Take a SELFIE

Article first published as SELFIE Review on Seat42F.

ABC’s SELFIE is equal parts straight-up remake of My Fair Lady and a commentary on the current social media landscape. It is the story of a mess of a girl, obsessed with her online followers and ‘friends,’ and an uptight guy who wants to show her how to be what he deems ‘a real person.’ The two clash in predictable ways, and one assumes that eventually both will learn much from the other, whether they become romantically entangled or not (my money is on the former).

Karen Gillian (Doctor Who, Guardians of the Galaxy, NTSF:SD:SUV) plays Eliza Dooley, the lead female at the center of SELFIE. Although from the UK, the actress takes an affected valley girl-esque accent that is super annoying at the start, though surely not the character’s real voice. Gillian is terrific with line delivery and sincerity, eliciting glimmers of sympathy for a person that should not be at all likeable, especially when you feel her pain and see the origin of her persona. While Eliza is awful in most of the pilot, she will grow into someone viewers can get behind, and has already started to do so.

John Cho (Sleepy Hollow, Harold & Kumar, American Pie) matches Gillian beat for beat as stuffy Henry, who takes on the task of remaking Eliza. He is successful and smart, but too judgmental to be truly likeable, either, even if he’s quite a bit more ‘normal’ than Eliza. He’s almost a bully to her at times, and one can tell that his obsession with fixing her is much more about the satisfying challenge it presents to him than helping the girl herself. In this way, Henry and Eliza are near-equals in the growth they need to undergo, and more similar than is immediately obvious.

The lead actors are terrific. The pilot is plagued by an uneven script, but they sell their parts, making sure the characters seem complex even if the language coming out of their mouths isn’t clever. They have immediate chemistry that seems fresh, and they are primarily the reason I plan to set a season pass for SELFIE, as surely it will improve over time.

Not that the pilot is bad. The opening is gross and a huge turn off, but as the story unfolds, it gets better and better. As a fan of the Audrey Hepburn / Rex Harrison film that is quite similar, I think the writers do a decent job of not only retelling the tale, but updating it for the modern age. It’s an interesting spin on an old classic.

The social commentary presented in the series is a reason to watch. Everyone knows at least one person that will remind them of Eliza, even if Eliza is exaggerated to nearly cartoonish proportions. We have become a people obsessed with being online, and Eliza could be the fate of many a girl in the next generation, those who grow up with devices in their hands at all times. Henry isn’t the best spokesman for the opposition, but his lambasting of Eliza’s habits speak to those who wish to keep human contact alive, and hopefully, while the internet is certainly not a trend, our ignorance of everyday life in favor of it will be. Having Eliza and Henry work at a pharmaceutical company is also ripe with as-yet-unexplored satirical possibilities.

SELFIE is buoyed by an excellent supporting cast which includes Da’Vine Joy Randolph (The Angriest Man in Brooklyn) as cheerful receptionist Charmonique, David Harewood (Homeland) as eccentric boss Sam, and Allyn Rachel (Weeds) as Eliza’s nerdy neighbor, Bryn. Each helps with the humor of the piece, and has moments to shine in the first episode, being well used.

This show is also genuinely funny. From instrumental jokes to sassy one-liners to a rhyming rap, it exudes a charm that will amuse many. I laughed out loud a few times, even on my second viewing, and may very well tune in again on premiere night.

Overall, SELFIE isn’t the best new sitcom of the season, but its cast and premise gives it a lot of potential that is barely scratched in the first installment. I have confidence that it will hew to its strengths, minimizing the elements that grate, as it goes on. For that reason, I recommend tuning in when SELFIE premieres Tuesday, September 30^th at 8 p.m. ET on ABC.

SLEEPY HOLLOW Full Of "Indispensable" "Blood"

Article first published as SLEEPY HOLLOW Full Of "Indispensable" "Blood" on TheTVKing.

FOX's Sleepy Hollow has been an action-packed drama full of twists and turns throughout the course of its thirteen-episode freshman run. Abandoning the police procedural concept entirely, which is a surprise considering the set up of the pilot, instead it focuses on mythology and belief, bringing witches, Revolutionary soldiers, George Washington, the Masons, the Bible, including the Four Horseman of the Apocalypse and Revelations, and more together in a thrilling messy war.

The two-part season finale, "Indispensable Man" and "Bad Blood," tie a lot of the threads from past episodes into a neat bow. Little elements that didn't seem related suddenly are, and both of the main characters, also known as the Witnesses, are forced to confront their pasts. It's terrific character development, but also really cool storytelling that proves the writers had a plan going in for this tale.

Abbie (Nichole Beharie) realizes she's forgotten some of her past with the demon, Moloch (Derek Mears). Trapped in Purgatory, a fulfillment of a prophecy she tried to avoid, she wanders into a dollhouse, a safe haven where she finds her missing childhood experiences. It's clear why Moloch stole that part of Abbie, as it would have ruined one of Moloch's plots. But it's also a lot about Abbie, who turned her back on her sister, Jenny (Lyndie Greenwood), in the woods, and now faces her sins.

Abbie is a hero, one who is willing to sacrifice herself for the greater good. "Bad Blood" is the culmination of this, at least in regards to serving as redemption for the mistakes she has struggled with throughout this freshman year. Abbie will surely survive and emerge back into the real world, but this should make her a much more confident, tough person, helping to erase the self-doubt and regret that plagues her. Which is not to say she hasn't shown strength, but she does have vulnerabilities that this should help heal.

While in Purgatory, Abbie also runs into Andy (John Cho) and Sheriff Corbin (Clancy Brown). For two characters who died in the first part, they sure have been well-used in the past few months, returning again and again. It seems fitting that Abbie confronts them again now, probably the last time we'll see them (assuming Andy is crushed completely in Washington's tomb), at least for awhile. They are likely part of the first chapter, not the whole epic journey.

Ichabod (Tom Milson) also stares down his past in Purgatory when reunited with his father (the amazing Victor Garber, Alias). This is someone that Ichabod is estranged from, but someone whose approval the soldier desperately craves. Ichabod made some tough choices in his life, and when offered the chance to change things, even if it's not real, Ichabod reaffirms his stance, proving his mettle.

It is a tad too easy how Ichabod and Abbie overcome their various obstacles. They are quickly tricked, and just as quickly break the spell. But there's a lot to get through in these two hours, and it's more important that they are shown grappling with a crucial element of their past than exploring a full story on how to escape said element. So it works for the story structure laid out, and it's a minor complaint in an otherwise stellar ending.

Abbie stays stuck in Purgatory, but this allows Ichabod to bring Katrina (Katia Winter) home. The lovers are reunited, and it seems like a happy ending for Ichabod, at least in the romantic department. After all, once Katrina's out, surely they can find some way to keep her out, even while saving Abbie.

There is a scene between Ichabod and Abbie in Purgatory that makes me think Katrina may not be long for this world, despite appearing in the show's opening credits. After all, she's always been a side part. Abbie and Ichabod have a bond that could easily be developed into something more, and even Katrina looks uncomfortable at their long goodbye hug. Might Sleepy Hollow be heading for a hook-up between the unlikely partners? I can't say I saw it coming until now, but it might be a good idea, given their excellent chemistry and total opposites attract mojo.

Ichabod and Katrina's bliss is cut short when Henry Parish (Fringe's John Noble) is revealed to be their lost son, Jeremy, and a servant of Moloch and the second Horseman. It's a deep betrayal, both from Henry, who has become a fast friend and assistant to the Witnesses, and from Jeremy, who will not hear his parents' explanations. It seems especially unfair that Jeremy buried Ichabod in the ground, since Ichabod never even knew of his existence, though it makes total sense when Jeremy hands Katrina over to the Headless Horseman (Richard Cetrone), whom loved her.

Leaving all of these players in a cliffhanger in not exactly welcome, but certainly makes for a tense, exciting ending. Ichabod is buried, Abbie is trapped, Katrina is captive, and Moloch and Jeremy / Henry are free to do their evil, a seal broken. Oh, and supporting player Jenny appears like she might be dead and Captain Irving (Orlando Jones) is arrested protecting his daughter, so there is really no one left to save the day. How will they come back from this?

There aren't really any hints in "Bad Blood" at a resolution, but that's OK. It feels like everything was poured into this finale, playing all the cards they still held at once, all while seamlessly tying it back to what came before. Now, the writers have months to figure out where to go next, and given the skill they've demonstrated thus far, they leave us with confidence that they can solve the puzzle by the time filming resumes.

Sleepy Hollow has been renewed and will return to FOX next fall.

SLEEPY HOLLOW A Scary Place

Article first published as SLEEPY HOLLOW Review on Seat42F.

As fairy tales have never been a hotter genre for network television, FOX jumps into the game with its take on an American classic, SLEEPY HOLLOW, premiering Monday, September 16^th at 9 p.m. ET. SLEEPY HOLLOW takes the short story by Washington Irving, brings the characters into the modern age, and combines them with biblical mythology and the occult. It’s a fascinating idea, somewhat well executed, with the makings of an intriguing series.

The “Pilot” begins with Ichabod Crane (Tom Mison, Parade’s End) fighting for George Washington in the late eighteenth century. Ichabod chops the head off a soldier, then wakes up in a cave in 2013. Unsure what is going on, he stumbles into Deputy Abbie Mills (Nicole Beharie, Shame), whose boss, Sheriff August Corbin (Clancy Brown, The Shawshank Redemption), has recently been slain by Ichabod’s old foe, the solider he killed, the Headless Horseman (Richard Cetrone).

The Headless Horseman is not a lone figure come to haunt us from the past, though. He is one of the Four Horseman of the Apacolypse, which, as foretold in the Bible’s Book of Revelations, seek to end the world. They are said to come during a time of reckoning, when two witnesses will stand against the forces of hell, culminating in much death and destruction. Considering Ichabod’s journey and Abbie’s childhood experiences, they must just be the two.

But why has the time come now? Well, that is up to two factions of occult members, one side good and one side evil. They have been fighting each other for a long time in the inappropriately-named town of Sleepy Hollow, and their battle has come to a turning point. Now is the time to act, and only Ichabod can help Abbie win the war. At least, he can help if he remembers his past and why he was sent, which is fuzzy for the time being.

The premise is a very cool one. It seems natural to tie the biblical story into the American fairy tale in this manner, and adding in witches and the occult are other nice elements. This automatically creates a rich world with many layers and players, giving us historical and fictional context, and promising many seasons before the storytelling grows stale, as well as an expected end point.

I really like the cast, too. Mison is interesting as Crane, a hero who has embraced his destiny, even if he doesn’t quite understand it, and Beharie holds her own against him. Brown’s role is memorable, though small, and others in the “Pilot,” including John Cho (Go On) as a fellow cop and Patrick Gorman (Gettysburg) as a possibly sinister reverend, stand out. Orlando Jones (MADtv) plays wonderfully against type as Captain Irving, the police chief with a homage for a name.

The special effects are great, and the scenery is appropriate. Putting Sleepy Hollow in the traditional New England setting, with dark tones and creepy style works. SLEEPY HOLLOW is akin a bit to NBC’s Grim, but with its own flavor, and it definitely will not be a case-of-the-week procedural, a hole that Grim took awhile to climb out of.

What the show lacks is consistency. This is most glaring in Ichabod himself. He is surprised at a couple of things when awaking in the future, but those are perfunctory. He comments on Abbie’s trousers, but not her dark skin and position of authority. He wonders about things he sees from the moving car, but doesn’t obsess over the computers, electricity, and gadgets around him. Yes, SLEEPY HOLLOW cannot allow itself to get bogged down in such trivial manner for the first ten episodes, but they deserve a little more exploration than what they get, and one wishes the first installment had been designed as a two-parter so it could take its time with the pacing.

The police chief and officers also don’t act as they should, and laws and rules are ignored without consequence. This may be eventually explained away be deeper involvement by certain people in the strange happenings, but it doesn’t satisfy why Abbie doesn’t comment on or worry about it.

There are also holes in how SLEEPY HOLLOW lines up with the source material. I like the appearances of Ichabod’s wife, Katrina Van Tassel Crane (Katia Winter, Dexter), as a connection to the past, and think the SLEEP HOLLOW tale is given its due, mostly, given the set up. But what is said about Revelations only minimally lines up with what is in the Bible, and the prophecies that are supposed to lead up the seven years of trials and tribulations have not come to pass and are not mentioned. This is a sort of disappointing failure.

Despite the plot holes, though, my overall impression is favorable. Who wouldn’t like to see an out-of-his-time Revolutionary War soldier team up with a tough, African-American woman cop as they spend seven years fighting demons near the Hellmouth in a legendary town, especially when it’s not cheesy? This is the recipe for a good show whose flaws will likely seem meaningless half a season in, as long as the writing and acting stays consistently good compared to itself.

Go On's First Year an "Urn-ed Run"

Article first published as Go On's First Year an "Urn-ed Run" on TheTVKing.

Plagued with doubt about herself after dumping her fiance, Lauren (Laura Benanti) turns her focus on making progress with the group in NBC's Go On season finale, "Urn-ed Run." It's not that she didn't pay attention to them before, but has now decided that she has more time and energy to give to the group, and so is going to make a difference.

Yet, she apparently fails, with no one having made any break throughs lately, so Yolanda (Suzy Nakamura) and Sonia (Sarah Baker) stage a fake death in their work place so that Lauren can come in and quickly "heal everyone." Of course, the truth comes out.

I do think "Urn-ed Run" goes too far by having Lauren buy Sonia and Yolanda's plan for even a minute. She has been a grief counselor for awhile, and to think that she can fix people in a day is ludicrous. One actor hired is even "healed" in five seconds flat. Yes, losing a co-worker is not the same thing as losing a spouse or sibling, and so does not rate the long-term commitment, but a day is awfully quick.

That aside, this is a really nice plot because it demonstrates Lauren's inclusion as a member of the group, not just as the leader. Were she a trained professional, she should keep an emotional detachment. Since she is an amateur, every bit as screwed up the people she helps, she should be counted among their number, and here we see that her charges think of her in that way. Which means, she will be helped with her issues, too, over time.

Go On has a central theme of healing through the love of others, and a group's support being a boost in a time of trouble. No one ever makes a major change sitting around the circle. The real stuff happens when the group is out in the world, still in each others' lives, showing their affection.

Even Ryan (Matthew Perry) admits out loud in "Urn-ed Run" that he loves and needs the group. Ryan is an aloof man, and for awhile, considers himself above the others. He probably still will to some degree, as his ego is part of his character. But this week shows that he also cares a great deal for them, and their affection is not a one-way street. It's something that had to happen for the story to progress, and it is well handled here.

Ryan faces Janie's (Christine Woods) demise hugely in "Urn-ed Run," flashing back to his wedding day. While trying to figure out a way to pay tribute with her ashes, he remembers the way he screwed up, and then fixed, their nuptials. It is a very well thought-out bookend episode, giving us the beginning and the end. Only in remembering Janie and doing what she would want, can Ryan begin to move on.

It's these raw, powerful moments that set Go On apart from other sitcoms. Everyone in the show is very, very sad. The writers understand that tears and laughter are closely related, and how to give respect to the feelings without trivializing them. I never thought I would see a comedy with such dark subject matter on network TV, but it's executed so, so well, there is little room to complain. It's definitely my favorite new sitcom this year.

Besides the touching stuff, there are also funny moments this week, because when dealing with sadness, human nature also needs a laugh. I love how bad Steven's (John Cho) singing is, and how he doesn't realize it. Janie's ashes mostly ending of the highway is as amusing as it is heart breaking. Mr. K. (Brett Gelman) continues to push the envelope, helping Anne (Julie White) steal Janie's ashes, and also being the one to figure out Ryan fakes ashes early in the half hour. Fausta (Tonita Castro) has some of the best lines, per usual. And Sonia's "book" allows her to cut on the others a bit. These people are bickering siblings, which keeps the chemistry sparkling and the opposite of boring.

The one thing I would like to see change for season two, which is likely to be ordered soon, is the upgrade of the rest of the biggest recurring characters to main cast. I know that Go On has a huge cast for a sitcom, but it can handle it. I am tired of George (Bill Cobbs) and the others taking episodes off. I miss Danny (Seth Morris) in the finale, and I worry that Carrie (Allison Miller) quitting her job last week because of her feelings for Ryan is the end for her, mostly. Every one of these people, save George, appeared in more than three quarters of the episodes. I want them locked into a contract before we lose them, even if some weeks they just sit there and deliver a couple of zingers.

That being said, someone will eventually have to get better and move away from the group, and the group will likely eventually see new faces. This is OK, a natural part of the process. Go On may even kill George (or someone else) off at some point, providing more reason for the characters to stick together. But until the series is ready for a real finale story for someone, and it needs to be a doozy of an installment, with an honorable send-off, they all need to be kept around on a more regular basis.

Janie appears in five episodes in season one, and yes, as much as I adore Woods, she must appear less frequently as the show goes on. But maybe only one episode less per season, and never less than one or two. She's an invaluable contributor, as well.

Go On has not officially been renewed, but will most likely return next fall to NBC.

Go On over to fall's best new sitcom

Episode Grade: 95%

At the beginning of this fall television season, my favorite new sitcom was The New Normal. What can I say? It spoke to me on an emotional level. But a close second was NBC's Go On. Featuring Matthew Perry back in fine form, the series presents a group of misfits, kind of like Community, but less weird. Not that weird is bad. Community remains my favorite currently running sitcom. It's just not necessary to go super-weird in every show, and for Go On, more moderate levels are appropriate.

The point is, Go On exhibited seeds of something special. As the initial run of episodes has played out, that opinion has only been cemented more and more firmly, pushing it into first place status on my list. The series features one of the best ensemble casts ever assembled, and their interplay with each other, exhibited in varying pairs and groups, as well as the genuine warmth they feel for each other, a connection made in a very raw emotional state, raises this show up to another notch.

In the latest episode, "The World Ain't Over 'Til It's Over," Ryan (Perry) takes Anne (Julie White) on a trip to the vineyard with himself, Steven (John Cho), and a girl that Steven just met. Perhaps there is some selfishness on Ryan's part, not wanting to be alone, and finding Anne a charming companion. But there is also a desire to help Anne, who is having trouble forgoing a daily visit to her lover's grave. This is Ryan putting himself out there, inviting one of the group into another aspect of his personal life, and finding new understanding as he goes for, and achieves, a laugh, a drink think, and a cry.

What is really cool is that there is no sexual chemistry. Anne is a lesbian, and while other shows may ditch that when convenient (cough, Glee, cough), Go On never seeks to build anything more than a platonic relationship between Ryan and Anne. She calls him on his stuff more than anyone else in the group, and the two also seem the most "normal," compared to the others, most of the time. This allows them a bond, and it gives Ryan an opening to go deeper into his support circle, something he really needs to begin to heal.

Of course, there is a love interest for Ryan on Go On, and that's the leader of the group, Lauren (Laura Benanti). Ryan is definitely interested in her, and has even made some little attempts to thwart Lauren's relationship with Wyatt (Hayes MacArthur, Perfect Couples) in order to keep the possibility open. In The World Ain't Over 'Til It's Over," Ryan advises Lauren not to accept Wyatt's proposal unless she is sure it is right, partly because he likes Lauren, and partly because he is remembering his marriage through rose colored glasses.

Lauren does take Ryan's advice to heart, at first, having doubts about whether she is ready for marriage. But then she ends up accepting anyway, seeing how much Wyatt cares for her and wants to make her happy. Which is good, because Ryan soon rushes off to take his advice back, once he remembers the reality of being in a couple.

Which makes one wonder if the Lauren / Ryan pairing may ever happen. Maybe it won't. Maybe Ryan is just projecting a romantic interest onto Lauren, the same way every other member of the group has done. Maybe Lauren only looked at Ryan twice because she was getting cold feet about committing to a long-term relationship. Maybe Wyatt will die after the wedding, leaving Lauren open to be a true member of the group once and for all.

I really love the scenes of Yolanda (Suzy Nakamura) and Sonia (Sarah Baker) helping Wyatt plan the proposal. I like that Wyatt doesn't fall for their poorly disguised attempts at sabotage, which makes it all the more rewarding when he wins them over. Yet another small branch off that works, one among many, many possibilities with this cast.

While Ryan and Anne are away, the rest of the misfits gather for Mr. K's (Brett Gelman) end of the world, party, hence the name of the episode, "The World Ain't Over 'Til It's Over." It's sweet to see them all support the least likable member of the support group even when they don't agree with his opinions. And the only reason Ryan isn't there is probably because he's helping Anne. Which, as I've said, will only bring him more involvement with the others, and lead to his attendance of such functions in the future. So it's all good.

If you're searching for the next great comedy, look no further than Go On, which airs Tuesdays at 9 p.m. ET on NBC, beginning again on January 8th.

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 TheTVKing

"Dinner Takes All" for Go On

NBC's Go On has been one of the few pleasant surprises in a lackluster slate of new broadcast shows this fall. Buoyed by a strong lead actor and a very talented ensemble, it continues to be entertaining, funny, and heartwarming week in and week out. This week's Thanksgiving episode, "Dinner Takes All," is no exception.

The set up to get the whole group together is slightly convoluted. Ryan (Matthew Perry) has feelings for his college chum, Amy (Lauren Graham, Parenthood, Gilmore Girls), but isn't ready to act on them, since he is still mourning the loss of his wife, Janie (Christine Woods). Steven (John Cho), on the other hand, is interested in starting something with Amy right now, taking away Ryan's future possibility. So Ryan selfishly invites his support group to the station for Thanksgiving, where he can keep an eye on things, and try to thwart any budding romance.

Ryan is slow to grow as a person. Steven is his best friend, and Ryan is OK sabotaging Steven's happiness for some vague idea of something Ryan might want sometime way down the road. This is not the action of a good friend or a kind man. Yet, somehow Ryan does this with enough charm to keep from being detestable, as usual. How a man exists, who can be so thoughtless towards those he cares about, yet still evokes sympathy from the audience, is hard to fathom. But Go On makes it work.

The resolution is very cool. Amy says no to Ryan because she doesn't want to compete with Janie. Amy says that he must date several other women first, and only then would she consider going out with him. There is no clue as to whether Amy might consider dating Steven, though if she's waited this long for Ryan, it's unlikely that she'd be interested in another friend. It keeps the door open for Amy to return (if Parenthood is canceled, as it is often in danger of being), and it also stops Ryan from ruining a great friendship by jumping into something he isn't ready for.

The rest of the characters are used very effectively. Anne (Julie White) has to deal with her children falling under the Ryan spell, which she herself often fights off. Owen (Tyler James Williams) gets a fantastic subplot in speaking openly with his mother. Mr. K (Brett Gelman) is creepy. The others are along for the ride, and they all have a hilarious, Brady Bunch-style opening.

I did miss George (Bill Cobbs), though. It's understandable that a freshman network sitcom cannot afford to employ all of these actors full-time, meaning that some group members will have to take weeks off, as George does in "Dinner Takes All." George also would have made one too many people for the Brady Brunch gag. But each person contributes to the overall dynamic, with gels so well, that anytime someone sits out, it's sad. Hopefully, the series will prove popular enough to expand the main cast by season two, mostly preventing such absences.

Another casualty of such a large number of actors involved in a sitcom is that many are often underused for weeks at a time. So far, Carrie (Allison Miller) seems to be the most effected, living in a separate world from the rest. In "Dinner Take All," she provides the laughs when forced to cook dinner for Ryan's gathering, but her reaction to this isn't fully explored, sadly.

The group, along with Steven and Carrie, are Ryan's window into being a fully developed person. The only chance he has of improving himself is through learning to care about these other people. He might often consider himself better than them, but what he is slowly realizing is that he isn't, and others have feelings, too, a fact most adults acknowledge. This is helped along when other characters have their own stories, with resolutions that don't concern Ryan, such as Owen's mother thanking Lauren (Laura Benanti) this week for helping her son.

The humor mixed with the touching moments are what makes Go On special, and oh so worth watching. That, and the fact that the series is taking its time with Ryan's growth, not forcing him to unnaturally speed through any drastic changes.

Watch Go On Tuesdays at 9 p.m. ET on NBC.

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 episode I don't fully review, please follow me on Twitter! Article first published on TheTVKing

Go on, Go On

Grade: 88%

GO ON is about a popular sportscaster named Ryan (Matthew Perry, Friends, Studio 60 On the Sunset Strip) who wants to return to work a month after the death of his wife. Ryan’s boss, Steven (John Cho, Star Trek, Harold & Kumar Go to Whitecastle), tells Ryan to attend ten counseling sessions first, to make sure he’s mentally up to the task. But Ryan doesn’t believe in therapy, making a mockery of the situation, to the delight of the rest of the troubled group. His new therapist, Lauren (Laura Benanti, Eli Stone, The Playboy Club).

This is an excellent series, fully worthy of Perry’s talents. While the actor has struggled in recent years to find a show that stays on the air, GO ON might just be the one to do, if the “Pilot” is any indication. It’s very funny, but the story also goes very dark, allowing Perry to play drama and comedy, sometimes simultaneously. It’s a winning mix, showing vulnerability while making people laugh, and one that should prove popular with television viewers.

Were the series riding on Perry’s wave alone, as excellent as he is, that might not be enough. Instead, Perry is surrounded by a very talented ensemble. Playing the members of his therapy group are Suzy Nakamura (Dodgeball, The West Wing), Brett Gelman (Eagleheart), Tyler James Williams (Everybody Hates Chris), Seth Morris (Happy Endings), Tonita Casto (Funny People), Sarah Baker (Free Radio), Bill Cobbs (Night at the Museum), and Julie White (Grace Under Fire, Transformers). Each plays a pivotal role in the first episode’s success, and coming together, make for a heck of a team.

This therapy group plot does make parts of GO ON seems a little like another NBC sitcom, Community. There is a feel good style of helping each other out and bonding, even though they are brought together from different walks of life. These people may not have sought each other out as friends, but thrust together, they are stronger for the relationships. While GO ON will probably not be goofy and meta like Community, there are a plethora of ways the plot could go with such a strong ensemble.

Of course, there is romantic tension, too. This exists between Ryan and Lauren. At first, this results in a slight bit of ickiness, considering she is the mental health professional assigned to treat him. Until we learn that she’s not exactly so professional. Then, things quickly become acceptable. Ryan is in no position to rush into anything just yet, but the groundwork is already being laid between the two.

Which doesn’t make the series predictable. In fact, nothing about the “Pilot” is all that obvious. There are subtle moments and deep understandings mixed with startling drama and great jokes. It’s hard to predict each zig and zag, but the developments feel natural and flow well. It’s some seriously good storytelling, perhaps more sophisticated than most half hour comedies.

GO ON lags when focusing on Ryan’s job. Cho does OK, and Allison Miller (Terra Nova, Kings) is fine as Ryan’s assistant. But every time these characters are on screen, and Perry goes back to reality, the story lags just a bit. Sure, viewers need to see how Perry will cope with the real world, as he can’t stay in his happy bubble forever. These parts just aren’t developed as well as the group scenes. Perhaps this will change in time, or maybe Ryan’s work just won’t be a huge focus.

In all, GO ON works extremely well, for all of the aforementioned reasons. There is a broad enough appeal that it should have no trouble finding an audience, and avoids serving any niche too fully. Yet, it still has a very high addictive quality because it is so well made, so it’s not just fluff for the masses. Check out GO ON tonight after the Olympics, and when it premieres on September 11^th.

NTSF:SD:SUV brilliant parody

     Cartoon Network's Adult Swim has now done for cop shows with NTSF:SD:SUV what Childrens' Hospital, on the same network, does for hospital series. Namely, embrace every cliché and give them new, interesting, hilarious twists. NTSF:SD:SUV stands for National Terrorism Strike Force: San Diego: Sport Utility Vehicle, but that isn't really important. It's much funnier just to toss in a bunch of letters, poking fun at the numerous procedurals currently on the air. The series is based on a commercial that aired during Childrens' Hospital last year, and while several actors from that short are in the series, a number of changes have been made, including who wears an eye patch. Continuity for NTSF:SD:SUV, like it's sister show, Childrens' Hospital, is ignored, but viewers will likely not care because they will laugh so hard.

     In this week's episode, the series's second, "The Birthday Party That Was Neither," a former member of the team named Chip (John Cho, FlashForward, Star Trek) blackmails four of them for one million dollars each. He is bitter because they left him behind after ninjas cut off his thumbs. When his old friends show up with the money, each gotten in immoral, illegal ways, Chip plans on blowing them up, and somehow donating the money to the park service. That's because his bomb will take out an area of parkland. Though, as one character points out, how will the money survive the explosion? The situation is resolved happily, but then boss Kove (Kate Mulgrew, Star Trek: Voyager) shows up and takes out Chip, still ending happily for everyone else.

     The main characters have all proven their comedy chops long before NTSF:SD:SUV in other projects. Series creator Paul Scheer (The League) stars, and is joined by Brandon Johnson (Funny or Die Presents...), June Diane Raphael (Bride Wars), Martin Starr (Party Down), and Rebecca Romijin (Ugly Betty). A number of guest and  recurring characters are also big names in comedy, including Rob Riggle (The Daily Show), Ed Helms (The Office, The Hangover) and Keri Kinney (Reno 9-1-1!). Mulgrew may be the most surprising member of the cast, as she is known for dramatic roles. However, in "The Birthday Party That Was Neither," she proves herself worthy, getting frustrated at the "birthday party" her employees are secretly being invited to without her. All the performers sell the parts with total commitment.

     The enthusiasm and gusto of the actors is really what makes NTSF:SD:SUV work so well. Like Childrens' Hospital, the stories are secondary, and watching the work of masters is the main draw. In this, they succeed with flying colors. This is one comedy show that you will not want to miss.

     Catch NTSF:SD:SUV Thursdays (technically Fridays) at 12:15 a.m. EST on Cartoon Network.

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30 Rock Cuts With a "Double-Edged Sword"

     NBC's 30 Rock is one of the smartest sitcoms currently running. The humor is often unexpected, always tight, and the actors delivering the lines have wicked comic timing, every single one of them. I'd almost complain that all the amazing supporting players get too little to do because of the heavy reliance these past few years on big name guest stars. This week's episode was yet more proof of that. Yet, I have a hard time doing criticising because the guests 30 Rock gets are more than stunt; they're just as good as the regulars. In fact, I will state that the series has unequivocally the best guest roster of any sitcom ever. And they just keep coming back.


     This week, in "Double-Edged Sword", there were three major arcs. In the first, Jack (Alec Baldwin) travels to Canada with his gal, Avery (Elizabeth Banks, in her TWELFTH appearance on the show in the last year), where she goes into labor. Both being staunch patriots, and hoping their unborn daughter will one day be president, Jack and Avery battle mightily to make it back to the states before the baby comes. Snow storms cancel flights, the rental car companies are out of cars, and they end up in a mobile meth lab. Only after a conversation with the van's owner (guest star, the hilarious John Cho), does Jack realize that he's going too far and takes Avery to the hospital. A Canadian hospital. The couple are furious when the hospital won't even take their money.

     It's broad comedy. I doubt there are more than a handful of people in this country who would put that much importance on having a child born in America, risking their lives and the baby's to make that happen. But the comic timing of Banks and Baldwin makes you forget that for twenty-two minutes. Add Cho, seemingly out of nowhere, and it was easily the most entertaining of the three stories that night. Not to mention, two stubborn people trying to make a relationship work is still relatable, despite the circumstances, so 30 Rock pulled off another neat trick.

     The question is, how long can Jack and Avery go on? Banks has a movie career. She previously made time to recur on Scrubs after her character had the main guy's baby, despite getting tons of cinema work. She accepted the part of Avery, though, after she'd already blown up. Twelve episodes in twelve months is a supreme gift from her. Does that mean Jack and Avery are heading for Splitsville? Somehow, I think 30 Rock will make them work because they're perfect for each other. Just don't expect Avery to keep recurring as often as she has been.

     Story two was also about a couple that were extremely similar, but it didn't have such a cheery outcome. Liz (Tina Fey) took a trip with her pilot boyfriend, Carol (Matt Damon). Or tried to, since their plane was kept on the runway until the passengers revolted, led by Liz, of course. Carol, meanwhile, let his fight with his girlfriend rule his decision making skills, increasingly the already volatile situation. They were broken up before the ending credits because neither would bend, like Jack did. Perhaps they needed John Cho on their plane, too.

     Damon has only done four episodes, but once could argue that Damon is also on a whole other level than Banks. The fact that someone of Damon's prominence would even agree to do a sitcom is rare. Playing a character so different from Damon's other work would be my best guess on why he did it. Clearly, Fey wrote for him because she just wanted to kiss Matt Damon. Kidding! I worship Tina Fey. Still, it was nice while it lasted.

     The heart of this show is Jack and Liz. Their relationship, while it will never be romantic, is the driving force. The romance was (extremely) briefly toyed with early on, then rejected quite quickly and with finality. Despite the two being in different countries in drastically different, though somewhat connected, situations, they still took time to check in with each other by phone. However bonded Jack and Avery become, do not look for that to change.

    The final story was just Tracy Jordan (Tracy Morgan) being Tracy Jordan. Completing a long running arc where Tracy strove for an EGOT (Emmy, Grammy, Oscar, and Tony), he finally got it, just in time to regret it. The EGOT status is a renowned one, only twelve real people having ever achieved it. Tracy didn't expect to attend stuffy banquets and change his whole life after; it was just something to do. Now he's stuck among the ranks of Mel Brooks, Whoopi Goldberg, Barbra Streisand, Liza Minnelli, Richard Rodgers, and Audrey Hepburn. Can we please get Whoopi, Liza, or Barbara (or better yet, all three) to put in an appearance coaching Tracy on the lifestyle? More likely, though, this story has come to an end, for the most part.

     Best Tracy Jordan line of the night: after Kenneth (Jack McBrayer) tells Tracy that Steven Spielberg wants him to star in his next film, Tracy replies excitedly, "Kate Capshaw's husband!?" (pictured right)

     NBC's 30 Rock has not come to an end. Far from it. It airs Thursday nights at 10 p.m. on NBC.

Article first published as TV Review: 30 Rock Cuts With a "Double-Edged Sword" on Blogcritics.


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FlashForward fizzles out

     ABC tried a bold experiment this year with FlashForward, a show we were told would be wrapped up in one season, should it be canceled, though I am having trouble locating the interview where that was promised now, and I've wasted too much time already on the show to keep looking.  The season, and series, finale, "Future Shock", did anything but tie it all together.  Part of that could be because it was not known at the time to filming if the show would be coming to an end, or getting another season.  However, since the ratings weren't strong, it should have been assumed.  It would have been easy enough, with a few different scenes at the end, to finish it nicely, but the producers chose not to.  And so anyone that invested twenty-two hours into the show has had their time wasted.

     The entire season was uneven, walking a fine line between cheesy and brilliant, but frequently teetering onto the former side.  The cast was packed with wonderful actors - John Cho, Sonya Walger, Jack Davenport, Dominic Monaghan, Courtney B. Vance, Christine Woods.  It was almost worth watching the whole series to see Battlestar Galactica's James Callis deliver his newest crazy-man, and prove that he has even more range than has been known.  But the writing was frequently weak, and did not do justice to the talent involved.

     The the last episode, for instance.  Much of this season has been about choices, and if fate is more powerful than free will.  So far, every time, free will has won out.  And then, each character, one by one, made it to the place they saw in their vision way back at the beginning of the season.  Sure, there were differences.  Lloyd (Davenport) and Olivia (Walger) didn't sleep together.  Janis (Woods) was pregnant with a boy instead of a girl.  But the basics were all there.  The only one who seemed to have twarted fate, for now anyway, was Demetri (Cho), because he was alive at all.  But in the episodes leading up to the finale, it seems fairly likely that he will soon be shot to death anyway, as fate has a way of catching up.  It's like Final Destination the series.

     The ending of it all was the most disappointing.  First, it was established that December 2016 would be the end of the world.  Did a show that had such a hard time catching on really think it would get more seasons than the far more intelligent Lost that it was trying to replace?  The bad guys who caused the flash forwards were never caught, and so remain at large to stir up more trouble.  In this case, they caused another flash forward to end the series on.  This time, though, it appeared that different people flashed to different times, all between 2010 and 2016.  I say this because I freeze framed through the various images and caught at least three different dates.  What does it all mean?  We'll never know.

     I don't have a problem taking a chance on something complicated and involved.  I loved Lost.  But when the show promises not to leave you hanging if they're canceled, it looks likely they are going to be canceled, and yet, they film a cliffhanger anyway, I am not please.  Sadly, it will make me much less likely to trust ABC on the future.

FlashForward shows only flash of ingenuity

    ABC's new show Flash Forward, while starting with an exciting and interesting pilot, has become mostly dull.  Maybe that's why it's rumored to be one of the shows facing cancellation soon.  Don't get me wrong.  There are still moments of excitement.  The show just needs to step it up.

     First, let's look at the plots that are exciting.  Demetri's (John Cho, Star Trek, Harold & Kumar) murder coming up in March, which was starting to drag, got a shot of adrenaline in the fall finale when Nhadra (Shohreh Aghdashloo, 24, House of Sand and Fog) revealed that his would-be killer is best friend and fellow agent, Mark (Joseph Fiennes, Shakespeare in Love).  It was also kind of cool that Demetri's fiance, Zoey (Gabrielle Union), actually saw his funeral, not their wedding, in her flash forward.  The other neat twist was when Al (Lee Thompson Young) committed suicide, proving that what everyone saw was by no means set in stone and could, indeed, be changed.  It was unexpected, and gave a boost to an otherwise boring episode.

     The problem is that the rest of the cast aren't sparking the same interest that those couple of agents are.  For instance, despite their desire to avoid ending up in bed, Olivia (Sonya Walger, Lost) and Lloyd (Jack Davenport, Swingtown) can't seem to stay away from each other, and that was before the kidnapping at the end of the fall finale.  Aaron's (Brian F. O'Byrne) plot involving his daughter has unfolded so slowly that it is hard to keep interest.  Ditto pregnant lesbian Janis (Christine Woods).  Even the much-publicized arrival of Simon (Dominic Monaghan, Lost, The Lord of the Rings) failed to add to the intensity much.

     Flash Forward still has a chance.  Thus far it has allowed itself to get caught up in the too many characters with too much going on syndrome, but Lost escaped it, and so can this show.  If it gets it's act together quick.  It is probable that if it doesn't return from break strong right away, it will not live to see a second season.  More likely, flash forward to the handful of loyal viewers finishing the drama during a summer burn-off of the last few episodes.