THE ORVILLE Soars

Article first published as TV Review: THE ORVILLE on Seat42F.

There have been rumors of a Galaxy Quest television show for years. I’d love to see that. But for now, the closest we’re going to get is THE ORVILLE, a new sci-fi dramedy coming to FOX. Though not exactly the same sense of humor as the beloved Galaxy Quest movie, THE ORVILLE does take the adventure and wonder of Star Trek, mix it with Seth MacFarlane’s trademark brand of humor, and keep it grounded and dramatic enough to actually build a cohesive story with characters you can invest in. It is no small feat to get such a thing right.

As THE ORVILLE begins, as you likely have already heard, Ed Mercer (series creator Seth MacFarlane, Family Guy) has just been given his first command: the Orville. It’s not top-of-the-line or anything too fancy, but it’s a nice little sleek exploratory starship that will leave Earth and explore the galaxy.

Ed gets to choose one crewman, his best friend Gordon Malloy (Scott Grimes, American Dad!), but most of the compliment is already set. And the last addition, which he has no control over nor prior knowledge of, is his ex-wife, Kelly Grayson (Adrianne Palicki, Agents of S.H.I.E.L.D.), who will serve as his XO. Kelly cheated on him, and Ed is predictably not eager to have her back.

That in of itself is a humorous concept, but thankfully THE ORVILLE doesn’t go too far into sitcom territory with it. There is tension between the couple, yes, and that drives their interaction. Equal side-by-side seats on the bridge of the ship probably don’t help Ed feel any more in control. But their chemistry, while not entirely new, does seem fresh in the performances, and they seem to be a pair audiences will root to get back together. They could bicker just as effectively in a relationship, and there are clearly still feelings between them. Palicki and MacFarlane are great together.

The diverse crew include a robot, Isaac (Mark Jackson), a member of a single-gender species, Bortus (Peter Macon, Shameless), and a young woman named Alara who is out to prove herself (Halston Sage, Neighbors). It is a solid mix of varied personalities, with several species represented, and while many of the actors are not well-known, they all handle themselves well. The show doesn’t hesitate to explore the differences, and delights in the alien characteristics that humans will not understand, something sometimes minimized in other science-fiction or reserved for ‘special’ episodes.

Lest you worry about cred, Penny Johnson Jerald (Star Trek: Deep Space 9, 24) is the wise Dr. Claire Finn, chief medical officer, and producers and directors also carry over from Star Trek. Toss in some stellar guest stars like Jeffrey Tambor and Victor Garber, and this show has unexpected gravitas. It is far more than just a dumb comedy, and while it could not exist in the Star Trek universe, it also wouldn’t fit in the realm of Family Guy or American Dad! either. THE ORVILLE is its own brand.

The humor comes in the authentic moments. Crewmen talk to one another the way people do now, not as some high-minded advanced society, but as relatable folks. THE ORVILLE stops short of going full-out MacFarlane, and instead drapes the jokes over a serious plot with actual drama and danger. The humor bolsters, rather than distracts, and I would not classify this anywhere near a strict comedy. And Gordon’s introduction is one of the funniest bits.

THE ORVILLE is imaginative, clever, and darn fun to watch. I went straight into the second episode, and will definitely be tuning in weekly. This show, at least in the first two hours, deftly sticks a complicated landing.

THE ORVILLE premieres September 10^th on FOX.

All Done RAISING HOPE

Article first published as TV Review: 'Raising Hope' - Series Finale on Blogcritics.

FOX’s Raising Hope has always been a really good show with just enough schmaltz to keep it from achieving true greatness. Though, that seems purposeful, and I don’t think it wants to be more than what it is. It has real charm and presents an authentic-feeling, extremely funny family. After four seasons, the series wrapped itself up this past Friday night in much the same vein it’s always been in, providing a touching half hour (or, rather, two half hours), but not going for the closure-filled ending.

The first half hour, which is its own installment, not connected to the second, is called “How I Met Your Mullet.” This is 100% a typical episode, with character-driven segments that illustrate the terrific dynamics, without actually changing who the players are. Burt (Garret Dillahunt) gets the chance to search for his passion since Virginia (Martha Plimpton) is now making “comma money,” only to realize he already has his ideal life. Jimmy (Lucas Neff) and Sabrina (Shannon Woodward) inherit a maid (Downton Abbey‘s Lesley Nicol), only to later realize they’re taking advantage of the help and setting a bad example for daughter Hope (Baylie and Rylie Cregut), so they let her go. None of this is anything spectacular or dramatic, but it’s a wonderfully typical episode.

The second half, “The Father Daughter Dance” goes in a little different direction, not reveling in the show’s personalities, as most entries do. Instead, this is all about Virginia’s father, Arnold (Jeffrey Tambor, Arrested Development), trying to get back in her good graces. He does so by throwing Virginia the dream wedding she never had, complete with a replica of Princess Diana’s dress. But his good intentions start to fall apart when the family realizes Arnold can’t pay for Hope’s college, as he promises to do, and ends up homeless, needing Virginia and Burt to take him in.

I do wonder if this is how the fourth season of Raising Hope would have ended if the show was renewed. After all, I can’t imagine Tambor sticking around full-time, so his crashing with the Chances would likely be only a temporary situation, perhaps Arnold even being gone by the fall premiere. That’s a shame because adding Arnold to the household gives the show a chance to really grow in a new and interesting direction, completely shaking up the firmly established dynamic. I’m not complaining about the mix, as I’ve enjoyed Raising Hope immensely, but almost all series would benefit from growth over time.

Raising Hope does allow change, usually incrementally. After all, Jimmy discovers how to be a good dad, marries Sabrina, and gets his own house in the first few seasons. This provides a lot more Virginia-Burt plots separate from the others, which works well because they are easily the two best characters on the program. But it’s never been a program that would shake things up too much, at least not in any kind of permanent way.

I’m disappointed “The Father Daughter Dance” is the last episode. Like Everybody Loves Raymond, Raising Hope decides to go out without a bang. It may work for the style established, but people want a memorable capper. The series with the best (or worst) endings are often talked about and debated for years to come. A stellar finale can raise the profile of a series significantly. By bowing out quietly, Raising Hope squanders a chance to attract even more viewers in its afterlife. And if there’s something this show has always deserved but never received, it’s more viewers.

The biggest regret about Raising Hope ending now may be that the writers didn’t have more time to explore the chemistry between Maw Maw (Cloris Leachman) and Frank (Todd Giebenhain). I don’t think their February-December relationship is romantic in nature, but we really doesn’t get the chance to figure out what it is, the twosome only being featured together a few times in the past few weeks. I am really interested to see where the show would have gone with this, but I guess we’ll never know.

Overall, I still enjoyed “The Father Daughter Dance” as much as most episodes of Raising Hope, which is a considerable amount. It’s a series that really knows itself, found its groove, and uses it effectively. Some shows flounder, but this one never does, being on very solid footing in tone, style, and sense of humor for quite some time. For those who connected with this spirit, it is a continuous joy, watching week after week, and it will be sincerely missed.

TRANSPARENT Show Something New

Article first published as TRANSPARENT Show Something New on TheTVKing.

Recently, Amazon released several new pilots, and I've been working my way through the dramas and comedies, reviewing as I go. The fourth of the five on my list, Transparent, is the first one this year I've found something good to say about. It's a dramedy, leaning more towards the heavy side, about a father with a secret and his three grown children. How will they cope when they learn the news he's trying to work up the courage to deliver?

The patriarch of the family is Mort (Jeffrey Tambor, Arrested Development), a caring individual who doesn't understand how he could raise three such selfish kids. He finds it hard to open up because they don't seem to care, more concerned with who gets what when he starts giving out things. It's hard to imagine how the trio grew the way they are under Mort, unless Mort has changed significantly in ways the viewer has not been made privy to, or just didn't enforce discipline.

The problems the children face could stem more from their mother (Judith Light, Who's the Boss?). We don't see a lot of her in this pilot, despite being one of the five names on the 'Starring' card, but what we do see isn't all that likeable a woman, scolding her daughter and sort of steamrolling her current beau, even as she tries to make it seem the opposite.

At the center of the show are Mort's kids. Josh (Jay Duplass, The Mindy Project) is a music producer who sleeps with the various artists he manages, a horn dog who acts soulful. Ali (Gaby Hoffman, Girls) has no house and no steady job, and has decided to get her body into shape in the hopes that it will help her overall situation. Sarah (Amy Landecker, Dan in Real Life) has a nice home, husband (Rob Huebel, Childrens Hospital), and kids in the suburb, but is tempted to betray them when she runs into former girlfriend Tammy (Gillian Vigman, Suburgatory).

I'm not sure exactly where the story would go if ordered to series, but since the main cast comprises only the five main family members, no spouses or friends or anything, one assumes it will be a character study of the particular clan. They all have their secrets and flaws, and so much time could be spent exploring those, perhaps growing them into better people, but only after much trial and suffering. More than likely, they won't change much, but that works, too, seeing authentic reaction to real issues.

The tone is definitely HBO-esque, and not just because of nudity (which there is plenty of) or the cursing. It's got an indie-vibe, including in the music selection, not fitting into a typical structure or formula, meandering, in a good way, through seemingly only loosely connected threads. It's pretty dark, with few laughs to be found, but evokes plenty of feelings from the viewer.

Tambor, as usual, is excellent, bringing a quiet dignity to the role, and evoking sympathy in his plight. He is surrounded by other excellent performers who are much less sympathetic characters, so the burden of likability will be on his capable shoulders. While Tambor has shown range in the past, never being one-note, I did feel like I saw something new yet again from him in the episode, exposing some raw vulnerability, and it made me want to watch more.

With only one more pilot to go, Transparent is the only new Amazon premiere I've been able to solidly recommend so far this year. Check it out, available streaming on their website now.

RAISING HOPE Raises My Hope Again

Article first published as RAISING HOPE Raises My Hope Again on TheTVKing.

FOX's Raising Hope got a late start this week with a pair of new episodes, "Deja Vu Man" and "Burt Bucks," that made it worth the wait. This series is goofy in the best of ways, and isn't shy about poking fun at itself or its subject matter before ending up in a warm, love-filled place. Season four gets started right.

"Deja Vu Man" begins with a scene unrelated to the rest of the story in which Maw Maw (Cloris Leachman) forgets Hope's (Baylie and Rylie Cregut) name, as well as many other things. To refresh Maw Maw's noggin, the family and a few friends sing songs about what's happened in the first few seasons, reminding us Maw Maw who the characters are and certain events in their lives. Yes, it's a cheap excuse to recap for the audience, but by building it believably into the fabric of the show in an original way, it really, really works. Especially as Maw Maw hopes that Hope is named Edgar.

In "Deja Vu Man," Virginia (Martha Plimpton) finds out that the guy that hangs around every so often snapping pictures of the Chance family is none other than her father (Jeffrey Tambor, Arrested Development). See, Maw Maw lied about Virgina's dad being dead because he abandoned his family. Now, Virginia has a chance to reconnect with her parent, who claims to have left because Natesville was unaccepting of homosexuals and he is gay.

Of course, it's a line of bull. Tambor's character is charming enough to fool people for a little while, but viewers and Virginia alike soon come to see just how selfish and terrible a person he is. (Burt sees it right away, a credit to how smart he is, even if it's not book smart.) It wouldn't really make sense for a father who loves his child to stay away from them, no matter how hostile neighbors might be, so at the end of the day, we need to see he's a scoundrel, which we do.

That doesn't mean he shouldn't return to guest star in other episodes, though. And no tears for Virginia, who had a great man to take care of her in Paw-Paw (Terrence Beasor, Walk Hard: The Dewey Cox Story).

In the second installment, "Burt Bucks," Virginia and Burt (Garret Dillahunt) find they can barter their services for the finer things in life, then try to get their friends to barter with one another, too, ultimately creating a new currency, which Virginia and Burt keep printing more of so that they can live the high life. As Burt insists, probably necessarily given the IQ level of the town, despite the label not really making sense, this is not a pyramid scheme. Of course, it all collapses.

I love this commentary on our economic system and our government. It doesn't necessarily take a Republican or a Democratic viewpoint, instead, zeroing in on the system itself. This keeps the episode from being controversial, but also illustrates large economic issues in a way that's simple to understand.

I did keep thinking that the new system would catch up with Virginia and Burt, and they would no longer have U.S. currency to get things they need outside of their barter system, but that didn't happen. I guess there's only so much that can be gotten through in half an hour, and the focus was on satire, not keeping the zany characters stuck in the laws of reality.

An interesting thing happens in "Deja Vu Man" and "Burt Bucks" - Sabrina (Shannon Woodward) and Jimmy (Lucas Neff) make a conscious effort to stay out of Burt and Virginia's schemes. I can't say I'm not disappointed, as I love seeing the whole family together. Yet, Sabrina and Jimmy are newlyweds who live apart from Burt and Virginia, so they should have their own things. I'm sure they won't stay divided every week, and I guess the characters have to show growth, but it's a turning point that is still a little sad.

This doesn't mean Sabrina and Jimmy aren't in the installments. They have their own comedic situations, often involving Barney (Gregg Binkley) and the store. And I don't want less of the recurring cast, which has many talented players like Kate Micucci and Todd Giebenhain. I just love it when both groups mix, as they do in the opening of "Deja Vu Man."

Either way, these are still sharp, witty, welcome episodes. Clearly, Raising Hope has lost nothing during its break, and I'm glad to see it back on the air. Raising Hope now airs Fridays at 9 p.m. ET on FOX.

"Everything Is Ending" Or Just Getting Started for THE GOOD WIFE

Article first published as "Everything Is Ending" Or Just Getting Started for THE GOOD WIFE on TheTVKing.

CBS's The Good Wife, arguably the best drama on that network, returns tonight with "Everything Is Ending." The pressure mounts for the fourth years to tell the partners they are leaving the firm and striking out on their own. Alicia (Julianna Margulies) is caught in the middle of the two worlds, and tries to appease both sides, while still keeping her secrets. A case involving an inmate on death row gives her pause about her own decision.

Alicia likes working for Will (Josh Charles) and Diane (Christine Baranski), and who can blame her? They've been good to her, promoting her when appropriate, giving her opportunities, and assigning her to cases she feels passionate about, such as the pro bono work in "Everything Is Ending," saving a man named Eddie (Malik Yoba, Alphas) from execution. She is comfortable there.

Yet, she has given her word to Cary (Matt Czuchry) that she will help him start a new firm. Part of that decision might have been prompted by wanting to get away from Will, avoiding old feelings, but her word has been given. It's too late to back out. Or is it?

It's a real conundrum for Alicia. She has already made plans with Cary, and further digs her grave by lying to the partners when questioned about what she knows. Even if she wanted to stay, the only way to be forgiven would be to rat out her co-conspirators, but then Diane and Will still probably wouldn't trust her. And if she does the right thing, coming clean to the partners, she would not be welcome at the new firm, her co-workers feeling betrayed. Whatever she does now, after the lie, someone will feel like she stabbed them in the back. There is no good way out.

The problem may have been who Alicia got into bed with. It's one thing for her to want to work with Cary. They have a relationship, and similar sensibilities. He can be reasoned with. It's another to go with a democratic rule with a bunch of rash, greedy people, who don't want to leave Lockhart Gardner until after they get their bonuses. It's a short-sighted move on their part, and Alicia may end up being the one to pay the price for it. It's too bad she and Cary aren't really the new Will and Diane, as Cary is fond of calling them, because wise leadership is needed to right the course.

I do wonder if Alicia might change her mind. She seems to waver because, if she goes to a start up firm, she won't be able to help people like Eddie for quite some time. It seems Alicia didn't fully think out her choice, and now it contributes to her being stuck. But I don't want her to stay at Lockhart Gardner because Cary has felt screwed over enough and it took awhile to rebuild their trust the last time. I guess we'll just have to wait and see what she decides.

Kalinda (Archie Panjabi) may pay the price, too, also trying to cover for the associates when David Lee (Zach Grenier) starts digging. She tries to put him off, and even denies knowledge that she possesses. This is clearly done out of loyalty to Cary, and maybe Alicia. It's noble, to be sure, but when everything goes down, David Lee will surely bring Kalinda's evasiveness to the senior partners' attention.

Peter (Chris Noth) may be getting himself into much the same circumstances as Alicia in "Everything Is Ending," not thinking things through completely. To protect his image, at the behest of Eli (Alan Cumming), he promotes Marilyn (Melissa George, Alias) out of his office. Eli is correct in saying that pictures taken of Peter and Marilyn might spark bad rumors. But Marilyn is smart enough to know exactly what Peter is doing, and doesn't seem happy about it. Will she return to cause trouble, making Peter regret his decision?

It is touching when Peter suggests that Eli be his chief of staff. Eli and Peter have been through a lot together, and it's a little surprising the idea hasn't been floated before. Eli, for all his ego, actually seems surprised to be considered, and certainly appreciates the offer. While it's not completely clear Eli will accept, that's the assumption I've made, and I'm glad to solidify their partnership on the show, hopefully seeing Eli in new roles now.

Grace (Makenzie Vega) is cast in a new role, as a sex symbol. Zach's (Graham Phillips) buddies alert him to the website objectifying his sister, and he isn't pleased, though he soon realizes there's nothing he can do about it. Given Grace's religion and personality, it's unlikely she'll take advantage of the situation, and it will likely cause her more embarrassment than pride. I wonder where The Good Wife intends to go with this thread.

"Everything Is Ending" is a fantastic episode. Besides the various plots covered above, we get Jeffrey Tambor (Arrested Development) as a judge, a classic Lockhart Gardner Hail Mary, and see a softer side of Geneva Pine (Renée Elise Goldsberry). The tension is high, the pacing is fast, and the show still takes time for character development. If only other CBS shows, stuck in the procedural formulas, could take some notes, the network would quickly rise in quality.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

ARRESTED DEVELOPMENT Same "Double Crossers" As Always (Season 4 Episodes 6-10)

Article first published as ARRESTED DEVELOPMENT Same "Double Crossers" As Always (Season 4 Episodes 6-10) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting yesterday, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each, with this article focusing on episodes 6-10.

The thing that strikes me about the first four of this grouping of five is how much they seem like "typical" Arrested Development episodes. Sure, each one still centers on a single character, technically, but these middle installments include a lot more of the rest of the cast than the earliest episodes do, with more scenes and plot where the featured actor doesn't appear. As such, it allows the multiple story lines to be served and continue.

It also brings back a lot of the family dynamics fans of the show are used to. Beginning in the sixth episode, "Double Crossers," George Sr. (Jeffrey Tambor) manipulates his children against one another, especially Gob (Will Arnett) and Michael (Jason Bateman), who may possible now be dating the same woman, again. This is classic Bluth shenanigans, and eventually the Bluth children talk and compare notes. While family togetherness is the stated purpose of the Bluth parents, they are happy to chuck it out the door to serve their own purposes, which usually works for a time on their children.

Which is not to say that the kids don't follow in the footsteps of their parents. George Sr. may need Michael's help with his business deal, but Michael is also making agreements in order to get his film made. Soon, many bargains are being struck between the various sides, each Bluth worried only about their own selfish needs, no one helping the others out. Which will likely lead to the failing of everyone, per usual.

Why can't the Bluths just support one another? Why do they have to back stab and bicker? It makes for great, entertaining television, but sometimes it becomes a little sad, even when viewers are laughing.

We also get a return of many more recurring players and subplots. The mysterious Mister F. theme comes back in episode nine, "Smashed," when Tobias works at Lucielle 2's (Liza Minnelli) rehab clinic with her brother (Tommy Tune). Steve Holt (Justin Grant Wade) resurfaces in episode seven, "Colony Collapse," wanting to reconnect with his dad, Gob. Also in the same episode, Gob is finally forced to figure out what to do about his relationship with Anne (Mae Whitman), turning to magic to escape, much to chagrin of her father, Pastor Veal (Alan Tudyk).

Add in the new arcs, which feature new players, and this all begins to come together in the cohesive tale we are accustomed to, with each Bluth's plot running through each other Bluth's plot. Edited differently, these four episodes could easily serve most of the main cast (or at least the ones featured in them) with connected stories and situations, rather than being so concerned with just one Bluth.

In fact, although Michael is not the lead of any of the five, he bickers with Gob in "Double Crossers" and "Colony Collapse," and goes on a double date with Lindsay (Portia di Rossi) in her installment, episode eight's "Red Hairing," which we then again see in Tobias's (David Cross) "Smashed." Then, Michael finishes up his Ron Howard (himself) / Rebel (Isla Fisher) confusion. So the stories are getting more expansive and inclusive.

Episode ten, "Queen B.," though, follows Lucielle (Jessica Walter) and feels like the beginning of the end. This installment seems to finish off the boat chase plot begun in season three's finale, go through Lucille's trial, and takes her all the way up to the Cinco de Cuatro night we've seen so much of. The various threads begin to really tie together, bringing things back around and paying off bits started earlier in season four. I cannot say for sure, but it seems like season four might have a clear beginning, middle, and end, and we're moving into the end now.

Knowing season four can't go on forever, I'm hesitant to rush through the final five. It has been so satisfying returning to these characters, and I don't wish to let them go. For every old story that somewhat concludes, like Anne's involvement with the family and Lucille's long-running feud Lucille 2, we get another continuation, like Gob and Steve Holt's unfinished business, as well as another story just starting, like George Sr. and Oscar's (also Tambor) personality switch, Lucille 2's disappearance, Lindsay's run for office in Love's (Terry Crews) place, and George Michael's (Michael Cera) continuing avoidance of Michael, which seems to be carefully planned. This so much rich material to mine, and it's being handled very well.

That being said, I look forward to learning the fate of some of the newbies that may be near the end of their run, and I'm anxious for Maeby (Alia Shawkat), George Michael, and Buster's (Tony Hale) turns in the pole position, as well a second outing for Gob. Time to watch more Arrested Development!

All fifteen episodes of season four are currently available for Netflix streaming video subscribers.

"A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5)

Article first published as "A New Start" For ARRESTED DEVELOPMENT (Season 4 Episodes 1-5) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting today, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each.

This new Arrested Development brings back all the beloved characters from the sitcom, but because of scheduling difficulties, each installment focuses on one specific player. Other cast members come in and out often, but there is a single person who gets the most stuff, while others are barely seen at all.

First up is "Flight of the Phoenix" with Michael (Jason Bateman), arguably the central protagonist of the ensemble. When last we leave Michael, he is trying to escape his family, a smart move considering how much they have been dragging him down. But as we see in this premiere, he is not able to stay away, and thus is pulled into self-destruction's embrace even tighter, hitting near rock bottom when forced to move into his son, George Michael's (Michael Cera), dorm room, only to eventually be kicked out.

This is wonderful development for Michael, both in keeping with the personality already established, and because it demonstrates just how much like the rest of the family he is. Michael has striven very hard to set himself apart and seem "normal," but that just isn't how life shakes out for him, and even after George Michael finally grows a bit of a spine and in a roundabout way asks Michael to leave, Michael still doesn't get the hint.

Michael seems better when episode four, "The B. Team," picks up his tale, but it has to be denial, rather than success, driving the change. Intent on becoming a movie producer, working with Ron Howard (the narrator of Arrested Development playing himself here) to put together a picture about the Bluth family, specifically Michael's relationship with George Michael. Hopefully, through this experience, Michael will finally see that he is just as bad a father as his dad is, albeit in different ways, and Ron Howard's interest will serve as a wake-up call to him, leading to understanding and lasting development.

I absolutely adore "The B. Team" because of all of the meta references in it. Besides Howard, we see Brian Grazer (himself), and their offices at Imagine Entertainment. Whether or not the picture gets made, which I feel it will, and that the flashback scenes with Kristen Wiig, Seth Rogen, and others playing the familiar characters are probably from this project, this is a clever, tongue-in-cheek extension of some of the self-referential jokes the series already does. I only wish Bryce Dallas Howard would play Ron Howard's daughter in Arrested Development, rather than Isla Fisher (Confessions of a Shopaholic) filling the role.

It's not just done for meta purposes, though, firmly ensconcing the bigger story with these bits. Through a few plot twists, Maeby's (Alia Shawkat) producer career ends up being connected, and former Bluth secretary Kitty (Judy Greer) now works there, using the job for some unknown scheme to bring down the family. And other recurring roles, such as Warden Gentles (James Lipton), Andy and Rocky Richter (Andy Richter), and Carl Weathers (Carl Weathers) figure in, as well.

In fact, that's how much of Arrested Development seems to be playing out. Season four, like the first three before it, brilliantly weaves new characters and gags into everything that has come before it, with many faces and bits returning when least expected. The list of guest stars in these first five half-hours is quite long, though each is used effectively to further the plot, rather than being distracting or plain stunt casting. I think this sort of talent effectively helps fill the gaps of the missing main players.

Episodes three and five, "Indian Takers" and "A New Start," unfold concurrently, with the former following Lindsay (Portia de Rossi) and the latter focusing on Tobias (David Cross). Each have many of the same settings and scenes, but "A New Start" does not repeat "Indian Takers," instead giving new glimpses of the bigger picture.

I think Lindsay and Tobias are meant for each other. Sure, they end up with two other lovers in these episodes (The Office's Chris Diamantopoulus and comedian Maria Bamford), but they way that they keep crossing paths and end up in the same spots proves they're connected. Perhaps they aren't sexually attracted to one another, but there's a reason they are in each other's lives, and it's kind of sweet, if a bit sad, to see how hopeless they are to escape each other, much as they might try.

These two installments aren't the only ones that cross, with a couple of focal points, the aftermath of Lucille's (Jessica Walter) arrest in the season three finale and a family meeting to discuss stimulus money, bringing everyone back together. While it's sometimes hard to pinpoint the exact timeline of the narrative, each episode tells a cohesive story, and also serves the season's arcs as a whole. Putting this together has to be a difficult feat, and I'm impressed with how well it's being done, assuming it will all wrap up neatly in the end.

The weak point of these first five is episode two, "Borderline Personalities." This is about a scheme George Sr. (Jeffrey Tambor) hatches with Oscar (also Tambor) being his unwilling accomplice, but despite the wonderful additions of John Slattery (Mad Men), Karen Maruyama (Pulp Fiction), and Mary Lynn Rajskub (24), as well as the genius dual performance given by Tambor, I just couldn't get into the setting or story.

I think part of the accessibility problem is my general disinterest with anything set in the desert or with that harsh southwestern color scheme, so perhaps this is a personal opinion that will not be shared by other fans. However, even though I do consider it the worst of the five, I still think it is pretty darn funny.

Ten more episodes remain to check out, and they are sure to evoke as many laughs as the ostrich, an inability to recognize faces, subtle references, a secret ballot, a Google unnamed tech company car, and so much more have already gotten. I like that Netflix has them all out at once because I don't have to wait, but it's sad to think they'll be burned through in a few days and then it'll be over again. Thankfully, the first five installments prove that Arrested Development has lost nothing during the very long hiatus, and remains one of TV's smartest, most original, most complex comedies. I'm so glad it's back!

Arrested Development season four is available in its entirety on Netflix now.

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.

Onion News Empire

Article first published as Amazon Originals Onion News Empire Review on TheTVKing.

Onion News Empire is the best of Amazon's new "Pilot" offerings. From the minds of the infamous satirical Onion comes a show that is part The Newsroom parody, part a lambasting of modern CNN, part political roast, part journalism criticism, and part just plain fun. Plus, though I like The Onion's shorts and former Comedy Central series, Onion News Empire boasts a casts of mostly proven actors, which helps the credibility of the franchise's latest effort, and the boosts the talent level involved.

We are quickly introduced to quite a few characters in the "Pilot." Not just introduced, but told their backstories and motivations immediately and explicitly, a play on the jarring way some characters begin on a television show. Many of those shown are stereotypes or the personification of a cliche, and all the standard news types are present.

There's: Sam West (Christopher Masterson, Malcolm in the Middle), the young upstart who has just been promoted to the big leagues and will do anything to prove himself to his more experienced colleagues; Jillian (Aja Naomi King, Emily Owens M.D.), the helpful young assistant who wants to be more, but is taken advantage of by everyone else, including Sam, her stated love interest; Cameron Grey (Cheyenne Jackson, 30 Rock, Glee), the very popular, hot reporter who is trying to hide his illiteracy; David Bryan (Jeffrey Tambor, Arrested Development, Bent), the washed-up, self-involved veteran worried more about playing the game and maintaining his status than doing his job well; Helena Zweibel (Laila Robins, Bored to Death, In Treatment), the hard-nosed executive; and Ed Musgrove (William Sadler, The Pacific, Damages), the definition of a newsman, and the most direct mocking of The Newsroom.

Each of these personalities are so well cultivated, there is not a weak link among them. What's more, with only twenty plus minutes of screen time total for the episode, I feel like I know exactly who each and every character in the series is. This is no small feat, and it's a testament to the great work each of the performers are doing.

The writing is incredibly tight. There are at least a dozen one-liners I could pull from this "Pilot" and tweet, including bits about a very specific Ohio rape law and my favorite, a story that the nation's poor people pooled their money to buy an oil company so that the government might finally offer them assistance. There is something amusing and clever in every minute of the show, and from beginning to end, I was inspired and entertained.

The plots themselves are smart, too. Sam is assigned a crappy beat, which he turns into a big story, only to find out that it makes the network's biggest sponsor look back. So then, he peddles back and spins it, saving the day by getting into the muck. Jillian is looking after a little girl whom is kidnapped by the network to create news on a slow day, though they screwed up by nabbing a chubby girl, whom no one cares about. If these are the kinds of plots we have to look forward to, I very much anticipate some great snarky, current commentaries.

As if that isn't enough, Onion News Empire reveals a huge, sinister scheme at the end of the episode that could have deep and lasting implications for... well, who knows? But it's cool.

Plus, the sets are great, the detail is perfect, and there are visual gags sprinkled throughout, including two matching portraits in David's office. This is the total package, and the culmination of everything The Onion does best, finally delivered in one heck of a fantastic production.

In all, I can find nothing to complain about in the Onion News Empire "Pilot," and dozens of things to praise. Check out Onion News Empire, now available on Amazon.com.

Archer doesn't even know what "Fugue and Riffs" means

Grade: 91%

WARNING! SPOILERS AHEAD!

FX’s ARCHER is finally back this week with “Fugue and Riffs.” Archer (H. Jon Benjamin) has not been seen since his mother’s wedding, having run off, traumatized. But he soon surfaces down by the shore, living with a wife and kids, and running a greasy restaurant…

I can’t discuss the opening of “Fugue and Riffs” without spoiling something incredibly special, so I am just going to ask right now that you watch the episode and then come back to this article, because I just have to reveal the twist: The episode opens with Archer thinking his name is Bob, and he owns a place called Bob’s Burgers.

That’s right. Archer is living in the world of the FOX cartoon Bob’s Burgers, in which the titular character is also voiced by H. Jon Benjamin. All of the touches of Bob’s Burgers are there, including Jimmy Pesto’s across the street, Mort’s funeral parlor next door, the children and their goofy clothes, and even John Roberts voicing Bob’s wife, Linda. The only major changes are the animation style, which stays with what ARCHER viewers are accustomed to, and that Bob is the kids’ step-dad, having only lived there for two months.

I cannot express how awesome this mash-up is. It’s always been a little weird to switch back and forth between the two programs (both excellent and hilarious) and hear that same, distinctive Benjamin voice. I only wish that the conceit had been kept up, and maybe we would find out that, somehow, Archer had long been sneaking off to this secret family of his. Of course, that wouldn’t really work, plot-wise, and I’m grateful that this has been allowed to happen under any circumstances. Still, it’s quite a tease…

This isn’t the first time that ARCHER has referenced things, tongue in cheek, outside of the series itself. Jeffrey Tambor, who plays Jessica Walter’s husband on Arrested Development (new episodes coming to Netflix in May), has guest starred in four ARCHER episodes, so far, as a love interest for Walter’s character. It’s a bit meta, but meta is incredibly in right now, and has yet to grow stale.

The rest of “Fugue and Riffs” isn’t nearly as good. How can it be? There are plenty of signature ARCHER elements, a KGB attack (that starts in the burger joint), fun banter between Archer and Lana (Aisha Tyler), uncomfortable moments with Malory (Jessica Walter), some terrific Pam (Amber Nash) / Cheryl (Judy Greer) hang time, and tons of great one-liners and visual gags. Even the ending of the episode, discovering that Barry (Dave Willis), still up in his space station, is behind all of the trouble this week, is so unexpected and fun.

It feels wrong to complain about the rest of the episode because, if the opening hadn’t been so big, it would have been a typical ARCHER outing, and not at all a let down. The issue is, when an episode chooses such an explosive first few minutes, there has to be follow through, and there just isn’t here. Maybe the Bob’s Burgers stuff should have been worked into the finale of the episode, rather than the beginning. Maybe it just needed to start a larger story. Whatever the reason, it makes this episode slightly uneven.

Luckily, I’m sure that won’t be the case in the coming weeks. As I said, most of the episode is perfectly in keeping with the rest of the series, and ARCHER remains one of the best half hours on television. Its witty humor, smart writing, and delightful cast chemistry combine to make something really special. “Fugue and Riffs” has proven that these elements remain intact, after we get over the distraction of a brilliant initial sequence.

ARCHER airs Thursdays at 10 p.m. ET on FX.

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Article first posted on Seat42F

Not exactly 'Smitten' with Bent

This week, NBC's Bent finally premiered with two episodes, "Pilot" and "Smitten." In "Pilot," Alex Meyers (Amanda Peet, Studio 60 On the Sunset Strip, 2012) reluctantly hires Pete Riggins (David Walton, Perfect Couples, 100 Questions) and his crew to renovate her kitchen. They flirt, but he's a player, and she's got a boyfriend, Ben (Matt Letscher, Eli Stone, Brothers & Sisters), whom she forgets to mention, and isn't sleeping with. In "Smitten," Alex and Pete's dance continues, and Ben still isn't getting lucky. Though Pete is, just not with Alex.

For the curious who missed these episodes, the "Pilot" of Bent is free on Amazon right now, and "Smitten" is available for a small fee. Watch it, then come back and read this article.

Looking at the stars listed in the paragraph above, a pattern begins to emerge. Bent is full of terrific actors who have been in excellent television shows that were canceled before their time. Bent is not one of those excellent shows, and its imminent cancellation, which seems a very likely possibility, especially given the show's April premiere date, will not be mourned the way others have been.

The actors are great, and many of the names should be familiar. Besides the three listed above, Jeffrey Tambor (Arrested Development) plays Peter's washed-up-actor dad, JB Smoove (Curb Your Enthusiasm, a former writer for Saturday Night Live) is Pete's gossipy friend, Clem, Jesse Plemons (Friday Night Lights) is Pete's taken-advantage-of-apprentice, and Joey King (Ramona & Beezus) is Alex's daughter. Additionally, Pasha D. Lychnikoff (Deadwood) and Margo Harshman (Even Stevens) round out the cast.

But the problem with Bent is that there isn't much material for the performers to work with. The whole concept is that Pete is redoing Alex's kitchen? How long can that be stretched out? What happens when the work is done? Does he redo her whole house? Unless Pete and Alex are a couple by that time, there isn't much of a reason to merge their social circles. And if they are a couple, where does the tension go, as their interplay is the only real plot arc developed thus far?

Also, Harshman's character is called Screwsie. Whether that's because she likes to have lots of sex, or because she unscrews the top off many a bottle of cheap wine, the cutesy nickname is way too on the nose. Seriously, a grown woman goes by the name Screwsie? Does she want to be labeled an easy, alcoholic, slut?

Along the same lines, in the "Pilot" Tambor's character says that he's "Bent, not broken." If you need to explain the title of your series, the show needs a new title.

There are some hints of goodness. The bond that Pete forms with Alex's daughter, Frankie, is sweet. That is clearly his 'in' with her mother. If one can win over the kid, one can get the mother, and Pete has done that already. But since it's happened right off the bat, there isn't a lot of room to develop this further, and this relationship is not enough to carry the series on its own.

This cast would be great in a better written show. The chemistry is wonderful, when they get to use it. Perhaps that's what should be done. Keep them all together, but write totally new characters. Or figure out a different direction for Bent, quickly. Otherwise, it's destined to be yet another failed project for this very talented group of people who just can't find the right show.

Bent airs Wednesdays at 9 p.m. ET on NBC. In Columbus, NBC is analog channel 4, satellite 382, and high def cable 1004.

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