"Departure" of Another ARCHER Season

Article first published as TV Review: 'Archer' - 'Archer Vice: Arrival/Departure' on Blogcritics.

FX’s Archer ended season five this week. Subtitled Archer Vice, it is a huge, splashy showdown, and a return to normalcy. The dictatorship in which the team is hiding collapses into itself, and probably would have even if the U.S. government hadn’t been bearing down on it, which it is.

At the same time, Lana (Aisha Tyler) goes into labor, of course, dividing the attention of Archer (H. Jon Benjamin), who has made the effort to become a doula and wants to be supportive in this situation. Archer and Lana’s romantic arc has been more funny than sweet. They are definitely in love with one another, but Lana is a tough broad, hating to allow any emotion to crack through her hardened exterior. Archer, by contrast, is an immature man-child who can be faithful, but tends to not act like an adult most of the time. Luckily, both have slowly gotten better, keeping enough of those cores to stay true to the characters and remain funny, but also exhibiting a level of growth over the course of the past few seasons.

This comes at an opportune time because Lana’s baby is also Archer’s. Not the result of a sexual hook up, Lana learned a cache of Archer’s sperm was frozen and she took some to make her child. It makes sense because, despite their issues, Archer is a fine physical specimen, and he’s someone Lana cares about. But one gets the sense in this episode that Lana did not intend to tell Archer the truth until she does, a raw moment for her after giving birth, and seeing that Archer is trying to be there for her.

Can these two move forward as a couple? Maybe. Archer doesn’t have to worry about the messy baby wrangling on set, being an animated series, and clearly the writers are going to find fun ways to use the infant, such as when she holds up a single finger to put Archer off while breast feeding. Archer is not a procedural and usually not stuck in any type of mold, so season six could find new territories to explore when two top spies have a baby on the hip.

It does look like they will return to being spies. In this season finale, Malory (Jessica Walter) blackmails Special Agent Hawley (Gary Cole, Veep) into cooperating, thus ensuring ISIS, absent during almost the entire thirteen-episode Archer Vice run, will return to form. It has been kind of cool to leave ISIS, this season being a big ol’ road trip with our favorite characters, who are always best when forced to spend lots of time together. But it will be great to get back to the office, as Archer is as much a workplace comedy as it is espionage adventure.

While I do note that Archer does kowtow to convention, this final episode of the season, more than most, actually doesn’t. A shoot-out as a regime falls and a main character giving birth at the same time feels very sitcom staple-y. Huge events are always mashed together inconveniently, especially at the close of a year. Yet, Archer‘s trademark humor and charm remains firmly in place, so while the story may seem dumbed down a smidge, the characters and dialogue do not.

The focus this week is on Malory, Archer, and Lana, all of them wrapping up their various threads, but that doesn’t mean the supporting players are ignored. Cheryl (Judy Greer) discovers she doesn’t have a chip in her brain, and her country music stardom, which she is likely to give up because she gets bored easily, comes from within. Pam (Amber Nash) gets a few last cocaine jokes in, but her withdrawal symptoms are starting to show, indicating a break away from the new her, too. Cyril (Chris Parnell) loses his position of power. Krieger (Lucky Yates) gets and protects a biological weapon. Ray (Adam Reed) has a few nice ne-liners, and recurring guest stars Slater (Christian Slater, Mind Games) and Juliana (Lauren Cohan, The Walking Dead) don’t go out quietly. The ensemble is well served.

Which means all there is left to do now is wait impatiently for another batch of one of the most consistently funny and original comedies on television. While no premiere date has been announced, Archer should be back in early 2015.

Blu-ray Review: ‘Archer – The Complete Season Four’

Article first published as Blu-ray Review: ‘Archer – The Complete Season Four’ on Blogcritics.


Archer is FX’s hilarious animated series about the employees of ISIS. Part James Bond spoof, part workplace comedy, it follows the zany adventures of some moronic people who, somehow, always seem to get the job done, despite being constantly sidetracked by their inane and selfish whims. It’s fantastic.

Season Four, recently released on Blu-ray and DVD, begins with “Fugue and Riffs.” Archer (H. Jon Benjamin) ran away on his mother’s wedding day, months ago, and hasn’t been seen since. Lana (Aisha Tyler) finally finds him living with a wife and kids and running a burger joint.

If that sounds familiar, it’s because Benjamin also is the titular character on the FOX series Bob’s Burgers, and “Fugue and Riffs” seems to be a demented, ultra-meta crossover, with Archer having become Bob (albeit with the children being his step kids) and John Roberts reprising his role as Linda, Bob’s wife. The fact that Archer would do something like this should tell you just about everything you need to know about the tone of the series.

“Fugue and Riffs” isn’t the only great installment in this two-disc set, which comprises 13 episodes. “Once Bitten” has Archer dying in the desert as Cyril (Chris Parnell) and Ray (Adam Reed) ineptly try to save him. “Live and Let Dine” features the spies undercover at a restaurant working for a mean chef, Lance Casteau (voiced by real celebrity chef Anthony Bourdain). And in the two-part season finale, “Sea Tunt,” the gang goes with Cheryl’s brother and his girlfriend (Bob’s Burgers stars Eugene Mirman and Kristen Schaal) to Sealab to stop the crazy Captain Murphy (Jon Hamm, Mad Men, playing the character from the Adult Swim series Sealab 2021).

This stuff is outrageous and will make you laugh out loud, but honestly, my favorite parts of Archer usually just involve the cast hanging around together. Malory’s (Jessica Walter) alcoholism, Pam’s (Amber Nash) crazy sex and danger obsessions, Cheryl’s (Judy Greer) twisted fantasies, Krieger’s (Lucky Yates) creepy experiments, and the rest blend together for a very pleasing batch of witty dialogue and humorous conflicts.

Archer is great because it knows what it is and wants to be and allows the characters to develop. It is a goofy animated sitcom, to be sure, but the players are much better fleshed out and dynamic than on, say, Family Guy. There are serial arcs and many recurring actors who pop up from time to time. What happens in one episode may have consequences down the road. It’s a show that should be watched in order, not just a random episode here and there, which is a rare thing for a cartoon.

There are, sadly, only two special features in this set. “Fisherman’s Daughter” is a movie that Krieger and Pam are making. Don’t worry, it isn’t tentacle porn, though it probably would be if we got to see all of it (only three minutes or so are present), and it does come awfully close to that line.  “Archer Live” features twenty-minutes edited out of a live stage show, which includes scene readings and goofing off with the audience.

Both of these extras are great. My complaint isn’t with the content itself, just that there isn’t enough of it. It seems there’s been a trend recently to slim down the bonuses on DVD sets, as I’ve commented on many being sparse this year, and while not every fan wants this stuff, it is valuable to some who could just digitally download a set if the draw for the physical media isn’t there.

Oh, and Archer has a mustache on the cover that you can take on and off, which sounds simple, but is much more fun than you’d expect.

Overall, this is a good release because the episodes are fantastic and the featurettes are enjoyable. Archer The Complete Season Four is available now.

The "White Elephant" In ARCHER's Room

Article first published as TV Review: 'Archer' - 'White Elephant' on Blogcritics.

FX’s Archer just returned with the season five premiere, “White Elephant.” A lot happens in the half hour, and it will change the format of the series for some time to come, if not forever. It’s an action-packed installment that stays true to the characters, even while altering the setting and circumstances, a bold move that few animated shows ever attempt. Well done!


“White Elephant” begins with a weird sequence in which Sterling Archer (H. Jon Benjamin) enters the ISIS office and his co-workers dance around him. Archer typically has a certain set of rules for its universe, and this defies them. At first, I assumed it was a dream, but moments later, reality sets in as ISIS is attacked by armed gunman and the headquarters is half destroyed.

Might the opening have been a clue that “White Elephant” and the rest of the season are all in Archer’s mind? We know he has a vivid imagination, and that would allow Archer to reset things later without having to literally blow up their premise, as they do this week. But honestly, I’d prefer to chalk up the first scene as a bit of whimsy that means nothing, and hope the story continues on from here.

The other hint that Archer Vice, as this season is dubbed in future episode title sequences, might not be real is that late in this episode, after the crisis is resolved, Archer imagines a series of scenes, which then play out over the next installments. These are jumbled and out of order, but after watching an additional four half-hours (all excellent!), they are definitely glimpses of future episodes. Perhaps the full installments are as much imagined as this quick montage is.

Should the events of “White Elephant” turn out to be real, though, there is some wonderful character development, and the program keeps its tone consistent. It makes absolute sense that Malory (Jessica Walter) would run afoul of the U.S. government, just as it does that she has the connections to get everyone out of trouble. She is selfish and doesn’t think the rules apply to her, and she seems to have lots of friends in high places, most of whom she has slept with.

One thing that may be missed is Archer’s enhanced tenderness towards Lana (Aisha Tyler) in this episode. He’s a little cruel, too, such as in the integration room, but that seems to be because of a lack of maturity, rather than because he doesn’t care. We see Archer want to be there for Lana and the baby, and this is a step up for him, putting someone else ahead of himself.

There’s always been an odd relationship between the two. I think Archer desperately wants to love, but having never really experienced it before, not even from his mother, he doesn’t quite understand. And Lana is a tough nut to crack, which makes it hard for her to fully commit to anyone. Perhaps, in time, they may be developed enough as individuals to have something real, but they’re not there yet.

Viewers learn a secret about Cyril (Chris Parnell) in “White Elephant.” Apparently, he used to be a defense attorney. Often, when a series brings up a past career in this manner, it seems forced and false. In Archer, though, given that everyone pretty much ignores Cyril, and Cyril insists he’s talked about it at length lots of time to Lana, it just works.

Dr. Krieger (Lucky Yates) has been promoted to full-time cast member in season five, his image added to the theme song. Honestly, it’s about time this happens. He is in the series most weeks, anyway, and he’s an interesting, weird character, adding something unique to the overall dynamic of the cast. He also has played a vital role in a number of past happenings, being the resident medical-y person. Plus, he’s funny, perhaps as funny as the rest of the stellar cast.

Archer may now be Archer Vice, but the characters, which also include Cheryl / Carol (Judy Greer), Pam (Amber Nash), and Ray (Adam Reed), are by far the best reason to tune in, no matter what they do. Whether spying or selling drugs, the essential things that make Archer so good remain, and because of that, whether Archer Vice ends up being a flight of fancy or an actual turning point, my optimism is high.

Archer airs Mondays at 10 p.m. ET on FX.

ARCHER Season Five Preview

Article first written for Seat42F.

FX’s ARCHER is back! Well, it will be back on Monday, January 13^th at 10 p.m. EST. But having already viewed the first five episodes of the fifth season, it’s easy to get excited. This is definitely one of the most creative, funny animated series for adults out there. The high quality of the first few years has been maintained, even as the show makes a bold effort to reinvent itself before it has the slightest chance to grow stale.

***As usual, spoilers will be light, but present. Because of the nature of this season, this review may be a little more revealing than most, and those who wish to be completely surprised should reading stop now.***

As one may have surmised from the artwork advertising season five, the season has been subtitled ARHCER VICE. While previous posters have little to do with the story, the most recent ones actually do herald a change. This time, it’s not just a marketing technique. By the end of week one, viewers will know what I’m talking about.

The premiere, “White Elephant,” begins with a normal day at ISIS - if a normal day for the spy organization involves roses and dancing to sweet music. But then, that tranquil scene is shattered when ISIS is attacked by the FBI. All of the employees are quickly arrested for treason.

Why? Well, I don’t want to give away everything. True to ARCHER fashion, though, the showdown is large and violent, while also still giving us some good gags. After all, Archer (H. Jon Benjamin) and his friends face peril every day, so a few bullets don’t necessarily ruin their moods completely.

From there, “White Elephant” sets up the rest of this year’s very large arc. This season will not be business-as-usual, with a bunch of stand-alone spy missions. Instead, the cast embarks towards a much larger goal, which will play out well past the two and a half hours released to reviewers. ARCHER will never be the same.

Believe it or not, though, a major story twist doesn’t change ARCHER all that much. As much as I like the new stuff, the plot has always been secondary to the characters. Fans enjoy watching Archer, Lana (Aisha Tyler), Ray (Adam Reed), and sometimes Cyril (Chris Parnell) going toe to toe with villains. But even better are the workplace dynamics, which includes those back at the office, such as Malory (Jessica Walter), Pam (Amber Nash), Cheryl / Carol (Judy Greer), and Dr. Krieger (Lucky Yates, deservedly promoted to main character this season). Those relationships, sometimes good, sometimes bad, always close-knit, are the major draw.

“White Elephant” removes these people from the familiar setting, but keeps them together, as it must. Sure, they may split up for little bits of time into small groups, but primarily, they stay close to one another. This makes sense, as they aren’t good people and their skills are limited, so who else would want to be around these flawed individuals? Still, it makes for very entertaining television.

Now, there are some changes that do affect the group as a whole. One of the players develops an addiction to an illegal substance. Another starts a career as a country music singer. A third is pregnant. A fourth matures just enough to put someone else first, mostly. A fifth takes control of the mind of one of his co-workers. A sixth reveals a past career that becomes relevant again, though it’s not the first time the job has been mentioned, just the first time anyone paid attention. All of these are threads that extend through multiple installments, which makes for some fresh plot.

The characters in ARCHER don’t exist in a bubble, and events and people from past seasons do return, sometimes in unexpected ways, sometimes just in passing mentions. This really gives the feeling of authenticity to the proceedings. Even though ARCHER is animated, it’s a developed world that feels sort of real, even as it goes over the top.

In short, “White Elephant” is a terrific episode, and judging by the first five installments, it’s going to be another hilarious year.

ARRESTED DEVELOPMENT Gets "Off the Hook" (Season 4 Episodes 11-15)

Article first published as ARRESTED DEVELOPMENT Gets "Off the Hook" (Season 4 Episodes 11-15) on TheTVKing.

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

I was surprised by the lack of finality at the end of the season. Yes, season four was always talked about as a "first act" for either a film or another season. There is more story to tell, and we will presumably get it. But leaving so many things open-ended, from Lucille 2's (Liza Minnelli) disappearance, to George Michael's (Michael Cera) app, to Rebel (Isla Fisher) being torn between father and son, to Gob's (Will Arnett) relationship with Tony Wonder (Ben Stiller), to Linday's (Portia de Rossi) run for office, is unexpected.

Lucille 2's apparent murder or kidnapping is the most enticing unanswered question. She is a memorable character, and considering her increased presence and involvement in season four, it makes it even harder to lose her now. I hope, whatever has happened to her, she's all right, and will survive to get into more wacky situations with the Bluth family in the future.

That's not to say some arcs haven't run their course. While we may get some more milk out of them, Tobias's (David Cross) return to show business with the Fantastic Four musical seems doomed, Michael's (Jason Bateman) movie may be done, the wall Lucille (Jessica Walter) wants to build could be finished, and Maeby's (Alia Shawkat) run as a CEO seems a failure. Yet, based on the way Arrested Development breathes new life into old running gags frequently, these things might not be over with yet, either.

Overall, the final five installments feel much the same as the first ten, partially owing to the fact that they tell the tales of different characters than the early ones. Episode eleven, "A New Attitude," completes Gob's story, but the other four all have new characters at their center, whom were not featured until now. It's a little strange that all of the characters who have two episodes this year have their installments set close together, but it seems to work.

Part of why the flow is not interrupted is because the earliest episodes begin with Michael, and the latest end with George Michael, which may be Michael's most connected-to character in this season. Michael and George Michael have a bit of a falling out, which is finally addressed, but not resolved, in George Michael's episodes, number 13 "It Gets Better" and number 15 "Blockheads." It's this father-son through line that makes the year feel somewhat complete. Plus, Michael appears in almost all fifteen episodes, so he is the thread that keeps everything together.

George Michael's episodes are important because it finally feels like he joins the adult members of the Bluth family in all their craziness. He has his own eccentricities, but his have always seemed tamer and separate from his father, aunt, uncles, and grandparents. Now, though, dating the same girl as Michael, much as Gob and Michael once did, and letting a lie create an entire company, raises him up to their level. I'm not sure this is a good thing, but it does feel like he has a bigger part to contribute.

It's interesting that George Michael finally gets over Maeby at the same time Maeby might actually be interested in him. She won't like him any longer when she realizes he's a big liar, probably, though who knows? However, it's nice to see their dynamic change, and character growth for them.

Maeby's development isn't so much arrested, as moving into a new chapter. In "Señoritis," her episode, the twelfth, she is getting a lifetime achievement award in the film industry, a sure sign that her career is over. She's way too young to be done working and has a bit of an identity crisis, which is what pushes her into trying to run George Michael's non-existent company. This is a Maeby more desperate and insecure than we've seen her before, which is a fascinating direction to take her in.

Buster's (Tony Hale) turn, the fourteenth installment, "Off the Hook," isn't particularly notable. Of all the Arrested Development stars, Buster gets the least to do in this fourth season, rarely seen in other installments. His feature is a very typical, predictable Buster story, with the episode title alluding to the hilarious new attachment on Buster's wrist when he gets rid of his hook. But it doesn't break any fresh ground for him, basically repeating past arcs.

Gob's arc with Tony is one of my favorite Arrested Development bits ever. I adore the way Arnett and Stiller play these roles so sincerely, showing vulnerable men who don't like themselves and love themselves at the same time, unsure what friendship feels like. I doubt they will become a full-fledged couple, as neither really seems gay, but their stunted emotional maturity makes their dealings both awkward and very funny at the same time.

The supporting character I want to see more of in the next Arrested Development incarnation is Steve Holt (Justin Grant Wade). We glimpse him a couple of times, but it's more of a reminder of his existence, than any actual plot. Biological father Gob is wrapped up in his own stuff, so there is no time for Steve, but I'd really like to see the two of them forced to work things out in some manner. Ah, well.

In the end, it feels really good to have Arrested Development back, and I'm grateful for these fifteen episodes, but at the risk of sounding spoiled, it isn't enough. Because of the lack of closure, there absolutely has to be more. It's almost guaranteed to happen, but until production begins, it leaves me a little on edge. The season three finale was more conclusive.

All fifteen episodes of Arrested Development's fourth season are available on Netflix now.

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.

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.

Archer - "Sea Tunt: Part 2"

Article first published as TV Review: Archer - "Sea Tunt: Part 2" on Blogcritics.

FX's Archer completes its fourth season with "Sea Tunt: Part 2." Archer (H. Jon Benjamin) and the other ISIS agents journey to Sealab to stop crazy Captain Murphy (Jon Hamm, Mad Men) from firing weapons at the United States and other world powers.

How appropriate that Archer's fourth season, which begins with a major play on Bob's Burgers, ends with another cartoon spoof, this time of Sealab 2012. While the first three seasons didn't have winks at other shows this blatantly, this new element has slipped in effortlessly, especially as cartoons with a similar type of humor are single out as the targets. I hope next year sees more of the same kind of gag.

While the man who voiced Captain Murphy on Sealab 2012, Harry Goz, was not available to reprise the role, having died before Sealab ended, Hamm does a fine job. For those doubting Don Draper's comedy chops, have no fear. As he did in 30 Rock and Childrens Hospital, Hamm hangs with the actors more accustomed to getting laughs, and does so with skill and charisma.

Murphy is killed off in this episode. This may be a bit satisfying for fans of Sealab, as the character never got a proper send-off, and the series was considered inferior after that. Now, they finally get their closure.

"Sea Tunt: Part 2" actually corrects a slight from the first episode of this season. Kristen Schaal (The Daily Show) and Eugene Mirman (Delocated), both main characters in Bob's Burgers, did not lend the voices to the season premiere. Both get to guest star in "Sea Tunt: Part 2," as well as the first half of the two-part episode, making up for their previous absence. Now, if only a role can be found for Dan Mintz next year, the  crossover be complete.

As for the story of "Sea Tunt" itself, it's a pretty good one. Archer, Lana (Aisha Tyler), Cyril (Chris Parnell), and Ray (Adam Reed) go after Murphy. The half hour is full of their bickering and personality clashes. It's a pretty typical episode of the series, because of the way they interact, and how it gets in the way of doing their job. The mustache bit is funny, as is Archer's incessant alcoholism. Classic Archer.

In the end, Ray loses the use of his legs. Again. Will there be no end to his suffering? Actually, I hope not. The fact that this is something continually solved and then becoming an issue again, over and over, is very funny.

I am undecided over the twist of learning that Lana is pregnant. Sure, it will be interesting to watch someone who is the opposite of maternal take care of a child. But Archer thrives on the chemistry of the cast, and despite some character development prior to this, a baby may shake things up in unexpected and major ways, unprecedented for the series. I worry what it could do to the show.

At least neither Cyril nor Archer are the father. By using a donor, Lana does avoid much typical sitcom fodder as the guys try to guess who the baby daddy might be. Though, knowing Archer, the donor may still end up being someone we've seen before. Which could be fun, if done right. Since this is Archer, I'm relatively certain that it will be.

While the mission plays out, Malory (Jessica Walter) searches for booze, hanging out, though not really by choice with Pam (Amber Nash) and Cheryl (Judy Greer). Again, the interactions between the characters make this series, and while nothing major happens with these three, every moment they are on screen is joyous.

I like that Cheryl's family is worked into the episode, and we learn more about her. Any chance to uncover the backstory of any of the characters is welcome, and Cheryl's is done in a cool and clever way. And of course, her last name, teased in the episode title, makes for the punchline of many jokes, though Archer wisely avoids overdoing it.

I am glad that Cheryl's brother (Mirman) ends up getting his own money back, though, so he isn't a recurring villain. He works better as an amusing side character, rather than a bad guy.

The fourth season of Archer maintains the comedy's quality, and I will miss it until it returns for season five next winter.

Archer dines out

Article first published as Archer dines out on TheTVKing.

In the next episode of FX's ARCHER, "Live and Let Dine," the team goes undercover at a fancy restaurant when an Albanian diplomat is threatened. To make matters even more fun, the dining establishment is the setting of a reality TV series entitled Bastard Chef. Of course, there are a couple of twists, and when it's all said and done, the staff of ISIS is just proven as incompetent as ever.

I like that ARCHER is always searching for new ways to spice up their comedy. The way that they excel in fresh settings and unexpected originality, even while doing a sort-of parody, is great! "Live and Let Dine" capitalizes on the recent craziness of celebrity chef television shows, but also gives it enough of its own flavor to avoid being a copy. An exquisite recipe, if I do say so myself!

The Bastard Chef himself is Lance Casteau (voiced by real celebrity chef Anthony Bourdain). He's a tool to everyone except Archer (H. Jon Benjamin) because, apparently, Archer has some newly discovered culinary talents. If only Archer would stop dropping bowls in the kitchen, ruining food and making a mess.

As with most of ARCHER's satirical guests, Bourdain deserves credit for not being afraid to make  fun of himself and what he does for a living. He definitely takes the joke in stride, even going for the promo lines on purpose, and being a extra big jerk.

ISIS could never be a real spy agency because they screw up too much. From the real story behind the threat, to the way they keep blowing their own cover while being filmed, it's often downright ridiculous. I find it highly enjoyable for a comedy, just not very realistic. It's a good thing believability isn't a selling point for ARCHER.

"Live and Let Dine" has all of the elements of a classic ARCHER episode: Archer hitting on Lana (Aisha Tyler); Lana being too aggressive and defying female stereotypes; Archer (and everyone else) picking on Cyril (Chris Parnell); Malory (Jessica Walter) acting inappropriately as the company head to get her own way; Pam (Amber Nash) being somewhat disgusting, but always hilarious; Cheryl (Judy Greer) being somewhat disgusting, but always hilarious; a sex joke that is as disturbing as it is hot; a reference to a recent episode, this time calling back Archer's time running a burger restaurant; and a recurring reference that doesn't quite make sense, this time Spain in the 1930s.

Then, just when you least expect it, ARCHER ties "Live and Let Dine" into a larger, season-long plot. ARCHER hasn't always paid so much attention to continuity, but as it ages, it has to keep doing things to reinvent itself and make sure that the quality doesn't suffer. This year's story involving Barry (Dave Willis) and Katya (Ona Grauer) fits nicely, calling back to previous plots, and deepening the characters.

Of course, comedy is the main goal of ARCHER, and this episode, like just about every other, delivers the laughs in spades. Which is why I continue to anticipate new episodes every Thursdays at 10 p.m. ET on FX. Also, Archer was just renewed for a fifth season.

ARCHER Bitten By the Comedy Snake

Article first published as ARCHER Bitten By the Comedy Snake on TheTVKing.

Grade: 89%

In tonight's episode of FX's ARCHER, "Once Bitten," Archer (H. Jon Benjamin) is bitten by a deadly snake in the middle of the desert. His jeep is stuck in the sand, and Ray (Adam Reed) and Cyril (Chris Parnell) can't get it out. Can they find help for Archer before he dies?

Yes, yes they can.

Sure, killing off the title character is certainly not going to happen, so their eventual solving of the problem is a given. That doesn't make the journey any less fun, as Cyril, Ray, and Archer bicker. It's like a boys night out in the middle of nowhere, and with one of them dying.

We actually get a lot of character development for Archer in "Once Bitten." We not only learn that his bucket list includes eating one of the biggest foods, but also murdering Cyril. OK, so he is most likely joking about the second thing. But that's just his relationship with Cyril, and while he is slamming Cyril, we know Archer is OK.

More importantly, Archer revisits his past in the company of deceased actor James Mason. Why? Who knows? The point is, we get to see pieces of Archer's childhood, why he is who he is, what he used to be, and even a glimpse of his real father. Who Archer's father is is a big mystery on ARCHER, and "Once Bitten" stops short of solving it. Yet, it does seem like the bit of him that we do see also has influenced Archer to this day, so it's important.

Surprisingly, we also get some small, but deep, insight into Lana (Aisha Tyler) when Cheryl (Judy Greer) zings her good, perhaps sparked as a metaphor for the meat being grounded up in front of them. Cheryl often says things without thinking, but seldom do her words ever cut as deeply as they do here. It obviously affects Lana, and while her subplot in the episode is small, it's a side of her we have not seen before.

Malory (Jessica Walter) is, unsurprisingly, the cause of many of the problems that arise. Her selfish use of ISIS for her own personal gain, and her uncaring attitude towards others and the world, continues. Will she ever learn her lesson? Would ARCHER be as funny if she did? The answer to both questions is probably no, as she is the catalyst for many of the stories, and her character is a favorite of mine, despite how unlikeable she is.

Ray cannot stop himself from getting injured, can he? Once more, he hurts himself in this episode and removes himself from being a contributing member of the team. I feel like ARCHER misses having him in a wheel chair, and the writers will not stop until they put him back in one.

I have occasionally wondered why Krieger (Lucky Yates) isn't a more central part of the cast. But, in "Once Bitten," as Malory tries to make him run some control panels and help out, he keeps secretly putting together a rat wedding. Seeing this, I finally realize he is just too bizarre and different to be a member of the core group, nor does his character have any interest in being included. Which is fine. He's still good for a periodic gag.

An element ARCHER often makes use of is switching scenes mid-line, so that a different character in a different place finishes another character's sentence. "Once Bitten" has numerous examples of this. It seems like such a simple thing, and ARCHER isn't the only story that does this. However, it has kind of become a trademark, being owned by the show, and every single time, I still enjoy it.

"Once Bitten" is a fine installment, with plenty of amusing bits, such as Ray forgetting that he has bionic legs, much discussion about venom and taints, a goofy hat, a fish fight, and a camel wreck. ARCHER never goes too deep into the players in the series, but this episode tries to a bit, and still manages to be funny at the same time.

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

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.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F