"Thirst" for ORANGE IS THE NEW BLACK Quenched

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

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

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

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

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

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

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

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

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

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

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

Locked Up With ORANGE IS THE NEW BLACK

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

Grade: 97%

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

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

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

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

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

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

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

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

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

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

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

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

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

Will Netflix Change Television?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Men at Work is "Plan B" for me

The latest episode of TBS's Men at Work is "Plan B." Neal (Adam Busch, Buffy the Vampire Slayer) hooks Milo (Danny Masterson, That '70s Show) up with his hot friend, Hannah (Laura Prepon, Are You There Chelsea?). Milo likes Hannah, but as Neal keeps intruding on their dates, Milo begins to wonder if Hannah is Neal's Plan B, should things not work out with his current girlfriend, Amy (Meredith Hagner, As the World Turns). Milo is right, and Hannah, thrilled to see Neal's interest, makes a play for him, leaving Neal with a tough decision to make.

This is a story that has been done before about a bazillion times. Neal doesn't realize how good he has it in his relationship until he sees another choice. Then he thinks about what Amy means to him, and makes the right decision. Milo is merely present as a way to bring Hannah in, without any good character development for himself. Hannah, while played delightfully by a talented actress, is also simply a catalyst for Neal's story. This entire plot is Neal's. Busch handles it well, but it's nearly impossible to do a fresh take on such a been-done story, and Men at Work fails to make it seem current.

The B plot of "Plan B" is no better. Tyler (Michael Cassidy, Privileged) and Gibbs (James Lesure, Las Vegas) pretend to be a gay couple to join an expensive gym that offers two-for-one membership deals. This is merely an excuse by the writers to make these too masculine men act gay, and try to mine humor in that. Men at Work deserves a little bit of credit for not playing too much into stereotypes or getting crass in the story. But it's incredibly predictable, right up to when they figure out that the two-for-one deal did not specify that they had to be a couple to use it.

I originally watched the pilot of Men at Work, and decided it would not be a series worth my time reviewing. It seems like something completely unoriginal, just mixing up the ingredients of previous sitcoms in a slightly new way. The characters tended to be broad and unfocused, and the stories trite. The cast is decent, but not amazing enough to warrant regular viewings for a show that already feels like every week's episode is a reruns, even though they aren't.

"Plan B" doesn't do a lot to dispel those notions. It's better than the first episode, for sure, but there's still a lingering sense of nothing special. It's a diverting way to spend a half hour, but no jokes really stuck out as being memorable, and I am unlikely to dwell on any scenes after I've finished watching. It's not bad, per se, it's just not great, either. In today's world of a million programming choices, with enough gems to keep anyone busy, it's not worth it to continuing watching Men at Work.

Part of the problem is that other networks have recently tried a similar formula, about buddies at this stage of their lives, and done better. Man Up springs to mind, in spite of its cancellation. This comparison hurts any impression Men at Work seeks to make.

Most of these actors have been a part of better shows. One hopes they will be again soon. And Men at Work definitely makes me long for the arrival of Cougar Town so TBS can have a good comedy again, something it has not seen since ending My Boys.

If you choose to watch, Men at Work airs Thursdays at 10 p.m. ET on TBS.

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New January sitcoms bomb one and all

    January brings the return of midseason favorite and cable series. But it also heralds a batch of "second tries" by the networks to replace falls shows that just didn't work out. All three major networks, NBC, CBS, and ABC have launched new sitcoms recently, including one last night. All three sitcoms should soon be gone, with any luck, because these are not examples of what good comedy television is.


     First out of the gate was ABC's Work It. Lee (Benjamin Koldyke, How I Met Your Mother, Big Love) and Angel (Amaury Nolasco, Prison Break, Chase) have been out of work for awhile. Lee, in a desperate move, dresses as a girl and gets a position as a pharmaceutical rep, and Angel rides his coat tails. Rebecca Mader (Lost) does a great bitch, but that doesn't mean she brings much to the table. This series does earn a few laughs, but only because it is so incredibly bad. It's the sitcom version of SyFy made-for-TV movies. That's not the way a show wants to be laughed at, because it is certainly not laughing with. But it's a cheesy pile of gristle that still (barely) manages to entertain. Which means I may continue to watch it until it gets canceled, which should happen soon enough. But a classic, it is not. And if it doesn't get canceled soon, the joke of how truly horrific it is will wear thin, and it will definitely go off my TiVo.

     Next comes along NBC's Are You There, Chelsea?, the worst of the bunch. Based on Chelsea Handler's book, Are You There, Vodka, It's Me, Chelsea?, but of course with a shortened title, the first episode fails to amuse even slightly. Handler herself plays the religious, uptight, older, pregnant sister of the titular character, and it doesn't work at all. Laura Prepon (That '70s Show, October Road) tries valiantly with playing a version of Handler, but even Prepon's considerable talents cannot rise the material above drivel. Greek's Jake McDorman adds little as the bartender who couldn't have sex with Chelsea because they both like to be on top, though Lenny Clarke (Rescue Me) is not bad as her father. Lauren Lapkus and Ali Wong (breaking_in) have it worst as Chelsea's friends. An annoying, intrusive laugh track doesn't help. Skip this one entirely.

     Finally, CBS's Rob is the one with the least amount of promise, yet, perhaps by sticking to a traditional sitcom feel, it is the best of the new class. Which is not to say that it's great, by any means. Rob (Rob Schneider, Deuce Bigalow) marries Maggie (Claudia Bassols, C.L.A. No somos angeles), a girl that is way too hot for him, after six weeks of dating. Then he is introduced to her loud, obnoxious, Mexican family. Uncle Hector (Eugenio Derbez, La familia P. Luche) is the worst character, being a mooching recent immigrant. But Cheech Marin, as Maggie's father Fernando, is not at all what one expect from the character or the actor, which is a redeeming quality for the show. The cast also boasts Diana Maria Riva (The Good Guys, The West Wing) and Lupe Ontiveros (As Good As It Gets, Los Americans) among the cast. Despite some ridiculous situations involving Rob acting too much like an idiot, if the series tones down the main character, there may be something there. Unfortunately, it's something many a sitcom has already found before it.

     All in all, not an impressive batch. But then again, neither were the fall premieres. Maybe next year will be better. Until then, enjoy the tried and true wealth of funny series already running.

     Work It airs Tuesdays at 8:30 p.m. ET on ABC.

     Are You There, Chelsea runs on Wednesdays at 8:30 p.m. ET on NBC.

     Rob is Thursdays, 8:30 p.m. ET, on CBS.

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Castle: The Complete Third Season on DVD

     ABC's Castle: The Complete Third Season comes to DVD this Tuesday, September 20th, the day after season four premieres. These episodes aired from September 2010 until this past May, the most recent season to air. Season three provides many of the stand-alone mysteries viewers have come to expect from Castle, as well as a handful of episodes that play into larger arcs.

     As season two ends, Castle (Nathan Fillion) heads off to the Hamptons with his second wife and editor, Gina (Monet Mazur), just after Beckett (Stana Katic) breaks up with her boyfriend. Season three finds Castle dating Gina for awhile, before the relationship implodes. But the time that it does, Beckett finds a new guy to date. So, of course, the two lead characters never do find the opportunity to hook up. However, in the season three finale, Castle tellz Beckett that he loves her, so it will be interesting to see what the ramifications of that moment will be.

     Though Castle and Beckett don't get lucky in love, they seem to be the only ones. Among the other relationships that play out during the third season, Alexis (Molly C. Quinn) gets serious with her first real boyfriend, Ashley (Ken Baumann, The Secret Life of the American Teenager), so much so that, after a fight, they decide to try the long distance thing as he goes off to college. Ryan (Seamus Dever) proposes to his girlfriend, and she says yes. Esposito (Jon Huertas) and Lanie (Tamala Jones) try to sneak around, and for awhile, their friends allow them to believe it's working. Martha's (Susan Sullivan) beau dies just as she is about to decline his marriage proposal.

     But romance is a small part of Castle, while murder is a much bigger part. There are a number of cool, memorable cases that Castle, Beckett, and company solve during this third season. The team works with Agent Mark Fallon (Heroes's Adrian Pasdar) to stop a dirty bomb in a gripping two parter. Actress Natalie Rhodes (Laura Prepon, October Road, That '70s Show) helps out on one case while studying Beckett, as she will be playing Nikki Heat in a film based on Castle's books. Beckett's old mentor, Royce (Jason Beghe), returns, only to be killed, and Beckett and Castle have to travel to Los Angeles to find his murderer.

     Of course, the biggest episode of Castle's third season is the finale, "Knockout," which continues the investigation into Beckett's mother's murder, an arc spanning the series thus far. Esposito and Ryan learn that Captain Montgomery (Ruben Santiago-Hudson) is part of the cover up conspiracy. Montgomery faces the hired killer himself, losing his life, but saving Beckett's. There is also much examination by Castle over his feelings for Beckett, while trying to convince her to stop digging before she gets killed. "Knockout" ends with Beckett being shot as Montgomery's funeral, and Castle professing his love, as mentioned above, before her head lolls back. What an exciting cliffhanger!

     Interestingly, unlike other ABC releases, Castle's bonus features are spread across each disc in the set, rather than packing them all onto one disc. This certainly makes sense for the audio commentaries, which are provided for a few of the more memorable episodes. It's also convenient for the deleted scenes, too, keeping them near the episode that they belong with. Those are all pretty standard, nothing shocking or exciting to set Castle's apart from any other show. Though it is fun to see Castle bumble in front of Beckett's father (Scott Paulin). You can skip watching them, and won't miss anything. The longer features are all on the final disc, so the setup works pretty well.

     One three and a half minute feature examines how the twelve murder boards on set are used to film each episode, as told by Kurt DeFilipps, the man in charge of doing so. A just over two minute music video called "Get On the Floor" comes from an episode during the season, expanded with scenes from the show added in. The obligatory four minute blooper reel begins semi-seriously, giving it a fun, unique spin. It also exposes the cast's potty mouths.

     "Castle Goes Hollywood" is an eight minute short about filming in Los Angeles for one episode. Actually, Castle always films in L.A., but the cast and crew talk about how they had to adapt, since usually they are concerned with making L.A. pass for New York, and this time, they can embrace the city where they live.

      Finally, "Murder They Wrote" is a twenty-two minute roundtable discussion with series creator Andrew Marlowe, executive producer Rob Bowman, author Michael Connelly, graphic novelist Brian Michael Bendis, and star Nathan Fillion. The guys discuss the writing process and the realism of the show. They also go into detail about the books and graphic novel that have been released in conjunction with the series. Fillion talks about his experience on Firely, always a treat. Plus, they remember Stephen J. Cannell, author and former guest star.

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     To order the Castle DVD, or purchase streaming episodes, please click here.

Article first published as DVD Review: Castle: The Complete Third Season on Blogcritics.