SUPERGIRL Takes Flight

Article first published as Blu-ray Review: 'Supergirl - The Complete First Season' on Blogcritics.

Disclaimer: Warner Bros. Home entertainment provided me with a free copy of the Blu-ray reviewed in this article. The opinions I share are my own.

The first season of CBS’s Supergirl arrives on Blu-ray, DVD, and digital download this week. The 20 episodes set up the titular character just as she becomes a superhero, introducing us to her life both with and without the cape. It’s a rollicking fun time, and while it doesn’t quite hit the quality of some of the other DC Comics shows on the air right now, it is far better than what the comic brand is churning out for the big screen.

Glee‘s Melissa Benoist stars as Kara Danvers, a.k.a. Kara Zor-El, a.k.a. Supergirl, a young woman who has been living on Earth for awhile after her home planet was destroyed. Having had plenty of time to adjust to her new home, Kara is an adult as the series begins, working as an assistant for media mogul Kat Grant (Calista Flockhart, Brothers & Sisters, Ally McBeal) and trying to start a career. This is somewhat derailed when Kara finds she can no longer sit still, creating a costume with the help of her best friend, Winn (Jeremy Jordan, Smash), and saving the day. These actions gets her noticed by the DEO, a military organization devoted to protecting the planet from aliens, and which secretly employs her sister, Alex (Chyler Leigh, Grey’s Anatomy). But even after joining up with DEO leader Hank Henshaw (David Harewood, Homeland) and his crew, Kara manages to balance both lives, a modern woman who can have it all.

The girl vs. woman issue is addressed head-on in episode one. Supergirl is a show to which no feminist should object. Kara is strong, independent, and fierce. She’s also brave and loyal and very capable. The only other character that even comes close to her level of accomplishment is Cat herself, so strong females are well represented on the series, lest anyone think the title is a step backwards for the fairer sex.

Sadly, since production is moving to Canada, Cat will be a less frequent presence in season two, which is a shame because Cat and Kara’s relationship is pretty much a linchpin of the show.

Unlike Superman, her already famous and successful cousin, Kara was old enough to remember their world of Krypton when it was destroyed, which influences the way she sees the world, as well as her hopes and dreams. Due to a flight into the Phantom Zone, Kara’s arrival on Earth (and waking up for her pod to begin aging again) was delayed awhile. Unfortunately, when she arrived, she brought the horrible prisoners of Fort Rozz with her, including her Aunt Astra (Laura Benanti, Go On) and Uncle Non (Chris Vance, Transporter: The Series). This sets the stage for the baddies Kara will face in her new crusade.

There are a lot of fun bits for those already familiar with the world of Superman. While the Man of Steel himself only makes fuzzy and at-a-distance appearances (though he has recently been cast for season two), we see the likes of The Martian Manhunter (no spoilers), Maxwell Lord (Peter Facinelli, Nurse Jackie, Twilight), Lucy Lane (Jenna Dewan Tatum, Witches of East End), and Sam Lane (Glenn Morshower, Bloodline) in this series. Not to mention, Jimmy, sorry, James Olsen (Mehcad Brooks,Necessary Roughness) is a main character and love interest. There are also tributes to previous Superman and Supergirl incarnations, such as casting former Clark Kent, Dean Cain, and former Kara Danvers, Helen Slater, as Kara’s parents. So I appreciate the tributes paid.

But Supergirl is also its own world. It’s very clearly not the same universe as the recent DC films are set in, nor is it on the same Earth as the CW shows take place on. Thanks to a multiple Earths theory, DC has the freedom to portray lots of different versions of the same characters and places at the same time. Which doesn’t prevent a guest appearance from The Flash‘s dimension-hopping Barry Allen (Grant Gustin), nor preclude more crossovers with its small screen peers after Supergirl moves to the CW this fall.

So, while the series starts out as too case-of-the-week, and while it ends with some exaggerated and easy outs, most of this run is pretty good. It’s easy to root for Kara and her friends, and I like the positive approach and outlook the series supports. I look forward to seeing where future seasons go, and can recommend this first season without hesitation.

On The Complete First Season, we get a fair amount of extras. A pair of ten-minute featurettes reveal how the show approached their version of Krypton and The Martian Manhunter, two wonderful elements in the story. We also get a too-short look at the cast attending Comic-Con, a gag reel, and deleted scenes for almost half of the episodes. My complaints are the very outdated menus and the extra padding at the start and end of every deleted scene. But other than that, it’s a decent batch of bonus material.

Supergirl – The Complete First Season is available now.

SUPERGIRL Takes Flight

Article originally published as SUPERGIRL Review on Seat42F.

Joining the already crowded superhero landscape is CBS’ SUPERGIRL, premiering this week. In it, Kara Danvers (Melissa Benoist, Glee), cousin of the more famous Kal-El, comes of age and is ready to take on the bad guys to save the city. To do so, she has a bit of a different approach than Superman (oops, didn’t mean to say the name), and a supportive group around her.

SUPERGIRL dances around the Superman lore, but not as much as past efforts like Smallville have. Viewers will get to see and hear plenty about him; the name just isn’t uttered much, usually spoken about as a mythical ‘him.’

Doing this sets Supergirl apart from Superman. Superman is an alien who is aloof, apart from the human race. Supergirl is someone who is in the fight alongside everyone else. While Superman cares inherently, Supergirl cares because of her adopted sister, Alex (Chyler Leigh, Grey’s Anatomy), and her friend, Winn (Jeremy Jordan, Smash), and others. She’s a part of the population of the Earth far more than he i, and takes what she does very personally.

Right off the bat, it’s clear Supergirl won’t be working alone like Superman does. No less than three people know her secret in the pilot, not including Hank Henshaw (David Harewood, Homeland) and his organization. She does have a secret identity; her boss, Cat Grant (Calista Flockhart, Brothers & Sisters) doesn’t know she has the caped crusader working for her. Yet, it’s not as closely guarded a secret, and it changes the tenure of SUPERGIRL from most Superman incarnations.

Also different, Kara gets in over her head early on. While Superman eases into fighting the baddies, Kara immediately has to fight prison escapees from the Phantom Zone. This isn’t the plot of a single episode, but rather a set up for the series. There are dozens of alien convicts on the Earth and they are focused on her, for good reason, as we’ll find out. So Kara needs these others to be around her.

For fans of Superman who never really got into Supergirl, this program provides plenty of connection to that more established world. As mentioned, Cat Grant, a figure in Clark Kent’s life, is present, as is James Olsen (Mehcad Brooks, Necessary Roughness), albeit a bit older than you might remember him. The production also pays homage to past actors of the franchise, much as The Flash does, by casting Dean Cain (Lois & Clark: The New Adventures of Superman) and Helen Slater (1984’s Supergirl) as Kara’s adoptive parents. Not to mention, the messages of Alura Zor-El (Laura Benanti, Go On) will bring to mind similar communications from Jor-El to Superman.

As society progresses, feminism has taken root. As such, some may argue it’s not right to call Kara Super’girl’ instead of Superwoman. The character of Supergirl has a long history, though, and it’s too late to change it now. Thankfully, SUPERGIRL addresses this disparity head-on in episode one, and I’m satisfied with the explanation. I think most viewers will be, too.

Because SUPERGIRL is on CBS, it’s likely to be largely a procedural. I assume most weeks will find her dealing with a single antagonist, whom she defeats by the ending credits. But there is a lot more personal drama going on than in most shows on the network, a la The Good Wife. Should SUPERGIRL follow The Good Wife’s pattern, concentrating more on the characters than the cases, it’ll do well.

SUPERGIRL is a solid entry on the television landscape. It is enjoyable, with a great cast and interesting premise. It will take more than one episode to see if it deserves to hang with its successful DC brethren, Gotham, Arrow, and The Flash, but I’d say it’s off to a pretty good start.

SUPERGIRL premieres Monday at 8:30 p.m. ET on CBS.

THE GOOD WIFE Goes "Dark"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Go On over to fall's best new sitcom

Episode Grade: 95%

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

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

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

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

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

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

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

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

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

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

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

Article first posted on TheTVKing

"Dinner Takes All" for Go On

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

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

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

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

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

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

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

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

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

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

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

Go on, Go On

Grade: 88%

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

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

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

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

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

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

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

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

Stay home from The Playboy Club

    The Playboy Club just premiered on NBC. In the "Pilot," Clyde Hill (Randy Steinmeyer) tries to rape new bunny, Maureen (Amber Heard, Hidden Palms). Maureen kills him, only to learn that "Clyde" is a mob boss. Luckily for her, lawyer Nick Dalton (Eddie Cibrian, CSI: Miami, Ugly Betty) is around to help her hide the body. Nick's girlfriend, Carol-Lynne (Laura Benanti, Eli Stone) catches the two of them together and gets the wrong idea, causing her to end things with Nick. Clyde's death does not go unnoticed, and soon Maureen grows frightened.

     The biggest problem with The Playboy Club is the writing. Character after character delivers cheesier and cheesier dialogue, constantly taking viewers out of the moment. This begins immediately with the opening monologue, delivered by Hugh Hefner himself, who substitutes "every bunny" for "everybody." It continues, though, and before long one is left wondering if there are any experienced writers at all working on the series.

     The mob angle is interesting, because it provides plenty of action outside of the club, and raises the stakes. Plus, it seems logical for 1960's Chicago to be heavily involved in mob affairs, and thus, it makes sense. Action can be good, and the sight of Maureen stabbing "Clyde" to death with her stiletto is actually amusing and cool. Too bad the threat represented by the next mobster who comes to talk to Maureen, all but disappears when she delivers some "snappy" banter.

     The Playboy Club looks great. The period costumes are welcome, especially those as iconic as the Plaboy bunny outfits. The club, with it's bright, primary color paneling, and dark, smoky main room is authentic. Nick's apartment is even better. Sure, it's stocked with neat, vintage furniture and sliding bathroom doors, but this look could still be considered "in" under the right circumstances. Many people would love to live in that apartment, even today.

     The acting isn't too bad. Heard is decent. Benanti is fantastic as the first "mother bunny," showing club manager Billy (David Krumholtz) that she can't be fired or pushed out. Her victories are triumphant, and her musical numbers showcase her talent nicely. Cibrian isn't bad, per se, but his character evokes a wimpier, weaker Don Draper, so he kind of falls flat. Don Draper would take state's attorney with no problem, while Dalton just dreams about holding the job. The other bunnies, each with their own hook (gay, married, black) are just not all that memorable.

     As far as the claim that The Playboy Club shows just how empowering it could be for women in that time period to be a Playboy bunny, that's bull. Some of the girls do have strong personalities, but none, except Carol-Lynne, has the slightest chance of making major decisions for themselves anytime soon. This would be OK because it's period correct if the series didn't try to pretend that's not the case. It feels forced and fake.

     Many reviews for The Playboy Club have been scathing. I wouldn't go quite that far. There are some good elements in place. But, as mentioned, the dialogue is trite and horrible. If it doesn't improve quickly, it will likely sink the series before it even gets the chance to start.

     You can catch The Playboy Club Monday nights at 10 p.m. ET on NBC.

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