TRANSPARENT Show Something New

Article first published as TRANSPARENT Show Something New on TheTVKing.

Recently, Amazon released several new pilots, and I've been working my way through the dramas and comedies, reviewing as I go. The fourth of the five on my list, Transparent, is the first one this year I've found something good to say about. It's a dramedy, leaning more towards the heavy side, about a father with a secret and his three grown children. How will they cope when they learn the news he's trying to work up the courage to deliver?

The patriarch of the family is Mort (Jeffrey Tambor, Arrested Development), a caring individual who doesn't understand how he could raise three such selfish kids. He finds it hard to open up because they don't seem to care, more concerned with who gets what when he starts giving out things. It's hard to imagine how the trio grew the way they are under Mort, unless Mort has changed significantly in ways the viewer has not been made privy to, or just didn't enforce discipline.

The problems the children face could stem more from their mother (Judith Light, Who's the Boss?). We don't see a lot of her in this pilot, despite being one of the five names on the 'Starring' card, but what we do see isn't all that likeable a woman, scolding her daughter and sort of steamrolling her current beau, even as she tries to make it seem the opposite.

At the center of the show are Mort's kids. Josh (Jay Duplass, The Mindy Project) is a music producer who sleeps with the various artists he manages, a horn dog who acts soulful. Ali (Gaby Hoffman, Girls) has no house and no steady job, and has decided to get her body into shape in the hopes that it will help her overall situation. Sarah (Amy Landecker, Dan in Real Life) has a nice home, husband (Rob Huebel, Childrens Hospital), and kids in the suburb, but is tempted to betray them when she runs into former girlfriend Tammy (Gillian Vigman, Suburgatory).

I'm not sure exactly where the story would go if ordered to series, but since the main cast comprises only the five main family members, no spouses or friends or anything, one assumes it will be a character study of the particular clan. They all have their secrets and flaws, and so much time could be spent exploring those, perhaps growing them into better people, but only after much trial and suffering. More than likely, they won't change much, but that works, too, seeing authentic reaction to real issues.

The tone is definitely HBO-esque, and not just because of nudity (which there is plenty of) or the cursing. It's got an indie-vibe, including in the music selection, not fitting into a typical structure or formula, meandering, in a good way, through seemingly only loosely connected threads. It's pretty dark, with few laughs to be found, but evokes plenty of feelings from the viewer.

Tambor, as usual, is excellent, bringing a quiet dignity to the role, and evoking sympathy in his plight. He is surrounded by other excellent performers who are much less sympathetic characters, so the burden of likability will be on his capable shoulders. While Tambor has shown range in the past, never being one-note, I did feel like I saw something new yet again from him in the episode, exposing some raw vulnerability, and it made me want to watch more.

With only one more pilot to go, Transparent is the only new Amazon premiere I've been able to solidly recommend so far this year. Check it out, available streaming on their website now.

Dallas Honors "Legacies"

The second season of TNT's Dallas draws to a close this week with two fresh hours, "Guilt By Association" and "Legacies." We finally find out what J.R.'s (Larry Hagman) master plan is, and, when the Ewings unite, Cliff (Ken Kercheval) and Harris (Mitch Pileggi) are taken down for good. Or are they?

  

For a show like Dallas, the rules must constantly change, new secrets are continuously revealed, and the players that lose one battle will return for another stage in the war. Cliff and Harris are heavily involved with the Ewing family, and thus will probably get the chance to fight another day. If Dallas is renewed, which it has not been yet.

What J.R.'s murder comes down to is that no one could ever take down J.R. except J.R. himself. It's a brilliant twist. Many might believe Cliff is responsible right up until the moment Cliff is arrested, after which it quickly becomes obvious that he is not. Cliff is the only acceptable character who could commit the act, given his long history with J.R., but there is something deeply satisfying in J.R. being the one to sacrifice himself.

For one thing, this means that no one can best J.R. Part of the draw of Dallas is that J.R. must always continue. People can come after him again and again, and yet he always survives and gets his revenge. For anyone, even Cliff, to succeed in killing him would tarnish his "Legacies" just a bit, so it's good that J.R. is the instrument of his own destruction. The character, by necessity is gone, but that doesn't mean his influence is.

For another thing, J.R. orchestrating his own death is an act of love. It's also an act of vengeance, of course, getting even with Cliff for all that Cliff has done to the family. But it proves that J.R. cares about Bobby (Patrick Duffy) and John Ross (Josh Henderson) in that he uses his final days to help them. It's a true testament that there is a heart deep within J.R., which is how the character's death has been dealt with. We feel this in the scene by the graveside, where J.R.'s letter is read, and John Ross forgives Bum (Kevin Page) for pulling the trigger, at J.R.'s insistence. It's the best moment in the finale.

Not that the victory against Cliff is final. The Ewings have their reasons to let Cliff take the fall for something he didn't do, and his own daughter, Pamela (Julie Gonzalo), also hates him for killing her babies, so even should she learn the truth, she probably won't work to clear Cliff's name. These people are content to let Cliff rot.

However, Cliff reaches out to Elena (Jordana Brewster) after Christopher (Jesse Metcalfe) abandons her. In Elena's grief, she is susceptible to Cliff's influence, believing that J.R. screwed her family. Whether J.R. is guilty or not is immaterial; Since Elena thinks that Christopher discarded her, even though he returns too late to confess his love, she may be willing to wage war against the Ewings. What she doesn't realize, or doesn't care about at this time, is that she will be Cliff's pawn in doing so.

Cliff, like J.R., is a very dangerous enemy. He doesn't mind betraying those he loves to get his way. For him, winning is a singular focus. It's why, should Dallas go on, he will rise again and have another crack at the Ewings. He simply has to.

Harris's fate is less certain. Emma (Emma Bell) has reason to hate her father, and reason to betray him. Harris isn't shown in "Guilt By Association" or "Legacies" to have anyone pulling for his side now. He has even run off his own mother (Judith Light). Alone and abandoned in jail, this could be the end of Harris's story. At least until Dallas needs an old foe to dust off in a couple of years, and then he is fair game.

The villain for now, though, is John Ross. When John Ross's mother, Sue Ellen (Linda Gray), asks him to treat new wife Pamela right, he smirks, and promptly runs off to sleep with Emma. John Ross doesn't care about Pamela or Emma; he is using both to get what they want. But since they are both women with money and influence, he could wind up regretting his actions when they learn the truth, as they inevitably will, and take it out on the Ewing clan.

Could John Ross be a worthy successor to J.R.? Is there reason for Dallas to continue past "Legacies?" I think so on the second question, am less confident on the first. Henderson plays a great character in his own right, but no one will ever replace J.R. Dallas can still continue, forging a new path. As long as John Ross doesn't try to morph into his departed father completely. But there are still stories to tell involving Pamela and Emma in regards to John Ross, and I still am not sure that the elder Pamela Barnes is dead, which could make for another season of intrigue.

Dallas has aired all of its produced episodes, and now awaits news of renewal from TNT.

Dallas draws its "Battle Lines"

Article first published as Dallas draws its "Battle Lines" on TheTVKing

TNT's Dallas is back this week with two new hours, "Battle Lines" and "Venomous Creatures." The installments continue the story begun last summer, with the new Ewing Energies launched, family members battle for the direction of the company, and some more secrets brought out into the open.

A pallor hangs over this season because most people know that Larry Hagman, who plays J.R., died mid-way through filming, meaning that his character won't be around much longer. J.R. really drives this program, and while lots of sentimental words have been said in the press recently, it is completely true that the show will be lacking something when he goes. Even while he stays on the fringes of the conflict, egging things on, he's still a driving factor, and no one else in the cast matches his energy and drawing power.

I think an attempt is being made to make John Ross (Josh Henderson) a fitting successor for J.R. Sadly, it's not completely working, at least not yet. Part of this is because there is already a swing towards him being a good guy in the summer run. And, in front of others, he is maintaining that nice persona. Yet, he's also being slimy, sneaking around behind backs to go around his relations. Yes, J.R. does the same thing, but without the history of J.R.'s treachery, John Ross's play for good still seems like it might be authentic. It's a shame that it's not, even if the series needs a villain.

Not that J.R. and John Ross are all bad. When Sue Ellen (Linda Gray) needs them, they go to her side in one of the best scenes in the rebooted series thus far. No one had better mess with their family without their permission.

The struggle for whether Ewing Energies should stay in oil or move to clean energy remains a linchpin of the series, and likely will for some time. It's a debate we have in society at large, too, so it's one that viewers will relate to.

I do find it interesting that the bad guys represent the oil side of things in Dallas. I don't think one can say the series promotes a liberal agenda (even should clean energy be politicized as "liberal," which I firmly feel it should not be), but there is definitely an old world vs. new world sensibility, and the heroes in this show are for progress, not maintaining outdated values. To be honest, given where Dallas is set, I would have expected the opposite.

I do think Ewing Energies is vulnerable to a take over by John Ross because Christopher (Jesse Metcalfe) is distracted by his impending divorce proceedings with "Rebecca" (Julie Gonzalo). He is so focused on getting his unborn kids away from her that his methane projects are taking a back seat. And yet, he's not focused enough to realize that John Ross is making agreements with Rebecca, who looks to be setting Christopher up for a big fall, even though Christopher is highly suspicious of both her and John Ross separately. Surely Christopher will catch on soon, no?

Of course, even should the unthinkable happen and Rebecca gets all of Christopher's share of Ewing Energies in the divorce, her and John Ross's combined stock would only make up 50%. As long as Elena (Jordana Brewster) and Bobby (Patrick Duffy) keep their portions of the company secure, then John Ross cannot take it over.

Elena is totally invested in Ewing Energies, so I don't think she'll have any problems, but Bobby has a weakness that can be exploited. His wife, Ann (Brenda Strong), learns that her ex-husband, Harris (Mitch Pileggi, now a series regular), is the one behind the kidnapping of their daughter so long ago. Now Ann has now found her daughter, Emma (Emma Bell, also a series regular), used as a cruel pawn by Harrison, but Emma has been taught to hate Ann by the grandmother that raised her (Judith Light, Ugly Betty, Who's the Boss?).

Now, the reason this matters to Bobby is because he is a good and loving husband. Ann hasn't done anything wrong, as far as we know thus far. So should John Ross talk to Harris, they could easily use the Emma card to leverage Ann and, by extension, Bobby.

Emma is an interesting plot development, to be sure, but something has to stop her from being held over Ann's head for too much longer. She has already cost Sue Ellen her election, a sad development that I was disappointed not to see play out further, since Sue Ellen gets so little story as it is. But Emma cannot continue to be used as a weapon against the family all season. That would cripple them. It looks like Ann may just have to overcome her grief, at least until Emma finds out the truth about her father and grandmother.

Dallas returns true to form, continuing the soapy drama and mystery, moving the arcs along, with really solving anything. That's the way the fans like it, and so viewers should not be disappointed. At least until J.R. is gone, Dallas continues to deliver.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! 

Betty comes to an end, sans the Ugly

    Last night marked the series finale of a fantastic four year story.  ABC's Ugly Betty, after scoring high enough ratings to move off of Friday nights, was abruptly and unfortunately canceled shortly thereafter.  What makes the cancellation seem criminal was that Betty's current season was shortened by two hours, giving the show's team even less time to tie everything up.  They managed to, but only by rushing and packing plot thickly into the last few hours.

     True to Betty style, everyone got a happy ending in "Hello Goodbye".  Amanda (Becki Newton), in the course of a mere three episodes, got to know a man she realized was her father, and he was glad to be in her life.  Marc (Michael Urie) didn't officially get a promotion, but it seems like he'll be a major creative drive for Mode magazine from now on.  Speaking of Mode, Wilhelmina Slater (Vanessa Williams), the show's resident villainess, not only turned over a new leaf, but got her heart's desire in both her career and her personal life.  Hilda (Ana Ortiz) was married to a man who treated her right and bought her a home in Manhattan, much to her son Justin's (Mark Indelicato) delight.  Justin found acceptance of himself.  And even Ignacio (Tony Plana) being left alone seemed happy about it, glad to see his daughters do something with their lives.

     Of course, the title character daughter, Betty (America Ferrera, who turns 26 on Sunday, what a crappy birthday present!) got her dream job and moved across the Atlantic to London.  And new more stylish glasses, to match her better wardrobe and braces-less smile, as she has slowly been transformed away from ugly duckling by the time they filmed her swan song.  Though she revisited a couple of the men who stirred her heart over the years, in the end she was left single.  Sort of.  Although it had to be quick, Daniel (Eric Mabius), her boss of the last four years, came to realize his feelings for her, quit his job, and moved to London, too.  He didn't try to stop her from fulfilling her potential, the sole man who only ever wanted her to bloom.  It was perfect, and thankfully the writers didn't rush that, merely teasing at the beginning of the relationship without getting into it yet.

     Sadly, there were some glaring loose ends that just couldn't be tied up.  Most involved the Meade family.  Alexis's (Rebecca Romijn) absence was glaring, nor did Claire (Judith Light) have time to figure out her new family situation to my satisfaction.  I hesitate to hope for a feature film, chances seeming slim, but surely there could easily be happenstance enough to get the entire cast over to Britain and do a fitting follow up?

     As the picture faded out, the title appeared on the screen, and then the Ugly faded away, leaving only Betty.  That would be the name of the dream movie in my mind.  Given the constraints, it was the best finale fans could have hoped to have seen.  The sadness comes with the knowledge of such unfulfilled potential.  The show, not Betty herself.  She got hers.