New Series INVINCIBLE

 Article first published as Amazon Prime's INVINCIBLE Review on Seat42F.

Amazon Prime has a new hour-long animated series coming next week called INVINCIBLE. Based on the comics of the same name by Robert Kirkman, the story follows a teen boy who begins to exhibit superpowers like his dad. This in a world filled with supers, both heroes and villains, with teams of powered people everywhere you look. But this particular boy is soon drawn into drama between several of them, and some dark secrets make things messy, indeed.

In preparing for this review, I not only watched the three episodes Amazon made available, but also read the first dozen or so issues of the comic. INVINCIBLE is a compelling tale that starts out looking like one thing but then becomes something almost completely different, yet at the same time holding onto a steady core. There are differences in the adaptation from page to screen, with some characters changing ethnicity and gender, and events are rearranged. Also, the comic seems to have more roles that are direct copies or parodies of existing properties from other publishers. But the changes seem to be good ones, mostly made to deepen the story and fit the episodic format length. If you were already a fan of the book, I suspect you’ll like this adaptation.

I can’t think of another hour-long animated show. The episodes, without commercials, come in at forty-some minutes, about as long as a broadcast drama, and double the length of most cartoons. The material in INVINCIBLE justifies it, though. Like Robert Kirkman’s other famous property, The Walking Dead, the story is complex and disturbing, at times graphically violent (as teased in the trailer). Yet, INVINCIBLE also has a cheery optimism because of its lead, Mark Grayson (Steven Yeun, The Walking Dead), that keeps things entertaining.

The voice cast is stacked with huge talent. Yeun stars, and the other two leads listed in the credits are Mark’s superhero dad, Nolan Grayson (J.K. Simmons, Whiplash, Spider-Man), and ‘normal’ mom, Debbie Grayson (Sandra Oh, Grey’s Anatomy, Killing Eve). There’s a shady government type, Cecil Stedman, voiced by Walton Goggins (Justified). And among those playing other supers are Gillian Jacobs (Community), Jason Mantzoukas (The Good Place), Zachary Quinto (Star Trek), Seth Rogen (Pineapple Express), Mahershala Ali (House of Cards), Michael Dorn (Star Trek: The Next Generation), Clancy Brown (Lost), Melise (The Vampire Diaries), Lennie James (The Walking Dead), Michael Cudlitz (The Walking Dead), Chad L. Coleman (The Walking Dead), Ross Marquand (The Walking Dead), Khary Payton (The Walking Dead), Lauren Cohan (The Walking Dead), and Sonequa Martin-Green (The Walk-, er, Star Trek: Discovery). Not to mention other characters voiced by Jon Hamm (Mad Men), Chris Diamantopoulos (Silicon Valley), Andrew Rannells (Girls), Zazie Beetz (Atlanta), Jonathan Groff (Mindhunter) and Mark Hamill (Star Wars). Believe it or not, this is not a complete list of recognizable names, and this list should give you an idea of how good the show is that so many pros wanted to be involved.

The world of superpowers has been done to death, and yet INVINCIBLE feels fresh. Partly because it leans on the tropes and familiar archetypes you already know and subverts them. Partly because it sometimes feels like its making fun of the genre it portrays, even while the characters feel grounded. This is a new take, and one worth watching.

As far as the story goes, I can’t say much. There are locks on spoilers, and I wouldn’t want to give anything away if I could because the shocks hit hard and fast. What I can say is this. The pilot starts out looking very much like a late 80s / early 90s cartoon of my youth, and that style never changes, lending an immediate comfort. But by the end of the first hour, this is disrupted, and each subsequent installment only continues the transformation. It is an artistically interesting production with an intriguing mystery and plenty of emotional-moving scenes. I both laughed and cried already. I definitely recommend it.

INVINCIBLE drops its first three episodes on Friday, March 26th, with weekly episodes streaming after that, only on Amazon Prime.

‘A Young Doctor’s Notebook’ – Previewing Season Two

Article originally published as ‘A Young Doctor’s Notebook’ – Previewing Season Two on Blogcritics.


A Young Doctor’s Notebook, now subtitled & other stories, returns this week for a second four-episode season on Ovation. Picking up this year with 1918 and 1935 timelines (about a year after the first season left off for both versions of the protagonist), this is both a continuation of the plot, and an entirely new tale. Based, in part, on the short story “Morphine” by Mikhail Bulgakov, the writers are tying that text back into the setting and characters introduced in season one.

When last we’d seen him, the older doctor (Jon Hamm) had been caught prescribing himself morphine. Now, released from a mental institution, he travels back to the office where he spends the Russian Revolution, determined to confront his past — while sober. Whether he can face up to the man he’d at one time been, and the things he’s done, is a central question to this second season, especially where a certain woman is concerned.

As the second season narrative begins, the younger doctor (Daniel Radcliffe) is in the throes of addiction. In an unhealthy sexual relationship of convenience with Pelageya (Rosie Cavaliero), he is much more concerned about his next fix, and not getting caught skimming drugs than he is about romance. Yet, there is some sort of affection between them, if only because she enables the Younger Doctor in his habits.

During season one, the under-the-influence older doctor had been spinning out of control as he relives the beginning of his tumultuous journey, while the younger doctor is a naive, optimistic lad; season two turns the tables. Now the younger doctor is the reckless one, out of control, while the older doctor sits in judgement, knowing full well that he is fact sitting judgment on his younger self. This created a complex dynamic, allowing both actors to explore the psyche of their damaged parts in different, unique ways.

This is a very poignant time for A Young Doctor’s Notebook to air in the United States, given the recent death of Robin Williams. Mental health and addiction are at the forefront of the public consciousness, and the series delves into the subject in an interesting, entertaining, enlightening way.

Students of history may find in A Young Doctor’s Notebook several tidbits of interest. Season two takes place during the Russian Revolution, bringing the war to the very doorstep of the hospital for most of the four installments. Natasha (Margaret Clunie), a member of the ruling elite, and The Colonel (Charles Edwards, Downton Abbey), her protector, stop over in the chaos and each catch the eye of one of our central cast. I’m not sure how much actual, factual past is included in this story, but the pair of new characters do help it feel like the office is set in the real world, rather than existing apart, on its own, as it sort of did in season one.

A Young Doctor’s Notebook is funny, but through an extremely dark brand of comedy. Whether joking about a dead horse or trying to get laid, there’s a pathetic sadness to the characters who exist within the series narrative. Tears may not make it to the audience’s eyes, but they do emanate from the characters on multiple occasions, and with good reason. This is a dangerous, tragic world, and the misfortunes, while amusing because of the cartoonish, over-the-top manner through which they occur, are genuine.

I don’t know if A Young Doctor’s Notebook return for a third season, given the lack of more source material. It’s a unique series I have very much enjoyed, thoroughly impressed by the talent behind it. I watched all four episodes of the second season in one sitting and craved more, a testament to its quality.

A Young Doctor’s Notebook airs Tuesdays at 10 p.m. ET on Ovation.

"Moving Up" in the PARKS AND RECREATION World

Article first published as TV Review: 'Parks and Recreation' - 'Moving Up' on Blogcritics.

This week’s season finale of NBC’s Parks and Recreation, “Moving Up,” is nearly a perfect episode, and would have served extremely well as a series finale. Leslie (Amy Poehler) contemplates taking a huge job opportunity in Chicago, which would mean leaving the town of Pawnee, Indiana, which she doesn’t want to do. Meanwhile, the long-awaited Unity Concert unfolds, and the rest of the ensemble have strong development, too.

Leslie is the main character in Parks and Recreation and usually has the biggest stories. “Moving Up” is no exception. For most of the hour-long double episode, she is wavering back and forth over a life-altering choice. She’d really like the opportunity to run the National Parks Service in the Midwest, but that means abandoning the town she loves at a crucial time, as they are still reeling from the merger with Eagleton that she is instrumental in. If she does go, Councilman Jamm (Jon Glaser) will likely dismantle her accomplishments. To add insult to injury, her co-workers have added a plaque for her to the founder’s statue with a quote from her reinforcing her dedication to the place. How can she leave?

Yet, on the other hand, Leslie is a dynamic player that must keep growing. City Council didn’t work out for her, but she can’t just go back to the local Parks Department. For her to advance, she has to leave the small pond she’s been swimming in. Her husband, Ben (Adam Scott), is supportive, but also helps her to realize this, knowing she won’t be happy if she passes this up. Leslie can’t stay stagnant. She needs to step up and tackle the next challenge, and I’m not just talking about the triplets she is pregnant with. She has to accept the job, a huge promotion that she has worked hard for and deserves. Even Michelle Obama (herself) weighs in on the decision, urging Leslie to take the job.

“Moving Up” has the perfect solution when Leslie tells Grant Larson (Brady Smith) that she wants the position, but wants to move the office to Pawnee. Parks and Recreation doesn’t take the easy way out and just drop this bit and move on. Instead, in true Leslie fashion, she creates a strong argument as to why this is a good idea, complete with thick binder, and in the face of the evidence, Grant has to agree. No one can stand in the way of Leslie when she sets her mind on something, pursuing it doggedly. She gets to stay in the place she loves and perform her dream job.

The closing moments of “Moving Up” are set three years later, Leslie running a busy department and firing an inept employee (Mad Men‘s Jon Hamm). I really hope the next season of this show sticks to that new timeline, as there are hints of an event set up here that provide a dangling mystery. Though, if it starts just a little earlier, Hamm’s cameo, as funny as it is, might actually feel justified, providing an opportunity for Hamm to be a recurring player in season seven.

How else could one ask for Parks and Recreation to end? Leslie gets everything she wants and everyone is happy. This is how it should be.

The rest of “Moving On” is a love letter to the town and the people that populate it, too. The concert itself features a number of terrific musicians, many with ties to the series, and a huge tribute to Li’l Sebastian. Local celebrities, recurring characters, participate, too, and then all head to Tom’s Bistro, which Tom (Aziz Ansari) has made a success, allowing Tom to rub his accomplishment in Dr. Saperstein’s (Henry Winkler) face in front of his children (Jenny Slate and Ben Schwartz), bringing Tom’s arc full circle.

Others get their due, as well. Ron (Nick Offerman) finally defeats Tammy’s (Megan Mullally) hold over him, happy with his new family and loving it, and publicly comes out as saxophone player Duke Silver. Andy (Chris Pratt) gets to reunite with his band, whom he misses. April (Aubrey Plaza) shows new-found maturity and is totally blissful in her marriage, which her and Andy decide to dissolve so they can wed all over again. Donna (Retta) is right in the thick of things, being her awesome self. Ben earns the town free Wi-Fi and is gifted the copyright to his successful game by the accounting firm that worships him. And Larry (Jim O’Heir), formerly Jerry, is now Terry and working for Leslie.

So, all is right in the world. Parks and Recreation has been treading water a bit this season, making recent episodes less compelling, but this is resolved in a single hour. These developments not only illustrate beautifully who the characters are and how far they’ve come, but propel them forward with new, interesting stories. I don’t know if this is done because the show’s fate was in doubt (it has now been renewed), but one could not have asked for a better season finale, highlighting what this show has accomplished thus far and really stoking enthusiasm for next year.

MAD MEN Travels Through "Time Zones"

Article originally published as TV Review: 'Mad Men' - 'Time Zones' on Blogcritics.

AMC’s Mad Men is finally back. True, it’s only seven episodes, before the network makes us wait a full year before delivering the second half of the season, but at least we get these characters and this story on our television for some fresh installments.

The season premiere, “Time Zones,” picks up less than two months after the previous season ends, one of the shortest time jumps Mad Men has ever done. In a way, that feels a bit like a cheat, since most of the threads in this hour are direct continuations of those from last season; there is no reset going into the victory lap. On the other, this does provide a through line, and most of the players are at very pivotal points in their lives.

A major theme in the advertising for this season of Mad Men is air travel, and it certainly seems like all of the major players are on lay-over. They’ve made quite a journey from who they were at the start of Mad Men to who they are now, but at this point, they must take stock of the lives they’ve built and decide where to head next. Should they continue on the same path, or maybe change their flight to somewhere else? They have 14 episodes to decide.

Don Draper (Jon Hamm) is on the verge of losing everything. Suspended from the job he loves, the only constant happiness in his life, and living all the way across the country from his wife, Megan (Jessica Paré), whom he hasn’t seemed to have told about his job troubles, he’s floundering (he’s still getting paid, so I guess it’s not a huge deception). He has a plan to hang onto both, flying out to spend time with Megan and using Freddie (Joel Murray) as a patsy to deliver his ideas to SC&P via freelance, but both are tenuous.

Don’s work is good again. We can tell this by the stellar pitch Freddie gives Peggy (Elisabeth Moss) at the start of “Time Zones,” a mystery presented and not solved until the end. However, Peggy doesn’t know it’s coming from Don; no one does. So does it even count in Don’s favor?

It may be that Don will have to chose between Megan and SC&P. Giving up heading the West Coast branch cost him, and now his grip is slipping. There’s no telling when the firm might welcome him back, and Megan has grown distant, building a life for herself in California that doesn’t include him, annoyed by his intrusions into it. Hopping back and forth is costing Don, his emotional state seeming very precarious in the closing shot, his life as broken as the sliding door, and he just can’t do everything.

Strangely, Betty (January Jones) and Don’s children, Sally (Kiernan Shipka), Bobby (Mason Vale Cotton), and baby Gene, don’t even appear in “Time Zones.” As we see Don trying to define what’s important in his life, these people do not factor in. They absolutely should, though. Whatever Don decides, he’s still a father, and should keep that in mind.

There is one positive sign in Don’s favor, and that’s that he doesn’t sleep with the woman he meets on his airplane ride home (Neve Campbell, Scream, Party of Five). Well, technically, he does sleep with her, but no sexual play is had. In each of the first six seasons, it’s hard to imagine Don passing up nudity with a beautiful girl. Now, he has more important things to worry about, and he’s committed to doing better. Or maybe he’s just too worn out to perform, getting older.

Believe it or not, Don is not the only, or perhaps even the most, messed up person in the cast right now. Peggy is still dealing with her anger and resentment towards Ted (Kevin Rahm), playing the scorned mistress. Roger (John Slattery) is in a total destructive spiral, sleeping with whoever happens to wind up in his bed, multiple people of both genders at once, and doing drugs. Not to mention, his daughter, Margaret (Elizabeth Rice), might just be in a cult. Pete (Vincent Kartheiser) is trying desperately to play the consummate Californian, while clinging to any shred of New York he can find. Ken (Aaron Staton) is over-stressed and falling apart in his new position, and Don’s replacement, Lou (Allan Havey, Hancock), is uncaring and strict, and not in a helpful way.

Never in Mad Men‘s run can I think of a time where things are falling apart more. SC&P’s future will surely be effected by the fraying ends on both coasts. Can the firm survive such an upheaval, or has its time passed and it’s doomed to sink into irrelevance as the season unfolds?

The only character who is doing well, besides arguably Megan, in “Time Zones” is Joan (Christina Hendricks). Talking to college professors about graduate-level business and single-handedly working to save important accounts, she even finds time to flirt with Wayne Barnes (Dan Byrd, Cougar Town, Easy A). She’s got a good head on her shoulders, and without serious men to distract her, Roger not being an option and Bob Benson (James Wolk, who’s currently over on The Crazy Ones) ensconced in Detroit, she can be even more fully committed to bettering herself than she has been in the past. No matter who else falls, Joan will be fine.

“Time Zones” is a depressing episode, but it’s also a good one. It serves the characters well and continues the trajectories began in seasons past. It’s the natural evolution of the story and does seem to be inching closer to the end, even if we can’t yet see the light at the end of the tunnel. It doesn’t give us any groundbreaking new developments, but it does show us yet another aspect of the players we’ve come to care about, and a taste of what this year will be like.

Mad Men airs Sundays at 10 p.m. ET on AMC.

MAD MEN Preview

Article originally published as MAD MEN Review on Seat42F.


AMC’s MAD MEN is one of, if not the, most anticipated returns this spring. The final season premiere (though only seven episodes will air this year, with the other seven being held for another twelve months) is finally here. Called “Time Zones,” the hour reacquaints us with almost all of the familiar faces, continuing the story of Dan Draper (Jon Hamm), Peggy Olson (Elisabeth Moss), Roger Sterling (John Slattery), Pete Campbell (Vincent Kartheiser), Joan Harris (Christina Hendricks), and others.

Disappointed that the first paragraph didn’t give anything away? Well, I will tease what I can, but don’t expect this preview article to be full of revelations, either. AMC is extremely strict about keeping things a secret, as fans have long gathered from their sparse episode descriptions and nearly opaque commercials. I am not allowed to tell you how much time has passed, where Don is professionally, who any of the new characters are, whether the firm has successfully expanded to the West Coast or not, or quite a few other things. So I’ll do my best to tantalize you without spoiling anything at all.

I will say “Time Zones” is a very unexpected hour. It may not be as large scale as some of the other MAD MEN premieres, checking in with everyone, but slow to show us anything new. It’s an intriguing start and it does keep true the tone and arcs of the previous year, but it isn’t going to give any “wow” moments that has everyone talking the next day. OK, maybe one or two, including one excellently structured twist. But certainly no earth-shattering developments that change the series forever.

Much of MAD MEN’s success is in making us care about those depicted. “Time Zones” serves each of those main characters mentioned in the first paragraph well, as it also does a host of other long-time performers on the show. There are some wonderful growth moments, and satisfying interactions. Joan, in particular, catches my attention. I’m excited to see how a few of these develop over the next few weeks.

The commercials that have been running of the characters at an airport is apropos, even if it’s not exactly what happens. Airports and plans do figure into this first hour, and likely will for a number of future installments as well. I think it’s not hard to guess why, considering where last year ended, but other than mentioning that, I can’t expound upon it. I will say, there is a scene featuring two of our main players outside the terminal that does feel completely stolen from the ad, including their slow moving and the music, but may not line up with what one would assume it means.

More importantly, the airport is a metaphor for where these people are. They’re all in a transitional state, not where they want to end up, but not where they started, either. The possibilities are endless, and it’s up to the individuals which destination they’d like to choose. I think a strong theme of season seven will be in line with this, a group on layover, and a number of characters may fly off in separate directions before it’s all over.

I’m not allowed to tell you about any new characters, but there are some very recognizable faces in the first episode. Two, in particular, are people that have graced the television screen before, and whom I am a fan of. I think it’s vague enough to say one starred in a horror movie franchise and another is currently a main player on a sitcom that’s been around for a few years and is still currently running. One of the two is poised for a possible arc, and the other could just be a one-off. And that’s the end of the hints about those.

A recurring player who hasn’t had a major role on the show in awhile also returns and appears to be staying for at least a little bit. I am definitely a fan of this plot.

As to when the story takes place, while I can’t tell you that exactly, I will say this was also not what I expected. Given the dramatic climax of season six, I had formed in my own head a picture of where the plot was heading, but not being privy to the writers’ discussions, I got it completely wrong. As did everyone else whose comments or articles I’ve read. I suspected early in my viewing of “Time Zones” how much time had passed, but it was not confirmed until much later, so even MAD MEN itself isn’t quick to reveal this important nugget.

And that’s about all I can think to say without getting into trouble. I supremely respect this series and this network, and they’ve served fans well by keeping a tight lid on things. In the modern world, spoilers are all too common. It’s nice to see someone buck that trend, putting major effort into letting audiences be surprised. For this reason, I am happy to comply with the rules, as difficult as it is, and assure you that “Time Zones” is true to form and the start of a fitting final story.

MAD MEN premieres Sunday, April 13^th and 10 p.m. ET.

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

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


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

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

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

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

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

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

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

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

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

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

CHILDRENS HOSPITAL "Going" Away Again

Article first published as CHILDRENS HOSPITAL "Going" Away Again on TheTVKing.

Cartoon Network's Adult Swim's Childrens Hospital brings their fifth season to a close this week with "Coming and Going." Feelings are in the air. Or rather, lack of feelings, as the cast splits into twosomes to deal with their issues. Owen (Rob Huebel) has never had an orgasm and has the urge to feel what that's like, so Lola (Erinn Hayes) reluctantly agrees to help. Glenn can't experience emotional feeling at all, so Blake (Rob Corddry) makes it his mission to fix Glenn. And Sy (Henry Winkler) tricks Chief (Megan Mullally) into going out with him in the hopes of sparking some romantic feelings from her, meaning they miss the war zone at the hospital, but their opera provides a beautiful soundtrack for the disaster.

Each episode of Childrens Hospital completely stands on its own, with almost no continuity from each week to the next, except in the vaguest of terms. For instance, in the fourth main plot this week, the one that doesn't fit into the theme mentioned above, Cat (Lake Bell) helps Valerie (Malin Akerman) give birth, even though we've never seen Valerie pregnant until now, and it's been well established in multiple installments that Valerie is actually Derrick Childrens (Jon Hamm), a man in disguise. Doesn't quite add up, does it?

Yet, that has never stopped the show from being funny. Instead of worring about continuity, it frees up the characters and writers to do whatever they find amusing in the moment. This has led to a lot of strange, stand-alone episodes, like the Shakespeare-esque entry a couple of weeks ago, yet never a shortage of laughs. Each episode is like a mini play or sketch put on by an extremely talented group. The ensemble is excellent across the board, and they only let in the best guest stars, which this week included Jack McBrayer and one of the show's writer/producers David Wain, who plays Rabbi Jewy McJewJew.

There are some connecting threads through most (not all) of the episodes. Season five finds the cast shipped off to Japan to work a hospital on an army base. This has been a recurring setting, and so informs the stories. It has made this season a little different overall from the first four, in terms that there have been new things that didn't necessarily lend themselves to the old set, but quality and tone have been maintained.

"Coming and Going" fully takes advantage of the place in a big way when, due to a series of unfortunate mishaps, the base is attacked by the American military. Yes, the base is made up of American military already, but somehow those outside of the base think that terrorists have taken over. It's kind of a loose premise, not at all believable, but one that works for the bits.

This means that each of the four main plots unfold as bombs explode around them. Maybe giving birth or having sex near a battle isn't completely unheard of for a TV drama, but who dares use such set ups for a comedy? Even as men go down, there isn't anything serious about the proceedings, with raising a flag being the way to stop the fighting, as bizarre as anything else.

It's also the small touches that make the episode. From Owen later admitting that he has had orgasms before, and was just confused by what the term 'orgasm' meant, to Glenn being killed, only to find out it was the hospital's previously never-seen "other Jewish doctor" who dies, despite it being obvious that Marino is the one going down, there are quirky, weird, unexpected touches all over the place. Valerie asks a little girl to deliver her baby, whom Cat immediately accepts as "Doctor Littlegirl." It's all as bizarre and wonderful as that.

What's impressive about this episode, over the rest of the fantastic weekly episodes, is, given a double-length running time of half an hour, there is not only time to run more stories simultaneously, but also they are all expertly interwoven. Normally, several of the cast sit out for many episodes per year so that a cohesive plot can emerge in less than fifteen minutes. Here, that is not the case, all of the principals present, and their stories are connected by synchronized occurrences and a great soundtrack.

In all, "Coming and Going" is an awesome example of a top-notch series. Childrens Hospital is gone for now, but hopefully a sixth season won't be too far away.

Chapter Closed On A YOUNG DOCTOR'S NOTEBOOK

Article first published as Chapter Closed On A YOUNG DOCTOR'S NOTEBOOK on TheTVKing.

The British series A Young Doctor's Notebook, which has been airing on Ovation in the States, came to a close last night with the fourth episode of season one (a second season has been ordered). While short in length, it's been quite a journey for the Young Doctor (Daniel Radcliffe), from eager graduate, topping his class, to hardened, drug-addicted general practitioner in the cold wilderness. But this is nothing compared to what we learn about the Older Doctor (Jon Hamm).

It turns out, A Young Doctor's Notebook plays out in the Older Doctor's head. This explains the cartoonish style and exaggerated happenings and people. The Younger Doctor's life is not portrayed as reality, but rather the hallucinations of the Older Doctor, suffering withdrawal from morphine addiction. Unlike FX's Wilfred, the answer to the mysterious center is presented sooner, rather than later.

This changes the perception of the entire piece. At first, it seems a goofy comedy, easy to laugh at the Younger Doctor's antics, whether it be in botched medical procedures or fumbling around in general. But now, knowing this is in the Older Doctor's diseased mind, it becomes a sad, melancholy drama, one from which there is no easy escape. The laughs cover pain. As the Doctor gets tossed behind bars in the 1930s, we see not only the beginning of his downfall in the 1910s, but how he sees himself, which is not so positive.

The surreal quality of A Young Doctor's Notebook is thoroughly intriguing and enjoyable. Even when one is rendered uncomfortable by events, the series remains something that can't be looked away from. The brilliant performances by Hamm, Radcliffe, and others ground a story that could so easily be silly or ridiculous in serious emotion, while still hitting the notes of a humorous play, and it's very impressive.

In the final half hour, the Young Doctor travels to the aid of a woman who has been bashed in the skull. An Even Younger Doctor (Joshua McGuire, The Hour) assists, and this is when we see how much our Young Doctor has changed. Almost wordlessly, the Young Doctor euthanizes the injured girl, knowing there is no cure, a realization that is slow to dawn on the Even Younger Doctor, then eats ham. We can see a pattern about to be repeated, a bad cycle that will be very difficult to escape from.

The Young Doctor even fantasizes about having his license stripped, half seriously wondering how many patients he would have to let die (never kill) to escape the hell of his job. The Older Doctor finds out, unfortunately, just how low he can sink. It's a message that can sort of be communicated, since they interact in the story, but the Older Doctor holds back somewhat, perhaps knowing he can't change the course of his life. So, so sad; a bitter, inescapable destiny.

While the focus is on the Doctors, as it should be, the series would not work nearly as well without the talented work of the supporting cast. Adam Godley, Rosie Cavaliero, and Vicki Pepperdine do extraordinary work, and they should not be forgotten about. The way they lend themselves to small, supporting roles is not exactly an easy feat, balancing between being entertaining but not distracting. Each have specific moments that can be praised, and the overall effect owes a lot of credit to the trio.

The same can be said for the crew that builds the sets and costumes, and lights the scenes, as well as scores the piece. There is a tone here, reinforced by every aspect or the visual and audio presentation.  A lot more is going on than just actors delivering lines, and it's the combination of everything that really lets this succeed in the best possible way.

I don't know when we'll get a second season of A Young Doctor's Notebook, and with our eyes opened, it certainly won't be as funny and light as the first. Yet, even as depressing as it may be, I really want to see more of these characters and this world. They have left a lasting impression not to be soon forgotten, as much for the high quality of the production, as for the compelling story itself.

Peek Inside A YOUNG DOCTOR'S NOTEBOOK

Article first published as Peek Inside A YOUNG DOCTOR'S NOTEBOOK on TheTVKing.

Ovation is currently airing the four-part series A Young Doctor's Notebook. It is the story of a medical professional, fresh out of school in Moscow, who heads out to the country to run a small hospital. It's funny, in a dramatic way, and completely charming. This is a review of the first episode.

The Young Doctor, who has no established name, is played by Daniel Radcliffe of Harry Potter fame. In the first episode, he arrives near the town, and has to drag his large trunk through the snow to reach his destination. He's not even settled in among the disapproving staff, who keep talking about his worshiped predecessor, a portrait of which looms large in the halls, when he has to jump into a surgery on a woman giving birth, made complicated by the fact that the doctor has never actually seen a vagina.

That is a heck of a set up for a story, and one easy to vividly picture. Everything about the tale is a little larger than life, from the way the former physician is idolized, to the extreme give in the doctor's bed, to the incessant smoking of cigarettes. It takes a realistic situation and heightens it in the best manner possible, until it's almost a tall tale or a fairytale, laid out on screen in beautiful grey tones.

The supporting cast is appropriately cartoonish, from the long-winded feldsher (Adam Godley, Suits, Breaking Bad) to the disapproving nurses (Vicki Pepperdine, Getting On and Rosie Cavaliero, Jane Eyre). They help set the mood of the piece, and somehow manage to be disapproving of the Young Doctor, who viewers instantly love. It helps build the world that these will be the Young Doctor's companions, those who don't laud praises on him, providing stark contrast to what is on screen from those watching it.

Radcliffe is perfect for the lead part, manically rushing around, stumbling through broad physical comedy, and yet maintaining an earnest naivety that is sure to connect with viewers. His fear is real and felt; his triumphs are accidental, but celebrated. And when his ego gets a little too big, his confidence running high, he's quickly pulled back to earth by a major screw up, delivered with laughter. Sure, the role is a little similar to the part he's most famous for, but now he has only his wits to rely on, not magic.

OK, there's a little magic, in that an older version of himself (Jon Hamm, Mad Men) appears to offer unwanted guidance. The Older Doctor is seen only by the Young Doctor, and isn't exactly generous with his younger self. The Older Doctor wants the Young Doctor to learn through experience, so he doesn't reveal quick solutions, and actually proves a hindrance at times, such as tearing out a page of a medical text that might be helpful for the situation, trying to teach himself to rely on his own mental acuity when there's no time for reading.

These scenes between the two are fantastic. I'm not sure I completely believe them as the same person, especially given the height difference, but it still makes for an entertaining series by two terrific actors. The Older Doctor is frustrating, but the Younger Doctor needs him, and likely will continue thusly.

Hamm only allows his Don Draper skills to emerge during the ending scene, set years later, and this is where the drama of the piece comes in. We don't know exactly what is happening to the Older Doctor, but it seems dangerous. The rest of the time, he gets to work his comedy chops, as he has done in 30 Rock and, Childrens Hospital, proving he can span the genres with ease, making him a great pick for A Young Doctor's Notebook.

I can't speak enough praise for A Young Doctor's Notebook. If you're dissatisfied with the lackluster batch of new pilots of broadcast television, this is sure to cure your doldrums in a hurry. I highly recommend checking it out.

CLEAR HISTORY Appeal Is Murky

Article first published as CLEAR HISTORY Review on Seat42F.

For those missing Curb Your Enthusiasm, HBO recently premiered CLEAR HISTORY. Written by, and starring, Larry David, the tone and humor is pretty much the same, with David inhabiting a similar character. This should tide fans over until David decides to make another season of his well-received comedy series.

The basic premise is of a man named Nathan (David) who gets into a silly argument with his boss, Will (Jon Hamm, Mad Men), leading to Nathan losing his job just before a massive launch of a new car that would have made him a billion dollars. Ten years later, Nathan is living as a drastically different looking guy named Rolly in Martha’s Vineyard, seemingly having escaped his past. That is, until Will shows up on the island, and Rolly begins plotting his revenge.

CLEAR HISTORY is inferior to Curb Your Enthusiasm, so don’t go in expecting an hour-and-a-half episode of the show. David still goes after silly, everyday gripes, but instead of harping on them for thirty minutes, with earlier events coming back full circle, most are dealt with in thirty seconds and then dropped. This is a shame, as there is certainly ripe material here that could fill many installments of Curb, wasted as throwaway gags.

What I don’t buy is that Rolly is considered the nicest guy around. At first, he seems to have turned over a new leaf, not harping on the little things that Nathan used to. But throughout the movie, Rolly makes more enemies than friends, and loses a few chums along the way. Has he turned just because of Will’s presence? It seems doubtful, especially as no character makes that observation.

The ending is contrived, and while a few threads seem to tie together, they don’t play into the final scenes, ruining the setup. Also, the story just can’t decide what it wants to be. For large stretches of the running time, it is a cohesive tale, but then it sometimes falls apart into a series of bits, and the ending is far from satisfying or complete. That is probably the biggest weakness of the project.

Which is not to say CLEAR HISTORY isn’t enjoyable. There are some brilliant turns by wonderful comedic performers, and those alone are worth tuning in for.

The most stand out performance is that of Liev Schreiber (Ray Donovan) as Tibor, the Czechoslovakian man who sells Rolly an ignition switch, and then gets in a car wreck with him. Tibor’s look and accent are humorous, but it’s more the absolute confusion that he has towards Rolly, not understanding what’s going on when Rolly is involved, and not getting why Rolly isn’t afraid of him, that plays so darn well. Sadly, it is an uncredited role, as Schreiber stars in a series for a rival pay channel.

Among the rest of the cast are familiar faces like Michael Keaton (Batman, Toy Story), J.B. Smoove (Curb Your Enthusiasm), Amy Ryan (The Office), Bill Hader (Saturday Night Live), Danny McBride (Eastbound & Down), Eva Mendes (Hitch), Amy Landecker (Dan in Real Life), Patty Ross (The Heat), Paul Scheer (The League), Chicago (the 25 or 6 to 4 band), and many more. Each, without fail, not only fits well into this contrived world, but does an outstanding job of selling the scenes they are involved in. They are not the weakness of the piece, and each is not only funny, but also seems to be really glad to have this job, a definite plus.

A particular element I really enjoy is that of Will’s wife, Rhonda (Kate Hudson, Glee, Almost Famous). At first, she seems a pushover whom Rolly can worm his way in with. But the direction the script goes with her as things play out not only fits with her character nicely, even after a few turns, but also rises above the predictable and expected.

Overall, while not as impressed with CLEAR HISTORY as I have been with other David works, it is a nice little snack as we await his next great project.

MAD MEN Makes Don "Care"

Article first published as MAD MEN Makes Don "Care" on TheTVKing.

AMC's Mad Men only has a single season left, so one should expect this week's season finale to have more than a few big changes and surprises. One would not be disappointed. In the episode, "In Care Of," there is some serious movement, including in some of the show's biggest arcs.

The thing most shocking is Don's (Jon Hamm) firing from the firm. Well, technically it's a forced indefinite leave of absence, but the intention is clear when the partners ask Don to go and Duck Phillips (Mark Moses) immediately shows up with his replacement. Don, the man who brought the firm most of its success for the past six seasons, is no longer employed by Sterling, Cooper, & Partners.

Is this a mistake or a betrayal? Well, despite all of the business that Don has earned the firm in the past, he has lately been costing them money. Lots of money. And given that Don is only getting worse and worse, from a professional stand point, they have to cut him lose or risk losing the company. It's a no-brainer, as hard as it might be personally for Roger (John Slattery), Cooper (Robert Morse), or Joan (Christina Hendricks) to vote Don out.

The reason for Don's change is because he just can't stand to lie any more. Don's entire life has been clouded in secrecy, and his real name isn't even Don. While a handful of individuals have found out bits and pieces about Don over the years, most of who he is and what goes on in his head is kept hidden. This might be why he is so good at advertising, because he is always selling a version of himself, and now that he's losing that ability, it spills over into other aspects of his life, too.

At the end of "In Care Of," Don takes his kids to visit the whore house where he grew up. Sally (Kiernan Shipka), in particular, is affected, seeing her dad for the first time as a real person. She cannot stand the lies her dad has told,  but seeing how he grew up, begins to feel sorry for him. This could be the beginning of a healing in their fractured relationship.

I don't know what Don will do next, but I think he is better off being true to himself. He could go back into advertising, running his own small firm where he is free to be who he wants to be and reinvent his career. This might be what he needs to find peace and break the cycle of drinking and cheating. A new Don could still be brilliant at his work, but without the baggage that comes with the old Don.

As part of his new start, Don may need to find a new wife. He tries to salvage things with Megan (Jessica Pare) when she walks out of their home, furious at having called off their plans to move to the West Coast. Now that he doesn't have his job, he could follow her, maybe with Sally in tow. But considering he doesn't fill Megan in on the extent of what he is going through in "In Care Of," it's hard to see how she might reconcile with him unless he confesses the depths of his pain and emotion.

Pete (Vincent Kartheiser) also is faced with reinventing himself. His wife, Trudy (Alison Brie), is done with him, and he is assigned to the West Coast office of Sterling, Cooper, & Partners under the leadership of Ted (Kevin Rahm). For Pete, this is the opposite of everything that he wants, but he doesn't realize that until it's too late. Trudy's "Well, now you know" is a great comment on where Pete is, and now perhaps he can seek out the life he wants going forward.

Pete has changed and grown over the last six years. He doesn't go after Bob (James Wolk) when Bob's secrets come out. He doesn't annoy and pester Trudy when he loses her. He accepts the transfer, humbled after losing his spot with Chevy in Detroit. Pete, someone who is very hard to like on Mad Men, may finally be on the path to redemption and happiness.

Meanwhile, Peggy (Elisabeth Moss), someone most viewers like and root for over the years, is at her lowest point, completely at a loss over who she should be. Now done with her long-time boyfriend and abandoned by her married lover, Ted, Peggy is aimless. Her career goals are always her focus, but once she becomes like Don or others that she looks up to, she is where she doesn't want to be, having failed to cherry pick the best parts of her mentors, inheriting their bad traits, as well.

With Don, Pete, and Ted gone from the New York office, though, Peggy has the opportunity to flourish. Her distractions are removed and she can re-focus on what's important. This may be the time for her to step up and be the heart of the agency, landing the big accounts. It will be interesting to see how she turns out.

I really love the glimpse of family "In Care Of" gives us when Roger attends Thanksgiving at Joan's apartment with their son and Bob. I still can't decide if Bob is gay and just a good friend of Joan's, or if there's something romantic between them, but they've formed a bond that has allowed Joan to be healthy enough to permit Roger into his son's life. And Roger, seeing the depths of his mistakes with daughter Margaret (Elizabeth Rice), is ready for a do-over where he can be the right kind of father. This grouping may be unconventional as a unit, but is sweet, and is very beneficial for all of them to be involved in.

More minor characters don't get much story in "In Care Of," and that's OK. Mad Men services quite a few faces on occasion, but the core group is Peggy, Don, Pete, Roger, and Joan. Rizzo (Jay R. Ferguson) has a small part in the beginning, but that's it. However, as we move into the final year, time is limited. As much as fans enjoy all of the supporting players, as long as the series serves its main players well, I think the end will be satisfying.

Mad Men will return next year for its seventh and last season on AMC.

Archer - "Sea Tunt: Part 2"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mad Men Goes Through "The Doorway"

Article first published as Mad Men Goes Through "The Doorway" on TheTVKing.

As we go through "The Doorway" into Mad Men's sixth season on AMC, we can immediately see that a lot has changed. Some of it is surface, such as the hair styles, an excess of marijuana smoking, and the bustling, busy, successful, two-story Sterling Cooper Draper Pryce agency. But some of it goes deeper, as the unhappiness that has long-festered in several of the leads comes to the surface even more now, making "The Doorway" a pretty depressing and dark installment.

Don (Jon Hamm) is our main character. As "The Doorway" opens, after a cut scene of an unknown man having a heart attack, he lounges on the beaches of Hawaii, reading Dante's Inferno. There is a stark contrast between the white sands and blue water and Don's choice of reading material. Plus, Don himself is silent, letting life happen around him, but not really participating in it.

We've seen Don like this before. While, last year, he is an active participant in his marriage with Megan (Jessica Paré) and the firm's work, guiding the ship, prior to that he is shown as a sort of numb robot. The season premiere returns Don to that unhappy state, not connecting with the others around him.

We don't know why Don is this way. Obviously, the advertising agency he helped found is doing well, so there aren't professional woes. And Megan is still in love with him, despite her successful career as a TV star, presumably working on a soap opera, so he's not neglected at home. Could it be that Don only functions well when there is a crisis that he must solve, and once that goes away, he returns to his old self? Could he be spurred to go introspective after witnessing his doorman's heart attack, and didn't like what he found inside himself?

I think there is a clue when Don participates in a wedding ceremony on the beach, one he doesn't tell Megan about, but which we see affects him deeply, even after they return from vacation. Something about that young soldier bothers him. Does he represent lost promise? Remind Don of his somewhat shady past? Who knows?

Don brings this attitude back to the office with him, and it's here where we realize that he may not himself understand how unhappy he is. The Hawaii trip is a working one, and he pitches an ad idea for the hotel he stays in. But his vision is one interpreted by many as invoking suicide. Don sees escape as a pleasant thing, but there's a gray area when considering how big of an escape he might actually want to make. A permanent one, perhaps?

The sign of hope we see for Don is his friendship with his new neighbor, a Jewish doctor (Brian Markinson, The Killing, Caprica). We've never seen Don have a friend like this, an equal who is not connected with him professionally. They seem to understand one another and have mutual respect for the work that they do. This looks to be the makings of a wonderful outlet for Don to be Don, and help him cope with disappointments in other areas of his life.

Unfortunately, as we find out at the end of the hour, Don is sleeping with the good doctor's wife. I can't decide if I feel the betrayal more deeply on behalf of Megan or the doctor. After all, Megan knows the kind of man Don is before marrying him, and Don has a history of cheating when he gets restless, as he is now. The doctor, on the other hand, has no reason to suspect Don's activities, which makes it doubly bad. It also means that their friendship will never last.

All of this points to a very dark ending for Don. With only two seasons left, it is doubtful he will be content to stay where he is. Will he end up running away, taking on a new identity again, as he did when he became Don Draper? Or might he decide it's better not to live at all?

Roger (John Slattery) is just as unhappy as Don. He has never found peace in the arms of a woman for long, and professionally he does have a purpose, but it is not an obvious or constant one. In "The Doorway" we see him hamming it up around the office, but not doing anything of note.

Until he gets the news that his mother has died. Those around him are upset by this, Roger's secretary bawling, and Don getting wasted and puking at the funeral. Roger is more frustrated, as he tells his psychiatrist, that he feels nothing. He is fully numb, unable to work up the sadness he thinks he should feel, and regretful of the way he has lived his life, as his mother's passing forces him to face his own mortality.

Roger isn't actually emotionless, of course. Once he gets over the shock, a near-stranger's death sends the tears flowing. But it's one of those defining moments in life, where one takes stock of oneself, and like Don, Roger doesn't like what he sees. Roger doesn't have anyone close to him to share himself with, or to mourn his passing. Not even his daughter, Margaret (Elizabeth Rice), cares, only wanting his money. This starts to affect him negatively, more so than we've ever seen before.

While many show up for Roger's mother's funeral, including ex-wives Jane (Peyton List) and Mona (Talia Balsam), the latter of whom actually offers sound advice, there is a glaring absence: Joan (Christina Hendricks). They may no longer be lovers, but Joan knows Roger better than anyone, and likely has cared about him more than anyone. Why does she not come to him in his hour of need? Have things deteriorated that much between them? How incredibly sad!

The third character that gets much focus in "The Doorway" is Betty Francis (January Jones). Betty identifies with one of her daughter, Sally's, friends (Kerris Dorsey, Brothers & Sisters), who has lied about getting accepted to Julliard, but still wants to run away to New York City at the ripe age of fifteen. Betty, who lived the poor life as a model in the big city when she was young, tries to talk the child out of it, then goes in search of her when the kid disappears.

This plot may show Betty being a good mother figure to a child who is not her own, but it's also about Betty's past and missteps. She is in a good place now, with a loving husband and a nice house, but she definitely has her rocky times. She has a lousy first marriage, has trouble connecting with her own daughter, Sally (Kiernan Shipka), which is still an issue, and has a hard time finding the right path for her life. Betty wants to not only spare the young teen from making the same mistakes, but also seems to hope it will make up for her own spotty past. And she's willing to go into a truly scary area of town to do it.

Peggy (Elisabeth Moss) has less to do in the season premiere, but we do get to see how she has adjusted to her life away from SCDP and Don's shadow. She is flourishing, her genius shining through, though she is still struggling with managing others, as she doesn't see herself in a position of power, and doesn't have full confidence in herself. She looks and acts like a grown up, and it's pretty clear that, while she does still have a few professional skills to hone, she is well on her way to being a strong, independent woman, the breadwinner for her household, the kind of woman that little girls look up to. It's nice to see someone doing well!

In the office of SCDP, many changes have happened. The layout is totally different, and while "The Doorway" doesn't show us much of the upstairs, it does seem that all the young guys are up there, leaving Don and Roger down in the old section, which makes obvious a distinction. Has the firm somewhat split into two pieces? Are the new guys becoming more relevant than the old, or at least staking their claim as an equally important element? The separation is tangible.

We are also introduced to a new employee (James Wolk, Political Animals), who kisses the butts of the partners enthusiastically, earning him the resentment of Ken (Aaron Staton). Is the newbie earnest, or manipulative? Are his motives pure, or selfish? Should we admire his drive, or does he only have his charm, lacking the talent to back it up? I admit, I am immediately intrigued by him, much more so than the smattering of other fresh faces we see around the building.

Overall, it's hard to say that I truly enjoyed "The Doorway," since it is quite depressing, but I did very much appreciate it. I am interested in the direction the characters are going, and intrigued by the slow and steady departure away from who they were.

Mad Men airs Sundays at 9 p.m. ET on AMC.

Childrens Hospital The Complete Third Season checks in to DVD

Cartoon Network's Adult Swim isn't just for animated shows anymore. One of their best live action shows is Childrens Hospital. Originally a webseries doctored to deliver episodes running around 10 minutes each, The Complete Third Season, includes 14 installments from the first season created just for television.

Childrens Hospital is a unique, odd comedy. Although all the doctors and patients are white and speak English without an accent, the setting is Brazil. The story revolves around a staff of health care professionals who heal sick people and sleep with each other. But despite being as good looking as the more serious shows of the same description, these performers double as comedians. One doctor only heals through the power of laughter. Another is the owner of the facility in disguise.

Sometimes episodes build upon previous installments, and sometimes they are stand alone artistic pieces. The only constant in the Childrens Hospital universe is that viewers never know what to expect when tuning in, and no matter what it is, it will be funny.

The show's strength comes from its extremely strong ensemble. From creator Rob Corddry (The Daily Show), to Henry Winkler (Happy Days, Royal Pains), to Megan Mullally (Will & Grace), to Malin Akerman (Watchmen), each star has serious acting chops and plenty of screen experience. Also in the cast are Lake Bell (How to Make It in America), Erinn Hayes (Worst Week), Rob Huebel (Human Giant), and Ken Marino (Party Down). These people know what they're doing, and how to really sell their parts, rolling with whatever twists each new script throws at them.


Of course, when the playground looks as fun as Childrens Hospital, everyone else wants in on the action. Which means that the show has an unusually high number of familiar faces popping in for recurring roles and guest spots. Among those featured on this DVD are Jon Hamm (Mad Men), Tom Lennon (Reno 911!), Nick Offerman (Parks & Recreation), Sarah Silverman (The Sarah Silverman Program), Kate Walsh (Private Practice), Paul Scheer (The League), Jordan Peele (Key & Peele), as well as many other veterans of Ken Marino's previous shows, The State and Party Down. Plus, Michael Cera (Juno, Superbad) gives voice to the hospital PA.

Honestly, the list above of people involved in Childrens Hospital is far from comprehensive. That alone should tell you what kind of quality you're getting. But if famously talented people aren't enough to entice, the show has great, sharp writing covered, too. Medical cases range from a boy stuck in a box of quicksand, whom only Lola (Hayes), who is not at the hospital, can save, to Blake (Corddry) needing to transplant an executed killer's heart into a boy before he turns 18 at midnight.

Watching the characters be doctors is cool, but it's the special episodes that really kick Childrens Hospital up a notch. Season three has several that qualify. "The 70's Episode" is a "lost" episode from the 1970's, still featuring the same cast "way back when." "Childrens Hospital: A Play in Three Acts" is a piece in the style of Thornton Wilder. "Party Down" has the cast of canceled series Party Down catering a bar mitzvah. And "Newsreaders" is a "what if?" that gives almost all of the characters their own spin-offs.


I understand that a lot of this review sounds like gushing. There is a good reason for that. This show deserves great things said about it and a much bigger audience than it currently has. However, it's also hard to break down in detail what makes it so good because each episode is so different, and the writers seem to reinvent the characters constantly. It's an ever-shifting universe that defies pinning down. However, the overall tone and extremely high quality serve the show well.

As awesome as the episodes are, the special features on this single disc DVD set are lacking. The special features include more than 30 minutes of deleted scenes, bloopers, and gags, but they are very oddly organized. And without the context of the episode they belong in, they just aren't as funny. The extras also include six minisode promos in which Dr. Owen Maestro (Huebel) shrinks and goes inside of a body to teach kids about medicine, but these, too, lack much of the show's magic, likely because only one actor from the series appears.

Overall, this DVD set is definitely worth the buy, despite the lack of satisfying extras. Whether you're a loyal fan or a newbie, this is a great batch of episodes to purchase and watch over and over again. It is clever, creative, and fresh in a way few comedies ever achieve. Childrens Hospital The Complete Third Season is available now.

If you like my reviews, please follow me on Twitter! Please click here to buy the first two seasons of Childrens' Hospital on DVD.  Check out my new website, JeromeWetzel.com! Article first published as DVD Review: Childrens Hospital The Complete Third Season on Blogcritics.

Mad Men continues evolution as another year comes to an end

AMC's Mad Men characters have undergone quite a bit of change throughout the fifth season. Society around them continues to evolve at a rapid pace, and as one era ends, another moves forward. This can be unsettling to many, as the series embraces this new world order, as well as the differing reactions the characters have to it, with realism and skill. "The Phantom," this week's season finale, is a superb example of this, enhanced by the artistic, beautiful image of the five partners in their new, empty office space.

Lane's (Jared Harris) suicide still haunts, but the firm moves on without him. He helped them get the ball rolling, but is not necessary for the future of the company. The things he tries to promote, not always successfully, such as financial stability and caution, fall to the wayside as the other partners think about expanding their offices. And why not? They've made a lot of money, and things are looking up. Plus, Lane's insurance policy provides an influx of cash.

How long will this last? Only Joan (Christina Hendricks) voices any concern, but this quickly falls to the wayside. Everything is fleeting, and they've all lived through the volatility of their industry. They would do well to remember those lessons, and the hardships of the lean times, as they move forward.

Sterling Cooper Draper Pryce is not remotely the same company it is when season five begins. A lot happens. They are now integrated. They have a female partner. Said partner, Joan, sells her morality and her body to satisfy her ambition and to prove her loyalty. Roger (John Slatterly) tries to find inner peace, and does briefly, before collapses in on himself again. Bert (Robert Morse) shows signs of his aging, and the loss of his firmly held beliefs. Don (Jon Hamm) deals with the absence of his drive and talent. Employees come and go. Old friends are looked in on. And the business grows, but at what cost?

Does Don feel guilty for his role in Lane's passing? After all, it is not long after Don confronts and fires Lane for his embezzlement that Lane ends his life. There is definitely a connection, and Don realizes this. However, not being pulled down too much by grief and regret is not something for Don to be ashamed of. After all, Don is kinder than he has to be to Lane, and he does not expose Lane's wrongdoing to the other partners. Whatever Lane's wife (Embeth Davidtz) may say, Don shouldn't take the blame personally, and I don't think that he does.

Instead, Don has his toothache to worry about. Yes, the physical ailment is real, and may even be the reason that Don hallucinates his departed brother (Jay Paulson). But the underlying cause of the uneasy feelings stem from the rocky place his marriage with Megan (Jessica Paré) currently is in. Megan wants to be an actress, but Don is afraid that Megan's professional life may drive a wedge between them, taking her far away. These feelings are not without merit, but that doesn't mean that Don should hold her back. He realizes this, and is willing to let her go so that she can follow her dreams.

Will Megan keep returning to Don's arms as she promises, now that she is building a life apart from him? The question as to whether the character will return next season remains unanswered, and it seems like Don is contemplating life without her as "The Phantom" comes to an end. It could honestly go either way, as Mad Men has proven unpredictable. What is certain is that Megan isn't content to be a housewife, and Don truly loves her enough to want what is best for her, irregardless of the cost to himself. That alone shows major positive development for him. He may lose her, but he has a better self to compensate.

It is Peggy (Elisabeth Moss) that helps Don make this decision in "The Phantom." Peggy has long been Don's protege, and he does not take the news of her striking out on her own very well. But encountering her in a movie theater, things are good between them. Don is proud of the successful woman that she has become, and she is grateful for his help, though determined to now spread her wings outside of his influence, a logical next step.

If Peggy returns to the firm, and hopefully she will, the dynamic will be drastically different. They may even have to make her a partner to entice her back into the fold. It's also possible that Peggy will return defeated, though that is less likely, and not a happy possibility.

Though Don is probably thinking more about Megan than Peggy during their conversation, as the parallels between the two stories are obvious and intelligent. Don may say things that Peggy takes as applying to her, but his main concern is Megan.

Interestingly, Pete (Vincent Kartheiser) begins Mad Men wanting to be just like Don, the big man on campus. By season five, Peter has gotten his wish. He lives with a beautiful wife (Alison Brie) he doesn't really love in the suburbs, and fools around with an unavailable woman (Alexis Bledel, Gilmore Girls). This is exactly Don's past, golden on the outside, rotten within. Pete is dissatisfied and frustrated, not sure what will fill the hole that he feels. A great lesson can come from the old adage, "Be careful what you wish for." Don found an escape from the prison; will Pete?

There will be much speculation about season six, but the truth is, there aren't a lot of clues as to the direction that Mad Men is heading in "The Phantom." It has always been a show full of twists, which usually seem natural when they occur, but are hard to see coming. Rather than characters always forcing change because of their actions, many of the stories are driven by outside events, and explore how the characters deal with these growing pains. With only two seasons left, there is not yet a sign of any slow down, and it should remain a fantastic ride through the end!

Mad Men will return to AMC next year.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as Mad Men continues evolution as another year comes to an end on TheTVKing.