EVIL Stirrings

Article first published as TV Review: EVIL on Seat42F.

CBS has an EVIL new drama, which premiered last week. It’s about a team of investigators who try to determine if miracles and possessions are real. They are skeptics, not believers (for the most part), and the series is about them as people as much as it is about their cases, a departure from the network’s typical procedural formula (though there’s a bit of that in there, too). Will they prove a god and/or Satan exist? Or will their job be a series of debunks?

EVIL was created by Michelle King and Robert King, the minds behind The Good Wife and its spin-off, The Good Fight. Both of those shows, while legal in nature with specific trials and negotiations dealt with, were far from the basic procedural, and provided some wonderful characters over the years. Two episodes in, my impression of their new series is that it will be the same, a rare gem on a mostly has-been network.

The clear lead is Katja Herbers (Westworld, Divorce), who plays Kristen Bouchard. Fired from her job for not being willing to bend the truth on the witness stand while professionally testifying, Kristen is desperate. She’s at home with four daughters (Brooklyn Shuck, Rise; Skylar Gray, Married; Maddy Crocco; and Dalya Knapp) while her as-yet-unseen husband guides mountain climbing expeditions. Thankfully, her mom, Sheryl (Christine Lahti, Chicago Hope), lends a hand, but that’s not nearly enough.

A quick note about the kids: They seem pretty interchangeable and generic at the start, but I don’t believe they’re likely to stay that way. There are a lot of characters and a lot of story threads in EVIL, and for now, the girls are mostly a plot device to ratchet up the stress on Kristen, seen almost exclusively in a group. However, episode two started to distinguish one from the herd, and based on the creators’ past works, I find it probable that viewers will soon be able to distinguish them as individuals quite easily. It just may take a bit of time.

Back to Kristen, she is saved from unemployment by none other than the Catholic Church. Specifically, would-be-priest David Acosta (Mike Colter, Luke Cage), who asks for her help. The two, along with Ben Shakir (Aasif Mandvi, The Daily Show), make up the team that drives the A story of the initial offerings.

However, EVIL is more than one woman’s work and home life. We see her in therapy with Dr. Boggs (Kurt Fuller, Psych), which strangely ties into the first case. She is visited in her dreams by a demon named Georgie (Marti Matulis, Teen Wolf). And David is taunted by a man who might be supernatural, or at least have supernatural connections, named Leland Townsend (Michael Emerson, Lost).

That’s an ambitious workload for a broadcast network show, especially one on this particular channel. It’s a complex, well-developed world that presents a lot of questions without giving a lot of answers. I wouldn’t call EVIL particularly religious, but it’s not exactly not religious, either. It doesn’t have a point of view or agenda that it’s pushing, with various characters representing varied viewpoints, and none seeming to be more correct than any other. It’s a setting and premise to dwell in, showing us possibilities, rather than telling us what to think.

I like EVIL a lot. Already a fan of the Kings, I think this is every bit as intriguing as their previous shows, as well as being quite a bit weirder. The opening credits of EVIL are reminiscent of The Good Fight, while its lead has echoes of an in-over-her-head Alicia from the beginning of The Good Wife. It seems an evolution of their writing, and one that will probably be quite compelling.

EVIL airs Thursdays on CBS.

THE GOOD WIFE "Don't Fail"

Article originally written for Seat42F.

As soon as this week’s episode of THE GOOD WIFE opens on CBS with Alicia (Julianna Margulies) working on her memoirs, it’s clear that she isn’t ready for such a tedious, end-of-career task. Alicia is a lawyer, a do-gooder, restless and in need of a project. So when she stumbles upon a former client of hers, Brett Tatro (Dorian Missick, Southland), who needs assistance, though she does try to pawn him off on others at first, it’s no surprise that she ends up taking the case herself. She “Don’t Fail.”

THE GOOD WIFE is never one to grow stale, constantly changing up the structure of the characters’ lives in the series, but that doesn’t mean they don’t stay true to who they are. Alicia isn’t about to start a new career path, outside of the law, at this stage. She has her calling, what she’s meant to do, and despite major setbacks, she is going to find a way to do it. Even if her idea to do so may not be financially feasible, something Grace (Makenzie Vega) asks about and Alicia doesn’t have a good answer for.

This revelation comes to her when revisiting a story set in season one. The events of “Don’t Fail” are not recycled from the freshman run; the case has not been seen on screen before, it just takes place during that time period. This is a really poignant time to evoke the past, though, with Alicia feeling aimless and Kalinda (Archie Panjabi) gone. It’s with a certain amount of nostalgia that flashbacks show Alicia and Cary (Matt Czuchry) working for this client, and reminds both Alicia and the fans of the tone of those early days, which is long gone. Alicia thinks it’s time to get it back, at least sort of.

As usual, the courtroom is well-stocked with talent. You’re the Worst’s (an excellent FX sitcom) Aya Cash plays the naïve, young attorney who needs Alicia’s help to defend Brett. Kurt Fuller returns as cranky Judge Peter Dunaway, who hasn’t been seen since late 2013. The prosecutor is Matan Brody (Chris Butler), who appears much more frequently in past seasons than of late. These people make “Don’t Fail” a great episode as much as Alicia herself and what she’s going through.

I think Alicia is also nostalgic for her family, evidenced by the way she calls Zach (Graham Phillips) after hearing an old, taped conversation he has with Jackie (Mary Beth Peil), another recurring character whose frequency has majorly dropped off. But Alicia isn’t stuck in the past either, proven when she converts Zach’s room into her new office with nary a thought about him coming home, which of course he says he wants to do as soon as she has cleared the space. She is evaluating what she can get back and being happy with what she chooses to do now.

Will Alicia embark on this latest adventure alone? Well, she does ask Finn (Matthew Goode), the dispenser of the advice “Don’t Fail,” to join her. I don’t know if he will. He certainly likes Alicia and she is starting something he can get behind, so that leads me to believe he will accept. But he’s also practical and already has a job. It’s too bad Cary is in no position to leave the firm, as it’s awesome to see him pitch in and help Alicia, sharing a glass of wine together. But I don’t think he’d join a new startup with Alicia again so soon. And Grace offers to intern for her, but Alicia doesn’t jump at her daughter’s words, so I don’t know if that’ll happen.

My wish, and this is purely a wish, with no basis in any inside information, is that Cary and Diane (Christine Baranski) will acquire Alicia’s little office in the near future as a pro bono segment of their own organization, which solves everyone’s problems. It gives the firm a positive win that might even overcome R.D.’s objections to having Alicia there, helping repair the image caused by the leaked emails, and it means Alicia wouldn’t have to worry about money. This twist would make sense to come about mid-season next year, but we’ll see. I’m no fortune teller, and I’m sure whatever happens is something the writers are deciding or have already decided independent of whatever anyone says on the internet.

“Don’t Fail” is an inspiring hour that gets back to the roots of THE GOOD WIFE and the character of Alicia. It ends one chapter and begins another, while acknowledging that these people do not exist in a vacuum and cannot separate their lives into actual, stand-alone chapters. This is far from the procedural format that dominates so many broadcast networks, especially CBS, and truly has a special place in the television landscape.

THE GOOD WIFE’s season sixth season finale airs next Sunday at 9 p.m. ET and will feature the return and final appearance (at least as a main cast member) of Kalinda!

Tell Me a MANHATTAN LOVE STORY

Article first published as MANHATTAN LOVE STORY Review on Seat42F.

ABC’s MANHATTAN LOVE STORY may very well be the cheesiest series of 2014. It’s a classic tale of romance, beginning with a guy and a girl who have an awkward meeting and stumble through a variety of obstacles, but all the while, viewers know the two are soul mates, destined for one another. The dialogue and style backs this up at every turn, with many cutesy moments, more concerned with sticking to the tone than being believable.

Which doesn’t make it a bad show.

I have to admit, I’m a sucker for the romantic comedy. MANHATTAN LOVE STORY is every stereotype of that genre, rolled into a show that can run for awhile without getting too stale. The cast is nearly picture perfect, and while events may be predictable, anyone who is a fan of this wouldn’t want heavy drama infusing the program and weighing things down. It’s delicious, fluffy dessert, not hard-hitting pathos.

Our tale begins with Dana (Analeigh Tipton, Hung, Warm Bodies), the fresh-faced, wholesome beauty who has just moved to the Big Apple to chase her dream job in publishing. She’s plucky and charming, prone to gullibility and clumsiness, but only in ways that make viewers fall more in love with her every minute. She’s got the determination and optimism to push through, sure it will all work out in the end.

Her counterpart is Peter (Jake McDorman, Greek, Shameless), the playboy who is just waiting for the right woman to come along and tame him. He’s sweet at heart, and his flaws come from his fear of commitment, endearing him to females who want to ‘fix’ him and know that, unlike real men, Peter can be the dreamboat women wish for. Plus, he’s got a smart assistant (Chloe Wepper) who more or less keeps him in line.

I do wish Peter and Dana switched traditional roles. They are too spot-on for this type of thing, exactly the same as a hundred other characters that have graced the screens, big and small, before. That would make MANHATTAN LOVE STORY a little more original. However, there is something to be said for the nostalgia the show raises, hitting the familiar notes beat by beat. Combined with two terrific leads, the series works for me and should for other saps, even if the quality is nothing to shout about.

Both Peter and Dana do have running voiceovers, which is fun. It’s an element that may be a tad overused, but MANHATTAN LOVE STORY isn’t about to make its viewers think too hard, willing to lay out exactly what is happening inside the characters’ heads, as well as out. I assume this is not just a convention of the pilot, and will continue throughout, though I only viewed one episode.

Because a show like this needs supporting players, MANHATTAN LOVE STORY does have a typical sitcom-size ensemble of six. Dana temporarily lives with her best friend from college, controlling Amy (Whitney Cummings-lookalike Jade Catta-Preta), whom she may or may not have had a lesbian fling with, and Amy’s husband, David (Nicholas Wright, Accidentally on Purpose), whose fondest wish in life is to get Dana and Amy drunk enough to (re-?)kindle their sexcapades. Amy and David are typical sidekicks, non-threatening and present for comic relief, who will probably develop as the show goes on out of necessity.

William is the sixth member, not exactly a fit with the others, but played by the terrific Kurt Fuller (Psych, The Good Wife, Scandal, etc.), so he’s welcome to join in the fun.

ABC has something that could work with MANHATTAN LOVE STORY. It’ll never win a slew of Emmys or be must-see, but people like romantic comedies, and it’s a satisfying example of one, consistent in what it delivers. It’s not smart or high-brow, but it is comfortable and sweet. That might be enough.

MANHATTAN LOVE STORY premieres Tuesday, September 30^th at 8:30 p.m. ET.

PSYCH's "Breakup" With Us

Article first published as PSYCH's "Breakup" With Us on TheTVKing.

USA's Psych series finale, "The Breakup," is not what I was expecting at all, and yet feels completely perfect. This is a show that has its flaws, but also knows exactly what it is and satisfies both the characters and the viewers in its close. It keeps its story protected and gives the players about the happiest ending anyone could hope for.

A large part of the episode involves Shawn (James Roday) struggling to tell Gus (Dule Hill) that he's disbanding their detective agency and moving away to be with Juliet (Maggie Lawson). Shawn keeps talking to the camera, walking us through their final case together and all the times he almost manages to say the words, but can't. Then, two thirds of the way through the episode, we get the reveal - Shawn isn't talking to the viewers, he's making a goodbye DVD for Gus, and our "hero" slips away without confronting his best friend.

Shawn is emotionally stunted, but there are three people in his life he cares deeply for: his father, Henry (Corbin Bernsen), who will be fine if Shawn only visits sometimes, Juliet, the love of his life, and BFF Gus. Because Juliet takes a job in San Fransisco, Shawn is forced to make a choice: Gus or Juliet? It's an impossible task, but one can't stop romantic love, and so Shawn does what he has to do.

A lot of what Shawn says to Gus in the video makes sense. Maybe Shawn really has been holding Gus back, providing distractions from career and women and stopping Gus from reaching his potential. In Shawn's mind, he's actually doing right by Gus when he leaves, and one can understand that. In this way, Shawn's departure seems more like self-sacrifice than abandonment.

But Psych seeks to have it both ways. Gus, conflicted, and making a fool of himself with a woman one last time, decides to refuse "The Breakup" and moves to San Fran, too, so that he and Shawn can continue the life they've become accustomed to. Shawn gives Gus an out, and Gus says no, reaffirming their bond. That Gus doesn't make the decision lightly makes the outcome mean even more, Gus willing to sacrifice for Shawn, too. Their relationship, always the heart of the show, is served well.

This all culminates in an hilarious conversation over a dead body with Juliet and Vick (Kristen Nelson), a fine way to include the former and once again chief in the proceedings, and then Shawn and Gus's funny joint proposal to Juliet, which she gleefully accepts before her ring is stolen. This gets a little whacky and unrealistic, but only in the way Psych always has been. Things have changed a bit, Shawn has matured, but they've also stayed the same, the characters continuing what we've seen long after they leave our televisions.

There are many elements throughout the episode that also serve the plot well. Shawn finally calls his dad for help. The last murder case initially draws parallels to the ceasing of Gus and Shawn's partnership with their suspect (Billy Zane,  Back to the Future) having lost his childhood bestie. gus gets to work for Bud from The Cosby Show (Deon Richmond). New lead detective Brannigan (Mira Sorvino, Mimic) proves the department will be fine without our twosome. Woody (Kurt Fuller) has some nice bits, and Buzz (Sage Brocklebank) finally becomes a detective. We finally meet the oft-mentioned Dobson during the montage of Shawn's left-behind DVDs, and it's frequently referenced actor Val Kilmer (Top Gun, Batman Forever)! These are all excellent pay offs.

Psych would not be what it is without its resident stick in the mud, Carlton Lassiter (Timothy Omundson). Lassie has grown a lot, becoming a fine chief in Santa Barbara, now having a family. He's left without the rest of the cast, but in an awesome place. He also gets his own farewell from Shawn.

Shawn decides to confess that he's not a psychic to Lassiter in his DVD, but Lassie breaks the disc before Shawn can say it. It may be because Lassie would have to arrest Shawn for fraud if he heard the words, and Lassie has come to like Shawn. I think the policeman values the chaos Shawn brings into his life, helping to hone his skills and raise his game. They have a hug earlier, one Lassiter wants, as Lassie, brilliant detective that he is, knows that Shawn is leaving before Shawn says anything. This same skill set also implies that Lassiter already knew the truth about Shawn and chose to ignore it, cementing his likeability even more.

There's a comfort in knowing that Psych goes on, even if it's not being filmed. Some shows need closure and a finite ending; this one does not. Psych is more about laughter than tears, and it finds a way to bring that through. My complaints about the show have been that it's too light and too procedural, and yet those same elements are used to great effect in this last episode, only possible because the writers have been committed to them all along. It's the perfect, fitting end.

Thank you to the cast and crew of Psych for an entertaining eight years. I won't say it wasn't time to go, but you will absolutely be missed, and if you ever go for a continuation or comeback, count me in.

THE CRAZY ONES Much "Improved"

Article first published as THE CRAZY ONES Much "Improved" on TheTVKing.

CBS's freshman comedy The Crazy Ones was funny from the start, but somewhere along the way, it has become so much more. It has found the perfect blend of heart and humor, often dwelling into deep pathos to find the laughs. This seems a natural direction for series star Robin Williams to go in, and the perfect ensemble surrounding him has tapped into the same vein.

This week's episode, "Dead and Improved," has a great illustration of a laugh out loud scene that will make you cry. A jingle writer that works for Simon (Williams) has died and his daughter, Melora (Missi Pyle, Big Fish), begs Simon to send him off right. The problem is, no one, Simon included, liked the man, making it super difficult to strike the 'wow' note in a eulogy that Melora seeks.

The story is so much more than this simple plot, though. Simon begins to look at his own legacy when faced with mortality. There is raw doubt in his eyes as he wonders if he's all show, no substance. His daughter, Sydney (Sarah Michelle Gellar) assures him that he's a good man who has had a lasting effect on the world. Through Sydney, Simon begins to see what Melora saw in her own dad, which allows him to find his speech, one that will make everyone laugh and cry at the same time.

It's very hard to serve a plot like this and to do it well. The Crazy Ones nails it. We have Williams, Gellar, and Pyle delivering knock-out performances with a brilliant script. It's full of nuance and meaning, one sure to ring true to many a viewer out there. Anyone who has parents or children can relate to this, making an excellent scene on its own mean something personal to those watching at home, providing connection for the audience.

"Dead and Improved" takes the idea of legacy a step further by tying the B plot into it, too. A Charmin rep, Mitchell (Kurt Fuller, Psych), is disowned by his company as he becomes unstable after his wife leaves him. Zach (James Wolk), Andrew (Hamish Linklater), and Lauren (Amanda Setton) feel obligated to set Mitchell right again, not to just turn him out on the street. Their sympathy continues even after he strips naked in their lobby.

The Mitchell thread weaves seamlessly into the A story, ending with Mitchell looking satisfied at the funeral, and doesn't even feel like a segregated tale. This cohesion is a strong selling factor for The Crazy Ones. Though it's an ensemble cast and each individual does have their own motivations and side stuff, the characters are very much part of a team, and it always feels like that. Simon and Syndey have moments with Mitchell, and Zach, Andrew, and Lauren are involved with Melora and the funeral. It's all inter-connected, and they all help one another out.

I also like how The Crazy Ones ties in enough reality so that it doesn't just feel like a cartoonish parody of the world. The excellent rendering of the Rice Krispie theme song at the beginning and Mitchell working for Charmin, with a bit of a real Charmin commercial played in the episode, really make the firm feel authentic. Not to mention, voice actor Fred Melamed gamely recurs as himself, including a couple of scenes in "Dead and Improved."

Most of this year's batch of new comedies has failed to resonate with viewers. While The Crazy Ones' ratings are modest, there is a special spark present that is lacking in most of its peers. The relationship between Simon and Sydney alone is worth watching for, and if you haven't had the opportunity to check this show out yet, please do, in case it soon becomes too late to do so.

The Crazy Ones airs Thursdays at 9 p.m. ET on CBS.

PSYCH "Remake" Not Improvement

Article first published as PSYCH "Remake" Not Improvement on TheTVKing.

USA's Psych feels like its taking a victory lap as the series wraps up. I say this because, rather than delivering typical episodes, the writers are getting more creative more often and doing some zany things, from musicals to a European excursion. This week's latest installment, "Remake A.K.A. Cloudy... With a Chance of Improvement" is actually a redo of a season one episode, working off what is a very similar script and storyline, albeit with a different killer.

The original episode (which I re-watched this week) was the twelfth one that aired, "Cloudy... With a Chance of Murder," way back in February of 2007. It is a relatively normal entry in which Shawn (James Roday) and Gus (Dule Hill) help a bumbling defense attorney named Adam Hornstock (Michael Weston, House M.D.) clear his client of having murdered her lover, a newscaster. In the original version, the victim's jealous assistant (Keegan Connor Tracy, Once Upon a Time), is the culprit.

This time around, the defense attorney is still played by Weston, but now the suspects are a plethora of recognizable faces, rather than the relative unknowns used last time. The guest cast includes Ralph Macchio (Ugly Betty, Eight is Enough), Janet Varney (Burning Love), Katharine Isabelle (Being Human), Carlos Jacott (Big Love), Lindsay Sloane (Sabrina, the Teenage Witch), Alan Ruck (Spin City, Ferris Bueller's Day Off), Ray Wise (Twin Peaks, and a previous Psych guest star twice over), and Dana Ashbrook (also Twin Peaks and Psych). This roster lends the whiff of a stunt episode to the mix.

It isn't surprising Psych would finally get around to a tribute to itself. It has, after all, paid homage to many other shows and movies in the past. With its offbeat sense of humor, it makes total sense to go in this direction, especially if the end is nigh.

That being said, "Remake A.J.A. Cloudy... With a Chance of Improvement" adds little to the series portfolio, and it would be hard to argue it's even a bit better than the first, no matter what the title suggests. I believe part of this is because it picks a very run-of-the-mill entry to play off of, and the other part is that it doesn't do much to change things. The one thing the new one has over the old is that in the original, it's very clear the team hasn't figure out what the show is yet, exactly, whereas here, there's a welcome level of comfort and confidence.

In fact, the character dynamics are much closer to the current relationships that the original chemistry, despite the insistence of text on screen that this takes place years ago. While Jules (Maggie Lawson) says she isn't amused by Shawn, we know it's not true. Lawson doesn't do enough to convince us of that, which, as funny as it is when Shawn insists they will be together, something that can be added to the story in hindsight, is too bad. Lassiter (Timothy Omundson) also goes too soft on the boys.

A couple of things that are nice additions is that Henry (Corbin Bernsen) talks to a baby at the beginning, rather than a child, and Woody (Kurt Fuller), now an important part of the ensemble, is a witness in the case. But even in this, they waste Woody, not even setting him up to be a pal or have his current job.

Overall, "Remake A.K.A. Cloudy... With a Chance of Improvement" is a disappointment. Not because it's not entertaining; it's about as much so as a mediocre, typical Psych episode. Instead, it's the missed opportunities like the jokes that weren't done (such as using an old theme song) that keep it from being memorable. It's a good idea, not executed as well as it could have been, though it does have some good references.

Psych airs Wednesdays at 9 p.m. ET on USA.

PSYCH Sings For Its Supper

Article first published as PSYCH The Musical Review on Seat42F.

USA’s PSYCH has been off the air for far too long, and returns this weekend with “Psych the Musical.” In the two hour special, Shawn (James Roday) and the others attempt to bring to justice an escaped mental patient named Z (Anthony Rapp, Rent) who has a grudge against a certain theater company. An old foe returns to help, and demands singing and dancing as her price for information. Is all as it seems?

NOTICE: What follows contains some plot spoilers. I won’t ruin anything too big or what happens at the end (so nothing much more revealing than what’s already on IMDB), but if you’d rather not know anything ahead of time, you may want to wait to read this.

The biggest foe in PSYCH’s past is Yang (Ally Sheedy), the serial killer with a personal interest in Shawn. She is brought back out for “Psych the Musical,” allowing her to participate in a big episode. I feel like this is a pretty appropriate use of her. She should only return sparingly and with effect, and although she is not exactly the center of this story, she still plays a sizeable role, making her appearance worth it.

Mary Lightly (Jimmi Simpson) also comes back, but since he died during his last guest spot, I won’t go any further than to say he sings well and is brought in through a creative twist most should appreciate.

The premise of why PSYCH is doing a musical is thin. Yes, Yang demands that Shawn sing for her, but before that, the characters have already been crooning away, so it’s not just at Yang’s behest that the songs pour forth. Unlike Scrubs, which featured a patient who imagined her doctors singing, or Buffy the Vampire Slayer, where a demon cursed the cast to speak melodically, or Grey’s Anatomy, which had a story of hallucinations (all three terrific efforts), “Psych the Musical” is not so well thought out.

However, that’s kind of par for PSYCH. I love the series and all its references to pop culture, but it’s always been a series that doesn’t go deep. It’s much more focused on being funny than developing characters, and even though some wonderful arcs have snuck in, they are not the mission, making the show more enjoyable than high-quality. Believability has been stretched before to match a genre, so it’s in keeping with the usual tone that it happens again here.

“Psych the Musical” concerns a pretty typical case. While the run-time is two hours (including commercials), which allows space for musical breaks, the story itself is only an hour’s worth of mystery. The clues are typical, at best, and nothing particularly monumental happens. One wishes, especially with the inclusion of Yang and Mary, the writers had stretched themselves a little further, but oh, well, too late now.

The music itself is not bad. It’s campy and not particularly original, but that’s kind of the charm PSYCH seems to be going for. Although it was released that sixteen numbers were produced, many are repeats of an already-used tune, just with different lyrics. This isn’t necessarily a bad thing, just an observation that there truly isn’t as much variety as one might think.

Roday proves to be a more than capable singer, as does Dule Hill (Gus), who is light on his feet, as well, leading to a great, big opening. Gus also gets the finale to himself, which is a bit understated for my taste, not ending nearly as big as the episode starts. Lassiter (Timothy Omundson) is good on the base lines, and his harmonious sparring with Sharn are among the best moments of “Psych the Musical.” Juliet (Maggie Lawson) doesn’t seem particularly talented in this arena, but does a passable job when needed, and Vick’s (Kirsten Nelson) solo is brief, but effective. Woody (Kurt Fuller) is fantastic in his simple piece.

Henry (Corbin Bernsen) absolutely refuses to participate, which is in keeping with his character, so it works. Buzz (Sage Brocklebank) seems like he would really like to join in, but Lassie shuts him down repeatedly, again something that is appropriate for the part.

Z only has one number, which is disappointing, given Rapp’s resume. I understand the focus is on the main players, but when one casts a guest star of this pedigree for a musical, one should use him much more than PSYCH does. Even worse, Barry Bostwick (The Rocky Horror Picture Show) doesn’t get to sing at all. If that’s how “Psych the Musical” wants to use its guest stars, fine, but don’t bring in people viewers expect to hear if they’re going to be wasted.

Overall, I found “Psych the Musical” a middling effort. I was entertained, but wasn’t left desiring to download the music or listen to the songs again, as I have been after other shows’ attempts. I love musicals in general, so it’s a bit sad. But, the style of this installment is consistent with the rest of PSYCH, so on that count, it is decent.

“Psych the Musical” airs Sunday at 9 p.m. ET on USA.

Psych returns to "Santabarbaratown 2"

Review first published as PSYCH Review Season 7 Episode 1 Santabarbaratown 2 on Seat42F.

Grade: 86%

Warning: This review contains spoilers. 

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

"What Went Wrong" for The Good Wife?

     CBS ends the fall run of The Good Wife with "What Went Wrong." A Lockhart/Gardner case is lost, but Judge Dunaway (Kurt Fuller, Psych, Better With You) thinks the verdict is unfair, and encourages the firm to find evidence to help him overturn the decision before sentencing. Wendy Scott-Carr (Anika Noni Rose) smells some of the corruption she is investigating, and threatens Dunaway, making him more reluctant to overrule the jury. But Alicia (Julianna Margulies) and Kalinda (Archie Panjabi) learn that the judge friended a jury member, and a mistrial is indeed called. In the process, Alicia discovers what Kalinda did for Grace (Makenzie Vega), and the ice between the pair begins to thaw. Good thing, as Alicia suddenly realizes she has no friends.

     The big shocker of "What Went Wrong" is Wendy Scott-Carr's hidden agenda. The investigation that Peter (Chris Noth) originally orders is against Lockhart/Gardner for their ties to a drug kingpin. But then he shifts things to Will (Josh Charles), whom he believes is involved in illegal gambling and corruption, and Peter must remove himself, lest he look like it's a personal vendetta. Hence, he nominates his nemesis, Wendy Scott-Carr, to do the dirty work for him. Wendy tells Will this week, though, that she is really after Peter. In response, Will lawyers up. This whole thing is couched in murky and changing motivations, with betrayal coming at every turn. This cannot end well for Peter or the State's Attorney's office. Guess one should never trust their enemies, huh?

     But Will and Peter have always been rivals of sorts in The Good Wife, and Will refuses to turn on Peter. When the chips are down, and Wendy is blustering, Will doesn't reveal anything he knows. Instead, he clams up, and won't cooperate. It's a smart move for himself, and could earn him Peter's gratitude, which, if Peter isn't taken down, might mean something. Plus it leaves the door open with Alicia, should Will try for a reconnection.

     Which he might very well do. Alicia dumps Will because she isn't in love with him and wants to focus on her career, which she definitely does in "What Went Wrong," accepting Diane's (Christine Baranski) friendship and mentorship. But Will is a different story. He shows many signs of being in love with Alicia, and despite his best efforts, things are now very awkward between them. Apparently Alicia just wants him for sex, and he wants something real. How this new balance will shake out is still anyone' guess.

     That Wendy chooses now to go after Peter is unfortunate, given that he has set aside corruption in his new office. Or has he? Peter seems to be playing by the rules, but a very private meeting, where he bullies a private school administrator to get his kids in, tells a different story. And if he acts this way there, what else is he doing that viewers have just not been privy to? With The Good Wife, it's impossible to tell what is really going on until the writers choose to reveal it. Which means the whole case against Peter and Will, as flimsy as it looks now, could be perfectly valid in the end.

    It is awesome that Alicia is warming back up to Kalinda in "What Went Wrong." Their friendship is a driving force in the series, and in "What Went Wrong," emotions finally seem to be reversing. For good reason, of course. All isn't forgiven, as Alicia has drinks with Diane at the end, not Kalinda. But Alicia is accepting her company again, and not treating her like a pariah. Given all that Kalinda is doing to make up for her betrayal, which happens long before they actually form a friendship, she deserves a second chance. Thank goodness she will get it.

     The Good Wife will return to CBS in January.

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

     To buy The Good Wife DVDs, please click here.

Someone is "Preggers" on Glee

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.


     The Glee fourth episode, "Preggers," is when I started to actually like the series, because there is real heart in it. This is a really moving story about a father and son, and that relationship has become one of the best parts of the entire series. I was less than impressed with the campy quality of the first three episodes. Upon rewatching the beginning, now embracing Glee's brand of humor, even the first three are great. But back in the fall of 2009, that's how I felt. And it's why Kurt (Chris Colfer) is still my favorite character, with Burt (Mike O'Malley) high on the list as well.

     In the episode, Kurt is featured. After being caught dancing to Beyoncé's "Single Ladies (Put a Ring On It)," he tells his father, Burt, that he has joined the football team as a kicker. Luckily, the McKinley players are so bad that Kurt is able to wrangle the position, accomodating his lie. In addition, Will (Matthew Morrison) teaches the football team to dance to the song, hoping it will make them better players. The big game doesn't go so well, until the team pulls out their Beyoncé moves, and Kurt makes the game winning extra point kick.

     Burt is proud of Kurt, and tells him so. Kurt finds himself finally able to come out to his father, who admits that he's known Kurt's preference for men since he was little. While Burt isn't happy about it, he still loves his son just as much. Perhaps it's a bit homophobic, but Burt is from a different generation. A problem many gay teens face is telling their less open minded families. Burt, at least, is willing to accept Kurt for who he is, even if that means embracing something he, as a "manly man," has always been uncomfortable with. Not an ideal situation, but far better than what many kids face.

     Amusing is the opening scene where Burt catches Kurt dancing to the Beyoncé song with Tina (Jenna Ushkowitz) and Brittany (Heather Morris). Burt asks if one of them is Kurt's girlfriend. Even though Burt later admits he has always known Kurt is gay, it makes sense for the character not to out his son until he is ready. Or maybe Burt is even wishing that Kurt is just a very odd straight man, and he's wrong about his son. Either way, it's an uncomfortable confrontation, but it follows a fantastic dance number.

     Meanwhile, Quinn (Dianna Agron) tells Finn (Cory Monteith) that she is pregnant. Both Finn and Quinn fear losing any type of successful future to care for their child. Finn opens up to Will, unloading about the issue. Will offers emotional support, and also tells Terri (Jessalyn Gilsig), who sees Quinn's baby as the perfect opportunity to find a baby to trick Will. This is based on the idea Terri's sister, Kendra (Jennifer Aspen, Rodney), suggests to keep Will in the dark about Terri's pregnancy being hysterical.

     In "Preggers," Terri begins to take her little white lie too far. She originally spouts it because she can't stand to hurt Will. Now, after consideration, she realizes it's probably the only reason Will hasn't left her yet, considering their marital problems. Still, her instinct is to come clean. It's Kendra who convinces her to continue on with the charade. It's so sad to watch Terri choose the wrong path, knowing that she is essentially a good person. While it would prevent any future Will/Emma (Jayma Mays) pairing, I still find myself wishing Terri would do things differently the second time I watch, and heal her marriage.

     Quinn's lie is arguably worse than Terri's. For one thing, she unnecessarily worries Finn, who she says is the father, but he is not. Setting aside why Finn even believes she can get pregnant from sperm swimming through hot tub water, as he is a naive teenager, and there is a lot of misinformation out there, Finn is all of the sudden faced with a dampened future. He is going to do the right thing and stand by his kid, of course, even if that costs him the things he wants to do. While Finn may be dumb, he is also sweet and caring, proven in "Preggers" by this whole situation, and his reaction to it.

     Puck (Mark Salling) is also hurt by the lie, as he knows he is the real father, and he, too, wants to take responsibility for his child, but Quinn will not allow it. Puck has little character development at this point in the series, so it may be a surprise that he makes the right decision here. Even more surprising, he asks a depressed Finn what's wrong, even though he's been giving Finn crap for four weeks over joining glee club. Thus begins Puck's duality. Sometimes he makes dumb decisions, like sleeping with his best friend's girlfriend, which can be explained, though not excused, by hormones. Then, other times, he is there for the people that need him as a genuine friend.

     It is likely Puck joins the New Directions simply to be close to Quinn, and brings two friends along with him so he looks slightly cooler. Puck does love singing, and is good, but this isn't obvious yet at this point in the series, despite his brief foray in the Acafellas.

     The football game itself is a bit ridiculous. While the other team is certainly surprised and weirded out by the impromptu dance number, would they really stand there for so long, not even trying to get the ball, or get ready for the play? Perhaps the rules of football state they can't grab the ball until after the hike, but isn't there come kind of play clock? Didn't McKinley's little performance go longer than allowed? It's a really fun scene, and a great example of the cheesy humor Glee is known for, but it goes on long enough to think about how unrealistic it is.

     "Preggers" features the first "Sue's Corner," Sue's (Jane Lynch) local news segment where she spouts her views. In this first piece, she supports caning, and then later mentions she spoke out in favor of littering. Even for Sue, this is a bit much. Setting aside that the character might hold those views, as it is almost believable for the character, why would the news station allow her to talk like this? Later "Sue's Corner"s will get better, but the first one is weak sauce.

     Sue's latest plan to disrupt the New Directions is to bring Sandy (Stephen Tobolowsky - forgot how often he is in season one!) back to the school as Arts Administrator and have him stage a musical, luring Rachel (Lea Michele) away from the group. Since Sue has blackmail on Figgins (Iqbal Theba), and Sandy is never officially charged with any crime, the plans works... for now.

     It's sad to see Rachel being so disloyal to glee club, and yet, it is not out of character for her. Rachel points out to Will that everyone gets something out of glee club except her, and she's right. Later, helping others and having friends will be her reward. But for now, looking at the situation completely selfishly, Rachel singing solos and using the group as her backup is the only beneficial scenario in her mind. She doesn't need help coming out of a shell or finding her voice. Regrettable as it is, she is right. Sort of.

     Musically, there are only two numbers, likely the lowest amount of any Glee episode. Rachel's "Taking Chances" is every bit as good as any of the other songs she belts in other episodes. Tina's "Tonight" is actually pretty good, too, other than the ending. This is surprising, because in season two, Tina's solos are usually something of a joke, with a cheap laugh taking precedence over showcasing talent. Time to change that, no?


     Random bits time!

     In a flashback to the scene where Finn and Quinn have their hot tub fun time, Finn prematurely ejaculates as Quinn yells at him to "think of the mail!" This is a reference to an earlier episode when Finn talks of remembering his mom hitting the mail carrier with her car to stop himself from climaxing. This is hilarious and should be brought back the very next time Finn has sex, hopefully sometime in season three.

     Finn helps Kurt join the football team. The two who will become brothers are growing closer already! Of course, they have very different reasons for working together.

     Quinn tells Puck his pool cleaning business isn't worth much because they live in Ohio. While I was unable to find an exact ranking, and Ohio may not have as many pools per capita as other, more Southern states, there are a fair amount of swimming pools. Trust me. I grew up there. We had one, and so did many of my friends. Though, admittedly, we didn't hire a cleaner.

     All but forgotten is the brief one episode appearance of Sue's radio boss, Mr. McClung (Kurt Fuller, Better With You, Psych). Though he only gets one scene, Fuller is a comedic pro. Maybe he could come back some time?

     Figgins's Mumbai Air commercial is as confusing as it is funny. Why is an American principal doing an Indian ad campaign? Ah, well. It's good for a laugh.

     Heather Morris was actually a backup dancer for Beyoncé both before and after the "Single Ladies" hit. She appeared dancing the song on several television programs and on concert tours. Then Glee hired her. Good use of prior knowledge!

     This episode marks the first appearance of the twelfth glee club member, Matt Rutherford (Dijon Talton). He is shown when joining the glee club along with Puck and Mike Chang (Harry Shum Jr.). I guess the rule is last in, first out, since he is the last one of the original 12 to be shown on screen, and is the only one who does not return for season two.


     Look for a review of the next episode this weekend!

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

Article first published as TV Review: Glee - "Preggers" on Blogcritics.