THE GOOD WIFE Goes "Dark"

Article first published as THE GOOD WIFE Review Season 6 Episode 13 Dark Money on Seat42F.

CBS’s THE GOOD WIFE returned from hiatus this week with “Dark Money.” Alicia (Julianna Margulies) faces the bad side of her campaign as she and Prady (David Hyde Pierce) compete for a big money donor. Meanwhile, Lemond Bishop (Mike Colter) cashes in his favor with Kalinda (Archie Panjabi), and Diane (Christine Baranski) and Cary (Matt Czuchry) defend Colin Sweeney (Dylan Baker) in a defamation lawsuit. Nothing huge happens in the mythology of the show, but it is another excellent installment.

Any episode with Colin Sweeney in it is most welcome, and when Baker gets to play dual roles, also portraying an actor hired to play a version of him in a TV show, well, that’s just icing on the cake. He is a supreme creep, the type of person one never wants to meet in real life, but the same eccentricities that make him a scary psychopath also help paint him as a fascinating television character.

This go ‘round, things start off with a prosecutor, Selma Krause (Julie White), trying to prove a show didn’t use Sweeney’s likeness, then morphs into yet another case of someone trying to show Sweeney killed his wife. With Sweeney’s current spouse, Renata (Laura Benanti), a woman as unpredictable and self-absorbed as her husband, tossed in as a wild card, there are many interesting back and forths as the case shakes out, each side taking a turn in the lead.

I don’t know if The Good Wife will ever see Sweeney convicted, but “Dark Money” is as close as the show has ever gone to saying he did it. Part of me wants Sweeney to get his just desserts, but part of me is glad he gets away with things because it’s our heroes who represent him.

Alicia has been getting in touch with her dark side, too, even as she tries to stay out of Sweeney’s business, a position he isn’t happy about. Instead, she meets with a Koch-brother-type, Guy Redmayne (Edward Asner), who wants to support her because he thinks Prady is gay and he doesn’t like “faggots.” In his own way, Redmayne is just as despicable as Sweeney, even if Redmayne has never killed anyone. Because Alicia has to deal with him, she is torn up inside, realizing the high cost she’s paying by going into politics.

I think Alicia will be able to live with herself, though. It’s true that she doesn’t like doing what she’s doing and she has a good cry afterwards, especially after Prady makes her sympathize with him again. However, this is all for a reason, and Alicia wants to win. Having come this far and knowing everyone else is just as deep in the mud, she feels this is the game she has signed on to play. Similar to being a lawyer, entering politics is impossible to do over any period of time with a clean soul.

Can she still be a good person, though, if she does bad things? Her daughter, Grace (Makenzie Vega), seems to think so, and I’m inclined to agree. People can’t be judged by every single action they take; they have to be considered as a whole person. Overall, Alicia does far more good than bad in this world.

The final of the trio of stories finds Kalinda tasked with playing chauffer to Bishop’s son, Dylan (Eric Ruffin). Bishop has his reasons for enlisting Kalinda and those play out, but that’s not nearly as interesting as the accidental circumstance Kalinda finds herself in when she sees a bully being mean to Dylan. Kalinda handles it, but Bishop finds out anyway.

Bishop is a scary dude, which is why Dylan doesn’t want Kalinda to tell his dad what happened. When faced with the situation, though, Bishop calmly calls the bully’s father and asks him to talk to his son. There are no threats, veiled or otherwise, and no physical punishment is dealt out. It’s frustrating to Bishop not to use every tool in his arsenal to protect his loved one, but he knows it’s better for his son if he shows restraint. He is many things, including a good father.

This doesn’t make Bishop a likeable character by any means. Like Redmayne and Sweeney, he isn’t someone you’d want to be friends with. Also like them, he’s rich. I think there’s a commentary to be noticed here about the trio of villains in “Dark Money” and how they tie into the stories of our main characters, who are not bad people.

“Dark Money” leaves the viewer with much to ponder, and in between serious moments, Marissa (Sarah Steele) drops in to lighten the mood. Plus, there’s a terrific West Wing reference. This is a recipe for a great television show, and I’m constantly amazed at how THE GOOD WIFE thrives on a boring network like CBS. Thankfully, the channel seems to let them do their thing their way.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

NURSE JACKIE Starting to "Sink"

Article first published as NURSE JACKIE Review on Seat42F.

Showtime’s NURSE JACKIE begins its sixth outing this weekend with “Sink or Swim.” Jackie (Edie Falco), I’m sorry to say, is back to her old drug habits again. Unfortunately, whether she’s out of practice of covering for herself, or perhaps she’s just using stronger stuff, she’s not nearly as good at hiding her high as she used to be. This means Jackie is not heading in the right direction.

When NURSE JACKIE began, Jackie handled her drugs. We knew being an addict was bad, but because Jackie never seemed to let it screw up her life, viewers could overlook Jackie’s misbehavior. Eventually, though, it did start getting in the way of her work and her family, and that’s when it had to stop.

Now that Jackie has kicked the habit, it’s easy to root for her beating the addiction, and hard to see her succumbing to her old ways. There are negative consequences right out of the gate for Jackie’s slip. This is a destructive habit, and if Jackie can’t get her act together, she’ll lose everything she’s still working hard at putting the pieces back together for.

Jackie does have a new ally in “Sink or Swim.” She meets a woman named Antoinette (Julie White, Go On, Alpha House), a Southern spitfire who wants to be Jackie’s sponsor. Antoinette is opinionated and pushy, but maybe Jackie needs someone like this. I think once Antoinette becomes aware of Jackie’s relapse, and she seems sharp enough to notice strange behavior, she might be someone who can actually get through to Jackie and push her onto the correct path, whether Jackie wants to get clean or not.

I also have hope that Antoinette can be Jackie’s new bestie. With O’Hara (Eve Best) officially gone from the cast, Jackie is in need of a friend. Zoey (Merritt Wever) would love to be that person, but Jackie always keeps Zoey at arm’s length. Antoinette seems like someone who could break through Jackie’s defenses. Plus, I love White already. I look forward to seeing their relationship develop.

Of course, Jackie is far from the only imperfect one in NURSE JACKIE. Her daughter, Grace (Ruby Jerins), is following in her mother’s substance-abusing footsteps. Cooper (Peter Facinelli), plagued by feelings that he hasn’t accomplished what he wants to by age 40, is tempted to reunite with Roman (Betty Glipin), a woman who is nothing but trouble. Despite the hospital’s disapproval of employee relationships, Zoey and Prentiss (Morris Chestnut) aren’t staying away from one another, either. Eddie (Paul Schulze) is sleeping with some age-inappropriate women.

Jackie could possibly right some of these wrongs if she wasn’t so distracted. Coop tries to talk to her, but Jackie blows him off. And Zoey is practically begging Jackie to ask about Prentiss, but of course Jackie resists, never one to get involved in other’s business if she doesn’t have to.

The dynamic of this cast is a great one, and that’s despite the fact that they aren’t all in one another’s person lives too much. The workplace chemistry is nearly perfect, the varying personalities all interplaying in interesting ways, still managing to seem fresh six seasons in. Though part of that could be the revolving cast, it’s still impressive that NURSE JACKIE avoids any weak links, year after year.

“Sink or Swim” does a fine job of not only catching us up with all of these players, but also setting up the next arcs for them. It’s a transitional episode, to be sure, both adding new elements to the story and picking up the threads where they left off. It is an enjoyable entry, and succeeds in getting viewers primed for another go-round with Showtime’s best half-hour series.

NURSE JACKIE airs Sundays at 9 p.m. ET on Showtime.

Amazon "In The" (ALPHA) HOUSE

Article first published as Amazon "In The" (ALPHA) HOUSE on TheTVKing.

Amazon's first original series, Alpha House, brought its freshman run to a close this past week with "In the Saddle." For a company initially known as an online book and media store, this is a triumphant moment, an accomplishment of original programming. After viewing all eleven episodes, it seems to me that Alpha House would have comfortably fit on Showtime or the like, proving Amazon can produce quality content.

Created by Doonesbury comic strip scribe Garry Trudeau, the show follows four Republican senators who share a house when they're in Washington D.C. These guys battle Tea Party upstarts, scandals, and re-election campaigns as they try to hold onto their positions and who they are.

Although Doonesbury can be seen to have a liberal bend, Alpha House does a good job at humanizing the Republican side of the aisle. Sure, some of the characters aren't that likeable, but that's true for both political parties that are displayed, and each of those featured in the show are seldom defined by only one thing, the good mixed with the bad. Perhaps the person may be selfish or a phoney, but they may also be someone who has values, even if they've forgotten them, or someone who can be counted on as a friend.

Gil John Biggs (John Goodman) represents everything a GOP leader should be in "In the House" and the episodes leading up to it. He laments the loss of bi-partisan cooperation, and to make up for it, instigates an enjoyable lunch with an opponent, Carly Armiston (Cynthia Nixon). Then he plans for a funeral for a colleague he can't stand, doing his best to stage a touching tribute, which turns out to be not be very easy.

If only our actual representatives were more like Gil John. He has his faults, but at the end of the day, he does want to help people, and feels best when making a difference. He is willing to play nicely with others and compromise. He hangs onto lost morality, such as supporting communities and infrastructure. And he stands up to those who would besmirch the party he's proud to be a part of. If there were a Republican presidential candidate like Gil John, the GOP would quickly gain back some of the lost youth vote.

Of course, actual lawmakers from both parties made cameos at the funeral scene, so that's showing that they can work together for a TV show, if nothing else.

But reality is much more ridiculous, and that still bleeds through to Alpha House. For instance, Senator Robert Bettencourt (Clark Johnson) is attending a debate on the road to re-election. All of his primary challengers are insane, with stereotypes poking fun at Herman Cain and others. Bettencourt just sits back and lets them talk, knowing his best chance at winning is to give the public the chance to see just how crazy the others are.

The sad thing is, this doesn't always work. We've got real-life examples of those with extreme beliefs stealing away positions after rough primaries. If Bettencourt's strategy were full-proof, we'd be in good shape, but it's not. I think he's unlikely to lose because he's one of the four main characters, but that's the only reason for his job security.

There's plenty of hypocrisy evident on the political stage today, and Alpha House tackles this with the part of Senator Louis Laffer (Matt Malloy). Obviously gay, but sticking to his religious beliefs, Laffer has a doting wife, Louise (Amy Sedaris), and a daughter, Lola (Willa Fitzgerald), who is a bit sex-obsessed after growing up in the nearly sex-less household. However, even as Laffer rallies against gay rights, it's hard to fully hate him because one feels bad for the situation he's in, not able to be true to himself.

The least likeable person on the show is Senator Andy Guzman (Mark Consuelos), who, funnily enough, is extremely true to himself. Meaning, he's really only in the profession to increase his own standing, willing to say whatever it will take to keep the spotlight and the love of the people. I'd like to see Guzman get his comeuppance, and it's likely he will in at least some small way should a season two be ordered.

Alpha House is populated with many more character - senators, wives, and their staffs. All of the screentime is split between a multitude of people, making for a very full story and a larger-scope view of the setting. The cast includes wonderful turns by Julie White, Wanda Sykes, Haley Joel Osment (yes, that Haley Joel Osment), Yara Martinez, Alicia Sable, Kobi Libii, Brooke Bloom, Ben Rameaka, and others. It's a very complete show that could easily fill many years of story if given the chance.

Most importantly, it's funny. If the funeral got a little too depressing for you, and it shouldn't after Armiston and Guzman's eulogies, "In the House" brings Bill Murray back from another bit at the end, his senator sitting behind bars. The final episode opens with a death, but one that will make you laugh. There's a cute scene of Gil John rolling on the floor with a dog, and an amusing one where he hides his laughter to make it seem like crying. This show is made by someone who loves politics, wants to fix it, knows how to poke fun at it, and just plain understands people. It's very well made, and I greatly look forward to further installments.

All eleven episodes of Alpha House's freshman run are currently available on Amazon.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Go On over to fall's best new sitcom

Episode Grade: 95%

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

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

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

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

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

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

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

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

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

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

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

Article first posted on TheTVKing

"Dinner Takes All" for Go On

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

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

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

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

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

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

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

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

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

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

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

Go on, Go On

Grade: 88%

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

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

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

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

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

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

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

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