"Thirst" for ORANGE IS THE NEW BLACK Quenched

Article first published as ORANGE IS THE NEW BLACK Review Season 2 on Seat42F.

Note: This review is for the season two premiere, “Thirsty Bird,” and does contain spoilers from that hour. It does not contain spoilers from any episodes after the season two premiere.

Netflix’s ORANGE IS THE NEW BLACK has returned with a second batch of episodes, beginning today, streaming for their subscribers. It is the story of a woman named Piper Chapman (Taylor Schilling), who is serving fifteen months in prison for her role in a drug ring, which she got involved with through her girlfriend at the time, Alex Vause (Laure Prepon). Piper’s life has drastically altered and she has to learn to her adapt to her new world while, possibly for the first time, recognizing the humanity in others.

As season two begins in “Thirsty Bird,” Piper has been in solitary for beating would-be assassin Pennsatucky (Taryn Manning) severely. In the middle of the night, Piper is ripped from her cell, taken by bus and plane to a much higher security facility in Chicago without explanation. Panicking, Piper now has to adjust to an even tougher world with more dangerous inmates.

This is a very well-crafted hour. I feel Piper’s frustration and terror at not knowing what is happening and being unable to get answers. As a prisoner, she has few rights, and information about where she is being taken and why is not among them. Those working for the system have no obligation to be forthcoming because she is low on the totem pole, but it would still be extremely unsettling to be the one so out of control of oneself. Much of ORANGE IS THE NEW BLACK is about life as an inmate, and “Thirsty Bird” hammers that helplessness home more than most installments.

Unfortunately, it cannot salvage the character of Piper, a drama-addicted narcissist who is wishy washy with her moral compass and often does and says the wrong thing. A flashback to her childhood, showing when Piper catches her father, Bill (Bill Hoag), cheating, and her mother, Carol’s (Deborah Rush), bad reaction to the news does inform on why Piper is the way she is, but it doesn’t make her sympathetic. Her forgoing the chance to pee in her search for answers, then paying for that decision later, illustrates how ridiculous she is in her self-righteousness. We, like her potential father-in-law / lawyer, Howard Bloom (Todd Susman), grow frustrated that she can’t pull herself together, but are done rooting for her.

One wonders if there is a happy way out for Piper. Her fiancé, Larry (Jason Biggs), seems to be done with her, though he remains a main character, so forgiveness is a possibility. Her sentence is likely to be lengthened both from beating up Pennsatucky and because she lies under oath. She doesn’t have anything to go back to, anyway, though.

For some reason, Alex is more likeable than Piper. Yes, she betrays Piper, twice, but she is consistent. We know who Alex is, and Alex actually shows compassion for others. Even if she does stab Piper in the back by convincing Piper to lie on the stand and then confessing the truth herself, Piper deserves it, so it’s hard to be mad at Alex, someone who has the right crisis of conscience at the right time. Sadly, Prepon has been down-graded to “special guest star” status, so she isn’t likely to be around much, if at all, moving forward. This makes sense because her arc with Piper has run its course, but is regrettable because I hate to lose the character.

What “Thirsty Bird” is lacking, despite being a terrific stand-alone, isolated episode, is the ensemble that makes ORANGE IS THE NEW BLACK so good and gives the show its identity. All of the various women who are locked up with Piper have become memorable and intriguing personalities. From Red (Kate Mulgrew) to Crazy Eyes (Uzo Aduba) to Taystee (Danielle Brooks) to Nicky (Natasha Lyonne), all of whom are now main characters, as well as a slew of recurring parts, each has landed with the audience. I miss them, none of them appearing in this season premiere.

In episode two, I assume things will get back to normal, and I look forward to that. At the same time, I don’t think ORANGE IS THE NEW BLACK makes a mistake by departing here because, as I said, taken on its own, the hour is solid, even if it doesn’t feel like the same show. Plus, it furthers along the story of the protagonist, Piper, and what is going on with her case. Great start, Netflix, and I look forward to what else the show has in store for us this year.

All thirteen episodes of ORANGE IS THE NEW BLACK are available now on Netflix.

Locked Up With ORANGE IS THE NEW BLACK

Article first published as ORANGE IS THE NEW BLACK Review on Seat42F.

Grade: 97%

Netflix’s latest original series, the first season of which is now available, is called ORANGE IS THE NEW BLACK. From Weeds creator Jenji Kohan, the hour-long dramedy (much more drama than comedy, though it has its moments) follows Piper Chapman (Taylor Schilling, Mercy), who made a bad decision ten years ago while in an ill-fitting relationship, and now faces fifteen months in prison.

For those expecting another version of Weeds, a la Nancy Behind Bars, this is not that show. Instead, it’s an (I’m told) realistic look at life behind bars, the various personalities in such a place, and the pressures and stresses of the situation. Chapman is dropped, out of her element, into a motley crew, and must find her place while trying to keep her wits about her.

The story is told non-linearly, with pieces of the puzzle falling into place throughout the hour. We see Chapman’s first twenty-four hours in lockup. We see her previous tryst with Alex Vause (Laura Prepon, That ‘70s Show), and how she gets involved in the drug business, albeit barely. We see how Chapman’s current fiancé, then boyfriend, Larry Bloom (Jason Biggs, American Pie), handles the revelations about Chapman’s past, and vows to stick by her side.

I like that we get all of this out of order. Somehow, it flows, from an emotional stand point, and it’s not confusing if one is paying attention. Obviously, in this situation, Chapman has a lot going through her mind, so it’s understandable that other scenes are replaying for her and for us.

Like Chapman, prison is a place that seems harmless enough to the viewer, until it suddenly isn’t. It’s a foreign land full of strange, unwritten rules. Chapman thinks she is bonding with Red (Kate Mulgrew, Star Trek: Voyager), until an inadvertent comment means Chapman will be going hungry. She gets kindness from others, too, but it’s hard to tell if any of it is genuine, or if she is being set up or used or put in debt.

Chapman has a lot of time ahead of her, and we know she will likely eventually find her place. That, or go mad, but how likely is that for the protagonist of a series? Then again, this is Netflix, not broadcast television, so predictable rules may be thrown out.

Schilling is perfect in this role, the kind of part she proved she deserved on her last ill-fated series. She can handle the ups and downs, making us think she has it together, but being completely sympathetic and authentic when she suddenly shows her vulnerability. She is tough, but scared. She is capable, but out of her element. The actress slays the part.

The cast is stocked with other amazing performers. Among those that stand out in the first episode are Natasha Lyonne (American Pie) as a drugged-out cellmate and Yael Stone (Spirited) as a wise, kind-hearted mentor. We also see Weeds alumni Michael Harney and Pablo Schreiber. But more amazing are the numerous faces that aren’t well-known, yet still convey a power and an allure that promise we will grow to like and respect them. Great care has been made to fill the place with women who look like they belong, and are also wonderful actors, painting a varied landscape.

The story itself is an interesting premise. While ORANGE IS THE NEW BLACK will follow Chapman, obviously, it will also explore a number of other inmates, and in them lies countless other tales to be told. This is a world few venture into by choice, and when the nature of the place is exposed so plainly like this, and with such talent in putting it together, eyes are sure to be opened.

Is prison a cruel place? Undoubtedly. But it may also be the place in which some women find themselves and what they are capable of.

What will be most intriguing is how Chapman can possibly go back to her happy life with Larry after the experience. She is sure to be changed to her core, and readjusting to the civilian world afterwards cannot be easy. She is warned to view this experience as something to build up, and then wipe away. Will she be able to do that? It seems like it would take a special person.

The surprise ending to the first episode leaves the door open for a couple of possibilities. Is what we see real, or is it in Piper’s head, since she has been pushed to the breaking point? Both are intriguing paths, and so the only thing known at this point is that the installment ends well.

All thirteen episodes of season one of ORANGE IS THE NEW BLACK are available on Netflix now.

Warehouse 13 Tries to Save "The Living and the Dead"

Article first published as Warehouse 13 Tries to Save "The Living and the Dead" on TheTVKing.

SyFy's popular series, Warehouse 13, returns from a nearly-seven-month hiatus this week with "The Living and the Dead" to begin the second half of its fourth season. "The Living and the Dead" picks up where the previous episode left off, with a deadly virus swiftly infecting everyone on the planet, and Artie (Saul Rubinek), the releaser of the disease, in a coma.

Because there are two urgent matters, saving the world and saving Artie, who may soon be lost forever, the four agents of the Warehouse split into the two teams. I love that there are two work-couples now, which allows for plots like this one, encapsulating both the large scale and the personal dangers that the agents must face at the same time.

In the Warehouse, Jane Lattimer (Kate Mulgrew) sends Claudia (Allison Scagliotti) and Jinks (Aaron Ashmore, now a series regular) into Artie's mind. It's a tad predictable that the inside of Artie's head looks like the Warehouse, which also saves on set cost. I love that opportunity for recurring cast members, like James MacPherson (Roger Rees) and Vanessa (Lindsay Wagner), to pop up and try to stop Claudia and Jinks. However, the fact that the artifacts still work the same way in Artie's mind as they do in reality pushes the believability, and the fact that Jinks is able to stop permanently whatever part of subconsciousness is fighting them doesn't really add up.

That being said, the scene where Claudia does find Artie, living in denial with the recently deceased-by-his-hand Leena (Genelle Williams), is very moving. We get to see what Artie means to Claudia, and the depths of Artie's shame and frustration. What happens is not really Artie's fault, but he remembers it, so he feels guilty. The sequence is perfectly in keeping with the characters, and it works that Claudia has to force Artie out, a technique she would use before getting too mushy.

Now what will Mrs. Fredericks (CCH Pounder) do with Artie? He doesn't deserve to be punished, so much, but he does need help. She's the wise overseer, so presumably his rehab will be up to her.

I don't think I will miss Leena much. No offense to Williams, but I rarely saw the point of her character. She only occasionally mattered to a plot, and never seemed to contribute anything to the missions. I hope she is replaced, with someone else coming in to run the house, but by a person developed more, or who is, at least, funny.

While the stuff with Artie goes down, Pete (Eddie McClintock) and Myka (Joanne Kelly) search for an artifact that can put the orchid back together, thus staving off the plague threatening to kill many, as Vanessa reports on television. As usual, they run into trouble, bicker a bit, but end up saving the day. It's a predictable formula, but one that seems to work for Warehouse 13, as long as the journey to get to the predictable end stays interesting.

"The Living and the Dead" concocts a somewhat interesting story for Pete and Myka to investigate involving Marie Antoinette, but the more intriguing part of their tale is the two new characters we are introduced to. Seemingly hundreds of years old, and once romantically involved, Professor Sutton (James Marsters, Buffy the Vampire Slayer, Smallville) comes across as the charming and noble scallywag, and Charlotte Dupres (Polly Walker, Caprica, John Carter) is his suffering target. However, the end of the episode hints at something more between them than we currently know.

The apparent death of Sutton isn't much of a fake out. Marsters crafts too-perfect a character in his first hour, and it's clear that he needs to return at least a few more times. Walker is less memorable, until the end, where we glimpse a peek at a larger life than first glances tell. I look forward to seeing more of these two amazing actors, already well known in the genre, and wonder what they will bring to the dynamic of the cast going forward. I will even be so bold as to say Sutton could prove as popular, and hopefully appear as often, as the fan-favorite H.G. Wells, given the excellent first impression that he makes.

At the end of the day, Warehouse 13 returns things back to "normal," for the most part. It's a series that pretends to take big chances, but usually allows the status quo to return. It remains entertaining, though I wish the stakes were a bit higher, and the drama a bit darker.

Warehouse 13 airs Mondays at 10 p.m. ET on SyFy.

Will Netflix Change Television?

 Article first published as Will Netflix Change Television? on Blogcritics.

Netflix has long been thought of as a minor threat to traditional television, and a little bit bigger danger to DVD sales. Launched in 1998, its streaming service is super convenient, available on a wide variety of platforms such as game consoles, smart TVs, blu-ray players, and, my favorite, TiVo. It also offers a disc service where you can get films and shows delivered straight to your door. It may not have new episodes of stuff currently running on television now, but it's far cheaper than cable, and it's content library is large enough to keep fans happy for a long time.

With this model, Netflix makes a dent in the entertainment industry, but it doesn't throw it on its head. After all, many people will still turn to the channels offering fresh content, rather than switching to a subscription service that features last year's episodes.

Especially when said provider almost doubled its prices two years ago while splitting the disc and streaming services, which angered many, and sent lots of users packing. This was a terrible business move, and I admit, I left them for awhile. Honestly, I suspected an end to the company. How wrong I was, as Netflix recently has bounced back, stronger than ever, mostly in its streaming side, making the disc business a holdover for older users.

And now Netflix has expanded its operation to be a content maker, not just a content provider. Last year's first Netflix original series, Lilyhammer, was well regarded, but posted to little fanfare, and was not widely watched. Now, with the launch of House of Cards last weekend, Netflix has put itself on the map as a destination for great new television.

For those who haven't yet tuned in, House of Cards is an exciting political thriller starring the great Kevin Spacey as a manipulative Congressmen who has a beef with the president. The outstanding supporting cast includes Robin Wright and Kate Mara.

If House of Cards were to air on television, it would be on HBO. It's dark and gritty, but not really violent. It features A-list movie stars and incredibly intelligent writing. The engrossing plot keeps one guessing, and the characters are both deeply flawed and highly intelligent, with their power struggles and influence games having far-reaching effects. It's a character study in power, and also a great way to spend a few hours.

This puts Netflix on par to compete with other pay cable channels. I will be shocked if Spacey doesn't get at least an Emmy nomination, if not a win. It's premium quality entertainment, and the series has single-handedly made Netflix a formidable player in the television landscape.

Rather than rest on its laurels, though, or continue a slow dip into this side of the industry, Netflix has a slate of more programming coming soon. Second seasons have been ordered for both Lilyhammer and House of Cards. The cult favorite Arrested Development, canceled years ago by FOX, will find a new home on Netflix with a brand new fourth season, before moving to the big screen. Ricky Gervais's British hit Derek is coming, as are two more original series, Hemlock Grove and Orange is the New Black, which star the likes of Jason Biggs, Laura Prepon, Kate Mulgrew, Taylor Schilling, Bill Skarsgard, and Famke Janssen. And this is just their 2013 lineup.

It's a slate of comedy and drama, new stuff and revered favorites. It's an impressive batch for a first year, and it means that Netflix is willing to put forward the capital to make a name for itself.

If Netflix begins serving up more new shows, maybe more of their subscribers will flee cable and broadcast. After all, it's cheap, and the quality is high. It will satisfy their urge to watch shows before they age, and it makes more competition for already established networks. If Netflix were to add in-season episodes of other channels' lineups, it would quickly dominate.

One advantage Netflix series have over their peers is that Netflix has decided to drop the entire season's worth of episodes at once. I've only made it halfway through House of Cards in the past week, but for many who use Netflix to consume marathons of episodes, watching them back-to-back, they don't expect to have to wait a week for the next installment, and Netflix doesn't make them do so.

Yes, this makes sense for Netflix subscribers, but will more traditional viewers embrace such a shift? Absolutely. They can still watch weekly, if they prefer, but if one episode ends on a cliffhanger, they have the option to continue viewing the story. It's a brilliant stroke.

Now, I'm not saying that this model makes sense for all channels. While cable may order a season at a time, broadcast still often pulls under-performing series after just a couple of episodes. They would not have this option, making more of a financial investment if they were committed to thirteen or more outings.

However, it could raise the content quality overall. If FOX, ABC, NBC, and CBS knew that they had to pay for an entire season before they could even find out if people would watch, would they continue to deliver some of the low hanging fruit that they currently do? This bigger gamble might mean a more careful consideration of what makes it to release.

I'm not saying that Netflix has presented the television model that will dominate going forward, but it has presented one such option. With declining viewers numbers on regular television, and many hating Hulu Plus's commercials for even the paying subscribers, Netflix is a big player in streaming and Internet-based programming, which is what many young people are interested in. There will be similar competitors, but Netflix has arrived first.

Is this a good thing for television? I think so. Any player that goes after worthwhile stuff, and forces others to rethink or reorganize, is welcome in the marketplace. Competition is good, and Netflix is performing well. I look forward to finding out the next development in this course change.

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.

NTSF:SD:SUV:: the F stands for Fun

Right from the opening in the season two premiere of NTSF:SD:SUV, viewers knew that fun times were to be had. After all, the episode was rated F for Fun. And then we get labels for locations like the NTSF hallway and Kove's (Kate Mulgrew) office. What's not to like about that?

The story of the premiere, entitled "16 Hop Street," finds Piper (June Diane Raphael) and Trent (Paul Sheer) sent undercover to Nick Cannon High School (wtf?), where the popular kids are being kidnapped. They are tapped because the President of the Navy's (Rob Riggle) son is one of the victims, and the 16 Hop Street task force were all recently killed. What they find is a typical high school, infiltrated by all sorts of adults with various goals, and the kidnapper.

"16 Hop Street" is funny by itself. From Trent refusing to listen to Piper when she says Nirvana sang about smelling like teen spirit, even though he later remembers it's the truth, to the disappearing kid at the dance, to the school musical's cast list posting, there are plenty of humorous moments. Yes, the title is a play on the movie from earlier this summer, 21 Jump Street, as is the plot, but that is far from the only move references. Back to the Future, Back to School, and Never Been Kissed, among others.

What this means is, on top of the police jokes, "16 Hop Street" also serves as a backdoor pilot for a similar take on high school tropes. The preview at the end, promising a spin-off entitled Filthy Dirty T$$ns may or may not be real. For the sake of the great cast, which looks to include Charlie Saxton (Hung), Carly Chaikin (Suburgatory), Desperate Housewives' Max or Charlie Carver (who can tell?), and possibly Steven Yeun (The Walking Dead) and more guest spots by Rob Riggle, let's hope that it does come to pass.

There are other great guest stars in the episode, too, but since the official website and IMDB aren't current for this episode yet, I could only list the ones I recognized and knew.

NTSF:SD:SUV has a great formula. It's similar in vein to its parent show, Childrens Hospital, but embraces enough differences that the two don't seem similar. It makes itself action packed, even when not necessary. The characters are just as clever, but in different ways, embracing the talents of the actors who play them. And it continues to deliver laughs. For it to birth its own spin-off would be very welcome.

Watch NTSF:SD:SUV Thursdays at 12:15 AM (technically Friday) on Cartoon Network's Adult Swim.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! First posted on TheTVKing

Warehouse 13 makes a "Stand" with "Emily Lake"

    SyFy's Warehouse 13 did a special, two hour season finale this week. The episodes were titled "Emily Lake" and "Stand," and featured a major showdown with Walter Sykes (Anthony Michael Hall, Dead Zone, The Breakfast Club). The team discover that Skyes is going after H.G. Wells (Jaime Murray), and try to beat him to the punch. They do, but Sykes's guys take H.G. from them before they get very far. One of those guys is Jinks (Aaron Ashmore), who is secretly undercover for the Regents. H.G. is living under a different identity, but soon her memory is restored. Sykes kills Jinks, blows up Warehouse 13, and Mrs. Frederic (CCH Pounder) dies as a result. Only time will tell if Artie (Saul Rubinek) has the power to put things back together.

     "Emily Lake" and "Stand" are the two best episode of Warehouse 13 yet. Abandoning the case of the week format, these two hours concentrate on this season's larger arcs, including a showdown with a major villain. There is some heavy emotional stuff, and some really moving deaths. The stakes are high, and the writers aren't afraid to rain destruction down upon this wonderful world. As such, throwing convention out the window, the series manages to be more exciting and unpredictable than ever before!

     Well, not completely unpredictable. Anyone could see Jinks being a double agent coming from a mile away. It was an obvious move for viewers, so it's a little surprising that Pete (Eddie McClintock), Myka (Joanne Kelly), and especially Claudia (Allison Scagliotti) lose faith in him. In fact, that one part does destroy the credibility a little bit. But perhaps they are just too close to it all to see the bigger picture, so it can be overlooked. Sykes doesn't overlook it though, or he's just a very bad dude. Again, Jinks's death doesn't come out of nowhere, but the rest of the showdown, including the Warehouse being blown up and Mrs. Frederic dying, and completely surprising!

     Moving on from here, it's hard to say where the series will go. As "Stand" ends, Artie holds a watch and says that it might not be too late. Fans of Warehouse 13 may remember that Artie blew up at the end of season one, and an artifact allowed him to survive. Let's hope that this clock will not set everything back to status quo, but may be used to prevent such a total, devastating fall out. Like, the destruction of the Warehouse. Even though morphing into Warehouse 13 would be mighty cool, allowing a new setting and lots of fresh ideas.

     As far as who will stay dead, that's uncertain. Sykes's guy, Marcus (Sasha Roiz, Caprica, Grimm), was able to stay alive through anything, until Claudia stopped his metronome. She intends to use it to bring back Jinks, and she should. Not only will that keep Ashmore around, a welcome addition to the cast, but give Warehouse 13 a character with a very special ability - he cannot die. As long as the metronome stays safely locked in the Warehouse.

     But might Claudia feel pressure to use the artifact instead for Mrs. Frederic? After all, she is a more vital member of the team, as far as hierarchy goes. However, it is also possible that Mrs. Frederic perishes because the Warehouse does, and only stopping that will save her. Or she could be reborn, in the same body or with a different performer, when Warehouse 14 goes into operation. Pounder is fantastic, but a new boss could also be pretty cool.

     Wells proves herself a hero once and for all with a heroic self-sacrifice. Her survival could go either way. A planned spin-off is in the works for her. If said second series takes place in her past, when she was a Warehouse agent, than she can stay dead with no consequence, and fans won't mourn too heavily because they will still get their fix of a terrific character. but should the spin-off take place in the present day, she must be saved somehow. Either way, at least she dies a hero, redeeming her completely.

     Finally, Jane's (Kate Mulgrew, Star Trek: Voyager, NTSF:SD:SUV) ending is very open ended. It certainly seems like something more will happen there, but there aren't any clues as to what. Awesome!

     Warehouse 13 will present a special Christmas episode, likely outside of the current story arcs, like last year, and then will return for season four later in 2012.

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

     Please click here to catch up on Warehouse 13 DVDs and streaming episodes.

Warehouse 13 trapped on "The 40th Floor"

     "The 40th Floor," the latest episode of SyFy's Warehouse 13, finds the agents tracking down, and trapping, Sally Stukowski (Ashley Williams, How I Met Your Mother, Saving Grace). Unfortunately, Sally's boss's plan is already in motion. Artie (Saul Rubinek) and Myka (Joanne Kelly) soon find themselves protecting some Warehouse regents in a building that is rapidly being destroyed around them. Pete (Eddie McClintock) and Claudia (Allison Scagliotti) try to assist by looking for the artifact that is causing the trouble. Mrs. Frederic (CCH Pounder) decides torturing Sally might be the best option, but Jink (Aaron Ashmore) disagrees most vehemently, even pulling a gun to stop her. Which distracts them enough for Sally to escape.

     Of course, Myka does manage to rescue the most important regent, Jane (Kate Mulgrew, NTSF:SD:SUV, Star Trek: Voyager). As Jane now holds the key to Warehouse 13's last line of defense, it is essential she survive, though just about every other, less important figure, dies in the process. Which is a lot more death than is typical for the series to tackle. Thankfully, the amazing Mulgrew is slated for three more episodes, so whatever plot is unfolding in "The 40th Floor" is far from over.

     Pete lends a hand in a big way by halting the damage the dangerous artifact is doing. This is yet another example of Pete and Myka's great teamwork paying off. While Warehouse 13 shies away from hooking up its leading couple, the chemistry between the two is fantastic. They have come to know each other so well that they are a perfect match, both on the job and off. It's a shame the show hesitates to take the bold step of putting them into couple status, even though it's not unexpected. Yet, it's hard to complain too much, when Warehouse 13 is willing to ditch the typical procedural set up for episodes like "The 40th Floor."

     The big twist, of course, is that Jane is actually Pete's mom. Which means she probably has something to do with why Pete is now working at the Warehouse, even though he doesn't seem to know that she has that position until this episode. This adds a deeper layer of plot for the show to explore, giving serious back story to a central character. Good job!

     It is a real shame that Warehouse 13 kills off Sally this week. Williams does a fantastic job playing the baddie, and she is most enjoyable in the scant episodes that she does. Even worse, Jink's actions lead to him getting fired. While this may make sense on a personal level, considering the moral code that is being broken, Ashmore is even more welcome than Williams, and it is a strong hope that he does not leave the series after this episode.

     For Mrs. Frederic to commit torture in the first place is surprising. She exudes threat, but has never been seen purposely hurting anyone up til now. It's a new low for her. Perhaps her actions can be forgiven, given her position and the situation, but that doesn't make them right. Will she be allowed screen time to recover from "The 40th Floor," or is it now only a matter of time before she is killed off? Hopefully it will be the former, as Pounder is exemplary, and there is so much more she can do for Warehouse 13.

     If anyone should leave, it's not Jinks, Mrs. Frederic, or Sally; it's Leena (Genelle Williams). It continues to baffle why such a small character, who rarely gets anything of substance to do, is still a main character. This is not a criticism on Williams, as there hasn't really been enough of her to judge. Rather, if the writers are not going to use her, set her free. She serves no purpose at present.

     Watch Warehouse 13 Monday nights at 9:00 p.m. ET on SyFy.

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

     Please click here to catch up on Warehouse 13 DVDs and streaming episodes.

Article first published as TV Review: Warehouse 13 - "The 40th Floor" on Blogcritics.

NTSF:SD:SUV brilliant parody

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

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

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

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

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

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

Merci Mercy

    When NBC announced a new medical drama about nurses called Mercy, eyes, including mine, rolled.  Don't we have enough medical shows?  Not only that, but no less than two others were also premiering this fall.  However, Mercy has somehow set itself above and pack, and proved that there can still be fresh, fun medical shows.  I credit the amazing cast, all of which are wonderful, but I'm going to focus on the Top 5, hard as it was to choose 5.  Mercy airs Wednesdays at 8pm, and just returned to the air this past week.

     Virtual unknown Taylor Schilling stars as Veronica.  She is delightful, pretty, and sympathetically human.  The blond is really trying to make things work with her childhood sweetheart, Mike (Diego Klattenhoff), despite his cheating ways while she was in Iraq.  However, she also cheated on him during her second tour.  She is doing a highly entertaining job balancing all the personal crap with her job.

     Fresh off of the canceled Men in Trees, James Tupper plays the aforementioned lover, Dr. Chris Sands, who followed her home and is now a doctor at the hospital where Veronica works.  (Side note, Diego Klattenhoff was also recurring on Men in Trees near the end).  He gets to talk a lot more on this show, and it doesn't hurt.  Unlike many dramas, it does not seem inevitable that he will end up with Veronica.

     I'd never heard of James LeGros (Ally McBeal), but his performance as Dr. Harris has been the most interesting so far.  He started as a total jerk, and then, after his wife's murder, he became a grief-stricken total jerk obsessed with not letting anyone else die.  He manages to convey a character who doesn't fall into stereotypical growth, but gets to explore strong emotion in a very satisfying way.

     Child star Michelle Trachtenberg (Gossip Girl, Buffy the Vampire Slayer) is also a nurse at the hospital, young, green, and gullible.  Her character, Chloe, is not just the comic relief, however, as her attempts at love have been well performed as well.  She adds an element to the show that is completely necessary to the series's success.

     Kate Mulgrew, perhaps best remembered as Captain Kathryn Janeway on Star Trek: Voyager, is quickly establishing a new character to remember, Veronica's mother.  She plays the alcoholic matriarch of a "white trash" Irish Jersey family.  She has taken to the role with relish, and always steals the scene when she appears on screen.  Hopefully an upgrade to series regular will soon be forthcoming.