JONES-ing For Some JESSICA

Article first published as TV Review: JESSICA JONES Season 2 on Seat42F.

Marvel’s JESSICA JONES is finally back for a second season on Netflix! The more-than-two-year wait between seasons can be explained by the aggressive Marvel Netflix production schedule, which saw four additional shows premiere since then, including a team-up between Jessica and other heroes, and a second season of an older series, Daredevil. With crossovers between the casts, it would be difficult to shoot them all at once. Though given how quickly the shows are being released now, I wouldn’t expect such a long break the next time.

Back to the series at hand, JESSICA JONES seems not to have missed a step as it begins season two. Jessica (Krysten Ritter) is haunted by the fact that she killed Kilgrave, making her, in her mind, a killer. To cope, she’s drinking a LOT, even for her, and refusing cases she might develop an emotional attachment to. Her sister, Trish (Rachael Taylor), has taken the opposite tact, jumping fully into investigating the past, though admittedly Trish didn’t murder anyone. And Malcolm (Eka Darville) tries to build up Alias Investigations as a business, despite its salty owner. Even Simpson (Wil Traval) pops up to show us how he’s doing after the events of last season.

It seems like not as much time has passed in the world of JESSICA JONES as it has in the real world, but that’s OK. Some time has gone by, and big events stick with you for weeks, months, even years. So it makes total sense that the emotional state of many of the players is influenced by season one, even if it’s been a bit.

Speaking of emotions, despite her estrangement from Jessica, Jeri Hogarth (Carrie-Anne Moss) remains very much a part of the series. Her scenes are separate as she deals with some very tough medical news in not-so-healthy ways. But I’m interested to see where she will tie into the central story.

Season two doesn’t have such a clear villain to focus on as Kilgrave was. Instead, there’s a shady company known as IGH that seems to serve as the antagonist. But it doesn’t come out of nowhere. These are the people that gave Jessica, and others, powers. There’s a twenty-day span spent in their care that Jessica doesn’t remember. Why did they release her? What was their purpose? Jessica doesn’t know and so we don’t, though it seems certain we will find out as time goes on, especially with Trish on the case.

It isn’t necessarily a novel idea to dig into a lead character’s past to mine drama. But given how detached Jessica is in her daily life, it feels like a good road to go down for her. She isn’t going to speak her feelings to anyone, nor the audience, so by placing her in a position where she’s forced to confront her internal struggles, JESSICA JONES lets us learn a lot about the character. Physical artifacts force their journey along to nice effect. It’s far more interesting than just seeing her fight some baddie.

JESSICA JONES is the story of more than one broken character, but each have their own unique story. While they cross many times, there’s also a feeling of aloneness more present than with some of the ensemble casts of other series, even other Marvel Netflix series. This alone-while-with-someone take is something many viewers can relate to. Seeing Jessica, Trish, Malcolm, and Jeri deal with it also inspires us in a way heroes don’t usually do. JESSICA JONES shows us a different kind of inspiration, and it’s welcome.

Given the complex story and the deep emotional content, even though I’ve only viewed two hours thus far, it seems certain JESSICA JONES will maintain its quality through a second run. Even if it’s hard not to miss the magnetic persona of Kilgrave, whose specter hangs over the story.

JESSICA JONES season two is available now on Netflix.

Defending THE DEFENDERS

Article first published as TV Review: THE DEFENDERS on Seat42F.

You may have been waiting impatiently for years now for Netflix’s Marvel’s THE DEFENDERS, the small screen version of the Avengers team-up. After all, the first series in the build-up, Daredevil, was released back in the spring of 2015. Through Jessica Jones, Luke Cage, a second season of Daredevil, and yes, even the less-lauded Iron Fist, fans of the Marvel Universe have been lapping up the installments, waiting eagerly for these D-list (see what I did there?) heroes to come together. But just because THE DEFENDERS finally went public today doesn’t mean the wait is entirely over.

THE DEFENDERS is an eight-episode miniseries, and thus takes its time getting to what the fans want: the four primary characters meeting one another. Instead, episode one is all about checking in with where our people are and meeting the villain. It isn’t until late in episode two that any of the quartet run into one another, and it’ll be later still before they get together as a group.

I like this waiting strategy more than I thought I would. Yes, I would rather THE DEFENDERS had arrived earlier. But now that I’ve begun watching, I want the story to progress naturally. It takes time for the story to weave each individual together, and that’s OK. That’s how it’s supposed to work.

Danny Rand, a.k.a. Iron Fist (Finn Jones) is seen first, kicking off the event with an action-packed battle in the sewers. Although we don’t see the face of his shadowy opponent, we do know who she is, which will become clear soon enough. He and Colleen Wing (Jessica Henwick) are still hunting The Hand, and their mission, while starting overseas, soon brings them back to New York.

Danny isn’t the only one on a mission. Luke Cage (Mike Colter), fresh out of prison, begins looking after a kid around his neighborhood that needs help. Meanwhile, Jessica Jones (Krysten Ritter) takes a case that leads her to encounter the same mysterious woman from the opening. This isn’t a surprise, because it shouldn’t take the audience long to figure out that all three investigations are leading to the same central baddie. They are well woven, and this is the primary reason I’m fine with THE DEFENDERS taking a while to bring its leads together.

In fact, even as other characters like Foggy Nelson (Elden Henson), Misty Knight (Simone Missick), and Hogarth (Carrie-Anne Moss) cross worlds, Matt Murdock (Charlie Cox) is the hold-out outsider. Having rejected the mantel of Daredevil and busy with pro bono legal cases, he’s the one remaining unaware of what’s happening. This will not last, as the end of the second hours reveals, but it’s cool to have someone not falling into the pattern that the others do.

I have to admit, upon realizing that The Hand would be the villains in THE DEFENDERS, I wasn’t very excited. After all, Iron Fist, though not as terrible as some have claimed, is the weakest link, and its recently-released season featured The Hand prominently. Yes, they also appeared in Daredevil, too. But why bring over the criminals from the series no one liked?

That feeling goes away the moment we meet Alexandra (the great Sigourney Weaver), a woman so formidable that even Madame Gao (Wai Ching Ho) cowers before her. Alexandra does much with few scenes and few lines, a great presence that instantly makes The Hand interesting again. She exudes danger as much as she does gravitas, and she is the perfect foe for this adventure.

Two hours in, I am hooked. While not as powerful in its messaging as Jessica Jones or Luke Cage, it is much more gripping than Iron First or Daredevil, and its fewer number of episodes makes for a carefully-plotted, well-paced miniseries. It balances the faces we want to see with the story that needs to be told, and somehow combines the tonality of all of the series it brings together. It even finds a way to make the unavoidable fight between heroes caused by a misunderstanding work. It’s been worth the wait, and I plan to savor the remaining installments. I recommend you do the same.

THE DEFENDERS is available today on Netflix.

Marvel's JESSICA JONES

Article originally published as JESSICA JONES Review on Seat42F.

The following review is very light on spoilers, so please read on!

After the success of MARVEL’S DAREDEVIL last spring, many have waited with bated breath for the next installment in the studio’s Netflix universe. It arrives this Friday in the form of JESSICA JONES, a noir detective series that gets a lot darker and a lot scarier than anything Marvel has done before. And, as one might expect, it is excellent.

JESSICA JONES begins with the titular character (Krysten Ritter, Breaking Bad, Don’t Trust the B-) working as a private eye in Hell’s Kitchen. As is familiar to the archetype, Jessica is a hard-drinker, trying to escape demons from her past, while being excellent at her job. This feels a bit like Veronica Mars, a show Ritter did an arc in, and viewers think they know what they’re getting.

Not even a full hour in, though, JESSICA JONES takes a twist into new territory. It isn’t that the show abandons the early tone or style; it still infuses what comes after. But while the series begins rooted in a genre we’ve seen before, it expands the horizons of those bearing witness to the proceedings in short order.

Part of this is because JESSICA JONES is kind of a horror show. Kilgrave, a.k.a. The Purple Man (David Tennant, Doctor Who, Broadchurch), is the scariest villain I’ve ever seen in the superhero realm, and what he does is more disturbing than the fare fans are used to. This is not a Marvel series appropriate to watch with the kiddos. Instead, it features what appears to be an unstoppable bad guy who does things far worse than simple violence permits, making for a premise that will send chills up and down and back up your spine. He is terrifying.

Jessica also has a very rich backstory that is barely teased in the initial episode. We know she has undergone some trauma; that’s clear from the way she lives her life, trying to get past something that has scarred her soul. But the more we learn about her, the more it makes sense that she’s this screwed up. Some characters have reasons for doing destructive things and we forgive them for it, but for Jessica to even continue existing in the world as she does makes her far stronger and resilient than your average person.

This means Jessica’s abilities are not limited to the physical. Her superpowers are not the point of JESSICA JONES, and we get them in small doses, not showy sequences. It’s not even immediately clear what she can do, other than lift cars and jump high. Yet, those aren’t the most impressive things about her, which is a departure for a comic book adaptation.

Jessica isn’t alone in her world, much as she usually acts like she wants to be. She has a sort-of boss, Jeryn Hogarth (Carrie-Anne Moss, The Matrix, Vegas), an estranged friend, Trish Walker (Rachael Taylor, Grey’s Anatomy, Crisis), and a neighbor without boundaries, Malcolm (Eka Darville, The Originals). She also (sort of) meets a bartender by the name of Luke Cage (Mike Colter, The Good Wife) who is probably more compatible with her than either expects, and who will be headlining the third Marvel Netflix series next year.

Given the pedigree of the cast, made up almost entirely of actors I already admire and respect, it’s not a surprise that the performances are every bit as excellent as the production. Ritter has needed a vehicle to show her ranger for awhile, and this is it. Tennant completely transforms into a monster unrecognizable, and I’ll never watch him the same way again. The scenes with Colter already have me excited for his turn in the lead. This is high quality television period, not just for its genre or when compared to its peers, but across the entire spectrum. I would posit it is the pinnacle of everything Marvel has done thus far, and a promise of continued greatness.

All thirteen episodes of JESSICA JONES’ freshman run will be live on Netflix this Friday. I recommend you watch as many as you can this weekend, lest you be lost when your friends and co-workers are talking about this on Monday, as they most definitely will be.

BREAKING BAD's Empire Falls in "Ozymandias"

Article first published as BREAKING BAD's Empire Falls in "Ozymandias" on TheTVKing.

"Ozymandias" isn't just a character in Watchmen; it's also a Greek poem about the fall of an empire. How fitting, then, that AMC's Breaking Bad's ante-penultimate episode, which depicts Walter White's (Bryan Cranston) crumbling drug empire completely self-destructing, bears that title.

"Ozymandias" begins with a flashback to Walt and Jesse's (Aaron Paul) first cook in the desert, at the same location where the shoot out in the previous episode takes place. Jesse acts an idiot as Walt calls home to pregnant Skyler (Anna Gunn) to lie about his whereabouts and discuss what to name their daughter. It's a touching throwback to how it all began, as well as showing the bookends of the main plot arc. I can't imagine a better way to tie everything together.

Then, we're back to the current timeline of the story. It was hard to accept last week that neither Hank (Dean Norris) nor Gomez (Steven Michael Quezada) was shot in the hail of gunfire brought about by Uncle Jack (Michael Bowen) and company. Turns out, Breaking Bad just chooses not to show us their wounds until this week, perhaps allowing viewers to hold out hope, as Walt does, that there is a way his brother-in-law can survive this showdown.

In fact, Walt pleads with Uncle Jack, as Gomez lays dead and Hank shot in the leg, willing to give up his entire eighty million dollar fortune to save Hank. Walt's hubris has been laughable before, but it's been a long time since he's been this pathetic, groveling with absolutely no power. It's a bit of a surprise that Walt will give up his money for Hank, but I guess family still matters to him somehow, or at least the idea of it does, as his actions during this hour show him scrambling to hang onto something he has already lost.

Hank is completely the opposite in this situation, defiant and bad-ass 'til the end. He knows he's dead, and he's not about to whine about it. Whereas Walt would never accept death with dignity, Hank is wise and brave enough to understand the scenario and hold his head high anyway. Hank doesn't want to die, but he sure fools everyone, biting out some great bits of dialogue before Jack inevitably puts a bullet in his brain.

It's hard to lose Hank, especially now. With Walt so close to being taken down, the one man who has spent so much effort working towards that goal doesn't get to see it happen. And Hank has kind of become the hero of the show. He will definitely be missed.

That said, at least the way this plays out fixes the hesitations about the end of last week's episode, unfolding the way it realistically should.

Walt does get to leave the desert, but not before angrily selling out Jesse, whom he definitely blames for Hank's death, leaving Jesse with the bitter truth behind Jane's (Krysten Ritter) death. There isn't any logical reason to cause Jesse this last bit of pain; it's delivered purely from a place of anger. Heisenberg is gone, and petty Walter White comes out, a despicable, weak man, the father-son relationship they once had completely gone now, both feeling betrayed.

Jack is willing to dissolve his deal to make Walt cook one more time in exchange for most of the money, and Walt departs with a single barrel, still having plenty of cash to live the rest of his life on, but  getting the more valuable outcome of being completely done with Jack. Walt is separating himself from the drug life, and in this moment, we witness the end of the character's professional journey.

It's not a problem for Jack to lose Walt's expertise because he has Jesse. Sure, Jack will likely eventually fulfill the bargain and kill Jesse. But until then, Todd (Jesse Plemons) gets to use Jesse to help make meth the way it's supposed to be made. Jesse cooperates because he still cares about Andrea (Emily Rios) and Brock (Ian Posada) and Todd knows this, using them as leverage.

This is the worst end for Jesse imaginable. His dignity and humanity are stripped from him, making him a disposable slave with a very finite time limit left on his life. Fans may hope a miracle happens and Jesse survives this, but it doesn't look likely at this point, and even if he does, it will come at great cost. With all of the dark stuff unfolding in "Ozymandias," it's not hard to imagine that the final two hours will be just as depressing.

Meanwhile, we see Marie (Betsy Brandt) in a position of triumph. Surprisingly, Marie is gracious in victory, still offering to help Skyler out. True, she makes Skyler spill everything to Junior (RJ Mitte), who doesn't believe the story at first. But she's determined to make sure her sister comes through this OK, which shows their bond isn't completely destroyed. This is good because the women will definitely be needing one another to lean on with both of their husbands removed from the picture.

This is really the first time we get to see Marie so strong. She doesn't possess the evidence to further Hank's mission alone, so this is all very short-lived. But it's a great pay off for a sometimes annoying character, stepping up and getting some good material.

After running out of gas (serves him right!), Walt finally makes it home and tries to flee with his family, who are less than cooperative when they quickly realize Hank is dead. It doesn't matter that Walt denies he did it, and in Walt's own twisted brain he probably thinks he isn't responsible; they blame him anyway. Hank's death is what finally wakes up Skyler to turn on Walt, and she has Junior's support.

There is a very tense scuffle with a knife, when viewers can be forgiven for thinking a member of the White family may be grievously injured. However, the scene is more emotional than physical confrontation. This is where the line in the sand is drawn and sides are taken, and it's probably also the final time we will see all four together. Walt's family's collapse is right on the heels of his business's demise, and so he snaps.

Snapping is the only way to explain the way in which Walt flees, smashing Skyler's car, taking all the money, and abducting baby Holly. Walt has never much taken care of his infant daughter, more in love with the idea of being a dad than determined to be a good one, and he likely takes Holly more to punish Skyler than because he wants to raise her himself. It's a very low blow.

I have to hand it to Vince Gilligan and the writers, though. Just when you think there is absolutely zero humanity left in Walt, he shows a smidgen of it, returning Holly via the fire department and calling Skyler to give her an out. Yes, the angry words Walt says to Skyler probably have a lot of honesty in them. They also serve, though, to absolve her of legal liability, making the cops think he bullied and forced her to participate, and his tears show he knows this, sacrificing himself for her.

It is a sacrifice, too, because what Walt says can be used as evidence to prove him guilty. Up to this point, with Hank and Gomez dead, there is still a chance Walt can get away with things, even if it would probably be temporary. In doing this, he focuses the blame now so that it won't continue to plague his family or eventually take them down, even though such events would likely come after Walt's death from cancer so it doesn't personally benefit him to do so. Though he doesn't leave his family the money, at least not yet, so his selfishness shows, too, even if one may argue he's "keeping it safe" for them until they can actually use it.

Then Walt gets into Saul's (Bob Odenkirk) guy's van and heads away for his new life. This is probably where we'll get the time job and reach the moments shown briefly in the season premiere, with Walt returning home well after what we've just seen. This is really the end, with those others hours serving as an epilogue. Or is it?

"Ozymandias" will stand as one of the best episodes in one of the best shows on television. The drama is heavy, the feelings are flowing, and the stakes are high. Beloved characters go down, and relationships are dissolved forever. Yet, it all feels completely natural to the story, and with the stunningly brilliant acting of this cast, it's as moving as anything I've ever seen on the small screen. Extremely well done.

Breaking Bad has two episodes left, airing Sundays at 9 p.m. ET on AMC.

The B in Apt 23 still deliciously untrustworthy

ABC's Don't Trust the B---- in Apt 23 returned for a second go-round last week with "A Reunion..." James (James Van Der Beek) is happy to once more blow off his former Dawson's Creek co-stars' request for a reunion show. That is, until June (Dreama Walker) tells him how much it will mean to millions of girls, and probably bring him new, young female fans. The problem is, as James soon finds out, Chloe (Krysten Ritter) is the one who has been sending the letters to manipulate her pal into giving her things, and James' cast mates want nothing to do with him. What is a washed up television actor to do?

It's a shame that more Dawson's Creek stars aren't available to appear in "A Reunion..." Busy Philipps (Cougar Town, returning on TBS in January) drops by to break the bad news to James about why he is hated, which is great, but as she says, she was only on the show for two seasons. There would be a little more weight to the story if we got to see Joshua Jackson or Michelle Williams or Katie Holmes, even just in a quick cut-scene.

Alas, Don't Trust the B---- is just starting what will hopefully be a many-year run. It's a little too early to bring in those types of cameos, especially considering the success that they have found post-DC. Which means, this plot may have just been done too early in the series' run to fully live up to its potential.

That being said, "A Reunion..." is pretty darn funny. James Van Der Beek is as excellent as he has been in every episode so far, and focusing on him is a good idea. We get a bit of Chloe being ridiculously mean and self-absorbed, shooting people with a tranq gun, and a bit of June being starry eyed and naive, and then the meat of the episode falls onto James' shoulders, with nary a peep from the other side characters, save some gold from Luther (Ray Ford). This is the winning formula the show should stick with.

The guest stars they do have are well used, too. Besides Busy, Frankie Muniz (Malcolm in the Middle) gets to do a JVDB-style version of himself when a reunion-obsessed James tries to force his way into a Malcolm special, and Mark-Paul Gosselaar is fantastic in setting James on the right course, though I do wish some mention had been made of Gosselaar's more recent TV effort, Franklin & Bash. Stars playing unflattering versions of themselves has become the new chic (see Showtime's Episodes), and when talented people are allowed to act in this manner, leaving their pride at the door, they can really shine, both because of the delightful results, and because it shows they are people who aren't afraid of being the butt of a joke, a wonderful quality.

Don't Trust the B---- in Apt 23 may still be trying to find its audience. But if any of the above sounds appealing to you, and it should, check out the show Tuesdays at 9:30 p.m. ET on ABC.

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

Don't Trust the B---- in Apartment 23 still not trusthworthy

Don't Trust the B---- in Apartment 23 brings its super short, seven episode, freshman run to an end this week with "Shitagi Nashi." It's an interesting end to the initial arc, with June (Dreama Walker) finally finding her new, hard-hitting lifestyle catching up to her. See, since she has befriended Chloe (Krysten Ritter), she has taken to doing what the cool kids do, which involves a lot of drinking. And poor June's liver isn't equipped to handle such copious amounts of alcohol. In a surprisingly realistic development, this lands June in the hospital, where she has to get her stomach pumped.

Many shows would not take the time to do this plot. At first, it may seem strange that Don't Trust The B---- is the type of series that would pay attention to what would really happen, when plenty of others let their characters do whatever they want without consequence. Then again, a large part of the draw of Chloe's character is her outrageousness. Seeing June go down trying to follow in her footsteps makes total sense, from that perspective, and helps play up who Chloe is.

Even better, Chloe and James (James Van Der Beek) continue throughout the episode to think June is faking her illness. Of course they do; that is a scheme they would totally use to trick someone. They don't care about others. It's a little odd they even care about June, but apparently, she has managed to get inside of their exclusive bubble. So, while taking the path of June being hospitalized may be realistic, the reaction that comes after doesn't quite gel with everything else shown about the characters thus far.

Don't Trust The B---- is a study of contradiction in its characters. It's about a girl with good morals who goes wild, struggling with two opposing sides of herself. It's about an actor, working desperately to stay relevant and escape his past. And it's about another girl who has major insecurities, and lives loudly to try to overcome that uncertainty be being as large a personality as possible.

Insecure, Chloe definitely is. "Shitagi Nashi" finds her grow jealous after June replaces her as the subject of a comic. June, true to her homey charm, does her best to make Chloe feel better, cementing the friendship they have developed. Believe it or not, it actually feels strange to see Chloe laid bare a little bit. Obviously, something is behind the front she puts up. But her cover is so effective that it's only in retrospect when one begins to truly wonder what makes her the way she is. This episode is the first true attempt to delve into this matter.

While there are more than three main characters, only a trio of players are essential to the plot of the show, while the rest are more in a supporting role. Rounding out this threesome is James, who in "Shitagi Nashi" feuds with Dean Cain (himself) when he realizes Dean's Dancing With the Stars dressing room is six inches bigger. The DWTS arc has been quite amusing, really giving James a chance to play with his arrogance and narcissism. It's one of the most ridiculous, and funny, stories he's been given yet, and he nails it, as usual! Hopefully, it will continue into next season, and parts of the competition shown.

It's hard to judge Don't Trust the B---- in Apartment 23 yet, as it still isn't clear where it's going. However, many series stumble a bit in the first season, and with the way the three main actors really sell their schtick week after week, there is definitely something here. Cartoonish, yes, but in an amusing way. It'll be interesting to see what they do with the second season.

Don't Trust the B---- in Apartment 23 will return to ABC next fall. Article first published as Don't Trust the B---- in Apartment 23 still not trusthworthy on TheTVKing.com

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Trust me about "...The B---- in Apartment 23"

This week, the second episode of ABC's new Don't Trust the B---- in Apartment 23 is called "Daddy's Girl." June (Dreama Walker, The Good Wife, Gossip Girl) is hesitant to let Chloe (Krysten Ritter, Breaking Bad, Veronica Mars) set her up with a guy named Scott (Michael Landes, Lois & Clark: The New Adventures of Superman, 11-11-11). But Scott turns out to be perfect for June! Except that he's Chloe's dad. And he's still married to Chloe's mom.

It is hard to judge any series by its pilot, and having had the benefit of watching the first two episodes at once, it felt better to review "Daddy's Girl" instead. Now the characters are pretty firmly established, and getting into the groove of what the show will be.

June is a good girl, a tad naive, but willing to stand up for herself. She arrives in the city full of hope, and the trials that confront her do not tear her down. Instead, she might freak out a bit, but she's strong enough to rise above and keep going with a sunny spirit. In fact, June may even treasure the obstacles because they help her to grow.

That's good, because Chloe is going to be June's constant thorn in her side. It isn't that Chloe is malicious. Well, she is, but only before she gets to know someone. Now that June has already passed that barrier, she gets to find out what being Chloe's friend is like. And it's not pretty. Chloe is self-centered to the point where she misses the obvious if it doesn't directly concern her. Which doesn't stop her from meddling with other people anyway.

In the case of "Daddy's Girl," Chloe is right that June and Scott will get along great. She would like her mother out of the picture, and has no problem interfering in her parents' marriage, with the only goal being that it will make Chloe happy to not have to deal with Mom. However, Chloe doesn't think through the ramifications, such as that June would be her step-mother. So good intentions, though only towards her own interests, go wrong for Chloe. And people hang out around Chloe because when she's not destroying your life, it can be quite exciting to see the chaos she creates in her wake.

This dynamic is interesting and funny, especially because of the edgy humor. It's too bad Don't Trust the B---- in Apartment 23 doesn't air on a network that can handle the content. One gets the impression that everything is toned down. It's surprising that ABC even allows pixelated nudity! But by flirting with the controversial and not delivering, especially in the title and theme "song," it actually makes the network seem rather unhip. Either ABC should go for a groundbreaking network series or don't, but being a tease doesn't serve anyone as well as it should.

Though watching June and Chloe is fun, the most hilarious character on Don't Trust the B---- in Apartment 23 is James Van Der Beek. Playing a version of himself, Van Der Beek sheds any of his remaining Dawson's Creek image, and shows a maturity as an actor. It's also awesome to watch him poke fun at himself and his situation in a meta way. Being plagued by his past, unable to escape it on the series, actually does the opposite for him in real life. Not to mention, he adds that special something to what would otherwise be an amusing, but not particularly must-see, show. Van Der Beek will be the fan favorite, and if the series gets a second season, he will deserve more of the credit than anyone.

Watch Don't Trust the B---- in Apartment 23 Wednesdays at 9:30 p.m. ET on ABC.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Don't Trust the B---- in Apartment 23 - "Daddy's Girl" on Blogcritics.

Loves Bites begins with "Firsts"

     NBC has a little show called Love Bites that was originally slated to premiere last fall, got pushed to mid-season, and ultimately has to wait until summer to see the light of day. That, combined with terrible first night ratings, does not bode well. And yet, it is an original, compelling, tasty treat of a series. The first episode, appropriately titled "Firsts," aired this past Thursday, and if it is representative of the series as a whole, Love Bites is going to be pretty good. Assuming NBC allows it to continue airing, which is far from certain because of the aforementioned ratings.

     The hook for Love Bites is that it is a series of vignettes, with their own subtitles, having some threads that twist through all three stand alone stories. The theme song boasts only two stars: Becki Newton (Ugly Betty) and Greg Grunberg (Alias, Heroes). Yet, in the first episode, so many wonderful actors play their friends, including Craig Robinson (The Office), Kyle Howard (My Boys), Lindsay Price (Lipstick Jungle), Krysten Ritter (Breaking Bad), and Guillermo Diaz (Weeds), that this could easily become an ensemble piece. Also in the pilot, is Grunberg's character's wife, who is Pamela Adlon (Californication) in the first episode, but was recast as Constance Zimmer (Entourage) in further installments.

     The first bit, "First Time," finds Annie (Newton) trying to help her friend Cassie (Ritter) pick up a man. Unfortunately, Annie's large belly and story of being a surrogate for her sister distracts the guys in the bars. Cassie comes up with her own, albiet made up, story to get attention, telling a guy she's a virgin. He falls for her, but becomes hesitant to engage in sexual relations, knowing he will be the one she remembers. She eventually comes clean, as does he, but instead of splitting up, as would happen when the scenario arises in sitcoms, they stay together. It's a sweet nugget, and a good way to begin a series about love. Attraction is about more than just the pick up lines people use, and everyone wants attention.

     In the second segment, "First To Go," Carter (Howard) loses his job. When he gets home to tell his fiance (Price), he finds her using a vibrator. It's too much humilaition for his manhood to take in one day, so he puts off telling her the bad news, and instead devotes himself to being better in bed than the sex toy. Of course, the truth eventually comes out, and she is supportive. It may sound similar to the first story, but it doesn't feel that way, because a committed couple who have been together for a long time have totally different reasons to lie, and find it much easier to forgive. Clearly, these two belong together.

     Finally, the third and longest section is called "First On the List." Judd (Grunberg) gets the chance to live out the fantasy of many a married man. On an airplane, he runs into Jennifer Love Hewitt (herself), the one and only girl on his "exemption" list, who if he sleeps with, his wife is not allowed to get mad. His wife tells him to go for it, and his buddy (Robinson) is very encouraging. Stranger still, Hewitt is agreeable, having just gotten out of a relationship, finding Judd nice, and wanting to try her fantasy of joining the mile high club. In the end, they get to the bathroom, but Judd is too loyal to his wife to seal the deal, earning even more respect from Hewitt. This is certainly the least realistic situation, meeting an attractive celebrity is only too willing to have sex with you, but again, the heartfelt ending demonstrating true love saves it from being an utter waste.

     Doesn't that sound like a good show worth watching? Here's hoping the series gets signficantly more viewers so it can at least play out the short first season it filmed. Love Bites airs Thursday nights at 10 p.m. ET on NBC.

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Breaking Bad done with its break

       Returning to AMC last night was the hit drama Breaking Bad.  When last we left Walt (Bryan Cranston), his wife had left him, he had checked his partner into rehab, he had made a ton of tough, and a plane came crashing down around him.  Yet, this original show does not delve into cheesiness, and the plane was very well tied into other plot points, not just a freak accident, though it was that, too.  Now Breaking Bad begins a third season.

     In the premiere, "No Mas", the most shocking development was Walt's wife, Skyler (Anna Gunn) figuring out that he was a drug dealer.  He never intended to tell her, but it was surely a relief for the truth to come out.  However, the results were not so rosy.  While Walt would love his family back, the meth-maker's spouse now definitely wants nothing to do with him.  The question is, will she realize why he did it?  Will their son, Walter Jr. a.k.a. Flynn (RJ Mitte), stop hating her for pushing his father out?  And what of her D.E.A. brother-in-law, Hank (Dean Norris)? If he ever learned about Walt, wouldn't he have to take him down, family or not?  This family is certainly one of the most interesting on television.


     Jesse (Aaron Paul) has also taken a new turn with his life.  After the tragic overdose of his girlfriend Jane (Krysten Ritter), it appears he may finally have gotten clean and sober.  This gels well with Walt's decision not to be involved in illegal activities any more, despite a three million dollar offer to do three months more work before he quits.  Would it change the show too much if Walt and Jesse stayed on the straight and narrow?  Something tells me it may not be up to them, as some seriously bad dudes are heading their way.

     The Mexicans with the skull-toed boots left a level of mystery, thankfully not told in flashback as last season's major twist was.  Whatever happens, Breaking Bad got off to a great start, and I am looking forward to how this year plays out.

     New episodes of Breaking Bad air on AMC Sunday nights at 10pm.