Got ONE DOLLAR?

Article first published as TV Review: ONE DOLLAR on Seat42F.

CBS All Access, that extremely-overpriced streaming service with scant offerings, is very slowly adding to their catalogue. The newest drama to hit the service is ONE DOLLAR. The conceit is there is a dollar bill that changes hands between multiple characters, several people sharing ownership in the first hour alone. This happens in a small town, and not too far along in the pilot, a mysterious mass murder occurs there, too. Supposedly, this dollar bill will connect the strangers, but its not immediately apparent how.

The lead in the first hour seems to be Philip Ettinger, who plays Garrett Drimmer (Compliance). Garrett is a single father who is barely scraping by on his income from the local steel mill. He falls behind on his childcare payments, but suddenly becomes flush. Why? Well, one theory might be that he’s the murderer, but that seems way too obvious to be true. So that remains unrevealed for now.

ONE DOLLAR boasts a large ensemble cast, and given how far down the list Philip is on the official site, it seems the focus may jump around a bit. Other central figures in episode one include: Bud Carl (John Carroll Lynch, American Horror Story), the millowner; Wilson Furlbee (Greg Germann, Once Upon a Time), a developer; Dannie Furlbee (Kirrilee Berger, K.C. Undercover), Wilson’s daughter who will soon be off to college; and Jake Noveer (Nathaniel Martello-White, Collateral), a private investigator. The CBS site shows nine other main players, including Scandal’s Jeff Perry, so the story is likely to be winding.

The production has done a great job going for the gritty realism of a small town. A lot about it is authentic, and the direction plays well. Despite some obvious fake outs, the mystery is interesting and the story is intriguing. A number of talented, familiar faces mix well with the lesser-knowns. My overall impression of the drama is that I want to see more, and was disappointed that CBS All Access is only releasing installments weekly, on Thursdays, instead of all at once, so I could only see a single episode. That makes sense for a streamer with close connections to a broadcast network.

Something that makes ONE DOLLAR superior to other programs I’ve watched on All Access is that it isn’t beholden to the forty-two minute running time that most broadcast shows are. Whether that’s because CBS still hopes to cut Star Trek: Discovery and The Good Fight for regular broadcast at some point (minus a bit of language) and this show just wouldn’t work on the basic airwaves, or for some other reason, it’s not clear. But ONE DOLLAR is a well-developed, non-procedural that fits well with the All Access brand and is better than most (if not all) of what airs on the parent network.

So my only real complaint is how inaccessible the series is. By hiding it behind a pay wall most people won’t be interested in buying access to, few will see it. Unlike the two sister programs mentioned above, this one doesn’t already have a built-in audience, and I’m not sure those subscribing for The Good Fight or Star Trek will be that interested in this. I mean, I am, but I’m a reviewer who samples a wide variety of shows, and some people have more narrow tastes. Hopefully those who already subscribe will sample it, as I think it’s worth watching. I just wish CBS wouldn’t make such a bad service model.

Oh, and the title ONE DOLLAR and the thing with the dollar bill? So far, it doesn’t make much sense. Only time will tell if it pays off or not. Still, even if it doesn’t, I don’t think it’ll matter much to the quality of the show, which seems high.

ONE DOLLAR releases new episodes every Thursday, and is available exclusively on CBS All Access.

THE WALKING DEAD "Not Here"

Article originally written for Seat42F.

Last night’s THE WALKING DEAD ignores conspiracy theories that Glen is somehow still alive (why does anyone buy into those?), and instead gives us a ninety minute flashback as to how the Crazy Morgan of season three becomes the nonviolent Morgan (Lennie James) of the present day. Will what he’s experienced mean he cannot change again, and is his new path going to be a detriment to his attempts to stay alive?

I always enjoy THE WALKING DEAD, and normally, I really, really like a slow burn that focuses in on a character or two, but “Here’s Not Here” is not one of their stronger episodes.

For one thing, it just was not necessary to do ninety minutes on this transformation. Morgan has PTSD from losing his family. He meets a man who is into peace. Morgan comes around and takes on the man’s ways. The man dies. This same story could be accomplished in four or five cut scenes interspersed into a normal episode, and certainly doesn’t need to be supersized.

For another, it’s not that big a change for Morgan. Had Morgan been portrayed for a long time as an uber-violent man and he showed up different, that would be one thing. Instead, he’s first seen as a kind individual who helps Rick, and only goes crazy after losing his son. It’s easy for an audience to understand this flip, just as I believe it’s easy for us to understand how he could heal and turn back.

The journey Morgan goes on is completely predictable from the start. As soon as we see him set up his new camp in the same way the building he lived in is set up, and as soon as we meet Eastman (John Carroll Lynch, American Horror Story: Freak Show, The Drew Carey Show), the observant audience member can put together the pieces for themselves as to what exactly will happen.

Now, this has not always been the case for other character-driven episodes. Often, THE WALKING DEAD shows us something unexpected, and some type of unforeseen threat that must be overcome. Who expects Carol to shoot a little girl at the end of one of the finest hours of the series, or Rick to have to hide under a bed for hours or Daryl to open up? It’s simply because of how normal Morgan’s arc is that “Here’s Not Here” is a bit unsatisfying.

That doesn’t mean I don’t like the episode. The worst episode of THE WALKING DEAD is still miles ahead of most installments of television. The two performers in this hour-and-a-half are both absolutely fantastic, and it’s easy to watch them and be moved. Their plight, along with that of Tabitha the goat, may not be inspired, but it’s well done. I do care about the characters and feel for them, being saddened at the death of the goat as much as when Eastman goes.

The final scene in which Morgan talks to the Wolves leader (Benedict Samuel), who is every bit as much of a psychopath as the killer in Eastman’s past, is so much more compelling and interesting than the rest of the episode that it immediately highlights the flaw in doing this story now. At the end, we’re left wondering if Morgan is making a mistake in leaving this guy alive, even if it will give him no satisfaction in killing him. As Eastman says, every life is precious. However, if it’s OK to kill a walker, who is only there to endanger and kill you, it should be OK to kill a human who serves the same purpose, right? Will Morgan regret leaving him alive? This is a question worth pondering, and the outcome is uncertain.

At least Morgan locks the cage that the Wolf is in. This Wolf is not at all the same as Morgan is when he is in Eastman’s cage, and I’m glad Morgan realizes that. It’s a positive sign.

THE WALKING DEAD airs Sundays at 9 p.m. on AMC.

"Edward Mordrake" Haunts the FREAK SHOW

Article first published as TV Review: 'American Horror Story: Freak Show' - 'Edward Mordrake' on Blogcritics.

“Edward Mordrake” is American Horror Story: Freak Show‘s two-part Halloween episode, airing last week and this one. In it, Edward Mordrake (Wes Bentley, The Hunger Games, American Beauty), the ghost of a circus man-gone-mad, comes to Jupiter to evaluate the freaks that make up our cast, intent to kill one of them to join his damned crew. His troupe will not accept just anyone, though.

In a character-driven series, this is a great device to delve deeper into the backstories of many of the players. With each of the freaks Edward encounters, he makes them tell him their deepest pain, judging whether they are acceptable to join him or not. This leads to some really interesting revelations, as well as phenomenal performances, something the FX anthology show is known for.

In part one, the best actress award goes to Kathy Bates. Her Ethel Darling is a transformative role for her in an already celebrated career, understated and underused until this point. Ethel is ready to die, having gotten news from her doctor that she’s got terminal cancer, drinking to speed up the dying process while she tells Mordrake’s story to the troupe. But in spilling her own tale to Mordrake, she realizes she wants the short time she has left and she begs for mercy. Mordrake doesn’t take her, but Bates takes our hearts in a compelling, layered performance of a woman facing her own mortality.

In part two, the award goes to John Carroll Lynch as Twisty the Clown. He is delivering a truly creepy character this year, the clown being the only one to really be afraid of in the first four episodes. In “Edward Mordrake,” though, the clown actually speaks and justifies his actions. He is a simpleton who doesn’t believe he’s doing anything wrong. It’s a brilliant take and Lynch sells it, making us feel genuinely sorry for him, as well as happy that he has a place where he is finally accepted when Mordrake chooses him to join the band.

Honorable mention goes to Jessica Lange, whose Elsa Mars has a very dark and very bloody past, and whom actually is accepted by Mordrake before he hears the clown. Elsa is a pathetic character, one whose insecurities make her freakier than those in her show. She is also the one who summons Mordrake, accidentally or not, so there would be a certain poetic justice if she goes with him. She can’t, of course, because Lange’s contributions to American Horror Story are too valuable to write her out four episodes in. But I like that she almost is taken because that feels right.

I would be remiss without also giving a shoutout to this year’s break-out star, Finn Wittrock, who plays Dandy Mott. Dandy has less screen time in “Edward Mordrake” than in previous weeks, but he is the most chilling character in American Horror Story: Freak Show. Seemingly normal, Dandy is as twisted as they come, and his growth in just four episodes, from restless spoiled brat to ruthless killer, filling the shoes of the departed Twisty, has been amazing. We don’t need Twisty any more because we now have Dandy, who may just be ten times worse.

It is sad that Dandy’s transformation leads him to murder Patti LaBelle’s Dora, whose sassy attitude towards him is terrific. We barely know her and she will be missed. But it makes sense for the story.

The other major development in “Edward Mordrake” is that Jimmy Darling (Evan Peters) becomes a hero, single-handedly getting the townspeople to accept the freaks camped on their borders. This arc has been brewing since the beginning, too, with Jimmy intent on showing folks that the freak show performers are just like anyone else. He doesn’t make any headway until he rescues three children from Twisty, but once he does, the attitude change is quick, one father even shaking his lobster hand without flinching. Jimmy has accomplished his original primary goal.

That doesn’t mean Jimmy’s story is done. Like Lange, Peters is essential to American Horror Story, serving as arguably the primary protagonist this season, or at least one of the core few. His bitterness at the police for killing his friend and his budding romance with con-woman Maggie (Emma Roberts), which likely turns somewhat genuine after she sees him in noble action, should keep him busy. But it’s a bold choice for the show to make to wrap up his first plot early and allow his thread to make a significant detour here.

American Horror Story: Freak Show is excellent, fully deserving of FX’s best ratings ever, which it is currently pulling down. I like past seasons a lot, but this one is definitely in the running for my favorite edition. Its characters are excellent and its performers are even better, giving meaty material to actors who deserve it and own it. In the past, I haven’t covered this show on a weekly basis, and admittedly, I did combine this two-parter into one review, but if it stays this good, expect to see a lot more from me on it.

American Horror Story: Freak Show airs Wednesdays at 10 p.m. ET on FX. Its run times vary, so make sure your DVR records the full length, as some weeks have aired almost half-an-hour past 11 p.m. and you won’t want to miss the endings.

TV Review: ‘American Horror Story: Freak Show’ – ‘Massacres and Matinees’

Article first published as TV Review: ‘American Horror Story: Freak Show’ – ‘Massacres and Matinees’ on Blogcritics.

The latest miniseries in the American Horror Story franchise, Freak Show, presents, this week, “Massacres and Matinees.” The people of Jupiter are suspicious of the freaks camped just outside of town as more bodies pile up.  Strongman Dell Toldeo (Michael Chiklis, The Shield), on the run after killing a man in Chicago, offers to keep the carnival safe, and given an inch, he takes a mile. This is much to the dismay of Jimmy Darling (Evan Peters), who doesn’t know he’s Toldeo’s son, and whom thinks he can protect this family on his own. Neither seems to understand the threat brewing, though, when the real killer gets a dangerous new partner.

One thing that strikes me about American Horror Story: Freak Show so far, is that the freaks, those who look abnormal make people uncomfortable, are pretty darn sympathetic. The show almost skews too much this way, hitting us over the head that these are ‘normal people,’ while showing just how monstrous normal-seeming they are. Whether it’s a bratty rich boy with a sadistic streak or judgmental diner customers, the most “average” freaks are the ones of whom to be aware.

This is both important and preachy. Creator Ryan Murphy is all about inclusiveness–and portraying the disabled as strong personalities with much to contribute, very obvious in his network dramedy Glee. It’s a laudable goal, and he’s done much to further the cause. But at the same time, he doesn’t have to hit us over the head quite so heavily. Most viewers are intelligent, and we can form our own opinions without the lectures.

Still, despite the preachiness, or perhaps because of it, American Horror Story: Freak Show is shaping up to be terrific, with wonderful characters. When Jimmy takes a group to the diner and they are kicked out, we feel their pain. As Elsa (Jessica Lange) grows jealous of talented up-and-comers Dot and Bette (both Sarah Paulson), we feel her jealousy and desperation. Ethel’s (Kathy Bates) desire to keep her ex, Dell, away from her son, whom she loves and protects, is quite compelling. Similarly, it’s easy to feel for mother Gloria Mott (Frances Conroy), who would really like a grandbaby but is saddled with a difficult son, to put it mildly. These are all fully realized individuals, played by very strong performers, and along with the rest of the cast, to which Angela Bassett (AHS: Coven), playing a humorous hermaphrodite, is added this week, they sell this series well.

The first of the band dies in “Massacres and Matinees,” as Dell thwarts Jimmy’s attempt to frame him for murder and shifts the blame to Meep the Geek (Ben Woolf). Meep is arrested and slain by his fellow inmates. As disturbing as I find Meep, especially when he is shown biting off bird heads, his passing is moving, both because of the grief he sparks in Jimmy, and because he’s an innocent who doesn’t deserve what happens. I can’t say I’ll miss him exactly, but his demise is masterfully crafted for impact.

As we fall in love with the freaks, viewers still get their fright from Dandy Mott (Finn Wittrock). Wittrock is a stand-out surprise in American Horror Story: Freak Show, and his arc really takes off in “Massacres and Matinees.” As the rich kid who wants to find his place and uses demented means to do so, he creates a monster that is truly terrifying. As Dandy joins forces with creepy clown, Twisty (John Carroll Lynch), the two make a beautifully twisted, unexpected pair that will cause much havoc in Jupiter. I’m not sure where their story is going, but the scenes between them are intense and well-crafted, definitely among the best moments of the hour.

There are just a few things that puzzle me about “Massacres and Matinees.” Why does Elsa kowtow to Dell so easily? Sure, his masculine energy may be attractive to her, but she’s been in charge a long time, and she doesn’t seem the type to give up so easily, a conclusion echoed when she indicates multiple times that he displeases her. I’m also not sure why Dell frames Meep instead of Jimmy, whom he doesn’t seem to care about it, even with their blood connection. But overall, it’s pretty good, and I’m getting used to the musical numbers of songs not yet written in the time period the show takes place, 1952, now that it’s clearly a deliberate decision.

American Horror Story: Freak Show airs Wednesdays at 10 p.m. ET on FX.

Welcome to the FREAK SHOW

Article first published as AMERICAN HORROR STORY FREAK SHOW Review on Seat42F.

AMERICAN HORROR STORY is back for a fourth season, subtitled FREAK SHOW, with “Monsters Among Us,” airing this week. As in past seasons, the characters and story are new, but many of the performers will look familiar to fans of the anthology series, as actors have returned and taken on new roles. This year’s entry is set at a carnival freak show in Jupiter, Florida, 1952, and thus far, those who make up the troupe seem a whole lot less freaky than the local people surrounding them.

This revelation comes as quite a surprise. When FREAK SHOW was announced, I assumed much of the terror would be delivered at the hands of those who look different. After all, such circuses have always put off a bit of a creepy vibe, and having characters that appear monstrous actually act scary, too, makes sense. But the writers make a different choice here, quickly showing the troupe as a family and those who would threaten them, be they law enforcement, or a bitchy candy striper (Grace Gummer, The Newsroom), or an entitled rich brat (Finn Wittrock, The Normal Heart) and his doting mother (Frances Conroy), as the people to look out for. Nice idea.

The group is led by Elsa Mars (Jessica Lange), the benefactor, boss, and recruiter. She is assisted by bearded lady Ethel Darling (Kathy Bates) and her son, Jimmy (Evan Peters), as well as a bunch of other members of the clan. These people are outcasts from society and Elsa brings them together not only for their own protection, but also to provide a place for them to shine. She is quick to protect her charges, and while she is a bit controlling, she understands and appreciates those who fall in with her, which is how she can inspire loyalty among her followers. After all, she is one of them, of course.

We don’t yet have the whole lay of the land; four main players are completely MIA in the AMERICAN HORROR STORY: FREAK SHOW premiere. This is par for the series, and as the story unfolds, others will naturally be added in. AHS takes its time in crafting a plot, unconcerned with forcing characters into a crowded field or at an unnatural time just because the actor’s name is in the opening credits, as many other shows do.

Among this troupe, there is one person that somewhat stands out because she’s been seen before, and that’s Pepper (Naomi Grossman). Pepper lived in the Asylum of season two, and she is the first character to appear in more than one season of AMERICAN HORROR STORY. Since Asylum is set more than a decade later than FREAK SHOW, we know where she ends up, but not yet how she gets there. It’s an interesting precedent that I hope will be repeated, and fits very well into the new season.

There is one freak that is scary in “Monsters Among Us.” We’re introduced to Twisty the Clown (John Carroll Lynch, Body of Proof), a homicidal clown with a very scary mask (or is it a mask?). Twisty is not one to mess with, and he doesn’t even require a reason to strike. But thankfully he is not part of the main contingent, so hopefully, while there will be some interaction, we’re not asked to care about him as we do the others.

For the most part, I really like “Monsters Among Us,” a cool story that intrigues and entices, but there are a couple of strange choices made. For instance, the camera teases around conjoined twins Bette and Dot Tattler (Sarah Paulson), waiting awhile to reveal them to be two heads on one body. This makes sense to be repeated later in the episode for budgetary reasons, but in the initial introduction, there’s not much reason to build suspense and mystery given that pictures of the character have been widely circulated prior to this. Also, Elsa sings “Life on Mars,” a song written by David Bowie in 1971. It’s a neat performance, but one that definitely feels out-of-time for the early 1950s.

I’m curious about the planetary themes in AMERICAN HORROR STORY: FREAK SHOW. As mentioned, Elsa’s last name is Mars and she sings “Life on Mars,” plus the show is set in Jupiter, Florida. These things cannot be coincidence. Are they meant to evoke otherworldly images, aliens come to Earth, as Asylum showed? Or are they referencing gods, better than men, sitting above us in judgment? Either way could be interesting.

While I was trepidatious about FREAK SHOW, given the content, I am happy to report that the first episode is quite good, up to the standards of the franchise. Check it out when it airs Wednesdays at 10 p.m. ET on FX beginning this week.

Do No Harm doesn't harm, nor heal

Article originally published as DO NO HARM Series Premiere Review at Seat42F

Grade: 82%

NBC’s DO NO HARM premieres this Thursday at 10 p.m. ET. It’s a Jekyl and Hyde story about a doctor who turns into a psychopath for twelve hours every day. The medical aspect is played up, with much of the drama set in the hospital, making DO NO HARM a hybrid between a classic good vs. evil tale and a case of the week procedural.

In some ways, DO NO HARM reminds me of Awake, which was canceled after a single season. Both have two distinct realms, but the big difference in DO NO HARM is, instead of the other characters changing around the protagonist, the protagonist changes in the midst of everyone else. But they both dwell in mythology and mystery, to make the series just a little better than the standard network flare.

Does this signal the end of the straight cop or doctor show? We have so many flooding the air waves that any new show needs a gimmick to get attention. In the case of DO HARM, the hook is the personality shifts of the lead. This could be the future of the genre, using the tried and true formula that has worked for so many other shows, but including a little extra to trick the critics and discerning who would write off such a procedural without a second thought into sticking around.

In the pilot of DO NO HARM, Doctor Jason Cole (Steven Pasquale, Rescue Me) treats a man who has a cluster of blood vessels in his head. It’s a tricky surgery, one Cole has not performed before, but he soars through it, giving the man his life back. Cheesy goop, the same kind of story you’d see on any other medical procedural. This is the part of the episode we do not need.

What’s much more enticing is that Jason turns into a man named Ian (also Pasquale) at night, and since Jason has been using drugs to repress Ian for five years, Ian isn’t too happy. Now that Ian has built up a resistance to the regimen, he is bent on revenge. This could be a disaster for the surgeon, except that Jason is smart enough to put safeguards in place to keep Ian from actually performing surgery. For now, anyway, until Ian figures out a way around them.

There is a second villain in the form of Jason’s co-worker, Doctor Kenneth Jordan (Michael Esper, A Beautiful Mind). Jordan isn’t much of a threat, at least not yet, since he’s clueless about Jason’s condition. But we don’t need Jordan to be all that bad, since Ian is the real antagonist of the series.

Now, a big leap of faith has to be taken in that Jason is the head of a surgical department at what looks to be a major hospital. His boss, Dr. Vanessa Young (Phylicia Rashad, The Cosby Show), is extremely understanding of his unspecified medical condition, which does not allow him to work at night. But considering what long hours surgeons work during their training, it’s odd that he would reach such a level, especially at such a young age, without being able to fully commit to his job. And as a doctor herself, shouldn’t Vanessa have more questions? She clearly doesn’t know the extent of Jason’s struggle, and I find that very odd.

We also have to believe that Jason has a buddy named Dr. Ruben Marcado (Lin-Manuel Miranda), who not only just happens to be a brilliant researcher, but who is willing to continuously risk his career, using the hospital’s resources to try to find ways to control or cure Jason of Ian. I’m sure that the writers can spin a backstory that justifies the relationship between Jason and Ruben, but explaining how he does all of this work for Jason and still keeps his job will require quite a bit of a stretch.

That’s the issue with DO NO HARM: it stretches reality too much. I really love the interplay between Jason and Ian, the struggle for control over each one’s own life, and how the actor handles both parts, but some things don’t make sense.

For instance, Jason is apparently a very bad liar; at least, that’s what we’re told during his interactions with Dr. Lena Solis (Alana De La Garza, Law & Order), the obligatory love interest. Yet, he lies all day, every day in his normal life, to almost everyone, and even thinks he can lie to Ian in video form. How does that work? Is he a bad liar or isn’t he?

I did think it was interesting that this pilot begins with Jason’s flirtations with Lena, and then reveals a history that includes an ex, Olivia Flynn (Ruta Gedmintas, The Borgias), whom Ian is still obsessed with, and who has been keeping a secret from both men. Olivia seems like the sort of plot that would begin in season one, and then be revisited later, with Lena introduced much later in the series. To enter at this point is a choice I find intriguing, though not unlike what ABC’s Scandal is currently doing.

I enjoyed this episode for the most part. I like the premise, and the cast, which includes John Carroll Lynch (Body of Proof) as Jason’s confidant and Samm Levine (Freaks and Geeks) as Jason’s competent assistant, is great. Yet, the nagging plots holes did infringe on my enjoyment. Plenty of good shows start with some uneven storytelling and work it out, which is what I hope will happen here.

One last complaint. While the image of Jason writing Do No Harm in a foggy mirror, and Ian erasing the message, works great for promos, it feels completely ridiculous in the episode. This should not have been included.

Dig up Body of Proof The Complete Second Season

ABC is not usually beholden to the procedural formula, preferring to specialize in soapy drama instead. However, there are exceptions. One such example is Body of Proof, a crime-of-the-week show following a medical examiner and her team. Body of Proof The Complete Second Season has recently been released on DVD.

The main issue I take with Body of Proof is that it is rote. Week after week, Dr. Megan Hunt (Dana Delany) and her co-workers manage to figure things out before the cops (John Carroll Lynch and Sonja Sohn) do. The whodunnit may not always be predictable, but it is nearly certain that Megan will finger the killer by the end, thus maintaining her glowing reputation.

The thing is, Megan isn't even the boss. She is a former surgeon who now works on the dead instead of the living. She must take orders from her ex-husband's girlfriend, Dr. Kate Murphy (Jeri Ryan). It's not an ideal situation.

Which is why Body of Proof manages to stay entertaining. Like it's network sibling, Castle, too much time is devoted to the crime, but when the series dares to stray into the personal interactions of the team, it becomes quite entertaining. Body of Proof has a fantastic cast that is often wasted. When they are used, they really shine, with terrific chemistry, witty one-liners, and shifting relationships. This focus on the personal is slightly amped up in season two by the promotion of Megan's daughter, Lacey (Mary Mouser) to series regular, and the scenes between Megan and Kate remain the best part of the show.

After a short first season, year two basically keeps the same set of circumstances, though a few things are allowed to evolve over the course of the sophomore run. Some memorable installments:

• "Love Thy Neighbor": The cul de sac central to this episode is a play off of Delany's former series, Desperate Housewives, making for some fun tongue-in-cheek moments. Kate tries to not-obviously bribe Megan.
• "Hunting Party": Kate fires Megan from a case at the request of a wealthy guy who is not afraid to throw his money around, but Megan still manages to save the day.
• "Missing": Bud (Lynch) is under investigation after an interrogation gone wrong, and Megan's mother (Joanna Cassidy) offers to help her daughter, though her motives remain murky.
• "Point of Origin": Megan clashes with firefighters.
• "Hard Knocks": Megan's ex (Jeffrey Nordling) decides to move away, making Lacey choose between her parents. Bud tells everyone that his wife is expecting.
• "Home Invasion": Curtis (Windell Middlebrooks) gets Kate's job, leading to lots of tension in the office.
• "Going Viral": In this two parter, a deadly virus is plaguing the city, and it's up to Megan and company to stop the body count on it's sharp rise.
• "Mind Games": A serial killer from Megan's past returns, posing a serious danger that results in the death of one of the team.

There are also 12 other episodes on the four-disc set, so plenty to keep you busy for awhile!

One thing ABC does do right is bonus features. There are quite a few on these DVDs, including a goof reel and some webisodes. Featurettes examine the set design, how the crew makes the dead bodies so realistic, various stunts in the series, and special effects. There's also a fashion bit, if you're into that sort of thing, and many Delany fans probably are, given her good looks and sense of style, both in this role and in others from her earlier career.

All in all, it's a decent series with some really interesting characters, and slightly better than average procedural cases. Were the focus to be even more about the people, it could be something really special. As it is, it's still worth a watch if you like a crime mystery.

Body of Proof The Complete Second Season is available now on DVD.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as DVD Review: Body of Proof The Complete Second Season on Blogcritics.

Does Body of Proof "Love Thy Neighbor" ?

     For the second season premiere of ABC's Body of Proof, "Love Thy Neighbor," the team investigates a case in a neighborhood that purposely will remind fans of Dana Delany's previous series, Desperate Housewives. In an idyllic cul-de-sac, a man is murdered, and the body is made to look like an accident. But a little digging, and the team discovers an extensive circle of swinging, and eventually, the real cause of the murder, a meth lab. Throughout the case, Megan (Delany) proves she still has her wits, even while increasingly bothered by the relationship between ex-husband, Todd (Jeffrey Nordling), and her boss, Kate (Jeri Ryan). Specifically, how they might mess up Megan's still-in-repair relationship with her daughter, Lacey (Mary Mouser).

     The setting is a fantastic homage, and even Megan's toss off about "desperate housewives" at the end of the episode doesn't seem too corny. The whole thing is done with affection, rather than parody. The characters making up the neighborhood get filled by some fantastic guest stars, including Joelle Carter (Justified), Derek Phillips (Friday Night Lights), Rick Fox (Dirt, Oz), Christopher Wiehl, (Jericho), and Danielle Bisutti (True Jackson, VP). The cops find evidence of kinky sexcapades and false real estate schemes, with juicy twists and delicious surprises. As a case of the week, this one is pretty darn good.

     Thankfully, much of "Love Thy Neighbor" focuses on Megan's personal life, rather than just the case of the week. ABC. is generally pretty good about keeping the characters interesting in their procedurals, and Body of Proof looks to continue that trend. Megan now seems far closer to Lacey than when season one ends, and she is desperate to keep that mother-daughter thing from deteriorating, a perfectly understandable reaction. It's hard to tell how much of Megan's distress over the situation comes from worrying over Lacey, and how much is jealousy concerning Todd, but the former seems to be winning. Nice job keeping that at the forefront, while still going about this week's business.

     Other characters besides Megan are showing some growth and depth, too. Is Kate just acquiring a fancy, expensive new piece of machinery so that her staff doesn't hate her for what she is doing to Megan? Bribery is not necessary, as Kate is staying as classy as possible under the circumstances. Ethan (Geoffrey Arend) and Curtis (Windell D. Middlebrooks) continue to bicker, but help each other.

     Bud (John Carroll Lynch) gets to complain to Sam (Sonja Sohn) about his sex life. This opens up something that is perhaps not necessary to know about Bud. But it also humanizes him, and allows a real look at the two homicide detective's working relationship. This is welcome, and so are the scenes of the two doing their own jobs, as the pair are often only on the fringe during season one. Clearly, both actors can handle a bigger workload.

     Peter (Nicholas Bishop), so far, remains generic and boring.

     Watch Body of Proof Tuesdays at 10 p.m. ET on ABC.

     If you like my reviews, please follow me on Twitter! Click here for all my Body of Proof reviews.

     To order the Body of Proof DVD or purchase streaming episodes, please click here.

Body of Proof: The Complete First Season on DVD next Tuesday

     After stints on ABC's Desperate Housewives and Castle, Dana Delaney finally gets her own series on the network with Body of Proof, which premiered last spring, and comes to DVD next Tuesday, September 20th. Delaney plays Dr. Megan Hunt, a medical examiner who used to be a neurosurgeon, until she is in a car wreck, and can no longer live with the guilt of killing anyone. Plus, her hand goes numb.


     Now Hunt cares, something she didn't use to do, so she goes out of her way and solves the crimes that result in the victims she examines. She is very intelligent, doesn't have much respect for authority or rules, but gets away with it because she helps bring justice to the world. She is sort of a cross between House's House, Castle's Castle, and Bones's Brennan, three of the best offerings in the crime procedural genre, but Hunt doesn't quite live up to the standards of any of the trio.

     Make no mistake about it. Body of Proof does fit firmly into that crime procedural genre. Does Megan step outside the purview of her occupation, as she is only a medical examiner? Possibly, but I don't hear Detectives Bud Morris (John Carroll Lynch, The Drew Carey Show, Close to Home) and Samantha Baker (Sonja Sohn, The Wire) complaining when she helps them catch yet another killer. If you have a genius, use her. And make no mistake about it, Megan is a genius.

     Which is why her boss, Dr. Kate Murphy (Jeri Ryan, Star Trek: Voyager, Shark), lets Hunt get away with spending a huge portion of the department's budget, despite the fact that she has many co-workers to share the money with.

     There's her partner, Peter (Nicholas Bishop, Past Life, Home and Away), who is generic and dull. Seriously, if Peter were to be replaced in season two with a similar looking guy, few would notice. Curtis (Windell D. Middlebrooks, The Suite Life on Deck, Scrubs) is often grumpy, but helpful, and has a contagious excitement when cases get interesting. Ethan (Geoffrey Arend, Trust Me, Daria) is an eager to please, still learning, underling, who frequently gets saddled with the crappy jobs. Considering that Curtis ranks above Megan, it may seem odd that he often ends up helping Ethan with said disgusting chores, but perhaps realizing Megan's genius, Curtis only good-naturedly complains. None of these supporting players get much development in the freshman run, though the latter two show promise.

     Finally, there's Megan's family. Her teenage daughter, Lacey (Mary Matilyn Mouser, Life Is Wild), whom she drives away during her surgeon days, is someone Hunt wants back in her life. Now that she seems to value more than her career, to which she still devotes most of her focus, she is trying to repair things with Lacey. Ex-husband, Todd (Jeffrey Nordling, Desperate Housewives, 24, Dirt), is another story, especially when, in the season finale, it is revealed that he is secretly involved with Kate. It's just unnecessary melodrama, especially because Kate and Megan's interactions are the best part of the series, and this revelation threatens that relationship.

     In summary, Body of Proof does little to raise itself above its peers, of which there are many currently on television, and quite a few of them much better. With this talented cast, there is a chance that that might change in season two. After all, with only nine episodes in the initial run, the series is just finding its legs. Now it's time to steer the show more character focused, and less about the case-of-the-week, if it wants to remain interesting.

     The bonus features are, sadly, about as dry as the nine episodes in the DVD set. "Examining the Proof" spends ten and a half minutes assuring viewers that the science and medical details are real. It is commendable that the staff behind the series puts so much effort into authenticity, using consultants with wounds and terminology and even the set. But we get it already. Having the entire cast and a number of others keep telling us that is not needed.

     "If Looks Could Kill" is a five and a half minute feature focusing on Roberta Haze's costume design. Clearly, she is a legend in her arena. Her detailed explanation of how she differs Megan and Kate's looks is interesting. But again, if one is not into clothes and fashion, this feature isn't all that beneficial, and is worth skipping.

     "Body of Goofs" is the mandatory (for ABC shows) blooper reel. Clocking in at over three and a half minutes, there is everything one would expect in such an extra. There are plenty of flubbed up jargon, and cast members screwing up lines. John Carroll Lynch, who opens the bit with an interview from his "dressing room pool" stands out as the most amusing part of the segment. But again, disappointing.

     Finally, "New Evidence: A Sneak Peek at Season 2" is simply a forty-five second commercial for the new season. Which begs the question, why word it so promisingly if it's just a commercial? Viewers can see the same thing, or practically the same thing, on other venues. While not promoted as a bonus feature on the packaging, the title given the segment leads to a huge letdown when it is actually watched.

     It's hard to recommend Body of Proof: The Complete First Season on the aforementioned merits. It isn't terrible, but it isn't great. It falls somewhere in the middle of quality television. What will make the biggest turning point in deciding on whether or not to purchase a copy is how season two plays out. Until a few episodes get to air, I find myself ambivalent.


     You can buy Body of Proof: The Complete First Season on DVD next Tuesday, September 20th, and watch new episodes Tuesday nights at 10 p.m. ET on ABC, beginning the same day.

     If you like my reviews, please follow me on Twitter! Click here for all my Body of Proof reviews.

     To pre-order the Body of Proof DVD or Blu-ray, or purchase streaming episodes, please click here.

Article first published as DVD Review: Body of Proof: The Complete First Season on Blogcritics.

Body of Proof Season One Overview

     ABC premiered a new medical drama, Body of Proof, in late March. After reviewing the pilot, it seemed to be a standard medical/crime procedural, so I allowed it to languish on my TiVo for months. Truthfully, I was just hoping it would be canceled, and I wouldn't have to watch it at all. There are a few interesting procedurals, including Bones and Castle, but most are boring and rote. But then Body of Proof got a second season, and I decided to give it a shot. Having watched the entire nine-episode run these past few days, most of my initial opinions hold firm. It is definitely a standard procedural, and far from the best on TV, but there are a few hints of something decent, so I will at least be watching the season premiere next fall.

     The best thing Body of Proof has going for it is that it stars Dana Delany (Desperate Housewives) as the central character, Dr. Megan Hunt. Delany excels on Desperate Housewives, and continues to stretch her range on Body of Proof. She now plays a surgeon who, after an accident, been forced to switch careers, becoming a medical examiner. Although at first she comes acros as cold, Delany brings an earnestness and compassion to the role. It takes but a few hours for her to start to see the bodies as people, and really care about what happens to them.

     Delany's plot is furthered by the fact that she has an ex-husband, Todd (Jeffrey Nordling, Desperate Housewives, 24, Dirt), and a teenage daughter, Lacey (Mary Matilyn Mouser, Life Is Wild), whom she drove away during her surgeon days. Now that she seems to value more than her career, to which she still devotes most of her focus, she is trying to repair things with Lacey. While Mouser isn't the best actress, the strongest episode of season one, "Talking Heads," is one in which Megan gets very involved in Lacey's life, and Lacey reciprocates.

     Todd, on the other hand, remains an obstacle for Megan. While it may be understandable, given their history, that he harbors bitter feelings towards his ex, he does not think of her when acting, and barely considers her in regards to Lacey. In the season finale, "Broken Home," Megan learns that Todd and her boss, Kate (Jeri Ryan, Star Trek: Voyager, Shark) are in a secret relationship, damaging Megan's relationship with both of them. Todd doesn't seem to care about Megan's feelings of betrayal, and insits that he has done nothing wrong. He may be technically right, but his reaction is not.

     Megan and Kate may or may not be okay when the season ends. A true pleasure of season one is any scene with Delany and Ryan together, both being fantastic veteran actresses. Ryan's role is too small, and for that reason alone, it is forgivable that she gets involved with Todd, which gives her more screen time. Kate's place as Megan's boss, who Megan infrequently listens to, but both seem to have some personal mutual respect, is a delight, and the two have wonderful chemistry. The Todd subplot should be gotten rid of, but any time Kate wants to get more involved in a case, it's welcome.

     Also fun are Megan's co-workers in the lab. Curtis (Windell D. Middlebrooks, The Suite Life on Deck, Scrubs) is grumpy, but helpful, and has an excitement when cases get interesting. Ethan (Geoffrey Arend, Trust Me, Daria) is an eager to please, still learning, underling, who frequently gets saddled with the crappy jobs. Considering that Curtis ranks above Megan, it may seem odd that he often ends up helping Ethan with said disgusting chores, but perhaps realizing Megan's genius, Curtis only good-naturedly complains. Neither get much development thus far, except for Ethan's love story with a beautiful woman (his real life wife, Mad Men's Christina Hendricks) in "Dead Man Walking," but hopefully that will be corrected in season two. Perhaps even a return of Hendricks?

     Sadly, Megan's partner, Peter (Nicholas Bishop, Past Life, Home and Away), is generic and dull. There is nothing about him that stands out or is memorable, and he could be replaced by a similar looking actor tomorrow, and few people would notice. While he does sometimes give Megan good advice and offer her a sympathetic ear, Bishop is doing not a single thing to make his character stand out or interesting. If Peter is going to stick around, or god forbid, be a love interest for Megan, major changes are needed.

     The final main characters, Detectives Bud Morris (John Carroll Lynch, Close to Home, The Drew Carey Show) and Samantha Baker (Sonja Sohn, The Wire), are a mixed bag. While Baker gets some character development while investigating the death of a friend in "Buried Secrets," and Morris is shown bonding with Megan in "Helping Hand," one episode is all either get to do anything other than typical police work. Both seem to be very capable actors, but both also take episodes off, and the plot changes little with only one at a time working. It's a shame, because Morris and Baker are probably the biggest untapped potential of the series. Often on screen separately, as they don't work in the lab, they get cheated more than the others.

     So the main problem with Body of Proof seems to be that some of the supporting characters need to be beefed up. While Delany is fantastic, Body of Proof would be more interesting if it was more ensemble-focused, rather than banking on just one star. It has a deep enough talent pool to do so. Season one is not bad, but it could be better.

     Body of Proof will return this fall to ABC.


     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To pre-order the Body of Proof DVD or Blu-ray, or purchase streaming episodes, please click here.

Article first published as TV Review: Body of Proof - Season One Overview on Blogcritics.

JWTV Quickie: Body of Proof - "Pilot"

     When we last saw Dana Delany, she was leaving Desperate Housewives' Wisteria Lane with a female lover, not long after she matched wits with Castle on Castle. I guess it should be no surprise, then, that the star is popping back up on ABC. This time, in Body of Proof, Delany plays Dr. Megan Hunt, a medical examiner who used to be a neurosurgeon, until she was in a car wreck, and could no longer live with the guilt of killing anyone. Plus, her hand goes numb. Now Hunt cares, something she didn't use to do, so she goes out of her way and solves the crimes that result in the victims she examines.

     Does Megan step outside the purview of her occupation? Possibly, but I don't hear Detective Bud Morris (John Carroll Lynch, The Drew Carey Show, Close to Home), whom clashes with Hunt throughout the case, complain when she helps him catch the killer. If you have a genius, use her. And make no mistake about it, Megan is a genius. Which is why her boss, Dr. Kate Murphy (Jeri Ryan, Star Trek: Voyager, Shark), lets her get away with spending a huge portion of the department's budget. Also, I'm guessing, why Bud will be using her again and again, since he's listed as a main character.

     Now I could tell you the basic story of Body of Proof's "Pilot", but if you've watched one of the gazillions of other crime-related procedurals currently running, you pretty much know how it goes down. Megan is a mix of House's House, Castle's Castle, and Bones's Brennan, three of the best offerings in the genre. She is very intelligent, doesn't have much respect for authority or rules, but gets away with it because she helps bring justice to the world. If this show succeeds, and the high ratings it racked up during last night's premiere are a good first step, it should not be because it masters a formula. We have more than enough shows that do that. I, for one, will not be watching if it relies too heavily on a case of the week format, though I'm willing to give the series a chance to prove itself before I tune out.

     No, what I want to see, and what I hope the writers deliver, is interesting characters. While I find Hunt's co-worker, Peter Dunlap (Nicholas Bishop, Home and Away) dull, and am not impressed with Bud's partner, Det. Sam Baker (Sonja Sohn, The Wire), I like Bud, Kate, and geeky mentee Ethan (Geoffrey Arend, Trust Me) just fine. I love 'why doesn't anyone call me Doctor' Curtis Brumfield (Windell Middlebrooks, Scrubs) even more, especially when he's ranting how Hunt shouldn't get the special priveleges that she does. Delany is fantastic as Hunt, bringing just the right amount of depth and layer. My heart breaks when she admits to losing her daughter for her career, and then losing her career. The only inauthentic moment of the entire hour is when, as shown in the preview, Hunt mouths off to Bud about being worse than he's heard.

     But my main concern, starting out, is I need to see plenty of Hunt's family. Todd (Jeffrey Nordling, 24, Dirt, Desperate Housewives) is a scheming jerk, keeping Hunt away from their daughter, telling Hunt not to even come to a birthday party. Or maybe he's not. Let's see more of their backstory! Maybe, considering Hunt's referenced past, he is justified in trying to keep sole custody, at least in regard to the old Hunt. Now Hunt wants to be there for Lacey (Mary Matilyn Mouser, Life is Wild), and if cake is any evidence, it's not too late. If the series can give enough time to personal details, it will be great.

     A special episode of Body of Proof will air this Sunday, and then the series returns to its normal time slot Tuesday nights at 10 p.m. ET on ABC.

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