Visiting MIDNIGHT, TEXAS

Article first published as MIDNIGHT, TEXAS Season 2 Set Visit on Seat42F. (many more photos available at this link)

NBC’s MIDNIGHT, TEXAS returns for a second season this Friday. If you missed season one last summer, there’s still time to catch up on all ten episodes through Hulu. Or you can just jump in when it returns. But assuming you caught the show, based on the books by Charlaine Harris (True Blood), here’s a bit of a preview for season two, cobbled together from interviews during a recent set visit.

And yes, there will be spoilers. This is a preview, after all.

Season two picks up basically where the first year left off. A hotel has opened in sleepy Midnight, founded by new characters Patience (Jaime Ray Newman, The Punisher) and Kai Lucero (Nestor Carbonell, Bates Motel). They are gypsies who have been going from town to town healing people. They’ve faced some skeptics, and they found some believers. Now they’re ready to settle down and open up a more permanent shop. And they’ve chosen Midnight as the location, an invading presence in a town still trying to settle down from the last big event.

Carbonell, whom you may recognize from Lost, and who was sought after because the new show-runners worked with him on Ringer, looked to Reiki as a way to ground the character. He says the cast is made up of the nicest people, all so welcoming and willing to take big swings, and open to trying things in new ways. He’s very happy to have joined the ensemble. Carbonell learned to trust the moment and the director on Lost, especially during his 13-day shoot (a normal episode takes about eight days) on his character’s backstory episode, which was far different than he had imagined. Now, he brings those skills and experience to MIDNIGHT, TEXAS.

The hotel itself is a sprawling, impressive, versatile set, featuring a pool in the lobby that will definitely get some use. It’s a big of a departure for sleepy, lived-in Midnight. The building is also apparently “so much worse than just being haunted; you’ll wish that was the only problem.”

The hotel isn’t the only thing new that has come to MIDNIGHT, TEXAS. With showrunner Monica Owusu-Breen having left to oversee the new Buffy the Vampire Slayer reboot (which the cast universally insists she will ‘slay’), writer duo Eric Charmelo and Nicole Snyder (Supernatural), who worked on season one, have stepped into her shoes.

Nicole and Eric said their instructions for season two were clear: make it soapier, sexier, and scarier – essentially, like True Blood, but for network television. (Though not with the obvious move, bringing in Quinn, the weretiger character who appears in both book series. He’s still MIA this year.) With much of the material of the trilogy of books having been covered in the first two seasons, they also had a goal to set up the world for a much longer, larger, more dynamic story.

Everyone involved in the production seems to agree that they have succeeded in this. The action is more sprawling, no longer confined to Midnight, and more serialized. The cast claims the two-hour finale, which they were shooting during the set visit, and which involved a lot of night shooting, will blow your mind. Nothing has been spared.

Oh, and the great Jaime Murray (Defiance, Warehouse 13) has also come on board in an ‘integral’ role, though details about her part were not revealed.

Of course, not everything is about the new cast and sets. Fan favorite characters are well-served, too, with blossoming relationships explored and a threat coming from within, leaving you to wonder who is friend and who is foe.

Manfred (Francois Arnaud) still has to deal with the black ooze coming out of his ear at the end of season one. Plagued by “demon cancer,” he’s not quite himself as the story gets back underway. And he is beset by nightmares that aren’t just nightmares. Can he vanquish demons not just from the outside world, but from within himself, too?

At least it’ll be easy to hide the illness from his squeeze, Creek (Sarah Ramos), who is away at school, and so not around to catch him behaving badly. (Although Ramos is no longer a series lead, she will appear in season two of MIDNIGHT, TEXAS.)

Bobo (Dylan Bruce) has a few different things to contend with. For one, he’s bought the Cartoon Saloon, giving the place a Merlot’s-like feel. Second, he is enjoying his new relationship with Fiji (Parisa Fitz-Henley), his best friend.

Though, things will not necessarily go swimmingly for them. Haunted by past mistakes, Fiji has a lot about herself to figure out. Not to mention, being with her is going to endanger Bobo with a Final Destination-esque plot. So let’s hope the couple can get through that and come out the other side alive.

Perhaps a bit less dramatic is the wedded bliss of Olivia (Arielle Kebbel) and Lem (Peter Mensah). The couple has a few things to work on, such as re-decorating their shared living space into something suitable for them both, and the psychic connection they now have after Lem drank Olivia’s blood. But those aren’t deadly issues. Just fun.

Olivia has had a lot of emotional pain in her life, and this season will provide some healing. Not that she’s stopped being a badass assassin; quite the opposite. But she needs to learn how to embrace the wonderful parts of life, too, and to figure out how to be strong enough to be vulnerable.

Kebbel also promises satisfying, big resolution between Olivia and Madonna (Kellee Stewart), who was revealed to be working for Olivia’s father at the end of last season.

Then there’s Joe (Jason Lewis), whom after a millennia of hiding, is trying to figure out what his life is now. This will lead to some fresh temptations for the angel, and Joe will be forced to confront the person he was.

Which is not to say that season two of MIDNIGHT, TEXAS is backwards-looking. While the past does play into character development, it’s used to inform how the characters grow moving forward, not driving the plot as it sometimes did in season one.

It’s been said that Friday nights are a great night for genre television on the broadcast networks, and with MIDNIGHT, TEXAS moving into the regular season – albeit for a nine-episode run this fall, rather than trying to complete a full twenty-some episodes – let’s hope that stays true. The new and expanded sets look great, the story teased is intriguing, and the cast and crew seem to be having a lot of fun. I look forward to going along for the ride with them.

MIDNIGHT, TEXAS begins its second season this Friday on NBC.

SLEEPY HOLLOW - "Kali Yuga"

Article originally written for Seat42F.

“Kali Yuga,” the title of last night’s installment of FOX’s SLEEPY HOLLOW, is, according to Sanskrit scriptures, the final stage the world goes through and is associated with the demon Kali. This seems appropriate, given that in the hour Hawley’s godmother, Carmilla Pines (Jaime Murray, Defiance, Warehouse 13), shows up and tries to use a statue of Kali to turn him into the same type of demon she is. It’s yet another end-of-the-world scenario trying to force its way into the not-so-sleepy hollow.

Murray is a fantastic actress, and I’m excited to see her join the cast, hopefully in a recurring capacity. She is brilliant at playing characters that are hard to relate to, seeming alien to the average person. Carmilla Pines, a female Indiana Jones now cursed, is just such a person. She loves Hawley (Matt Barr), whom she raised after his parents died, but she’s selfish and bent on power of some sort. This makes for a villain who’s not 100% detestable and may one day be redeemed, but who still deserves to be stopped.

Stop her, they do, though this is complicated by the fact that Ichabod (Tom Mison) and Abbie (Nicole Beharie) are still at odds over the Orion fiasco. Together, the witnesses make quite a team. Separated, they leave themselves vulnerable, and it’s that much harder to save the day. They do manage to get past their troubles, while locked in a deadly vault of course, in time to save Hawley, but not before Carmilla escapes. Had they been more on their game, they likely would have at least captured Carmilla, too, as while Hawley doesn’t want her around, I’m not positive he wants her dead, either, hesitating to murder her, as anyone likely would in his situation.

SLEEPY HOLLOW’s biggest strength is in the dynamic between the two leads, and while last week’s individual romps are fun with limited interaction between them, as the show should be able to do from time to time, the scenes in “Kali Yuga” serving this duo are great. From karaoke to Jenny (Lyndie Greenwood) playing couple’s counselor, there are numerous funny and sweet moments. They do resolve things perhaps a bit too easily in a vault that is entirely too simple to escape from (they have plenty of time to keep pushing buttons until they find the correct one), but it’s satisfying to see them back on the same page.

There are weaknesses in “Kali Yuga,” too, besides the vault buttons. For one, SLEEPY HOLLOW has been building an Abbie / Hawley chemistry, which is suddenly ditched this week in favor of an immediate implied Jenny / Hawley relationship. What the hell is up with that? I see Abbie isn’t OK with it, but how did it even come about when Hawley has been paying more attention to Abbie? Even if he spends time with Jenny, we don’t see the shift. Secondly, if Carmilla and her minions are super-fast, why do they tussle with our heroes at all? Why not just rip away their weapons before they can be used? The fight scene doesn’t make any sense.

A mystery is teased in “Kali Yuga” when all charges against Frank Irving (Orlando Jones) are dropped and he returns home to his wife, Cynthia (Jill Marie Jones). Cynthia is suspicious, as she should be. Who let Frank go free? A visit to Katrina (Katia Winter) assures Cynthia that Frank is no longer being controlled by Henry (too-long-missing John Noble), but that last shot showing Irving doesn’t have a reflection is weird. I wish a little more running time were devoted to this, but am excited about where it might be going.

Overall, I like, not love, “Kali Yuga.” Some glaring plot weaknesses, mentioned above, bring it down, while character chemistry and mythology is well served. Tossing in Henry Knox (Ron Rogge, Obsessed) as yet another historical figure Ichabod knows is tiresome, but at least SLEEPY HOLLOW doesn’t beat us over the head with flashbacks this time, so it seems more natural to the story. Season two hasn’t lived up to expectations set in season one yet, but there’s still time to fix that as the series builds towards its season (possibly series) finale next month.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

DEFIANCE Is Back, "Hallelujah!"

Article first published as DEFIANCE Review Season 2 on Seat42F.

Warning: This review does contain some spoilers from the premiere episode, including how much time has passed, but does not spoil any big twists, nor reveal the fates of those whose continued survival is left up in the air.

SyFy’s DEFIANCE starts its second season this week with “The Opposite of Hallelujah.” It’s been nine months since the events of last spring’s finale, and everyone has settled into a new normal. The city is being ruled by an outside force and most of the residents that are still in the town seem to have accepted that, finding ways to change and continue their daily routine. But rebellion seems to be brewing just under the surface. Will those rumblings soon erupt into full-scale insurgency?

Last season’s cliffhanger is a big one, so many viewers might assume that DEFIANCE won’t make a significant time jump. They would be wrong, but I think the writers are right to skip over what they did. The ramifications of what occurs are far from over; there just hasn’t been much action in the meantime. Instead, there’s a sense of uneasy calm, where our heroes have had a chance to get used to the changes. Viewers are dropped into a different world, which right away infuses the proceedings with a sense of freshness and movement.

“The Opposite of Hallelujah” is an interesting study of various characters. Much of DEFIANCE is action-based, with plenty of fights and special effects. But this year’s premiere is quieter, instead giving us some really cool ways for the characters to grow and develop, which happens in season one, but is more prevalent now. Rather than providing a bunch of OMG moments, though the episode sure does end with one, DEFIANCE focuses on setting individuals up in situations that will challenge them. I definitely dig this direction.

Amanda Rosewater (Julie Benz) is no longer the mayor, but her primary concern is still with the town and its people. Amanda is given an opportunity in the premiere that might allow her to effect positive changes in the community, but it would mean not only swallowing her pride, but also partnering with a man she does not trust in the slightest. Should she do it?

There is a justifiable debate here as to whether a broken system can be affected from the inside, or if it’s better to attack from the outside. Amanda is in a rare position to pick which she’d like to do, something most will not be afforded. One can see how some followers could see her as a traitor for working with the enemy, but at the same, it might be her best chance to make their lives better. We know Amanda can put the townsfolk first, but is that the best option here, even if she’s willing to let others hate her while she works for the good of the many?

Another person pondering power is Alak Tarr (Jesse Rath). With his father no longer operating the family business (don’t worry, I won’t reveal what’s happening with Datak (Tony Curran) here), Alak is the male heir. His mother, Stahma (Jaime Murray), has no official say in things, being a woman, though viewers will know that rules are merely speed bumps for Stahma, not roadblocks. Alak now has a choice on whether to listen to someone who might be wiser than himself, or go in his own direction, fighting for his reputation and seat along the way. Is this young man ready to step up as an adult?

I am still fascinated by the Tarr family. Datak does a very unexpected thing in season one when he murders a general, and while parts of what we learn about his situation in this premiere are the weakest points in the episode, there’s also some meaty stuff there. Stahma has a disposition that seems wholly alien, often moved by motivations and loyalties that are far apart from those most humans would have. And now Alak, who seems like a typical teenager in the freshman year, is asked to take a bigger part in his father’s dealings, so it’s intriguing to see whether culture or heritage will win out within him.

If you’ve seen the five webisodes posted on DEFIANCE’s official website, you will already know that Nolan (Grant Bowler) is traveling around the country, searching for signs of his missing daughter, Irisa (Stephanie Leonidas). This means Nolan is in other settings, providing glimpses of what other areas of the former United States look like. I don’t want to give away anything about his story in “The Opposite of Hallelujah,” but it is cool to expand what we get to see of the world, and how others outside of Defiance are handling things.

This season premiere is pretty well done overall. Aside from what appears to be an inexplicable element of the Datak plot, the rest of the cast is allowed to be dynamic, and the story has departed from any type of formula, providing an engaging, serialized tale. This is a strong start to year two.

DEFIANCE airs Thursdays at 8 p.m. ET on SyFy.

WAREHOUSE 13 Not "Endless"

Article first published as TV Review: 'Warehouse 13' - Series Finale on Blogcritics.

SyFy‘s Warehouse 13 is always a little cheesy, like most USA programs of the last decade, but with a science fiction bent to it. However, it has also always exhibits heart in the bond that holds the agents of the titular facility together. In its series finale, “Endless,” the writers decide to double down on the emotion instead of giving the team any more peril to overcome.

The conceit is that the Warehouse is reaching the end of its days, ready to move on to Warehouse 14, so the agents gather together to offer their defining moments to King Arthur’s round table, a gift to them as much as to the Warehouse. Instead of a clip show, however, the memories offered up are pretty much all new footage, showcasing some of the talents of those involved, without becoming repetitive.

I have to admit, I have a problem with this set up. I like that the series doesn’t just recycle old material in the end, but if the scenes shown are really that key to the characters, shouldn’t they have been fully fleshed out adventures we get to witness along the way? Instead, “Endless” feels like a forced conclusion, adding extra elements that are never mentioned before, in order to give the characters a sense of completeness not built into the established narrative arcs.

That being said, they are really good, if underdeveloped, scenes. We find out Artie (Saul Rubinek) has a son, whom he keeps in contact with, but never mentions to his co-workers. Artie also gets a personal goodbye from Warehouse 13, something definitely earned. Claudia (Allison Scagliotti) gets some fatherly advice from Artie when she has doubts about becoming the next caretaker, but in the end, she decides to fulfill her destiny and be forever tied to the place. And Jinks (Aaron Ashmore) and Mrs. Frederic (CCH Pounder) become bosom buddies through scenes we only catch the tail end of, except for a moving memorial to departed cast member Leena (Genelle Williams).

None of these things are explored fulled enough. Sure, the 42nd Street number is a fun sequence, and who doesn’t want to see Mrs. Frederic laugh or learn Artie still has another big secret? But all of this deserves to be delved into, not delivered last minute, when it’s too late to mean much. Warehouse 13 could have at least spent its final six episodes serving these plots, but it holds them until the final hour, not giving viewers time to see the ramifications.

Where this feels like the biggest loss is in the finally realized romance between Myka (Joanne Kelly) and Pete (Eddie McClintock). Pete already figures out his feelings in a previous hour, so it’s Myka’s turn to open her eyes while Pete freaks out about losing the life and people he loves. But, of course, it all comes together, far too late for anything but a couple of satisfying kisses. Now we’ll never seen how things work out between them as an actual couple.

What feels even more like a cheat is the last scene, set “several decades later,” in which three new agents who clearly are stands-ins for Artie, Myka, and Pete interact with Claudia, now the caretaker. So Warehouse 13 didn’t move after all? A cheeky line is not an explanation. And what happened to the main cast? When did they leave? There is no mention about what they are doing now, or if they’re even still alive. I understand this is supposed to let fans known the mysteries and missions of the Warehouse are “Endless,” but instead it highlights what the show does wrong.

Don’t get me wrong, “Endless” is a feel-good hour, even carving out a natural bit for everyone’s favorite recurring character, H.G. Wells (Jaime Murray). The emotion it evokes is great. However, like the series itself, it falls far short of its potential, and comes across as shallow. I’d hoped Warehouse 13 would redeem itself with a perfect capper. In a way, this finale is what the show deserves, but on the other hand, there exists an opportunity to raise the game considerably, leaving a better legacy, and it is squandered.

Still, Warehouse 13 is entertaining, right to the end, and we can be grateful for that.

DEFIANCE Not "Broken"

Article first published as DEFIANCE Not "Broken" on TheTVKing.

At the start of the season finale of SyFy's Defiance, "Everything Is Broken," one assumes that the biggest threat facing the titular town is the presumably stolen election by Datak Tarr (Tony Curran). How strange, then, that by the end of the hour, Datak is an heroic protector of the settlement, and the threat they are facing is much, much greater.

The danger of the Earth Republic is not something introduced at the last minute, but is instead a shadowy entity oft mentioned, but rarely seen. It doesn't come out of nowhere, but when it makes its play here, it is unexpected so soon, since we do not yet know the players involved in that organization. Because of this, it is painted in a very black-and-white, stereotypical way in "Everything Is Broken," which hopefully with change in season two, once we learn more about the individuals who matter in the group.

Datak is someone viewers might think they know, but may be surprised to see the noble side of him. We know his race cares about money and manipulation, but while we are told pride is also paramount, it's not something really seen in a big way 'til now. Datak is content to work with the Earth Republic to seize the mayor's office and the mines, but they think they can buy him as their puppet, and that is where they are wrong. He is too proud to bow down, and assumes he is in control of Defiance, not them. When they try to pull a fast one on Datak, he strikes back violently.

It's hard to believe the Earth Republic won't just execute Datak on the spot, but that seems unlikely from a storytelling perspective because he is a rich character whose new side has just been exposed. He is also someone who wields a lot of control of the townsfolk, and his absence would create a large power vacuum. Instead, there will likely be a revolt against the Earth Republic, and whether Datak is instrumental in the cause, or a symbol to fight for, he will be involved.

If Datak were ever to go down, it would finally give the chance for his wife, Stahma (Jaime Murray) to flourish. She says that she is content standing behind him, and seems happy with her own earned power and games. However, she is also very clearly still subservient to her husband. Murray does a fantastic job of making Stahma complex and alien, interweaving themes of love and fear within the chemistry she has with Curran, so one is never quite sure when Stahma is posturing or when she truly believes what she claims to believe. One thing is certain, though, is that she could easily handle herself in a leadership position should the opportunity arise.

Murray is not the only one doing an amazing job of creating new perspectives. The writing and acting on Defiance make the alien characters seem far more exotic and foreign than in most science fiction enterprises. It's not just the prosthetics, but how these beings see the world that sets them apart. If there's one thing Defiance is doing right (and I would argue there is far more than one thing), it is creating the true tapestry of extraterrestrial races.

Stahma is devoted to Datak. She not only poisons Kenya (Mia Kirshner) to atone for her betrayal, but she stands by Datak's side as the Earth Republic soldiers move on. At both times, Stahma has the chance to escape Datak to her own benefit, but chooses him instead. No matter what we see between them, theirs is a real marriage.

I don't think Kenya is dead either, by the way, as we don't see the body post-poison. More likely, she is tied up somewhere and will be used as a bargaining chip if Defiance is wrestled back from the Earth Republic quickly. If not, she will probably be freed to fight alongside the others.

Of course, there may be no need for the citizens to rise up because Irisa (Stephanie Leonidas) is in control of a very powerful weapon. It is a shocking payoff to her arc this year, and allows the character to step up in a big, impressive way. We don't know for sure what Irisa can do with her new power, but I'm excited to find out, and surely she will use it to protect those she cares about, and by extension, Defiance.

I'm torn on the decision to make Doc Yewll (Trenna Keating) a good guy. It's a little predictable that the gruff physician is kind at heart. But I really like the story of redemption, that she is once very, very bad, and now wants to change, something you don't expect from the type of character she is painted as. And others have already been revealed to be secretly evil, so we don't need her to be as well. Also, Keating somehow manages to get past the heavy makeup and deliver the kind of break out performance that deserves recognition, and by keeping her with the heroes, it allows the character to continue on the show. So the path she is on is an interesting one.

"Everything Is Broken" stops short of permanently killing any of the main players, including Nolan (Grant Bowler), even though we think he is dead at one point, and he gets a very moving death scene. On one hand, this feels like a cheat, as most shows will strive to keep the main cast intact, lowering the stakes of danger, even with the plot calls for death. On the other, Defiance has assembled a fantastic ensemble, and it's hard to imagine the character-driven series without any one of them. To truly be great, Defiance will have to sacrifice a main player or two in the near future. But for now, this can be excused, since the show works so well as is, and a number of important recurring parts have fallen prior to this finale.

The only real complaint I have about "Everything Is Broken" is the scene in which Nolan and Irisa are running out of the tent with guns, ducking behind vehicles. It feels designed solely to match up with the video game, increasing the cross marketing between the Defiance series and interactive experience. But it goes too far while doing so, feeling staged and forced, the direction and movements of the characters not seeming natural for the scene.

Other than that, I am extremely pleased with the first season of Defiance, a show that SyFy should be proud of, and look forward to its return next year, as it has been renewed.

Defiant Defiance

Article first published as Defiant Defiance on TheTVKing.

There's a lot that is familiar in SyFy's new drama Defiance. A loner hero blows into town just to get a bit of money, and then intends to leave. Instead, he is sucked into the plight of the rebels, and ends up risking his life for them. A small frontier town stands up against an army they couldn't possibly hope to beat, and wins. A leader who doesn't feel up to the challenge finds her way. Generational divides between parents and children tear families apart.

But those small elements, used many times over in fiction before, don't seem all that familiar when watching the "Pilot." Instead, Defiance feels fresh and inspiring. The effects are great and the acting is terrific. The story is interesting, and the way it is presented to excellent. Overall, I am very impressed with the first two hours, and could see this as a show to watch, should the quality be maintained.

Defiance is set in our not-so-distant future. Aliens, seven species that together are called the Votan, come to Earth, accidentally terraform it, and go to war on its surface, wiping out much of the native population. We don't yet know the details of why this happens, but I assume that will be revealed over time, based on the tidbits the "Pilot" gives us, and probably has to do with resources. At least, that's the explanation that makes sense, given those are still being fought over in the first episode. More info can actually by found on the Wikipedia page for the show, which likely makes use of press materials and the tie-in video game to explain the story.

I do hope that Defiance gives us this back story. It's true that the tale being told here is primarily about characters, and not about the political maneuvers that led to the current reality. I don't disagree with the decision to skip over a lot of it in the first episode, as the initial two hours are well structured to draw viewers in. But it would be nice if the history is established as cannon on screen and known to all viewers, not just those that read online or play a game.

As the story begins, it's been years since the war ended, and Earth is a vastly different place. One town, Defiance, is a beacon of hope for those who wish to get along and live together, as the war ended when many refused to fight. There are plenty of others that live outside of its walls, including some kind of central authority. But Defiance, standing on the site of what was once St. Louis, attempts to carve its own path.

At the center of the series are Jeb Nolan (Grant Bowler, True Blood, Ugly Betty) and his adopted  Irathient daughter, Irisa (Stephanie Leonidas, MirrorMask). They tend to keep to themselves, and hope to find a paradise to settle down in, possibly in Antarctica. At first, they are resistant to Defiance, but realizing their dreams are just dreams, they decide to stay and forge an actual life.

The dynamic between the two is wonderful, and equal parts familiar and foreign. Irisa doesn't quite act like a human teenager would, but then again, she does. Perhaps her emotions are just stronger and control her a little more, taking her to the extreme. But she also has great affection for Jeb, which says something about his personality that isn't immediately apparent, having spent the effort raising and caring for a girl that he has no familiar connection to.

In Defiance itself, various factions struggle for power, though not in a way that obviously tears the town apart. Wealthy Castithan couple Datak (Tony Curran, The Pillars of the Earth, Gladiator) and Stahma Tarr (Jaime Murray, Warehouse 13, Hustle) don't get along well with human miner Rafe McCawley (Graham Greene, The Green Mile). But when their children, Alak (Jesse Rath, 18 to Life) and Christie (Nicole Munoz, Defying Gravity) bond in a Romeo and Juliet-esque fashion, the Tarrs come up with a very sinister plan to take over the mines and the fortune that comes with it.

I can't fully decide if the Tarrs are villains or not. They are certainly shrewd and cold and not above killing, yet they also seem to care about Defiance. Perhaps their ways are just very alien, and they are hard to understand. They may yet have some sort of honor code, but they aren't very likeable at the onset. Maybe they can find some way to peacefully co-exist with the McCawleys?

There are also several other colorful characters in town including: Kenya (Mia Kirshner, The L Word), madam of the local brothel; Tommy (Dewshane Williams, Being Erica), the lawman's earnest apprentice who takes a shine to Irisa; and Doc Yewll (Trenna Keating, Combat Hospital), the sharp-tongued Indogene doctor, who seems perfectly at home in the Old West tone of Defiance, despite her strange appearance.

Holding this ragtag band together is Mayor Amanda Rosewater (Julie Benz, Dexter, Angel). Benz is playing against type here, and doing it well, Amanda being a departure from previous roles. This is someone who isn't a natural leader, but can rise to the occasion, filling in the shoes of her beloved predecessor, Nicky Riordon (Fionnula Flanagan, Lost, The Other), but also forging her own path. She is very much a diplomat, which helps her hugely in her current position. She's tough, but fair; guarded, but trusts those who have earned that trust. Amanda also has an unexpected, but sweet, connection to one of the town's other residents that grounds her and adds a nice layer to the character.

By the end of the first installment, the citizens of Defiance must band together to face a common enemy, but this is only the beginning of their struggle. There is a major villain making a move against the town, and while there is definitely some mystery as to the motivation and purpose, the bad guy is revealed at the end of the "Pilot." This keeps us from being in suspense, but also provides tantalizing crumbs as to what will occur.

"Pilot" is a well-crafted and intelligent story set in a rich, detailed world. Obviously, much care has been gone into developing this universe (at least five years, actually), so it feels more authentic than most sci-fi settings. Defiance manages to deftly balance large arcs with character tales, contributing to a really neat presentation. This show could definitely go somewhere.

Defiance airs Mondays at 9 p.m. ET on SyFy.

Hope flows through Warehouse 13

Grade: 85%

SyFy’s WAREHOUSE 13 begins season four with “A New Hope.” Picking up right where season three left off, with the Warehouse destroyed, and Mrs. Fredericks (CCH Pounder), H.G. Wells (Jaime Murray), and Steve (Aaron Ashmore) dead, Artie (Saul Rubinek) has an inkling of a plan that might reverse time and give them another chance.

This quest of Artie’s takes him, Claudia (Allison Scagliotti), Pete (Eddie McClintock), and Mya (Joanne Kelly) first to France, then to the Vatican, as they follow a series of clues that point to a Knights Templar conspiracy. They have a scant 24 hours to globe trot and solve the mysteries, as well as break into a couple of semi-well guarded areas that are, perhaps, a bit too easy to get in to. Along the way, members of the team are lost, including one fatally.

It will come as no surprise that (SPOILER!) Artie wins the day, Pete, Mrs. Frederick and H.G. live, and the Warehouse is restored as if nothing ever happened.

The countdown and the race, with a team member dropping off every few minutes, gets the blood pumping enough to keep the lack of freshness in the story from being too obvious. There aren’t any real stakes in “A New Hope,” as fans don’t believe for an instant that the Warehouse, Mrs. Frederick, and especially Pete, are gone for good. But the urgency of the characters’ actions, and the total commitment by the actors to the proceedings, do make the episode exciting. While a similar formula has been used plenty of times on television before, the episode maintains the unique, WAREHOUSE 13 flavor that keeps fans engaged week after week, so most won’t mind.

Even if there isn’t a lot of real suspense in the episode of the week, a quick story to restore the status quo, a number of really neat arcs kick off in “A New Hope.” Claudia is intent on bringing Steve back, no matter what it takes, which, going by past experience, both on this series and others, will not go well. Cheating death comes with consequences. Steve may return, a welcome development, but will it be the same Steve? Will he be changed? What cost might there be to Claudia’s soul to achieve her goal?

What’s more, Artie is being hunted by a dark evil. The leader of the knights (Brent Spiner, Star Trek: The Next Generation) warns Artie that using the artifact to reverse time at the end of “A New Hope” will have grave repercussions. By the end of the hour, Artie has a dream of Claudia stabbing him. While Claudia’s quest to bring back Steve may have already been put in motion, it seems like these two stories will tie together nicely.

Claudia grew up a bit of an outsider. She has welcomed the chance to have a family while working at the Warehouse. Now that she has established a life and grown into herself, she is going to do anything to hold onto it. Losing Steve, her first field partner, is a huge blow, and the motivations behind her mission are not a mystery. She is a damaged girl just trying to hang onto the bit of stability she found after years of searching.

Artie is older and should be wiser. He has lost friends before, and knows he will again. Yet, he cannot stomach the huge cost that comes just prior to “A New Hope,” and rather than taking the advice the misfortune. Even had it just been Pete’s life, and not the Warehouse, he still may have acted. As much as Artie likes to pretend to be gruff and try not to get too attached to his team, he cares too much for his own good. Maybe he can use these life lessons and experiences to help Claudia?

Another interesting bit of “A New Hope” is when Artie convinces a couple of the Regents to recommend a pardon for H.G. Obviously, Artie witnessed her sacrifice herself to save the others in last year’s season finale. And H.G.’s motivations are always varied and layered. But will Artie consider this a repayment of debt to her for her willingness to die to save him, or has he changed his opinion of her? And will his faith be proven justified, or did H.G. have yet another reason for acting the way she did? The good news is, she gets to stick around so we can find out!

There is a reason WAREHOUSE 13 is so popular. It’s funny, charming, and fast paced fun. Tune in Mondays at 9 p.m. ET on SyFy.

Warehouse 13 makes a "Stand" with "Emily Lake"

    SyFy's Warehouse 13 did a special, two hour season finale this week. The episodes were titled "Emily Lake" and "Stand," and featured a major showdown with Walter Sykes (Anthony Michael Hall, Dead Zone, The Breakfast Club). The team discover that Skyes is going after H.G. Wells (Jaime Murray), and try to beat him to the punch. They do, but Sykes's guys take H.G. from them before they get very far. One of those guys is Jinks (Aaron Ashmore), who is secretly undercover for the Regents. H.G. is living under a different identity, but soon her memory is restored. Sykes kills Jinks, blows up Warehouse 13, and Mrs. Frederic (CCH Pounder) dies as a result. Only time will tell if Artie (Saul Rubinek) has the power to put things back together.

     "Emily Lake" and "Stand" are the two best episode of Warehouse 13 yet. Abandoning the case of the week format, these two hours concentrate on this season's larger arcs, including a showdown with a major villain. There is some heavy emotional stuff, and some really moving deaths. The stakes are high, and the writers aren't afraid to rain destruction down upon this wonderful world. As such, throwing convention out the window, the series manages to be more exciting and unpredictable than ever before!

     Well, not completely unpredictable. Anyone could see Jinks being a double agent coming from a mile away. It was an obvious move for viewers, so it's a little surprising that Pete (Eddie McClintock), Myka (Joanne Kelly), and especially Claudia (Allison Scagliotti) lose faith in him. In fact, that one part does destroy the credibility a little bit. But perhaps they are just too close to it all to see the bigger picture, so it can be overlooked. Sykes doesn't overlook it though, or he's just a very bad dude. Again, Jinks's death doesn't come out of nowhere, but the rest of the showdown, including the Warehouse being blown up and Mrs. Frederic dying, and completely surprising!

     Moving on from here, it's hard to say where the series will go. As "Stand" ends, Artie holds a watch and says that it might not be too late. Fans of Warehouse 13 may remember that Artie blew up at the end of season one, and an artifact allowed him to survive. Let's hope that this clock will not set everything back to status quo, but may be used to prevent such a total, devastating fall out. Like, the destruction of the Warehouse. Even though morphing into Warehouse 13 would be mighty cool, allowing a new setting and lots of fresh ideas.

     As far as who will stay dead, that's uncertain. Sykes's guy, Marcus (Sasha Roiz, Caprica, Grimm), was able to stay alive through anything, until Claudia stopped his metronome. She intends to use it to bring back Jinks, and she should. Not only will that keep Ashmore around, a welcome addition to the cast, but give Warehouse 13 a character with a very special ability - he cannot die. As long as the metronome stays safely locked in the Warehouse.

     But might Claudia feel pressure to use the artifact instead for Mrs. Frederic? After all, she is a more vital member of the team, as far as hierarchy goes. However, it is also possible that Mrs. Frederic perishes because the Warehouse does, and only stopping that will save her. Or she could be reborn, in the same body or with a different performer, when Warehouse 14 goes into operation. Pounder is fantastic, but a new boss could also be pretty cool.

     Wells proves herself a hero once and for all with a heroic self-sacrifice. Her survival could go either way. A planned spin-off is in the works for her. If said second series takes place in her past, when she was a Warehouse agent, than she can stay dead with no consequence, and fans won't mourn too heavily because they will still get their fix of a terrific character. but should the spin-off take place in the present day, she must be saved somehow. Either way, at least she dies a hero, redeeming her completely.

     Finally, Jane's (Kate Mulgrew, Star Trek: Voyager, NTSF:SD:SUV) ending is very open ended. It certainly seems like something more will happen there, but there aren't any clues as to what. Awesome!

     Warehouse 13 will present a special Christmas episode, likely outside of the current story arcs, like last year, and then will return for season four later in 2012.

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Warehouse 13 meets "The New Guy"

     Season three of SyFy's Warehouse 13 begins in "The New Guy." With Myka (Joanne Kelly) still refusing to return to the Warehouse, a replacement is hired named Steve Jinks (Aaron Ashmore, Smallville), who can tell when someone is lying just by looking into their eyes. Pete (Eddie McClintock) at first clashes with his new partner, but they have a mission, so he buckles down. Perhaps a little too much, as he is missing Myka terribly. When the investigation uncovers a literary angle, Pete is quick to get Myka's help on it. She saves the day. Mrs. Frederic (CCH Pounder) arranges for the still reluctant Myka to have a chat with H.G. Wells (Jaime Murray), who alone convinces Myka she should return to her odd job. Ironic, since Wells is part of the reason Myka left.


     What an opening! The whole Jimi Hendrix guitar going haywire is a perfect Warehouse case, complete with their trademark brand of humor. It also introduces "The New Guy," Jinks, appropriately enough. Despite only seeing a sliver of this adventure, nothing feels missed. Following it up with one of Mrs. Frederic's creepy dark surprises gives fans everything they've been looking forward to from Warehouse 13 in the first few minutes.

     It also sets up the new Pete, who is a lot more changed by Myka's leaving than many would expect. He is now immune to the charms of women. Similarly, Myka seems to have undergone a transformation into more of a geeky bookworm than when we first met her. The two cannot thrive without each other, reduced to something less than their potential. Not only does this satisfy everyone who wishes them to remain partners, but it proves the depth of the feelings they harbor for each other. Fantastic!

     Warehouse 13 could use some fresh blood, and choosing Ashmore, a sci-fi vet, is a smart decision. While Jinks gets a little annoying early in the episode with his frequent "You're lying"s, as soon as he stops saying it every five seconds, he melds well into the current ensemble. His inability to get Peter's humor at first (and really, who would?), coupled with his eagerness for the new career combine to make a valuable asset to the Warehouse. The only question is now, with Myka back, what is there for "The New Guy" to do? Will the Warehouse be sending out a team of three from now on?

     Interestingly, Claudia (Allison Scagliotti) isn't too happy about Jinks's presence, but not because of the man himself, who she seems to be fine with. She obviously wants Myka's job and feels she is qualified. Her past performance indicates that she likely is, and is probably being held back because of Artie's (Saul Rubinek) fatherly care for her. Which begs the question, that will surely soon be answered, what will it take Artie to get over this? Will an increase in weird activity prompt Artie to partner Claudia and Jinks, and send them out in the field? Or should he split the veterans with the newbies, which would be a smarter decision, albeit rob fans of much great Myka / Pete interplay, at least temporarily?

     Having an extra pair of hands not only sets the scene for a lot more action, since there can be field agents in multiple places at once, but also allows Leena (Genelle Williams) the possibility of more story. After all, if Claudia starts going out, Artie will need some help back at base. More importantly, with more agents, Warehouse 13 can handle greater challenges and more complex villains, something that will make the series even better than it already is. Also, the show can afford to kill a main character off in an emotionally moving way. Might I nominate Leena, the only truly expendable one?

     There is already a new threat brewing. The bad guy of the week gets away, but is killed under orders of a mysterious figure sitting in shadow. Committing the actual murder is an FBI agent (Ashley Williams, Saving Grace, How I Met Your Mother), who obstructs Pete and Jinks during their mission. Setting aside why Pete doesn't just whip out credentials to get past her, as he has done with others, how might she figure into future episodes? And what evil plan is behind it all?

     Myka's absence for the first half of the episode is regrettable, but some of the tension is immediately removed because Kelly's name still appears as a starring cast member. While mucking with the opening credits probably would require some new contract negotiations, it would have been worth it to build suspense for the fans. Had Kelly's name been saved for the ending credits, then properly restored next week, it might have caused viewers to wonder if she will ever come back, even after she returns to assist on the latest case.

     The case itself is pretty cool. Anytime Shakespeare can come alive as a serious, fatal threat is an accomplishment. His plays are full of death and violence, but so often, modern cinema makes him seem tame. The average American does not seek out Shakespeare's works for leisure reading or theater or movie viewing. Warehouse 13 reminds us that the bard is still very relevant, and has a lot to offer, should one take the time to peruse his pages. If "The New Guy" spurs a dozen people to read a bit of Shakespeare this summer, it has done its job.


     Watch Warehouse 13 Monday nights at 9 p.m. ET on SyFy.

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

     Please click here to catch up on Warehouse 13 DVDs and streaming episodes.

Article first published as TV Review: Warehouse 13 - "The New Guy" on Blogcritics.