WILFRED Ends With "Happiness"

Article first published as ‘Wilfred’ Review: Series Finale – ‘Happiness’ on Blogcritics.

FX’s Wilfred came to an end tonight after four seasons on the air. The strange TV series about a man, Ryan (Elijah Wood), who sees his neighbor’s dog, Wilfred (Jason Gann), as a guy in a dog suit finally explains itself, while giving viewers emotional closure. Not every mystery or secret may have been addressed, as some fans of the mythology would have liked, but overall, the conclusion, “Happiness,” is satisfying enough, and there aren’t any nagging threads hanging around.

Funny Vs. Mythology

I like to sort fans of Wilfred into two camps: those who want to know why Ryan sees Wilfred the way he is, and those who just enjoy the comedy of the two pals hanging out. The series finale serves both of those groups by making their friendship and antics the reason behind the Big Question. Ryan is mentally unstable and lonely, and he’s imagined Wilfred to provide himself a chum. When the real Wilfred dies, Ryan has to bring back his imaginary friend, even if there is no longer the hook into reality to ground Wilfred, in order to find his happiness.

Happiness

Can Ryan be considered happy as Wilfred comes to a close? I think so. He’s crazy, to be sure, but at least he comes by the craziness honestly, as both his mother (Mimi Rogers) and his biological father (whom he finally meets in “Happiness”) share similar traits. They have found a way to live their lives, dealing with the eccentricities and not worrying about what other people think. So, too, has Ryan, now that he has Wilfred back, despite the dog’s death.

In a way, this version of Ryan is almost more stable. At least now he knows what’s going on his head. He also has greater emotional maturity, accepting himself and not needing to be in a romantic relationship to be happy. Rather than obsessing over what he cannot change, Ryan lets go of those things and embraces who he is. While some viewers may still think Ryan should seek help from a medical professional, if it works for him, who are we to judge? As long as he doesn’t hurt anyone, including himself, whom he almost offs prior to his revelations, why stand in his way? And with this kinder, gentler Wilfred, everything looks to be OK.

In fact, everyone on Wilfred gets a happy ending. Ryan’s mother, Catherine, is out of the mental institution and in love with a caring man (John Michael Higgins). His sister Kristen (Dorian Brown)  finds that helping the needy actually brings her pleasure. Ryan’s crush, Jenna (Fiona Gubelmann), decides to make her marriage to Drew (Chris Klein) work; after all, he’d made her very happy once upon a time. As down on life and himself as Ryan could be, there has always been a major pulse of optimism running through the show, and this is echoed perfectly in the series finale.

Mystery Solved

The way Ryan’s imaginings come to life totally makes sense because of what he finds out over this final season. Born into a cult-like group, Ryan is exposed to people and ideas that eventually become his fantasy. Even one so young, who doesn’t have clear memories, can form impressions. That’s why, even if Wilfred doesn’t lay everything out on the table, the ending makes sense, the explanations rooted in solid back story. I also like the way we see past scenes re-shot with an actual mutt.

The only complaint I have about the final season is the recasting of Catherine and Bruce. Both are major recurring players, and to see someone else take over in the final days of the show is beyond disappointing. Even if scheduling caused this issue, it’s still highly regrettable and casts a tinge on Wilfred. Since there is already an established issue with reality on the show, why couldn’t they at least explain the different appearances, rather than laughing them off?

Verdict on Wilfred

Overall, though, Wilfred sparks the imagination, maintains an entertaining consistency, and allows real emotional growth and development, building to a conclusion that feels earned, rather than tacked on. “Happiness” is nearly unimpeachable, and it leaves me wishing I could see more of Ryan and Wilfred’s adventures, which is exactly how I wanted to feel. Excellent work.

Wilfred The Complete First Season bounds onto Blu-ray

FX's Wilfred was one of the big surprises from last summer. A much-changed American remake of a popular Australian show, it's about a guy named Ryan (Elijah Wood) who, after a failed suicide attempt, begins seeing his neighbor's dog, Wilfred (creator of both versions, Jason Gann), as a man in a dog suit. This dog smokes pot and encourages Ryan to do illegal things, causing trouble. Or does he? Maybe Wilfred is just getting Ryan out of his comfort zone, so that Ryan can improve as a person.

No one else sees Wilfred a man. This can create some issues when Ryan interacts with Wilfred a little too naturally in public. And Wilfred himself spends a lot of time acting like a dog, from humping teddy bears to digging holes, though he usually uses a shovel to do the latter. So the line between reality and fiction is pretty fuzzy.

Obviously this is the recipe for a comedy, and Wilfred is that, albeit, a very strange one. However, it's also the kind of mix that opens up a bunch of philosophical questions, forcing one to confront questions about oneself. What does it mean to be crazy? Is Ryan insane, or is he just freed from the shackles of conventionality? What should a person want out of life? What should one do to get what one wants? Does pot destroy your brain?

None of these questions are answered in The Complete First Season, which may make the show a bit inaccessible to a widespread audience. Viewers aren't accustomed to thinking too deeply about television, especially in the comedy vein. Without knowing what the series is really about or what is going on, it turns into a strange presentation. Perhaps fans will commit to such mysteries on a series like Lost, but will they do the same for a cable half hour?

Obviously, Wilfred did something right, earning itself a second season, which is currently airing Thursday evenings. It could be the talent of Wood and Gann, who ably carry what is basically a two-man buddy show. It could be the writing, intelligent and witty. It could be the absurd situations Ryan finds himself in, which are the hallmark of any sitcom, and which Wilfred crafts well. Or perhaps the mystery really does draw people in and make them want to keep watching, hoping that someday Wilfred will get around to explaining its conceit.

Each episode has a one word title, which explains an emotion or character trait that is explored within. Among the highlights of the first season: "Happiness," the pilot that kicks off all the craziness; "Trust," in which Ryan learns that Wilfred may have ulterior motives for his actions; "Acceptance," where Ed Helms (The Office) plays a creepy doggy daycare owner; "Pride," which features Wilfred forcing Ryan into a relationship so that he can have his own tryst; "Anger," where Wilfred acts possessed; "Compassion," in which Ryan's mother, Catherine (Mary Steenburgen, Bored to Death), who is also nutty and sees a woman in a cat suit (Rhea Perlman, Cheers), is introduced; and "Identity," the finale that questions if anything viewers have been watching is even really happening.

Besides the mentioned actors, Wilfred has a rich guest cast of recurring characters that really help the high quality impression the show gives off. The series co-stars Fiona Gubelmann as Wilfred's owner and object of Ryan's affection, Jenna, and Dorian Brown as Ryan's controlling sister, Kristen. Additionally, in smaller roles, Chris Klein (American Pie) plays Jenna's boyfriend with anger management problems, Ethan Suplee (My Name is Earl) is a scary neighbor, and John Michael Higgins is Ryan's mom's somewhat unethical doctor.

For a show about being the best person one can be, many of the characters featured are not good people. Is this an excuse to make Wilfred and Ryan not seem as bad as they are? Or are these negative images offered up as excuses to get into amusing situations?

The two disc set of Wilfred The Complete First Season has a handful of special features. Six minutes of Wilfred's Comic Con panel is enlightening, showcasing the cast, especially Wood, speaking about the process of making the show. Even better is the ten minute "Fox Movie Channel Presents Life After Film School With Jason Gann," which has Gann talking lovingly about his creation. There are also fifteen minutes of deleted scenes, many of them, thankfully, from the episode "Compassion."

Less valuable are two featurettes that are basically sixty second mash-ups of clips. "Wilfred & Bear: A Love Affair" is just a bunch of sex scenes between the two, while "Mary Jane Mash-Up" shows some humorous moments had under the influence of drugs. Neither is very valuable, being too short to justify whipping them out at a party, and having no value for any other setting.

Overall, it's an entertaining and original series, even if the special features are a little lacking. Buy Wilfred The Complete First Season, on sale now.

Check out my new website, JeromeWetzel.com  Click here to read every review of Wilfred I've ever written. If you like my reviews, please follow me on Twitter! Article first published as Wilfred The Complete First Season bounds onto Blu-ray on TheTVKing.com

We Bought a Zoo on Blu-ray

From FOX Studios comes Cameron Crowe's (Jerry Maguire, Almost Famous) latest film, We Bought a Zoo. Based on a true story, the movie finds widower Benjamin Mee (Matt Damon, The Bourne Identity, 30 Rock) needing to make a change. While house hunting, he finds his dream dwelling comes with a closed-down, but still populated, zoo attached, and decides that this might be just the adventure he needs. Together with his two children and the zoo's colorful staff, Benjamin sets out to make the zoo, and his life, mean something again.

We Bought a Zoo is not Crowe's best work, but then, who expects it to be, considering some of the masterpieces the director has made? However, We Bought a Zoo is still damn good. It proves that Crowe still knows how to coax incredible, authentic performances out of his actors. He can still tug a heart string. He develops wonderful visuals, but never forgets that the story is about the characters.

Damon is brilliant in the lead role. He captures the struggle of a father, raising two kids on his own, one of whom he has trouble connecting with because they are too much alike. He also breathes Mee's mission to life with such zeal, that one is left hanging on his every move, rooting for him to succeed, hoping he can find hope and joy in his life again.

We Bought a Zoo is buoyed by an excellent ensemble cast, and that's not just referencing the beautiful animals. Maggie Elizabeth Jones (Footloose) is adorable as Mee's daughter. Thomas Haden Church (Sideways, Wings) brings a realism to Benjamin's brother, who wants to be supportive, but thinks his sibling is off of his rocker. And then there's J.B. Smoove (Curb Your Enthusiasm), Carla Gallo (Bones, Californication), John Michael Higgins (Bad Teacher, Happily Divorced), Angus Macfadyen (Chuck, Braveheart), Elle Fanning (Super 8), Patrick Fugit (Almost Famous), and Colin Ford (Push, Supernatural), all of whom bring something special to the table. The chemistry between them, and the unique make up of each player, really makes this movie sing in an exciting, interesting way.

Oddly, it's Scarlett Johansson (Lost in Translation, The Avengers) that is wasted here. Stuck in a boring, predictable, romantic interest role, she gets lost among the others. This isn't because the actress is inferior in any way, but rather, more than anyone else, her presence seems to be there only to serve Benjamin's character. She doesn't have enough personality of her own to really stand out. In fact, Benjamin's relationship with a tiger actually serves the same purpose she does, with slightly more impact, so her part is extraneous. It's a shame, and the movie's only real weak point.

There are plenty of bonus features on the three disc Blu-ray + DVD + Digital Copy set. There's an audio commentary with Crowe, editor Mark Livolsi, and, weirdly, considering his small role in We Bought a Zoo, the hilarious J.B. Smoove. There are a ton of deleted and extended scenes. A half hour is devoted to the making of the picture, and there is a featurette about the real Benjamin Mee. There's also a gag reel, and more! One can literally spend more time watching the extras than the movie, and that's a nice claim to make. It helps, too, that what is present enriches the movie experience, and is really everything one might want in this release.

In short, We Bought a Zoo is a fantastic film that any movie lover should own. It's an inspiring story, a memorable tale, and just plain fun. Pick up a copy, on sale now.

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"Dream On" Glee!

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     The season one Glee episode "Dream On" is about dreams, obviously. An old nemesis of Will's (Matthew Morrison), Bryan Ryan (Neil Patrick Harris, How I Met Your Mother) is the newest member of the school board. After having his own dreams of being a performer dashed, Bryan decides that the glee club should be cut, as a favor to the kids who are in it. Will fights him on it. Jesse (Jonathan Groff) encourages Rachel (Lea Michele) to seek out her mother, while Artie (Kevin McHale) struggles anew with his crippling condition.

     Neil Patrick Harris is amazing in "Dream On," even when given a mediocre character, which Bryan is. This is because Bryan changes his opinion and motivations every few hours on a number of whims. Some people are flighty, to be sure, but to go from wanting to cut the arts, to championing them, back to cutting, then to ambivalence, in a few short days does not a realistic character make. Yes, Bryan has more than a few issues to work out. In the end, trading his favors for a part in a community theater production? Not acceptable. Which begs the question, how did such an unstable man get onto the school board, and why is he given any power at all over which programs get money, and how much, at McKinley High?

     Thankfully, Harris saves the Glee appearance from being a waste with his duets with Will. While Bryan makes a great friend or foe to Mr. Schue, but can't make up his mind which he is, his plot falls flat. But his musical ability soars. The two first sing together in a bar to the classic "Piano Man." Later, they war with "Dream On," trying to get the same part in a production of Les Miserables. Both songs, even with such different tones, are great numbers, with terrific vocals. As such, Harris's guest spot in "Dream On" is at least partially a success.

     Also, in a too brief sequence, Bryan goes up against Sue (Jane Lynch). He defends the actual merits of arts education, something that is far too often forgotten about in school budgets. Sue argues the pros of athletics. Both get their facts right on the benefits research touts for both of these extremely important fields. Unfortunately, Sue gets reality completely wrong when she claims districts are much more likely to cut sports than music. It's far more often the exact opposite, a real shame in this reviewer's opinion. With an obesity epidemic happening, yes, physical education is important. But so is nourishing one's mind and soul, and the pluses the fine arts add to other academic areas are extremely valuable. Schools need to realize that these things are core, not extracurricular, and they should not be pawns on the chopping block.

     Plus, angry sex between Sue and Bryan! It's both regrettable and charitable that the carnal acts they engage in, or are hinted at engaging in, are never shown on Glee in any manner. While such a scene would be hilarious, and likely well handled by the wonderful Lynch and Harris (funnily enough, both homosexual in real life), it would also be deeply disturbing. It's probably a good thing that Glee backs off from showing too much, especially at the relatively early time of the evening at which the series airs. It's still a family-friendly show, for the most part, after all.

     Slightly confusing is, why is Will able to give Bryan his part in Les Miserables? We're talking a lead handing his reigns to an extra with no input from the people making the show. It couldn't happen. "Dream On!" Not only that, Bryan is almost as good as Will, if not even with him. Why is Bryan given such an unimportant role instead of one of the other leads? While both may want Jean Valjean, it makes sense, given their levels of talent, that one gets that part, and the other is given Javert, an almost equally important role. Plus, the two characters are foes, so it works for Will and Bryan, storywise. It is just not possible Lima is teeming with such talent that Bryan should be regulated to a nothing part.

     Ironically, it's not Will nor Bryan that end up singing any songs from Les Miserables in "Dream On," but Shelby (Idina Menzel) and Rachel that do. Their "I Dreamed a Dream" is both memorable and stunning. No less than one would expect given both ladies' statures in the Broadway world. It's a bold, brilliant choice for their first duet together. While not actually being in the same room, continuity-wise, despite appearances, it's a cool way to show mother and daughter in that relationship for the first time on Glee, and emphasize what Rachel has inherited. Great job!

     Backing up slightly, the story leading to Rachel finding Shelby is actually quite interesting. It now makes sense why Jesse gives up Vocal Adrenaline for the New Directions - he's being loyal to a director that has helped him win several national titles. His falling for Rachel is convincing, too. There clearly is a definite attraction between the pair, and while Shelby only asks Jesse to "befriend" Rachel, a reasonable request, it's funny how Jesse twists that into "seduce" when he begins to have feelings for his fellow show choir star. This gives weight to Jesse's later argument that his love for Rachel is real, not an act.

     Somewhat confusing is why Artie allows Tina (Jenna Ushkowitz) to reawaken hope in him in "Dream On," long after he gives up believing he will ever walk again. Artie's dream of dancing seems to come out of nowhere, since he seems accepting of his fate up til now. Tina's looking into promising medical research, sparking Artie to hope, is even more confounding. Which is it? Is Artie OK with how he is, or not? If he's not, and dancing is his dearest wish, than he would already be doing the research himself. If he is, as appears more likely, given the character's overall arc in Glee, why allow himself to be swayed so quickly and completely? The only possible explanation, flimsy as it is, given the weight of the situation, is that Artie is entranced by Tina, and for a pretty girl, men will do almost anything.

     That being said, Artie's "The Safety Dance" is an incredibly moving scene. At first, it may seem bizarre that, one day after Artie's doctor starts "all" of the experimental treatments, he is able to get up and dance around. However, as more of Artie's friends suddenly show up and join in on the flash mob, it quickly becomes apparent that this is Artie's dream. And in a perfect world, one in which a dream lives, things would go exactly like that. As the music stops, and Artie falls dejected back into his chair, one's heart breaks in sympathy. It's quite a well done bit, made even better by the lack of special effects, since actor McHale can actually walk and dance just fine.

     It's really a shame that McHale and Ushkowitz are not very good actors. Their inability to express the emotions in a dramatic way take away from the episode, and make the whole thing less effective than it should be. Artie's number succeeds because of the music and direction, not McHale's acting ability, or lack thereof. It really baffles that these two continue to be main characters on Glee when the awesome Lauren Zizes (Ashley Fink) and fun Sam (Chord Overstreet) are cut from the New Directions in season three, and their portrayers can't get full-time contracts, leaving the latter to depart the series. Loyalty is noble, but giving fans the best should also be a goal of Glee.


Random Bits:

• Dream On" is directed by the legendary Joss Whedon (Buffy the Vampire Slayer, Angel, Firefly, Dollhouse). Joss also directed Neil Patrick Harris in his internet musical sensation, Dr. Horrible's Sing-Along-Blog.
   
• Seeing Bryan and Will in flashback may be slightly gratuitous, but it is more than welcome. That hair! Those clothes!
   
• In the flashback, Bryan does a brief magic trick. Neil Patrick Harris is a known magician.
   
• As will talks to Bryan in the bar, trying to convince him that dreams are worth believing in, "Dream Weaver" plays in the background. Perfect!
   
• Brenda Castle (Molly Shannon, Saturday Night Live) makes her second and last appearance on Glee in "Dream On." It's very brief, and she doesn't even get to interact with any of the main characters!
   
• Brenda does interact, though, with Russell, who is played by John Michael Higgins (Happily Divorced). This is cool because Higgins played Shannon's love interest in her failed sitcom Kath & Kim the year prior to this episode.
   
• Rachel hypothesizes that Broadway great Patti LuPone might be her mom. Funnily enough, in the season two finale, Rachel meets LuPone in New York City, guest starring as herself.
   
• Making Quinn's (Dianna Agron) biggest dream "No stretch marks," and Puck's (Mark Salling) "3some" may be funny, but it trivializes two characters Glee has tried to give depth to. It's not surprising they want those things, but the writers could do better with their "biggest dreams."
   
• In the sweet closing number of "Dream On," Tina dances with Mike Chang (Harry Shum Jr.). Perhaps this is the moment she begins to fall out of love with Artie, and into it with Mike?
   
• Worst line ever, in the cheesy department. Will says, "I'm trading my one dream for the chance that all thirteen of you might find yours." I'm sure this is supposed to be touching, but instead, it's gag inducing.
   
• Glee finally gets something about Ohio right! Lima IS in Allen County! Also, while Cedar Point is much closer to Lima, and a far superior theme park, King's Island does have the better shows, so Bryan's tenure there also works.

     Check back for the final three Glee season one reviews later today!

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

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

Article first published as TV Review: Glee - "Dream On" on Blogcritics.

Wilfred searches for "Compassion"

     This week brings two new episodes of FX's Wilfred, though the first, "Compassion," is far more significant than the second, so this review focuses on the first. In "Compassion," Ryan (Elijah Wood) picks up his mother (Mary Steenburgen, Curb Your Enthusiasm) from the mental institution where she has been living these past twenty years. Finding it hard to deal with her eccentricities, Ryan tries to take her back. But Wilfred (Jason Gann) has grown attached, and arranges for Mom to discover Ryan's suicide letter. Soon, Ryan ends up being treated by his mother's doctor (John Michael Higgins, Happily Divorced), though in the end, they both return home.

     This is a very important episode because it reveals just how much Ryan is like his mother. Despite Mom telling Ryan he looks like Dad, Ryan is said to have been very close to his mother while growing up. She took him to belly dancing classes and other events she considers "bonding," but he thinks, with the perspective of age, are just "weird." Removed from her direct influence for two decades, Ryan may have escaped some of the specifics that befell his mom, but the seeds are planted, and it might explain why he is such a loner.

     The clincher in "Compassion" is, in the final scene, Mom is shown speaking with her cat (Rhea Perlman, Cheers), whom she sees as a woman in a cat costume. This is exactly like Ryan's relationship with Wilfred. While next week's new episode, "Doubt," will confusingly suggests a handful of other theories as to why Ryan sees Wilfred the way he does, "Compassion" offers the explanation that Ryan has inherited his mother's mental disease. It remains to be seen if Wilfred will ever explain definitively what is going on, but this episode points to a simple possibility, and the simplest answer is often correct.

     So does that mean Ryan is doomed to see Wilfred as a man in a dog suit his entire life? What happens when Wilfred dies, as all dogs do eventually, much sooner than humans? Why has it taken until now for this illusion to manifest itself in Ryan's brain? Is there a trigger? Did Mom try to commit suicide, too?

     The biggest miss in "Compassion" is leaving out Kristen (Dorian Brown), Ryan's sister, Kristen, is not around nearly as much as she should be, and with a family reunion episode, now would be the perfect time to bring her back. Plus, it would be nice to get the chance to compare Kristen to Mom, and Kristen to Ryan. It would really have been a neat look at the dynamic of the family, and a clue to if Kristen has some of the same issues that Ryan and Mom share. Unfortunately, this does not happen. But perhaps it still can, down the line?

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

     If you like my reviews, please follow me on Twitter!

     To catch up on Wilfred with streaming episodes online, please click here.

Article first published as TV Review: Wilfred - "Compassion" on Blogcritics.

Happily Divorced is definitely happy

     Happily Divorced is TVLand's third and newest foray into original sitcom territory, inspired by its star's life. Starring Fran Drescher (The Nanny, Living With Fran) as Fran, a woman whose husband, Peter (John Michael Higgins, Raising the Bar, Kath & Kim) decides to come out of the closet after nearly two decades of marriage. In retrospect, Fran realizes Peter's sexual preference is obvious, but she has been oblivious all of these years. Due to financial constraints, they are forced to continue living together, though after a six month jump, Fran begins dating again. Her first beau is Elliott (D.W. Moffett, Switched at Birth, Friday Night Lights), a music producer who she interrogates to make sure he likes women before they go out. Their first date is a disaster after Elliott has an allergic reaction, but he shows up at her place later, and there may be potential there.

     That's a lot to cover in the pilot, and it's unfortunate there is a huge time jump. It seems there would be a lot to deal with, breaking the news to friends and family that Peter is gay. Yet, once he makes the announcement, the series gleefully skips ahead to after that's all over and Fran and Peter have settled into a new, comfortable routine. Actually, nothing really changes, except they are no longer having bad sex. Sure, this is supposed to be a light-hearted sitcom in the vein that many series on TVLand are, but rather than become rote and common, why not delve into such an interesting situation, rife with material?

     And that's not all that's frothy and surface. As Peter comes out, Fran is already in bed, but with full hair and makeup done. Fran's parents, Dori (Rita Moreno, Cane, Oz, West Side Story) and Glen (Robert Walden, Brothers, Lou Grant) are not surprised at Peter's coming out, but they encourage him to make it work. When Fran gets a divorce, none of the dark hurt or deep emotional pain is explored at all, and Fran's parents roll very easily with the punches, showering affection on both Peter and Elliott. Then, there's the gay stereotypes played up. Peter dons a little cap to attend a sing-a-long showing of The Sound of Music. He uses facial cream.

     That being said, it's a bit more polished than Hot in Cleveland, and far better than Retired at 35, the sister series on the network. Perhaps it's Higgins's expert comedy, or Moreno and Walden's deadpan delivery, or even Drescher's easy ability to pull sympathy as she rolls with her bad luck, but it's more enjoyable to watch than either of its predecessors. Which doesn't necessarily make it good. But there is something addictive that will make me watch again, even if it is just fluff.

     Delightfully, it brings the fantastic Tichina Arnold (Everybody Hates Chris, Martin) back to series television as Fran's friend, Judi. An actress as funny as Arnold should not be off of television for long. Even should this fail, it'll hold her over until she gets a new vehicle.

     Drescher has always had a distinctive voice and attitude. With Happily Divorced, she has matured into 1980's Joan Rivers. Close your eyes. There's almost no difference. That's not necessarily a bad thing, as that was when Rivers was in her prime and a comic giant. It's just odd how similar the two are, something I've never noticed until Drescher toned it down just a bit and changed her cadence.

     Happily Divorced airs Wednesdays at 10:30 p.m. ET.

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

Community grew into consistent funny

     I wasn't a fan of NBC's Community last year.  I think I watched two episodes, maybe a bit of a third, last fall, and found it much more stupid than amusing.  A friend told me that it improved by winter.  I gave it another chance, and the first episode I sampled at that time didn't impress me.  At her urging (she usually has really good taste in TV, especially comedies), I tried one more episode, and found it pretty funny.  And so, more because she was so excited about it, than because I wanted to, I pre-ordered the first season DVD and watched the whole season in a few days this fall.  I'm glad that I did.

     Community took a little time to find it's footing, but the reason that I wasn't much into it from my winter sampling was because it really builds on itself over time.  It's not exactly serial, although there are serial elements.  Most episodes are stand alone, though.  It's just that the characters go through a lot together, and somehow, the more you watch them, the more you grown fond of them, they way they have with each other.

     Last week in "Basic Rocket Sciene", most of the group is trapped in a KFC space simulator, except for Abed (Danny Pudi), who was so excited that he ran home to change into a space suit.  The episode parodied a number of astronaut movies as the study group tried to finish the simulator, while Abed and Dean Pelton (Reno 9-1-1's Jim Rash - why isn't he a main character yet?) guided them in.  And Pierce went crazy, an oppurtunity for Chevy Chase to act more weird and outlandish than he has in awhile.  He's a great comic actor, who has made some of the best and worth movies of all time, but I can see why he is enjoying himself in this show.  It was very funny.

     I'm still trying to figure out how Senor Change (Ken Jeong) fits into the show, though.  He was the mean teacher the first season, but then was fired, and has become a student.  Will he eventually integrate into the central study group, a friend to the other misfits?  He's not any more screwed up than the rest of them, after all.  Or will he morph into an even greater villain, intent on taking them down?  I can't decide which I'd rather see.

     The basic cast is led by Joel McHale (The Soup) as Jeff, but also includes Mad Men's Alison Brie as Annie, the aforementioned Chase, and occasionally, The Daily Show's John Oliver and the hilarious John Michael Higgins.  The lesser know actors, Donald Glover, Gillian Jacobs, and Yvette Nicole Brown have all also been around for awhile, and hold their own.  It's a true ensemble, and that's what works best.

     I have changed my mind on Community.  It's certainly not my favorite sitcom on television, but it's earned a season pass on my TiVo.  I hope it can do the same for you.  Community airs Thursday nights at 8pm on NBC.

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