STATE OF SYN A New State (Staite?) for TV

Article first published as STATE OF SYN A New State (Staite?) for TV on TheTVKing.

Television is in a transitional period. Young people are flocking away from the traditional cable model, cutting the cord and finding their programming online. At the same time, a variety of new content providers are seeking to bring original work to the masses in fresh ways. Without the limitations of the old model, there's a lot more room for experimentation and new perspectives, moving outside the box classic dramas and sitcoms seem stuck in.

Recently, Hulu launched the original series State of Syn, the first eight episodes of which are available on their site now. Set in 2043, it shows us a world where technology has developed into a primary focus of life. The rich have built a wall between themselves and the poor, yet those less fortunate still make time to go clubbing and try the latest fad, which is addictive tech altering their brain like a drug. It's a bleak picture of the future.

Enter into this world Annika Drake (Jewel Staite, Firefly), a young woman who can taste sounds and feel colors. Her father is the brain behind the latest developments, but his business partner, Aslin Kane (David Hewlett, Traders), has perverted his knowledge. Can Annika discover what is going on and stop it before Kane controls the world?

Each episode is only 6 or 7 minutes long, closer to a web series than the programs most of us are used to. What this means is that the initial batch of eight feels more like a pilot than a season. It introduces us to a group of characters, sets up the premise and world, and deals with one immediate problem. It doesn't resolve many of its threads, leaving the door open for much more story.

What is there is good, and I'm eager for more at the end. There is a lot going on, with different factions, including the Preacher (Rainbow Francks, The Listener), who have their own motivations. It's hard to know who to trust, and while there isn't time for much character exploration yet, it definitely feels like there is depth to the roles. Plus, it's interesting to see yet another dystopian version of the future, with unique developments that are intriguing.

The most jarring thing about State of Syn is that it appears to be a motion comic, with photos of the actors set in a CGI world. There's a lot of movement from panel to panel, so it's not boring, but the characters themselves are mostly static. If you've watched such a medium before, as some graphic novels these days are released in this format, you may be fine with it, but for the rest of us, it takes some getting used to.

The thing is, though, you can get used to it, even for those completely inexperienced. I watched the season in two batches, and both times I felt myself really drawn into the story. This style does allow for some cool visuals, and it fits the type of adventure that's portrayed. It's not exactly a mainstream conceit, but I think this could gain more popularity, especially with the 3D feel in a 2D presentation.

Some of the dialogue is cheesy, and Kane himself seems like a comic book villain. However, this matches the tone, so it doesn't seem so hokey. If you already feel like you're reading a comic, tropes of the genre aren't so unwelcome.

Overall, I enjoyed State of Syn, and while I don't think its appeal is broad enough to crack the new television arena wide open, I do think lots of people will like it if they take the time to check it out, probably more than would expect to. It'll serve comic book lovers, to be sure, but it should also be good enough for fans of sci-fi who crave the moral debates over technology and its use. By casting a bunch of Stargate: Atlantis vets, State of Syn is smart, as perhaps some of those fans will give it a chance.

State of Syn is available now on Hulu.

THE KILLING Returns to "The Jungle"

Article first published as THE KILLING Season 3 Premiere Review on Seat42F.

Grade: 93%

About a year after its cancellation, THE KILLING returns to AMC with the two-hour opener of season three. Titled “The Jungle; That You Fear the Most,” the story picks up a year after the events of the Rosie Larsen case, with Holder (Joel Kinnaman) seeking out a reclusive Linden (Mireille Enos) when his current murder investigation seems to tie into her former career.

As someone who loves THE KILLING, I am thrilled that it has been rescued from the TV graveyard for another year. The first two hours of the new season, despite the things that have changed in the main characters’ lives, and the absence of many familiar faces, feels like a return to form. In the same bleary, dark setting, the depressing tone of murder hangs in the air.

Similarly, Linden and Holder are able to pick up right where they leave off. The chemistry between the pair in their first meeting, having not seen each other in quite awhile, immediately reminds me of what was so good about the first two seasons. There is genuine affection there, but also a want to avoid the things that they dislike in themselves when glimpsed in each other. Even a little lie about a dropped smoking habit demonstrates this beautifully, and says a lot about the two.

Like the first two years, season three takes awhile to get started. We see a dead body early in “The Jungle; That You Fear the Most,” but I would not claim that the investigation gets off on the right track. There are plenty of details that will likely eventually be clues, and we are introduced to a great many people who will be suspects. But THE KILLING is a slow burn and will not be rushed into getting the leads to where they need to be.

Unfortunately, they won’t be able to drag their feet too long. Unlike seasons one and two, which spent twenty-six hours solving one murder in a very intriguing fashion, really dwelling on the pain and suffering and toil that goes into such a venture, season three promises to catch the killer in twelve hours. This makes sense to keep eyes glued to the screen, given the legions of so-called “fans” who abandoned ship after season one failed to wrap things up and got THE KILLING canceled in the first place, but it’s disappointing to those who would like the show to take its time and do what it does best.

Unlike the Larsen case, in which a family grieves, the victims (plural because we’re dealing with a serial killer) in season three appear to be homeless teenagers. It’s a very bleak scene, kids living on the street, and a number of them are in the central cast. This contingent includes: Bullet (Bex Taylor-Klaus), a tough, butch lesbian; Kallie (Cate Sproule), Bullet’s best friend who has been kicked out by her mother, Danette (Amy Seimetz, Family Tree); and Lyric (Julia Sarah Stone, Vampire Dog), Bullet’s crush who is with a wannabe model named Twitch (Max Fowler, Mayday), who is just using Lyric. Some of these kids may care about one another, but it’s not the same thing.

Which is good. THE KILLING doesn’t want to repeat itself, and it doesn’t. It moves forward in a new direction that continues the personal journey of the two leads of the show, and introduces another group of people living in Seattle. The homeless kids are not something that has really been explored on a weekly basis in series television before, and they raise awareness of a real-life issue, while creating a rich, fresh tapestry for the story.

But sometimes to move forward, one must go back. Linden is stuck in a low-wage job, her son, Jack (Liam James, no longer a main character), lives half a country away, and she is still haunted by a previous murder, especially when she learns that the killer she put away, Ray Seward (Peter Sarsgaard, Jarhead), may be innocent of the crime. Jack asks Linden what she’s still doing in Seattle, and this premiere tells us: she has unresolved issues that she must deal with before she can move forward. Newlywed Regi (Annie Corley) may disagree, but from a narrative perspective, Linden needs to get back into the police game.

Holder, on the other hand, seems to be doing well. He’s close to a promotion, dressing in suits, and is definitely the more competent part of his professional partnership with Carl Reddick (Gregg Henry, Scandal). He also seems happily in a relationship. So his tale might just be to realize his calling, which he may have already found, rather than advancing solely for the sake of advancement.

On a side note, Jewel Staite (The L.A. Complex, Firefly, Stargate: Atlantis) plays Holder’s love interest, and is introduced with an instant Serenity reference. Joss Whedon fans owe THE KILLING a debt of gratitude.

Besides Holder and Linden, the most compelling character this year will probably be Ray. Sarsgaard gives us a man who may be innocent, but who sure doesn’t seem like he is, and is not making any friends on Death Row. Does this mentality stem from trauma in his past? A coping mechanism? Is he feeling guilty for something? Is he just a jerk? Sarsgaard makes me want to find out.

Two wonderful hours, and it’s like THE KILLING never left. With a great story, fantastic set up, and a group of new players every bit as interesting as those of the first two seasons, I look forward very much to watching this latest mystery unfold. Even if I’m still hoping for a Mayor Richmond (Billy Campbell) cameo at some point.

THE KILLING premieres Sunday, June 2nd at 8 p.m. ET on AMC.

Please renew the lease on The L.A. Complex

The L.A. Complex, a Canadian series that airs on the CW in the states, finished off its second batch of episodes with "Don't Say Goodbye," the second consecutive hour of the series aired that night. Given its horrible ratings in the U.S., it may be that the network was just trying to burn off the episodes they had left. But "Don't Say Goodbye" ended with little resolution, and hopefully the popularity it has up north will be enough to garner it a third season. And hopefully it will continue to have a home to air on here.

In "Don't Say Goodbye," Kaldrick King (Andra Fuller) finally has peace. Yes, his father (Eugene Clark) is dead, and he has lost his best friend, Rook (William Stewart). But he also gets closure with Tariq (Benjamin Charles Watson) after apologizing, has a loving boyfriend in Christopher (Jarod Jospeh), has just recorded a great album, and is ready to come out of the closet, finally comfortable with who he is. It's been a dynamic, engrossing journey for the rapper, and he comes through the ordeal better and stronger than ever!

But Rook makes a huge mistake in shooting Infinite Jest (Stephan James). Kaldrick is mad at Infinite, but manages to keep his temper, and tells Rook not to go after him. Rook thinks it's the only way he can make up for his betrayal of Kaldrick. As good a place a Kaldrick is in, he will surely get pulled into this murder mess. After all, Kaldrick has enough motive to be a suspect in the killing. It's hard to guess how this will play out, but given the talent oozing off of Fuller, it should be very good.

Nick (Joe Dinicol) suffers his own loss when Sabrina (Georgina Reilly) won't let him follow her to New Orleans, where she has landed a great gig. It's a shame, given how wonderful the chemistry is between the pair, that it has to end. But I guess that's how L.A. works. One has to go where the jobs are, and while Sabrina is traveling to something, if Nick were to leave town, it would damage his career, perhaps irreparably. So Nick will stay, and hopefully his star will continue to rise, as it has been slowly doing.

Sabrina isn't the only one out of the cast should a third season be commissioned. After Dean Pirelli (Louis Ferreira, SGU Stargate Universe) takes Simon (Michael Levison) to the Yukon, Beth (Dayle McLeod) decides to follow so that she can be with her brother. Beth was never in L.A. to be famous, simply serving as a manager to Simon. Simon was the one who was going to be the actor. So there really isn't anything left for her here except Cam (Kristopher Turner), and family trumps boyfriend.

I admit, I'm not really sad to see Simon and Beth go. They were kind of annoying. The only reason it's regrettable that they're leaving is because Cam will be upset, and I like Cam. Why isn't he a main character yet?

Beth, Simon, and Sabrina, the latter of which will be deeply missed, are the latest to leave L.A., but they weren't the first to do so in The L.A. Complex. Alicia (Chelan Simmons), a main character in the short first season, briefly resurfaces by phone to lend her support to Nick in "Don't Say Goodbye." It's nice to know that she's still on tour, and seems to be doing well. But her absence has been felt. Is this brief a scene a reminder of who she is so that she can return to the series next year? That would be wonderful!

Like Alicia, Abby (Cassie Steele) is happy. Her joy stems from getting quickly married in Las Vegas. At the end of "Don't Say Goodbye," Abby, too, is seen leaving L.A., flying to Germany to be with her new husband, Gray (Steve Byers, Alphas). It all happens much too fast. Although they decide against the annulment, this relationship is moving too quickly to survive long. It will flame bright, and then burn out. After all, Abby is far too young to give up her dreams of being an actress and settle down. She would just grow resentful of him, and that's not a recipe for a satisfying marriage. With luck, she will be back in the City of Angels by the start of the third season, should one be ordered.

Neither Connor (Jonathan Patrick Moore) nor Raquel (Jewel Staite) have healed from their various wounds yet. Will they ever? Even when things look up, more things go wrong. Raquel has a great movie trailer finished, but her love interest is arrested for a crime she committed. Connor is trapped in a cult. They just can't catch a break!

It's interesting that the two more experienced characters in the cast, the people who have been in L.A. the longest and worked the most, are so scarred. Is this what Hollywood does to a person? Is there any hope for either of them to find peace? Are Nick, Abby, and the others destined to end up the same way if they stay?

The L.A. Complex is soapy, but in the best possible way. It's a very interesting, entertaining story of young people in a city that it full of glitz and disappointment. It seems realistic enough, and most of the cast is fantastic (especially Staite, Dinicol, and Fuller), which keeps fans engaged week after week. The ending montage in this finale is very memorable. The show would even be worth watching during the regular season, not just the summer, where it might find a few more eyeballs tuning in. Wherever the CW decides to put it, all I care about is that it is brought back. We need more chapters in this story.

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

"Stay" with The L.A. Complex

The ending of this week's The L.A. Complex, which airs on the CW here in the U.S., seemd like a season finale. All of the characters are gathered in a feel-good sequence, where they share pizza beside the pool. And then Connor (Jonathan Patrick Moore) has a bombshell dropped on him. But there are still five episodes left in this sophomore run, and as heartwarming as the end of of "Stay" may be, it is far more interesting to examine what leads everyone to this point, and the things they will have to deal with when they wake up tomorrow.

Poor Connor. All he needs is somewhere to belong, and he just can't find it. His relationships never last. This is partly because he keeps landing with girls that are just as damaged as he is, and he needs a healer, not another person that needs healed. Yes, he helps fix Jennifer's (Krista Allen) marriage, but that was only after he felt comfortable and taken care of. He would have never been able to do what he did prior to Jennifer taking him in and caring for him in the first place.

Will being back at the complex give Connor the community he seeks? He is lonely there before, but there is certainly much opportunity for support, given the number of people around. Buying everyone a pizza dinner may be his way to try to pay his way into their hearts, and remind them that he's here. Cynical, yes, but a also a survival mechanism. As bad as things get for Connor mentally, at least we see that he's still trying to claw his way out of the pit.

In fact, every character in The L.A. Complex continuously struggles to persevere in the face of long odds. Beth (Dayle McLeod) and her brother, Simon (Michael Levison), have the toughest time this season so far, scrimping to find enough money to eat and not live in their car, looking for acting work for Simon without any parental guidance. Beth is at the edge of her breaking point after Simon's brief disappearance, though will a phone call from the father who abandoned them be a help or a hindrance? If The L.A. Complex follows the trend of most television shows, definitely the latter.

Kaldrick King (Andra Fuller) is facing a huge personal challenge in "Stay." He must decide whether he can be true to himself by coming out of the closet, or if that will kill his career. Even if it does, isn't it more important to have inner peace, and he's made enough money that he's got some cushion while he tries to reinvent himself. What's more important here, for someone who has the luxury of choice? An image or oneself?

King started as a pretty unlikable character, especially after beating up Tariq (Benjamin Charles Watson). However, he has worked on himself a lot this season, giving up some of his partying ways, and giving back to the community, so that we now want him to be happy. Since he's been with Christopher (Jarod Joseph), King is in a totally different situation than the one he had with Tariq. Christopher challenges King in ways that Tariq was too young and inexperienced to do, and shows King that it may be all right to be an openly gay professional. Christopher offers a possible equal pairing, if King can find a way to accept who he is. This is the path King is on, but is he ready to make the leap yet?

Raquel (Jewel Staite) also reaches a big hurdle in "Stay." She can remain on a reality show to pay back a major studio lawsuit, or she can walk out, proving her moral character. At first, she compromises, not because she is a bad person, but because she has debt to pay. By the end of this episode, though, she can take no more of it and leaves, making herself vulnerable to even more financial and legal trouble. Does this make her brave, sticking to her guns? Or too proud for her own good, shooting herself in the foot? Is this what she needs to do to sleep at night, or is it a foolish stunt? With her, one never can quite tell, a testament to the terrific level of complexity Staite brings to the role.

And then there's Nick (Joe Dinicol) and Sabrina (Georgina Reilly), who are actually happy as of "Stay." Damn them. Not that I begrudge these wonderful characters success, but it doesn't give much meat to chew on. The one bright spot for TV reviewers is that it won't last, sadly. Ditto Abby (Cassie Steele), who got fired, only to be almost immediately caught in the arms of a hunky guy. Eh, someone has to catch a break sometime.

The L.A. Complex has shifted time slots a couple of times, but is currently running Mondays at 8 p.m. ET on the CW. It's a guilty pleasure well worth your time.

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

Don't burn down The L.A. Complex

The Canadian show that has quickly become a must-see series, The L.A. Complex, brought its freshman run on the CW to a close this week. The sixth and final episode is appropriately titled "Burn It Down," seeing as how practically all of the characters either burn a bridge or face a dream destroyed. It's a tragic, downer ending, with just enough glimpses of hope to get viewers excited for season two.

Raquel (Jewel Staite, in a terrific, moving performance) realizes that she cannot keep up her con on poor Gary (Rob Stewart, Nikita). She comes clean with him, breaking things off and tearing up his check. Her character really faces a decision about what she can do to further her career and still live with herself. It turns out, falsely keeping a man's heart is a step too far. Raquel begins down this path, and then regrets it. But the fact that she makes it right, as much as she can, proves that she is a good person, and hopefully she will get her break soon. Though, it's sad that she can't return Gary's feelings, because he would treat her right.

Alicia (Chelan Simmons) is also seeing her future disappear. Desperate after losing an Usher tour gig, she makes some questionable decisions, leading to a contract with a porn company, and sleeping with someone to earn another job. Then, after all of that, she is offered the Usher position. As "Burn It Down" ends, she is truly melancholy. Can she even take the Usher job now, with her other commitments? One might think this tour would provide an escape from the life she is quickly finding hard to recognize, but it's unclear if there is an out for her. Too bad, considering how hard she has been working.

Rounding out the trio of bad news stories is Tariq (Benjamin Charles Watson), who loses his lover. Caught in a kiss, King (Andra Fuller) beats on Tariq rather than letting anyone know that he is gay. Judging him as a person, King's actions are totally detestable. No one should treat anyone like King treats Tariq, least of all a lover. But from a career perspective, King would be dead in the water if his secret leaked. His fans would have no toleration for his homosexuality. So King is faced with an either-or choice. He may not make the right decision, but it highlights his priorities effectively. Poor Tariq's heart is broken, as surely this ruins any plans to go on tour together.

Luckily, there are some bright spots in "Burn It Down," too. Nick (Joe Dinicol) gets to go on tour as a comedian! Yes, he inadvertently steals some material from Sabrina (Georgina Reilly, Murdoch Mysteries), which will probably come back to haunt him. But he didn't mean to, and now his dream might become reality! Even better, the girl he really likes, more than Sabrina, kisses him! Nick is on his way!

The girl who kisses Nick is Abby (Cassie Steele). Nick almost screws up a big audition for her, but it works out all right in the end, as she gets the job. Her anger, not at Nick sleeping with Sabrina before they really begin a relationship, but because of when Nick tells her, is totally justified. It seems to spell the end before things can even get started. However, considering the positive outcome of the situation, it appears that she and Nick have a second chance. Gotta love a happy ending, even though the two do not seem destined to last long-term.

Finally, there's Connor (Jonathan Patrick Moore). Connor has a rough go of it, getting off of his medication, which leads to drinking, loneliness, and trouble. Thank goodness he's talented, or he surely would have been fired from his series. And after the bar fight, he is put back on his happy pills.

Strangely, though, "Burn It Down" ends with Connor burning down the house his television show paid for. The upbeat music implies he will leave the house before being seriously injured himself, so that's not really a worry. But is the fire a sign he's not all better, or a symbolic gesture to rid himself of the terrible time the last month has been? It could be taken either way, and it won't be until viewers get a second season that anyone will know for sure.

Overall, The L.A. Complex has been a terrific ride. Justifiably categorized as a guilty pleasure, the acting is pretty good for what it is, sometimes verging on great, especially where Staite is concerned. The stories are well written, hitting the right notes, and only occasionally feeling rushed. The show is enjoyable, and the season finale leaves one wanting more.

The fate of the series is just as mixed as the way the characters end up in "Burn It Down." The Canadian network that airs it has ordered a second season, but the CW has seen abysmal ratings. Rumor has it, that despite this, the second season will still air on the CW, probably starting this July. Summer shows don't have to get as large a rating as in the regular season, and it looks like the CW might be willing to give this one a chance to grow in popularity, which it should do. Word of mouth might help, especially from Canadians, who seem to really like the show.

I certainly hope there is a turn around in viewer numbers, because if this first batch is any indication, the series is good. What's more, shows of this type will often improve as the writers and actors grow more comfortable in their roles. This can only help The L.A. Complex.

If you like my reviews, please follow me on Twitter! Article first published as Don't burn down The L.A. Complex at TheTVKing.com

Move into 'The L.A. Complex'

Premiering last night on the CW (though the first episode was already available on Hulu) is Canadian series The L.A. Complex. Think of it as a sort of Melrose Place, where a bunch of people who want to be famous in Hollywood live in a motel together. There's the actress, the dancer, the stand up comedian, the music mixer, the new star, and the aging performer. Well, aging by Los Angeles standards, which means she's almost 30. Will any of them succeed?

Despite this being a Canadian show, The L.A. Complex feels like it takes place in Hollywood. And why not? Film and television types have been taking advantage of the tax breaks in our northern neighbor for years. The people who work up there have a pretty good idea of what they are doing.

"Down in L.A." starts a little rough. Perhaps to introduce the characters quickly, small snippets of each are shown, with their names flashing across the screen. These moments are meant to highlight the main cast, and they do, but only in retrospect. They do not last long enough to make a memorable impression, and though only six players are featured, it feels like more, and a bit overwhelming, as before viewers can get an idea of who one person is, the episode is on to the next one.

That being said, it settles down relatively quickly after that, and it has a nice little spice. The cast is mostly young, which one would expect for the CW, but they aren't all gorgeous. Some are, but some are around normal levels of attractiveness. The writing is also sharper, and the personalities more layered, than the typical CW fare. Which means The L.A. Complex should still appeal to CW's bread and butter demographic, but perhaps introduce a little more quality than one might expect from most (not all) of the shows on the network.

There are many flavors at work here. There's a bit of Melrose Place, as mentioned above, because of the basic set up. There's also a little of Undeclared, given the naive eagerness of several of the characters, who haven't yet found their groove. Fame could also be mentioned, because of those trying so hard to get their big break. Though, only parts of the first episode seem like a retread, as other scenes feel fresh and original. The L.A. Complex is a new twist on a classic set up. In all, it's a satisfying mix.

The biggest obstacle to reaching a large audience may be the network airing it. Although The L.A. Complex fits on the CW, it would also fit nicely on other networks, too. Hey, FOX and NBC, do you need their number? With the edgy content of some scenes, however, the series might play best on Showtime, as toning things down actually hurts the mood a little bit. And with a few tweaks, it could be another How to Make It in America-type series for HBO.

The cast is more than capable. While a couple of the players seem interchangeable with other television performers, several do stand out, and it leads one to believe that The L.A. Complex could help several careers along.

Leading this pack is welcoming familiar face Jewel Staite (Firefly, Stargate: Atlantis). Though not even thirty yet herself, Staite makes Raquel a relatable character. Wrestling with the failure of an early hit show called Teenage Wasteland (interestingly, the original title of That '70s Show), Raquel now can't get another part, and casting directors keep wanting her to play the mom. She clings to her youth, and her actions seem desperate and pathetic. Yet, Staite somehow makes Raquel likeable, and viewers will root for her. She can be refreshingly honest, such as when she asks a room full of black girls if any of them has a white best friend, playing on a television trope. And though she is not a mentor to the younger ones yet, there are hints that she might be in time, once she finds her path a little bit better.

Chelan Simmons plays Alicia Lowe, the dancer. At first glance, she might seem like just a hot blond, but she is also really nice, which comes a little bit out of left field. Simmons' work in The L.A. Complex calls to mind her previous series Kyle XY, and makes one wonder why ABC Family hasn't made another decent show in awhile. Which is a tangent, to be sure, but Alicia doesn't get a lot of her own story in "Down in L.A.," so it's hard to go anywhere else with her yet.

Nick (Joe Dinicol, Scott Pilgrim vs. the World) has the best scenes in "Down in L.A." Hopelessly unfunny, despite living and breathing stand up, he is thrown completely off of his game by meeting Mary Lynn Rajskub (herself, 24), who is very rude to him, in line with her own comedic sensibilities. Adding insult to injury, Rajskub and Paul F. Tompkins (himself, Best Week Ever) lambast Nick after the show. Somehow this sequence is hilarious, despite its cruelty.

The young lovers are Abby (Cassie Steele, Degrassi: The Next Generation) and Connor (Jonathan Patrick Moore, Neighbours). He has just made it big through dumb luck, and she is failing miserable. He is kind to her, but in retrospect, he sleeps with a girl he knows has a boyfriend, so is his nice guy thing just an act? It's hard to tell, especially as he sadly moves into his empty house. Both of these characters are going to be the focus of many teenage crushes, and the reason young girls tune in week after week.

Sadly, Tariq's (Benjamin Charles Watson) tale is the one that fails to resonate. He desperately wants to be respected, and makes a bold move to do so. However, he also comes across as someone not willing to pay his dues before he finds recognition, already refusing to keep his head down in "Down in L.A." Not that his boss, Dynasty (Dayo Ade), isn't unnecessarily harsh, because he is. But will Tariq's character turn this around? Let's hope so.


The L.A. Complex has already been given a second season in Canada. Hopefully, the CW will continue to air it, as "Down in L.A." is a promising start. Tune in Tuesdays at 9 p.m. on the CW.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: The L.A. Complex - "Down in L.A." on Blogcritics.

Warehouse 13: declassified again

    Last summer SyFy premiered Warehouse 13, a show about two Secret Service agents transferred to a mysterious building in South Dakota where their new duties include tracking down and bringing back artifacts with supernatural powers.  Sadly, I gave it only a couple of episodes to hook me, then left, thinking each week would be just a procedural.  Sure, there are elements of that, but the series got much better.  Having now caught up with last night's second episode of season two, "Mild Mannered", I can tell you, don't make the same mistake I did.  Tune in.

     Some of the missteps of season one are gone.  Dickenson (Simon Reynolds), who looked like he might be interesting, but was never really given the chance to be, is gone.  I can only guess that the path of the show must have been changed midway through the first season, because there was no reason for him to be in the theme song with his limited role.  Gladly, Claudia (Allison Scagliotti) has been upgraded to series regular, which she should have been in the first year.  Her introduction was when the show started to get good.  She's sort of like Chole from Smallville, in looks as well as purpose, but coming in with a huge chip on her shoulder.

     In last season's finale, Artie (Saul Rubinek, Frasier) seemed to be blown to bits, but thanks to the Phoenix pendant, he was saved.  The villain that did the deed, both the blowing up and the saving, was his old partner, James MacPherson (Roger Rees, Grey's Anatomy, The West Wing).  Although MacPherson died in the season premiere, he and Artie had a great conclusion in episode two.  Unfortunately, because Artie lives, a bodyguard (Jung-Yul Kim) died.  He will be missed.  These last two episodes have also given an expanded role to under-used Leena (Genelle Williams), who appears to be tied into some ongoing mystery connected to her being mind-controlled by MacPherson.  It should be interesting.

     This week, the two lead agents, Pete (Eddie McClintock) and Myka (Joanne Kelly), traveled to Detroit, where a real-live superhero was bashing criminals to clean up the town.  Two of the town's residents were played by Serenity sweethearts Jewel Staite and Sean Maher, once again playing love interests.  Jewel was more toned down that in the ill-fated series, but Sean played pretty much the same character.  It was very satisfying to see the two of them together again, and the super hero story was pretty exciting, too.

     I don't know what the rest of the season will bring, but Warehouse 13 seems to be on the right track.  Next week the town near the Warehouse seems to be coming apart at the seems!  Tune in on the SyFy channel Tuesday nights at 9pm.