set mainly in history-teeming Jerusalem and full of biblical prophecy. Our hero has to investigate a murder and a conspiracy despite overwhelming odds against him, while forces are rising in other parts of the world that will soon converge in Israel. It’s a really great concept for a TV show.

Unfortunately, DIG is not as well-executed as it should be. The story plays out in a predictable manner with some really trite dialogue, and an absolutely stupid use of a grainy surveillance photo. There are good things of note in the pilot, but the pacing makes much of the hour boring, and there’s real a lack of depth in several of the lead characters.

It’s known that Jason Isaacs (the Harry Potter films, Awake) is a good actor, and I’m sure he can convincingly carry a show. Just not this one. His character, Peter Connelly, sleeps with a very young woman, Emma Wilson (Alison Sudol, Transparent), who reminds him of his dead daughter, which is icky. He is married, by the way, and also already sleeping with his boss, Lynn Monahan (Anne Heche, Hung, Men in Trees), making him doubly repulsive. He’s bad at his job, pissing off the local cop he works with, Golan Cohen (Ori Pfeffer, World War Z), and inserting himself where he isn’t needed or wanted. He’s unlikeable, without even a bit of charm that normally makes such jerks tolerable.

While Peter is the main protagonist, thankfully there are others. There’s a side story about a red calf, and even better, a secret compound in a New Mexico desert that is keeping an orphan boy (Zen McGrath) hostage. These add actual intrigue to the plot, and provide a reason to keep watching, to see how they may tie into the story and if the mythology of the series will be worth committing to.

I particularly enjoy the compound scenes in the pilot. The place is run by David Costabile’s (Suits, Breaking Bad) Ted Billingham. Costabile is a reliable character actor, and his creepy cult leader is interesting. He is served by evil Faye (Angela Bettis, May), who matches his demeanor. Even better is Lauren Ambrose (Six Feet Under, Torchwood: Miracle Day) as his truly demented follower, Debbie, who is far too lax with their hostage, probably my favorite performance of the piece. Together, these three are far more compelling than anything going on with Peter, and so I kept finding myself eagerly anticipating their scenes.

I think the fundamental flaw with DIG is that it’s a Tim Kring show. Kring’s Heroes was a series that started out with an excellent premise and cool characters, then lost steam as he didn’t know what to do with them to keep them going. After the failed Daybreak, he then did Touch, which also involved global conspiracies. Again, Touch was a neat series that hooked the viewer, especially the pilot, which gripped a certain type of audience, myself included, in just the right way. But like Heroes, Touch suffered from a lack of direction and vision, and faltered as it wore on.

DIG feels very much like Touch, and that worries me. While there are some definite differences, including a darker tone, the lack of cohesion in the pilot itself makes me think this will go the way of Kring’s other efforts. Creating a poor core arc certainly doesn’t help, but this definitely feels like a one-and-done season because it squanders its ambitions from the start.

Television deserves a show like DIG, but not DIG itself, which falls short of the heights it should be reaching.

DIG airs Thursdays at 10 p.m. ET on USA.

When Good Shows Go Bad

Article first published as When Good Shows Go Bad on Blogcritics.


NBC's The Office was once one of the most praised, funniest sitcoms on network television. Community, on the same channel, was a brilliant, creative, original show that broke all the traditional bounds of what sitcoms were capable of. FOX's House was an intelligent character study wrapped in a medical procedural. What do these all have in common? They were great shows that fell apart in the end.

Although I list House, which I still enjoyed through to the end, even if I admit I see the point many make about the creative sagging of the final couple of years, this is usually more of a sitcom problem. A show that is funny and beloved will frequently age and tarnish. I think it's something about a certain type of comedy that just begins to wear thin over time. Jokes are only good for so long, and then they stop getting a laugh out of us. If a comedy series doesn't adapt and grow with its audience, rather than deliver the same thing over and over again, it begins to wither and die.

This isn't a new phenomenon. Many criticized Friends as it approached its end, frustrated with an unrealistic Joey / Rachel romance. The Seinfeld series finale is renowned for how much it disappointed fans. But it's also not going away, as The Office and Community prove. A show that once delighted can go sour.

Perhaps it's a lack of passion. A new show runner may feel edgy and their creative juices may flow, but they can get tired after awhile of working with the same characters and premises. Or new writing staffs may come in and just not understand what makes the characters tick.

The latter is definitely true for Community. Abed used to be the linchpin that made the series work. Even in the installments that could be considered filler, his keen eye and specific viewpoint always made things rise above what seemed to be happening on the surface. Now in its fourth year, with series creator Dan Harmon ousted from the project, Abed is easily the worst character in the ensemble, and the show suffers mightily for it. It may go off the air for good this week, with no fanfare and a very unsatisfying ending.


The Office, on the other hand, is taking its victory lap. It struggled to find its way after losing the star of the show, Steve Carell, and his wonderful Michael Scott. After over a year of floundering, the team threw in the towel and began gearing up to send the characters grandly off into the sunset. It's made the show seem a little better, with the players having some direction and the plot getting movement. But it's curtain call, which, while well deserved, should have come much earlier.

A series can pull itself out of a creative rut. After several strong initial seasons, CBS's How I Met Your Mother spiraled into unfunny drivel for a few years. It clawed its way back to being good by adding emotional heft. This was present in the beginning of the show, of course, before disappearing, but now it's the bread and butter of every installment, with the drama being of a far better quality than the comedy. Even as the final push begins, as next season will be its last, all the major stories are based on pathos, not gags.

But reinvention isn't always possible. Sometimes it's better just to end things, whether the show's story gets tied up or not. NBC pulled Heroes after a fourth season cliffhanger, and ABC didn't give Brothers & Sisters its due five years in. But neither of these series were worth watching anymore, and the networks decided to cut their losses and move on. This outraged fans, but most soon forgot about it.

Maybe we'll never know exactly why our favorite shows can't remain our favorite shows forever. For every Lost and Battlestar Galactica, which maintained quality through the finish line, even with polarizing swan songs, there are plenty like The X-Files or Veronica Mars, which just never recaptured what once made them so special. I'm sorry Veronica Mars fans, I've donated to the Kickstarted campaign and am greatly looking forward to the film, but it's true that each of the three seasons was weaker than the one before it. Storytelling is a tricky thing.


I do think series tend to be better if they maintain one creative vision. Gilmore Girls and The West Wing faltered after losing their guiding person (though the latter eventually found its stride again). A single voice having control allows better consistency than a production team; ask George R.R. Martin. However, if The Walking Dead can continue to thrive, even though it is now on its fourth show runner, this can't adequately explain away the phenomenon.

Taste is not only varied, it is fickle. Catching lightening in the bottle takes a high degree of skill and luck, but to cultivate that lightening and to not let it burn out for one hundred and fifty or two hundred episodes is a very rare feat. Maybe this could be solved with shorter seasons, like the cable channels tend to do, as you'll notice I've mainly talked about programs on the broadcast networks. But systems are slow to change, and there doesn't seem to be movement on that front.

Awesome television that doesn't age well will always be a part of life, sadly. For now, I guess we just enjoy what's good while it lasts.

Touch now touching on DVD

FOX presented a very strange show last year called Touch, the complete first season of which is now available on  DVD. It is mostly a procedural, with each episode finding Martin Bohm (Kiefer Sutherland, 24) following clues left by his autistic son, Jake (David Mazouz, Amish Grace), who doesn't talk, to help someone in need. But it is also an anthology series, with several plots going on around the world every week, oftentimes connected to one another in unexpected ways. And it is also a mystery, as we don't know why Jake sees the numbers, or who may be trying to stop him from seeing the numbers.

The premise of Touch is that there is a connectedness to the world that can be explained with mathematics. Jake can see this, while almost everyone else cannot. Somehow, it isn't really explained how, these patterns track the movements of people. Jake wants Martin to help preserve the patterns, tying together two pieces of string that may have become disconnected. What happens if he doesn't? Will the entire tapestry fall apart? That seems unlikely. More probable is that Martin can use the pattern to make others' lives better, and that's what Jake wants.

This can all be very confusing, and understandably so. What starts off as a highly intriguing "Pilot," full of magic and wonder, soon settles into a head spinning series. Viewers may want more of the answers, but instead, all we get are small pieces to a puzzle we don't have a finished picture of to guide us. If creator Tim Kring can be trusted, a risk to be sure after the disappointing Heroes, there should be some major payoffs down the road. But for now, little is explained. We just know that life is great, and coincidences are supposedly predetermined, if you know how to see them.

While Jake and Martin are the central characters, a few others play a role in their lives. In season, Jake is placed in a home under the care of social worker Clea Hopkins (Gugu Mbatha-Raw, Undercovers, Doctor Who). She slowly starts to see what Martin sees, and is torn between her superiors, who appear to have a hand in preventing anyone from following these numbers, and wanting to help Martin help people. There is also professor Arthur DeWitt (Danny Glover, Lethal Weapon, Brothers & Sisters), who has worked with children like Jake before, and offers his assistance to Martin.

What is going on among these four is definitely the meat of Touch, and the most engaging of the many elements. While other tales may be neat and inspiring, they don't mean as much, since we don't know the characters. Whenever one of them enters into Martin's direct arc, it gives a greater weight to the plot, while those less obviously connected seem less important. Touch is still struggling to find the balance of these elements throughout this freshman run.

In the season finale, the two part "Gyre," the game changes significantly, providing a tangent that should move season two in bigger directions, giving more attention to the mythology and the larger arcs. I won't go into much detail, because I hope you might check out these episodes and see how it plays out for yourself, but "Gyre" opens the door for a notably different second season. Should the series whole-heartedly go with this turn, Touch might become one of the best shows on television. For now, it's just an interesting curiosity, which may or may not pay off down the road.

Whether this happens or not, Touch isn't quite like anything else on television, which when combined with a truly terrific cast, makes it worth watching. The eleven episodes of season one are clearly just an appetizer for what is planned, and if there is a plan, I look forward to a delicious multi-course meal in the coming years.

On this three disc DVD set, there are a handful of special features. The "Pilot" is presented in an extended version, and some deleted scenes are included. Two featurettes, "Touch the World" and "Fate's Equation," get into the mechanics of the series a bit, but do not really provide more understanding than what is contained in the episodes. Like the show, they are interesting, but murky in their significance.

Touch The Complete First Season is available now on DVD.

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

Touched by Touch

     FOX presented a very special preview episode of Touch last night, two months before it officially joins the network lineup. In the "Pilot," widower Martin Bohm (Kiefer Sutherland, 24) is working a low paying job, struggling to make ends meet, while caring for his autistic son, Jake (David Mazouz, Amish Grace), who, by the way, doesn't talk, nor allow even his father to touch him. When Jake repeatedly runs away from his school to climb a cell tower, social worker Clea Hopkins (Gugu Mbatha-Raw, Undercovers, Doctor Who) shows up to remove Jake, at least temporarily, from the home. But soon both Martin and Clea are drawn in by the mystery of Jake's numbers, which leads to some remarkable connections. Martin follows those, and when his actions result in kids' lives being saved, he becomes a true believer.

     "A believer of what?" you might ask. Well, that's complicated. Basically, the theory set forth in Touch, and explained to Martin by the series's mysterious fourth main character, Arthur DeWitt (Danny Glover, Lethal Weapon, Brothers & Sisters), is that everything in the world is connected. Not only that, Jake is part of the next stage of human evolution. Jake can see all of these connections, and it allows him to understand what is going to happen. It's not predicting the future, but rather, having a clearer understanding of how the world works. Unfortunately, being mute is a side effect that prevents Jake from acting on this knowledge, so Martin must pick up on the clues and do the hard work for his son.

     While, in terms of realism, Touch stretches things just a bit, the emotional impact of this show cannot be overstated. Sutherland is fantastic as Martin, and other than at the beginning of the episode when Martin is informed that Jake has left the school, and dad gets upset, there are few echoes of Jack Bauer. For instance, Jack Bauer would never be afraid of heights! Viewers will really feel the affection Martin that has for his son, as well as his frustration at not being able to connect with him. Add to that, Martin's wife died on September 11th, and the whole nation will remember and feel his pain. Martin is in a nearly impossible situation, and the way in which he deals with his life is nothing short of heroic. Being given this purpose, as difficult as it may pan out to be, is kind of like a reward for all of the suffering Martin has been through, tangible proof that his efforts have paid off.

     In "Pilot," things get personal for Martin when Jake's numbers keep leading dad to run into a grumpy man (Titus Welliver, The Good Wife, Lost, Sons of Anarchy). At first, this strange guy seems to be an antagonist. But soon enough Martin learns he is a firefighter, and one who not only tried to save Martin's wife's life on that fateful day, but also pulls children from a bus. He is a hero, too, and Martin's actions lead to the latter outcome. It personalizes the mission in a way that future episodes likely won't often be able to, making for a hell of a "Pilot."

     It's wonderful that Clea gets on board with Martin so easily. Many shows would stretch out this friction to make drama, keeping Martin fighting with her. But in finding an ally for him and his son, Martin's job gets a little easier. And Martin has suffered enough, he doesn't need any further problems. Look for Clea to get more personally involved soon, cementing her role in Touch.

     There are other things going on in the "Pilot," though, that don't seem to have a lot of connection to the main plot, other than the central role of cell phones. A woman trying to make it as a singer sends videos of herself out on cell phones, aided by a friend. The video gets onto a father's, which he loses, and it also has pictures of his young, deceased daughter. The father desperately tries to get his phone back, and it ends up on a suicide bomber in the Middle East. Luckily, the bomber just needs an oven for his family, the father is a restaurant supplier, and they end up both connected to an operator, who happens to be the singer, during a crucial moment. How this connects to Jake and Martin is circumspect, but it's an inspiring, uplifting tale.

     In all, Touch really hooks viewers in with one of, if not the, the best pilots of the season, even with the few leaps people will have to make to enjoy it. The biggest worry here is that it is from Tim Kring, who also created the ill-fated Heroes. Fans of Heroes will remember how awesome the beginning of that show was, before devolving into something not worth watching, and getting canceled at the end of season four without resolution to a cliffhanger. Thus, watching Touch is recommend with some reservation, given that if Kring goes down the same path, an emotional investment might hurt quite a bit.

     Touch will return in March to FOX.

     If you like my reviews, please follow me on Twitter!

Covert Affairs a different direction for USA

     USA's latest drama, which premiered last Tuesday, and continues tonight, is Covert Affairs.  It stars Piper Perabo (Cheaper By the Dozen, Coyote Ugly) as Annie Walker, a new CIA trainee that got to skip her last month at The Farm and get directly to work in the D.C. area.  Annie is wanted for more than her skills, although she doesn't seem to know it yet.  Two years ago she had a passionate three-week affair with Ben Mercer (Eion Bailey, Band of Brothers), whom her bosses want to track down, and who resurfaced to save her life near the end of the pilot.  What he is up to, or why the CIA is interested in him, seems to be a mystery that will string out for awhile.  It's a series that doesn't feel very-USA like, driven by plot as much as by characters, while their usual series mostly just rely on the latter.  That is not a complaint.  It's nice to see something fresh from the network.

     The pilot was pretty good, though there was a lot going on.  It's kind of like a not-quite-as-good remake of Alias, with a star that resembles that of Alias, but without the wonderful villains.  Believability isn't too bad, which is often a problem for shows like this.  Annie's family wasn't too involved or too annoying, another element that sets it apart from other USA dramas, that often bring family members front and center to the story.  Annie's sister, Danielle (Anne Dudek, House, Big Love, Mad Men) is a starring player, but her role in the pilot was limited to trying to send Annie up on a date.

     The cast is brimming with other television veterans, as well.  Christopher Gorham (Ugly Betty) is Auggie, an intelligence officer blinded in Iraq, but already well adjusted to his loss of vision.  He will make a fantastic best friend, and I would hope that eventually he might rank as a love interest.  He is much less geeky than he was in Betty, despite his job, and already seemed a good fit for Annie.  Annie's obvious suitor, Conrad (Eric Lively, 24: Redemption, The L Word), has not been slated to continue in the series, and will soon be replaced by Jai (Sendhil Ramamurthy, Heroes).  Lastly, Annie's bosses, husband and wife Joan (Kari Matchett, 24, ER, Studio 60 on the Sunset Strip) and Arthur Campbell (Peter Gallagher, Californication, The OC), seem to be as concerned with martial problems as they are bringing in Ben.  I couldn't tell from the pilot how they ranked in relation to each other, but Joan seems to be Annie's direct superior in her little group, while Arthur heads a department including Annie's workgroup.

     All in all, it's not a bad attempt, though not a great one, either.  It has plenty of potential, so we'll see how USA develops it before I decide if it's a show to invest in or not.  But as the network did dare to take a chance, they have me for now.  Covert Affairs airs Tuesdays at 10pm on USA.

Dana Delany takes a page from Castle

     Desperate Housewives star Dana Delany spent a couple of weeks off of Wisteria Lane recently co-starring in an exciting two part episode of Castle.  As a rule, I don't watch procedurals, so despite my great respect for Nathan Fillion, dating back to his days on Two Guys, a Girl, and a Pizza Place, and through Buffy the Vampire Slayer, Firefly, Serenity, and Dr. Horrible's Sing-Along-Blog, I have not seen that show since the pilot.  What I hadn't realized was that it had really built up a splendid ensemble cast, and by the end of the two hours, I had added a season pass to my TiVo.

     Delany was wonderful, as expected.  If her taking the role seems odd to you, as she is already a series regular, perhaps it was to draw some of Housewives's audience over to Castle, or build her name recognition before her new pilot premieres.  Whatever the reason, it was nice to see her reunited with her Housewives husband, who is the title character on Castle.  She really showed a different side of her, and she brilliantly portrayed the tough FBI agent.

     Aside from Delany, Stana Katic really proved herself as Beckett, Castle's partner who was being hunted down by a serial killer.  The episodes also featured Leonard Roberts (Heroes) as Delany's partner.  It was a gripping story, spurred by a book written by Castle which was being made into a movie, and the lead character was based on Beckett.  I think the literary aspect, as well as Fillion's humor, is what sets this aside from other legal or crime dramas on television.  These two episodes involved a very devious, very intelligent serial killer, who was every bit a match for our heroes.

     Next week, Castle and Beckett will try to figure out who would drop a gargoyle on a historian.  Fun!  Tune in Monday nights at 10pm on ABC.

Heroes begins a brave new chapter

     Last night NBC's Heroes completed their fourth season, fifth volume.  While it was a good ending to Samuel's (Robert Knepper, Prison Break) carnival, the most interesting parts of the episode had nothing to do with this season's new characters.  Instead, Heroes will continue to fuel a new creative resurgence by making its core characters interesting again.  For example, Hiro (Masi Oka) also got a bittersweet ending to his quest, finding his beloved Charlie (Jayma Mays, Glee) had already lived a full life without him. She helped Hiro understand what Ando (James Kyson-Lee) had been hinting at, that Hiro would only interfere more with her for him own sake, not hers.

     Sylar (Zachary Quinto, Star Trek) appears to finally be ready to make amends and become a full fledged hero.  This plot has been toyed with before on the show, but the writer's threw circumstances and obstacles at him to drag him back down.  Despite some bad choices (his plot for the entire first half of the season), leaving him and Peter (Milo Ventimiglia, Gilmore Girls) alone in a mind trap for five years, to their perspective, led to acceptance and forgiveness I never thought possible.  It allowed Sylar the time, free from distractions, to come to grips with who he is versus who he'd like to be, something he was already grappling with before his entrapment.  And Peter, who is often dull, got to deal with the death of his brother, and proved that he is a real hero in how he relates to others.

     The best part of the episode, however, though I never expected to write these words, was Claire (Hayden Panettiere).  She came to terms with the dark side of her father, Noah (Jack Coleman, Dynasty) and grew up enough to make her own life choice.  In fact, this development made the Volume Six teaser at the end not only Heroes's most exciting one, but also more stunning than the actual Volume Five finale.  Deciding to reveal who she was to the world at large, and that there are people with gifts walking among us will rock the Heroes universe in a way that no other plot twist has.  Again, this direction was played with earlier in the series, but abandoned.  It's nice to see it embraced.

     Sadly, there was no similar fitting revelations or triumphs for one my favorite actors, Greg Grunberg, (Alias) who plays the character of Matt Parkman, and seems to have run his course at present.  Hopefully, that will be corrected early next season.  Heroes will likely return to NBC in the fall, though the decision to renew it is not yet final.  However, if this was the end, a lot of fans will be very angry at the giant cliffhanger and enormous potential left untapped.

Heroes finally finding footing

     Way back in October when I last wrote about NBC's Heroes, I lamented that the show was struggling, but celebrated a few bright spots on the horizon.  After having just viewed Monday's two-parter, I am happy to report that Heroes has found it's stride again.  If you had written Heroes off, now is the time to get back on board.  Catch up online, then read on.

     As before, there has only been limited Hiro (Masi Oka) and Ando (James Kyson Lee), who used to be just about the only part of the show worth watching.  As their names did not even appear in the latest installment's opening credits, one must assume that the plummeting ratings forced the main characters down to limited episode counts.  Not that Hiro has become uneccessary to the show.  He still should have a hand in the showdown, and he has not yet resolved his plot to rescue Charlie (Jayma Mays, Glee).  However, I am gratified to see Heroes mess with time travel and changing the timeline, but not have things go disastrously wrong, as is the norm for science fiction, and have to have it put back.  Ando's new standing is welcome.  There has also been very little seen on Mohinder (Sendhil Ramamurthy), who popped up only briefly in the fall, before disappearing again.  Similarly, another less popular character, Tracy (Ali Larter, Final Destination, Varsity Blues) has appeared in just five of the first thirteen episodes this year.

     Meanwhile, while Claire (Hayden Panettiere, I Love You Beth Cooper) has not gone into lesbianism, as I thought she might, she has gone through a lot, being lied to by her adopted father, loosing her biological father, and almost falling prey to a cult.  She is staying interesting and relevant to the plot.  Speaking of her biological father, it appears that Nathan's (Adrian Pasdar, Judging Amy) plot, months after his death, has finally played out and he will no longer be a part of the show.  This is mostly welcome, though he had gotten more engrossing last season.  The character I most miss at this point is Matt (Greg Grunberg, Alias), who had a hell of an episode battling the villain in his brain, but hasn't been seen since.

     Speaking of villains, has Sylar (Zachary Quinto, 24, Star Trek) finally met his match in newest main cast member Samuel (Prison Break's Robert Knepper)?  Their showdown this week gave me chills, and made me yearn for more.  If the two ever fought head on for long, or teamed up, it would be quite a show.  Samuel is easily the most complex, compelling enemy to grace television screens in quite some time, and his carnival slash cult has given much drive to Volume 5: Redemption, the title for this fourth season.  The place had introduced a slew of new heroes with unusual abilities, and brought a few old ones back out of the woodwork.  Plus, what the heck was up with Sylar's new tattoo of a familiar face?  With only six episodes left, Heroes doesn't have much this spring, but what it does offer will surely be worth tuning in for.

Glee Triumphant!

     Fox's Glee went on intermission last night, and like most intermissions, it is far too long.  They will be taking seventeen long weeks off before returning in April, and it will be the longest wait of many television viewer's lives...  Ok, perhaps I am exaggerating the situation a little, but you'll forgive, as I just finished viewing the finale episode moments ago, and it was knock-your-socks-and-shoes-and-everything-else-off fantastic.

     The show centers on McKinley High School's Glee Club.  While McKinley High School in Ohio is real, the series doesn't actually resemble the real place, but for an Ohioian like me (I lived in Ohio all of my life until two months ago), it doesn't matter.  It's a thrill to simply be referenced.  The club is led by Will Schuester (Matthew Morrison), who finally has gotten rid of his annoying, scheming, shallow wife, Terri (Jessalyn Gilsig, Heroes) and overcome all obstacles.  Will got to end the final episode of the fall kissing the woman he was always meant to be with, school guidance counselor, Emma Pillsbury (Jayma Mays, also of Heroes).  Of course, Will is not yet divorced, but hopefully, that will soon be corrected.  If you aren't a fan and you think he has no excuse to be kissing anyone when he's married, keep in mind that his wife lied to him about being pregnant, and he had already told her it was over.  However, what the ramifications will be for Emma's recent ex-fiance, Ken (Patrick Gallagher, Night at the Museum).  Rounding out the adults is the villain of the show, cheerleader coach Sue Sylvester, played by the inestimable Jane Lynch.  While Sue did finally get her comeuppance, she will be returning for revenge, and to highly entertain everyone.  I submit, she may be the best part of the show, and that is saying something.

     Moving on to the students themselves, almost all of whom were virtual unknowns before being cast, my favorite is Kurt (Chris Colfer), who continues to get too little screen time, but has some of the most moving plot.  The one I give best scene to in this final episode, though, is Mercedes (Amber Riley).  I submit that her performance of "I Am Telling You" rivaled even Jennifer Hudson's.  She got to stand up to the head diva, and come out gracefully.  That diva, of course, is Rachel (Lea Michele) who single-handedly won Sectionals before the others opened their mouths with her opening number "Don't Rain On My Parade".  It doesn't matter that she didn't get her guy yet.  Now that Finn (Cory Monteith, Kyle XY) found out that Quinn (Dianna Agron, yet again, Heroes) is actually pregnant with Puck's (Mark Salling) baby, he will certainly be hers by the time the show returns.  Speaking of Finn, his shining moment was more quarterback than soloist, but it works for him.  It was wonderful to see some of the background students get a little plot, too, concerning who betrayed the club.


     It will come to no surprise to anyone that the kids took first place at Sectionals and will be moving on to Regionals.  The question is, why would Fox put such a popular show on the back burner for such a long time?  With American Idol returning, I realize that many hours of prime time will be gone, but couldn't they find an hour somewhere?  The good news is, there are nine more episodes slated for this year, so presumably it will run well into June.  I guess that means this break will be longer than next summer's, and that certainly brings me Glee.
 

Heroes down but not out

    Many fans of NBC’s Heroes have fled, claiming the show will never be as good as it was in the first season. Truthfully, I feel the first season was ok, but the second season was the zenith. That was when Kristen Bell (Veronica Mars) and David Anders (Alias) joined the cast. They were signed to become full time characters, but a shortened season, because of the writer’s strike, and failing ratings interfered, and both ended up leaving early in season three. I agree, that the show has floundered unevenly since then, but don’t give up hope yet.

      This week’s episode, “Strange Attractors”, proved that the show can be good, and not just when Hiro and Ando are the focus, as the popular Japanese duo sat this one out entirely. Look for more of them next week when Hiro goes back in time save his love, Charlie (Glee’s perky guidance counselor, Jayma Mays). Anyway, Claire has FINALLY become interesting, trying to lead a normal, college life and possibly falling in love with the wonderfully understanding Gretchen (Madeline Zima from The Nanny and Californication). I hope Gretchen sticks around, and Claire goes for it. The comparisons between her and one Buffy Summers have been quite evident, but unlike Buffy, Claire’s lesbianism should stick.

      Nathan and Peter have had much reduced plots, which is welcome, as they both tend to make the plot drag. As the real Nathan is dead, one can only hope that the actor will be leaving the show soon as well. Of course, Zachary Quinto’s Sylar, living in two different places at once, is richly enjoyable. That show will never shortchange that actor if they know what’s good for them. Plus, I am really digging Robert Knepper, fresh off a fantastic four year stint on Prison Break. It’s not certain what is going on with him and his mysterious circus, but he is acting the hell out of the role.

      Unfortunately, not all is clear skies. HRG is actually trying to do good, and not doing very well at it. He has always been a favorite character, and after the dissolution of his marriage and the loss of his job, does he keep having to get beat on? Also, Mohinder has been missing for quite awhile, though word is he will be back soon. But will he be back full time, or just as a guest star? Lastly, the less they focus on Ali Larter’s character(s) the better. I think it’s time she leaves for good, though I wouldn’t object to her son, Micah, returning to the show.