Crown MRS. AMERICA

Article first published as TV Review: MRS. AMERICA on Seat42F.

FX and Hulu both make terrific shows in their own right. Now, a partnership has formed where viewers get FX series exclusively on the streaming platform. One of the first of those is MRS. AMERICA, a new miniseries based on the true story of the push for the Equal Rights Amendment in the 1970s. It completely lives up to the best programming from both sides.

Setting aside the politics, MRS. AMERICA is an extremely well-made, well-acted, compelling history lesson. It’s fantastic as a story, brilliantly directed and executed, with terrific production design. As a piece of television, it’s wonderful.

MRS. AMERICA begins with Phyllis Schlafly (Cate Blanchett, Carol), a housewife who has run for Congress twice. When the opportunity comes up for her to run again, her husband, Fred (John Slattery, Mad Men), balks because she might actually win. So to satisfy her own political ambitions and keep the peace in a marriage where she is subservient, she pours her attentions into organizing a national effort to stop the newly-passed Equal Rights Amendment, which must be ratified by thirty-eight states to become law.

It’s a good thing MRS. AMERICA shows us Phyllis before she embarks down this path. It doesn’t stop her from being a villain, but it does make her sympathetic at first, which viewers can hold in their minds as the rest of the story plays out. We get to see what motivates her, and why she makes some of the choices she makes. She is trapped in a patriarchal world and tries to grab power playing by the mens’ rules, even though her desire for power is antithetical to the system in the first place. This does allow for some sympathy, even when she’s being heartless.

Along for the ride with Phyllis are, most notably, Alice (Sarah Paulson, American Horror Story), Rosemary (Melanie Lynskey, Togetherness), and Phyllis’ sister, Eleanor (Jeanne Tripplehorn). Alice and Rosemary want the movement to succeed, and struggle with Phyllis’ leadership. But Eleanor’s story is the most tragic, as Phyllis describes the enemy to be pretty similar to her own sibling, while acting totally ignorant to how it sounds to Eleanor.

Lest you think MRS. AMERICA is just a liberal fantasy version of reality, the women on the other side are far from perfect. Gloria Steinem (Rose Byrne, Spy) finds it hard to fit in with the organized opposition, preferring to chart her own course without oversight. Shirley Chisholm (Uzo Aduba, Orange Is the New Black) risks wrecking party unity by staying in the presidential race too long. Betty Friedan (Tracey Ullman) is opinionated and has the tendency to rub just about everyone the wrong way. Bella Abzug (Margo Martindale, The Americans) is willing to compromise far beyond what some of her compatriots are willing to accept. And hell, Jill Ruckelshaus (Elizabeth Banks, The Hunger Games) is somehow still a Republican! They can’t get on message together to actually accomplish anything, and they fail to take the threat Phyllis poses seriously until it’s too late, blind to people whose opinions are so different from their own.

Each of the leads could support their own miniseries. One might argue they’re lumped together because of their gender, rather than just because of the cause. I still like the format. Each hour includes all the leads, but the episode title reveals with woman will get a little more focus for that offering. Phyllis and Gloria are probably the two biggest characters overall, and that shows.

I’ll admit, that it’s impossible to judge MRS. AMERICA without political views creeping in. At least it is for me. So the next portion is written from the perspective of a liberal, straight, white man, which comes with much bias and unearned privilege.

It would be hard for many conservatives to enjoy a show, even one featuring flawed liberal women, when their own position is so blatantly misguided. But I hope they watch anyway. The liberal in me wants to say, if you have a problem with MRS. AMERICA, then don’t have such evil viewpoints. But here’s the thing: this is an inspiring underdog story of the rise of feminism, made all the more tragic by the lack of progress of the heroes’ central goals nearly fifty years later. Though, now it’s common for both parents to be forced to work outside the home to make ends meet and the classic family dynamic has eroded by necessity, not choice, so really, we all lost.

The real take-away, in my opinion, is the reflection on modern society. We see the misinformation and twisting of facts to serve an agenda, and how masses of people buy into it. We also see what happens when good people fighting for a just cause fail to unite in their mission. There are plenty of strong reasons for individuals to draw the line in different places, but speaking with one voice can prove very effective, even when that voice is wrong.

Will this story have a happy ending? That remains to be seen, and it certainly won’t within the span of nine episodes, as the battle still rages on in 2020, reignited by the last presidential election in ways it hasn’t been since the events depicted in MRS. AMERICA. Hopefully, those that want to finish what was started learn a few lessons and draw inspiration from this story.

The first three episodes of MRS. AMERICA are available now on Hulu, with new installments weekly.

Sign THE GUEST BOOK

Article first published as TV Review: THE GUEST BOOK on Seat42F.

TBS has some bizarre sitcoms, and their newest, THE GUEST BOOK, should fit right in among them. Created by Greg Garcia, the mind behind My Name Is Earl and Raising Hope, the show is sort of an anthology series, in that each episode stars brand-new characters in self-contained stories as they check in for a few days at Froggy Cottage and write their stories in the guest book there. I say sort of because there is also a group of locals who have ongoing arcs on the fringes throughout most of the episodes, culminating in a wacky season finale.

Yep, I know how it ends because I watched all ten episodes of the first season in one sitting. While not the most ground-breaking or fresh new comedy I’ve ever seen, I was thoroughly charmed by Garcia’s sense of humor, as I have been many times in the past, and impressed by the parade of performers who came through. This combines the quirky charm Garcia is known for, portraying “regular” middle Americans, with another interesting premise.

The four-member lead cast includes: Vivian (Carly Jibson, One Mississippi), a blackmailing stripper who owns Chubby’s Bikini Bar; Wilfred (Charlie Robinson, Night Court), the elderly gentleman who rents Froggy Cottage, and who becomes Vivian’s target when he’s just trying to reinvigorate his marriage to Emma (Aloma Wright, Scrubs); Frank (Lou Wilson, Tween Fest), Vivian’s good-hearted step-son and employee; and Officer Kimberly Leahy (Kellie Martin, the Mystery Woman TV movies), a cop who develops a crush on Froggy Cottage’s neighbor, Doctor Andrew Brown (Garret Dillahunt, Raising Hope).

Besides Dillahunt, Eddie Steeples (My Name Is Earl) plays another recurring local. This is notable because both starred in previous Garcia efforts. Other Garcia alum, such as Shannon Woodward (Westworld) and Jamie Pressley (Mom), pass through, and there are a host of references to Garcia’s past shows. This continuity, Easter eggs for fans of the writer’s work, is pleasing and makes the show more interesting. It helps create a feeling of family and warmth.

There are also some really clever, unique elements to THE GUEST BOOK. For instance, every episode (after the first) begins with two guys at a computer store recapping the ongoing plots in the context of a buddy trying to get his friend to watch the show. And there’s essentially a ‘house band’ that plays things out and provides bridges on a regular basis. These things kick the show up a couple of notches further.

I’d say the best way to judge the quality of such a show, though, is too at who the series got to headline the various installments, and that list is impressive to modern comedy and television fans. Stockard Channing (The West Wing), Jenna Fischer (The Office), Danny Pudi (Community), John Ortiz (Togetherness), Michaela Watkins (Casual), Arjay Smith (Perception), Lauren Lapkus (Orange Is the New Black), Laura Bell Bundy (Hart of Dixie), Kate Micucci (Garfunkle & Oates), Mary Lynn Rajskub (24), Andrew J. West (The Walking Dead), and my personal favorite from this season, Michael Rapaport (Prison Break), are among those who parade through. The great Margo Martindale (The Americans) also plays a recurring role. Having this kind of talent keeps the main plot engrossing, and is a good balance to the stories of the community.

Will this top anyone’s must-see list? Probably not. But is it an enjoyable way to pass a few hours? Absolutely. Garcia does ‘nice,’ non-judgmental, inclusive comedy as few others do, and I am always entertained and delighted by what he has to offer. Even in an increasingly crowded field of high-quality entertainment, he has a specific voice and style that is worth keeping around, and THE GUEST BOOK gives him time to really focus on key elements of the show in a way that he didn’t have the luxury to do on longer, broadcast-network seasons.

One last note, THE GUEST BOOK, interestingly, comes right on the heels of HBO’s Room 104, another anthology series set in a rental lodging, but the two could not be more different. If you want dark and science-fiction-y, go for Room 104. If you just want to laugh, and occasionally get your heart strings tugged on, then go with THE GUEST BOOK.

THE GUEST BOOK premieres tonight at 10/9c on TBS.

Strong "Bond" With THE GOOD WIFE

Article originally published as THE GOOD WIFE Review "Bond" on Seat42F.

THE GOOD WIFE (L-R) Chris Noth as Peter Florrick and Margo Martindale as Ruth Eastman Photo: Paul Sarkis/CBS

In the season premiere of THE GOOD WIFE on CBS, “Bond, “Alicia (Julianna Margulies) struggles to make it on her own as a lawyer, Cary (Matt Czuchry) struggles to connect with the young associates at Lockhart Agos, and Ruth Eastman (Margo Martindale) struggles to handle her candidate’s wife. Oh, and in one of the biggest shakeups ever in a show known for shakeups, that happens.

The that I’m referring to is Peter’s (Chris Noth) betrayal of Eli Gold (Alan Cumming). In a world where Eli found Peter and molded him into what he is today, helping him achieve his dreams, that same Peter turns his back on the campaign manager and cuts him loose. It’s selfish and unfair, and not all that surprising when you think about what we’ve seen of Peter.

But is still feels surprising. Eli and Peter’s partnership is the one that doesn’t waver when everything else does. We’ve seen managing partners at law firms come and go, relationships fall apart, and a variety of people come in and out of the scene. What we’ve never seen is that strong “Bond” between Peter and Eli waver much. And now we not only have, but we’ve witnessed it disintegrate completely in the course of a single hour, leaving Eli bent on revenge against his former boss and best friend.

The fact that Eli essentially gives up and shuts down is understandable. His pain is felt in Cumming’s brilliant performance, and it makes sense for Eli to be thrown by this. His lamenting about being ‘the help’ is not accurate, but one can easily understand how he feels that way in the face of Peter’s chill. Thankfully, Eli is not a man that can be kept down, and with some support from Alicia, soon has a strategy to get back in the game.

Some might wonder why Alicia is so loyal to Eli. For those regular viewers, though, it shouldn’t be a mystery. Alicia is a loyal person, by and large, only betraying when she has to, and after being given good reason to do so. She didn’t like Eli at first, perhaps, but she has learned to respect him, as he has her. They have a great working relationship, and dare I say it, even an odd kind of friendship. That Alicia chooses to stand by Eli reinforces the “Bond” they share and rewards those who may have defended Eli in the past.

What Eli’s plan is, I have no idea, but I hope he wins.

That’s not because I don’t like Ruth Eastman. Sure, she’s a slippery political manipulator, but so is he. And I absolutely adore Martindale (The Americans, Justified, The Millers), who delivers her usual excellent performance in this role; the longer it takes Eli to defeat her, that happier I’ll be, and if they should team up to hurt Peter, even better. I just love Eli more, having watched him for years on THE GOOD WIFE, and he must triumph.

Alicia has business challenges, becoming a “Bond” lawyer to make ends meet. She continues to resists Louis Canning’s (Michael J. Fox) overtures, finds a way to work with prickly Judge Schakowsky (Christopher McDonald, Harry’s Law), and even makes a friend who will surely soon be a partner or employee, Lucca Quinn (Cush Jumbo, Getting On, Torchwood: Children of Earth). This plot is enjoyable but not particularly compelling because it’s easy to be confident Alicia will come out on top. What would be fascinating is if she takes Canning up on his offer, which it seems she’s inching closer to doing.

Alicia isn’t the only one with troubles, though, as Cary struggles to connect to the lawyers working under him. Cary is unique in the his firm because he’s the one young person in a group of much older people running the place. He can’t connect with those on his power level because he’s too different, and those that should be his peers are intimidated because he’s their boss. Like Alicia, I feel like Cary will find a way to get through, as he is tenacious, and Lockhart Agos can’t possibly change names again anytime soon. So I liked his sections, but don’t feel much suspense in them.

Those are the main points in “Bond.” I could actually write about ten pages were I to gush about all the wonderful moments, especially those involving guest stars Jane Curtin (Coneheads, Saturday Night Live, 3^rd Rock from the Sun) and Mo Rocca (The Daily Show), among others, and courtroom showdowns, but I won’t. The above paragraphs hit the main points, and there will be plenty of time to talk about THE GOOD WIFE in the weekly columns I’ll write covering the show this year. Suffice it to say, “Bond” is a fantastic episode, and season seven promises to be on par with the first six years, which are overall very strong.

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

THE AMERICANS Season 2 Finale Review

Article originally published as TV Review: 'The Americans' - Season 2 Finale on Blogcritics.

FX’s The Americans has grown  steadily better over its first two seasons. The freshman run introduced us to the players and the situations; in its sophomore outing, the writers not only built upon that base, but added a season-long arc about another family of Russian spies. What happens to that clan directly affects how Phillip (Matthew Rhys) and Elizabeth (Keri Russell) see the world and their place in it. And now, with “Echo,” the season two finale, the structure is shaken up as our protagonists face their most difficult decision yet, possibly setting the stage to completely change the game.

Phillip and Elizabeth are loyal undercover KGB agents, but viewers are still likely to root for them because we get to know them on a very personal level. We see how they interact with their children, and that influences who they are on the job. The Americans presents a scenario where we understand these people and why they do what they do. It really gets into the heads of its leads.

They also have quite different personalities, despite the common cause. Phillip wavers previously in their mission, wondering if life as true Americans might not be better for their family. Elizabeth is much more the staunch nationalist. They are not tested too hard on these values, though, until “Echo.” Now, the KGB wants to recruit their daughter, Paige (Holly Taylor), something the couple may not be able to control, and they have very different opinions on if this should happen.

Elizabeth’s stance is the harder one to swallow, yet there is sense in it. Paige flounders all year with finding a purpose and wanting to effect change in the world. Elizabeth feels very much the same way, but has her mission to fulfill these needs. She sees a way to connect with her daughter and bring someone she loves and cares deeply about into her life’s work. Who wouldn’t want their kid to follow in their footsteps? Elizabeth has had to keep part of herself hidden and this has hurt her relationship with Paige. Recruiting her might solve that issue, or at least improve the bond. Plus, it will get Paige away from those crazy religious nuts.

Elizabeth also has the backing of her government, whose plan makes sense for them. They need the second-generation spies because the background checks will hold up better than on more recent immigrants. In the eyes of the Russians, no individual is more important than the whole. Elizabeth gets this concept, and applies it to herself. Why not extend that to her daughter?

Phillip, on the other hand, is much more concerned about the risks. Paige is still a child. What the spies do is dangerous, multiple members of their team being killed in the line of duty in “Echo” alone. He has a paternal instinct to protect his daughter at all costs. He even goes so far as to threaten Arkady (Lev Gorn), telling him to leave their daughter alone. Phillip, at this point, is probably considering running, or turning his family into the Americans for witness protection. He is going to do everything he can to keep his daughter out of all of this.

He’s not wrong about the dangers. This year’s story involving Jared (Owen Campbell) and his family, especially the resolution in “Echo,” learning how Jared is the killer, would be scary to anyone. Jared’s group is an illustration why it’s a bad idea to let Paige in, especially as an unstable, unpredictable teenager. Perhaps the KGB should wait until later, though younger minds are more malleable. I don’t know what Paige’s reaction would be to learning the truth now, but it certainly won’t be good.

To make things more complicated for Phillip, Martha (Alison Wright) wants to have a baby with “Clark,” his cover identity. Phillip is already lying to Martha every day; he doesn’t want to have to betray a child. It’s one thing for his own family, but to push that world onto a kid whose mother he is fooling and will one day abandon would be quite damaging. Plus, Phillip doesn’t want to tie himself to Martha any more than he has to as Clark, as he’s just using her for information. The question is, will Phillip’s bosses order him to acquiesce to her demands in order to keep her as a source? And if they do so, will Phillip comply? Elizabeth probably would, were their positions reversed.

Stan’s (Noah Emmerich) loyalties are also questioned in “Echo.” He is faced with a tough choice: saving the life of Nina (Annet Mahendru), the woman he loves, by handing over state secrets, which would threaten national security, or let her die and stay true to his country and his job. He chooses the latter, of course, Stan being a flawed hero, but a hero nonetheless. However, “Echo” shows us the pain this causes him, the waffling he goes through, and how he even mans up to witness Nina’s departure, rather than hiding in shame. He will regret what happens to Nina, who is likely done on this series forever, but he would never be able to sleep again if his actions led to the deaths of countless Americans. He does the right thing but just about anyone’s measure.

It’s this examination of morals and choices that makes The Americans compelling. Any series can present us with characters like these, and many do, but this show finds a way to carve out its niche, showing us something new. It’s slow-paced and dreary, but it’s also engaging and tense. The more I watch, the more I want to watch. Especially if they find a way to keep Claudia (Margo Martindale) involved, as they do this year despite the actress’ other commitments, as her pain in breaking the news to Phillip and Elizabeth about the organization’s intentions for Paige is the best scene in a terrific episode.

The Americans has been renewed and will return to FX next year.

THE MILLERS A Modern, But Not Happy, Family

Article first published as THE MILLERS Review on Seat42F.

Will Arnett (Arrested Development) didn’t have to worry about getting worry about getting work after the fiasco of Up All Night’s second season; he immediately bounced back with THE MILLERS on CBS. Buoyed by an extremely talented ensemble cast, the show is yet another family sitcom, but because of the players on it, has a chance to do well.

Arnett plays Nathan, a local news reporter who has been hiding his split with his wife from his mom, Carol (Margo Martindale, Justified, The Americans), and dad, Tom (Beau Bridges, The Goodwin Games, Franklin & Bash). Carol and Tom come to visit after Tom floods their basement, and upset with their daughter, Debbie (Jayma Mays, Glee), for painting a room in the house they to rent her, they head to Nathan’s place. Obviously, once in the house, it’s hard for Nathan to keep up his lie of a marriage, so he comes clean, prompting Tom to ask for a divorce from Carol.

The scene in which Tom and Carol fight, in front of Nathan, is probably the single funniest scene I’ve watched this fall yet. They tell of a bad situation, and keep upping the ante with each barb back and forth, with poor Nathan forced to hear about something he would rather stay ignorant concerning. These three beloved actors sell the moment with earnestness, and I had to stop and rewind to immediately see it again.

Just because Tom and Carol don’t get along doesn’t mean they don’t love each other. Tom needs a break from Carol’s overbearing nature, but they definitely have a lot of history. Somehow, they convey in this scene that there is still some of bond here, and while it isn’t confirmed in the “Pilot,” I suspect their break up will not be permanent.

If only the entire half hour were that good. Don’t get me wrong, there are some other wonderful bits. The highlights include Debbie and her husband, Adam (Nelson Franklin, Veep, New Girl), watching Tom try to figure out their television remotes, as well as Debbie and Nathan’s interactions early in the “Pilot.” The family dynamics are terrific, and the writers should stick to those.

The problem is any scene that is not a private family moment. Nathan’s reporting on a filled-in sinkhole and public embarrassment of a child is dumb. Carol’s introduction to Nathan’s friend, Ray (J.B. Smoove, Curb Your Enthusiasm), is one big, long, unfunny fart joke. And Carol’s embarrassment at Nathan’s party, as sweet and amusing as the creepy moment between mother and son touches on and could be if done alone, is ridiculous.

Martindale deserve better. She doesn’t act like she’s better than the material, fully in the moment, which is a testament to what a professional she is. However, I don’t want to see her the butt of fart jokes, excuse the pun. Her role as a strong, smothering mother and wife is much more suited to her because at least it allows her to retain her dignity and play some layers.

Keeping things in the family might be difficult because Debbie and Adam are only recurring players. I assume this is because Mays will still be on FOX’s Glee, though I do not have confirmation of that. Until THE MILLERS locks in those other family members, keeping the focus only on Nathan, Tom, and Carol is going to force them to bring in outside players, as that just isn’t working.

This is not a slam against Smoove. He is funny in his own right, though it doesn’t really come through in the “Pilot.” Perhaps he can be worked into the family dynamic in time. But the work and party scenes fall flat.

Yet, as I said, the family stuff is solid. The Millers feel fully formed, familiar enough for most viewers, but with their own quirkiness and foibles. I could absolutely sign up to watch them week after week, and I think the tensions and relationships between the various relations can avoid getting stale or seeming too much like a retread of other shows, despite the crowded family-comedy genre. If THE MILLERS chooses to make that the center of the show, ignoring the other stuff.

THE MILLERS premieres Thursday, October 3^rd at 8:30 p.m. ET on CBS.

MASTERS OF SEX Masters of Drama

Review first published as MASTERS OF SEX Review on Seat42F.

Showtime knows what it’s doing by calling their new series MASTERS OF SEX. Clearly, that title will draw a crowd, if for nothing else than to check out what scandalous things will be in it. What’s better, though, is that there is an actual story behind this moniker, that of Dr. William Masters (Michael Sheen, Frost/Nixon) and Virginia Johnson (Lizzy Caplan, New Girl), who revolutionized the study of human sexuality in the 1950s.

MASTERS OF SEX is based on a true tale, though like most dramas that can claim that, there is likely quite a bit of creative license taken. It’s hard to believe that only a few scant decades ago, science hadn’t even begun to look into the orgasm, let alone recognize the difference between sex drives in men and women. As such, this is a gripping story about an important moment in our country and the world.

It’s far from boring. Great performers like Sheen, Caplan, Beau Bridges (The Descendants) as the reluctant boss, and Margo Martindale (Justified, The Americans) as an uptight secretary, make these characters come alive, more interesting than most real people, roles you want to tune in and watch. They exude charisma, while keeping the parts grounded, playing the subtleties and layers, even in the smallest of scenes.

A lot happens in the “Pilot.” Masters comes up with the study and tries to convince Barton Scully (Bridges) to approve it. He finds and hires Virginia to help him. She recruits him subjects, and they begin the study. The pace is quite quick, though not so much so that it feels rushed.

But there are moments, too, that sparkle and linger and make the series special. One in particular, near the end of the episode, in which Masters proposes a new element to the study to Johnson very matter-of-factly, and her charged reaction, is memorable. As is a physical fight between a man and a woman, a pivotal moment in which one characters goes from likeable but slightly annoying to detestable. And the pain Johnson feels at keeping secrets from Master’s wife, Libby (Caitlin FitzGerald, It’s Complicated). Each of these hold the promise that MASTERS OF SEX will be much more than just a provocative concept.

A primary theme of the show is the difference between males and females, and between individuals. In the first hour alone, we get a wide spectrum view of this comparison. We see a woman who thinks sex in a marriage should be romantic and lovely, and a man who considers it pretty much solely for making babies. We meet a woman who has sex with men for money, but prefers relations with women for pleasure. One man is promiscuous, seeing sex as a fun way to pass the time, and a woman feels the same. Another woman thinks sex should not even be discussed among civilized people.

Then there’s Virginia Johnson. She is fine with a friends-with-benefits arrangement, already having been married and having children. This is what we traditionally consider a male attitude, purely engaging in intercourse as a pleasurable, recreational activity. Yet, we also see how she cares about the friend she hooks up with, Dr. Ethan Haas (Nicholas D’Agosto, Heroes), on a non-romantic level. And we see her shock at being asked to engage in clinical sex for study, something she may consider, but it certainly isn’t her idea. She’s a complex bundle of competing desires in a single body.

This may just highlight how little men know about women’s drives, even in the modern era. As a man, I did not expect the complexity of the warring emotions Virginia has, and cannot imagine a having a similar mindset myself. Then again, sex is a very personal thing, everyone having their own views and preferences, and it may be more about the individual than the gender. I guess that’s what MASTERS OF SEX will explore.

Besides the science stuff, there is the tale of a crumbling marriage in the Masters household. William has a very low sperm count, but won’t share that information with Libby, even as she worries over her own inability to bear children. This is a sad picture, and while it informs the character, it also feels very cold, an unhappy portrait of matrimony. Refraining from reading up on the real-life people, I’m not sure where this is going, but assume it will tie into the larger fabric being unfolded.

Plus, MASTERS OF SEX is a period piece, with wonderfully designed sets and clothing. It’s not so long ago that it will feel unfamiliar, but it definitely has a dated style, even as the topic itself is still a relevant one. Society and tastes change, but people stay the same. At least, I hope the people involved in this show stay the same, because I am definitely setting a season pass on my TiVo.

MASTERS OF SEX premieres Sunday, September 29^th at 10 p.m. ET.

The Americans Meet "The Colonel"

Article first published as TV Review: The Americans - "The Colonel" on Blogcritics.

FX draws season one of The Americans to a close with "The Colonel." Despite reservations by many involved, the KGB orders the meet with The Colonel (Victor Slezak, Treme) to go forward, feeling the valuable intel they expect him to provide is worth the risk. Of course, this not go smoothly.

The Americans has really crafted an entertaining and complex world in this first season. It's easy to get lost into the cat and mouse spy game of the 1980s in such a richly developed world, and the cast and writers have done an amazing job at making the story accessible. While the season started a bit slow, in my opinion, by this week's finale, I am firmly a fan.


The central question of this episode, rather or not to meet with The Colonel, is an engaging plot. As the viewer, we are kept at much in the dark about The Colonel's sincerity as the characters are. We don't know if they should meet with him, but because every main player is wary, we feel tense at the thought.

Which is why, when The Colonel turns out to be as harmless as the Star Wars program the Russians are seeking information about, it's a great surprise. Spy shows do a good job delivering nasty twists, but to get an unexpected nice reveal is a treat.

Unfortunately, while The Colonel is harmless, the FBI has still set up a sting to catch the KGB agents. It feels weird to be saying 'unfortunately' in that sentence, but The Americans has me rooting for Phillip (Matthew Rhys) and Elizabeth (Keri Russell), and as much as I like Stan (Noah Emmerich) on the other side of the equation, I don't want him to catch them. At least not until the story can move in a direction that lets all three work together.

Phillip actually takes the meeting with The Colonel away from Elizabeth to protect her. Ironic that the mission she is left with, picking up the tape, ends up being the dangerous one. They fail to get their objective, but it's likely their objective has been tainted anyway.


More importantly, we get to see Phillip play the hero towards Elizabeth, not just in switching her assignments, but in rushing to her rescue when she gets into trouble. Their sham marriage has been rocky, which is a shame, but it's clear that some affection has grown between the couple in all the years they've been together. Phillip's actions, and Elizabeth's response to them, asking Phillip to move back home, proves this.

Phillip may have a problem repairing his marriage to Elizabeth, though, since he now also has a second union with Martha (Alison Wright). It's part of the job, not cheating, thankfully, but Elizabeth doesn't seem comfortable around Martha, posing as Phillip's sister, even though she herself sleeps with the enemy in service for her country. One wonders if Elizabeth sees Martha as more of a threat because she is such a fixture in Phillip's going-ons. Will Martha be a serious obstacle to Elizabeth's matrimonial bliss?

I don't think it will be long before Stan catches onto his neighbors' secret lives. Not only does he already have suspicions of them prior to "The Colonel," but he is present for what goes down in this season finale, so when Phillip asks him to watch their children when Elizabeth is shot during the chaos, it's likely to rile his instincts even more.


The thing that might delay Stan's investigation is his wife, Sandra (Susan Misner, promoted to main cast for season two). She refuses his offer of a vacation this week. If Stan wants his marriage not to fall apart he may have to concentrate a bit more on his home life, rather than his work. This would be good news for Elizabeth and Phillip.

Stan's life may be complicated even more by Nina (Annet Mahendru), assuming she isn't shipped back to Moscow. She isn't in anyone's good graces, Russian or American, her loyalties torn. She might just disappear between seasons, or she might want revenge on Stan for not helping her get out of the mess with her people. We'll have to wait and see about her.

The more immediate person close to finding out about them is Paige (Holly Taylor), their daughter. However, even after going into the laundry room where her mother has a hidden compartment in the wall, Paige doesn't see anything. She has no reason to think that her parents are Russian spies, so she may stay in the dark. But there's a bit of a fake out this week in regards to her.

I'm anxious to see how the kids will take the news when who their parents are is eventually revealed. They are born and raised in America, taught to hate and distrust the Russians as much as any American kid. Elizabeth, as hard as it might be for her, and less so for Phillip, doesn't correct this view. I wonder if Paige and her brother, Henry (Keidrich Sellati), will be able to support and love their parents, no matter what?


Another nice reveal we get in "The Colonel" is that Claudia, a.k.a. Granny (Margo Martindale), is a good person who cares about her charges. The way she backs up the KGB's orders makes her seem cold and stupid. But in a private moment this week, we see that just because she passes down said orders doesn't mean she agrees with them. She's a soldier who obeys, but when appropriate, questions, authority. We see how much she looks out for Elizabeth and Philip, which should instantly change many opinions about her.

It's too bad she is slated to be transferred as this season comes to a close, at Elizabeth's request. Elizabeth can't be blamed, as Claudia does appear to be unreasonable when relaying orders. But now, having seen who she really is, fans of The Americans likely won't want her to leave. She's become too vital a part of the fabric of the show.

Martindale is in a sitcom pilot, but if we're lucky, it won't get picked up. If that happens, The Americans should sign her as a full-time cast member immediately.

The Americans has been renewed for a second season and will return to FX in 2014.

THE AMERICANS are "In Control"

First published as THE AMERICANS Review Season 1 Episode 4 In Control on Seat42F.

Grade: 89%

This week’s installment of FX’s THE AMERICANS is entitled “In Control.” No one knows exactly who is in control when President Reagan is shot. The CIA scramble to find out if the Russians are behind it. So, in fact, do the Russian agents, who are also on the lookout for a U.S. government coup.

The assassination attempt on Ronald Reagan is the first major historical event that intersects with THE AMERICANS, but it is a vitally important one. Set during the Cold War, “In Control” reminds us just how tense things are in that time period, and how close we are to war. If Reagan’s shooter had been a Soviet, instead of some guy trying to impress Hollywood actress Jodi Foster, World War III could have begun at that moment. If the Russians had struck first, assuming the U.S. would attack them, as they could have if the Jennings had reported the garbled conversation they overheard, the same could have happened.

After watching “In Control,” it makes me think it’s a wonder that nothing like this did happen. Too many people who are too paranoid in positions of power. Rumors can spin out of control and provoke nuclear war. How did we survive such a thing?

Elizabeth (Keri Russell) would have been the spark of just such an incident. She wants to hand over the choppy recording, in keeping with their orders. Phillip (Matthew Rhys), who seems to understand American culture better, objects. He wins the argument, and thus prevents an incident. This means as much as she loves her country, she may have come to care about Phillip just a little more, which may affect her allegiance as the show goes on.

It’s interesting to see Elizabeth trust Phillip’s judgment, especially when she so clearly doesn’t agree with it. Weeks ago, she comes close to turning him in for possible treason, until an act of love on his part stops her short. Even though the real romance between these covert spies is just beginning, Elizabeth is clearly invested in their marriage already.

It’s not too often on television that we see a relationship like this. Elizabeth and Phillip have been living together undercover for a long time, and are just now falling for one another. It’s unconventional in every sense of the word, but incredibly sweet, after all this time. They are familiar, and also slightly strangers. They know a lot about one another, but there are also a lot of secrets.

There is a period during “In Control” where the bond they are just beginning to build could easily fall apart. For most couples in the early stages of dating, they would be over before they even begin. Yet, Elizabeth decides to listen to Phillip, and Phillip doesn’t hold it against her that she voices her concern. This belies a deeper trust that they have in each other, which could mean that their feelings aren’t as fresh as we, the viewers, are told they are, or even as the characters themselves might believe. Perhaps they have been in love for awhile, and are only now able to admit it to themselves.

I do worry that Phillip and Elizabeth are going to get caught, though. They are taking bigger chances lately, follow orders from their new handler, Claudia (Margo Martindale, Justified). She is pushing them to act swiftly, which isn’t as safe as their previous assignments have been. This week, she has them ready a cache of weapons for guerilla warfare. I hope she doesn’t expose them with her instructions.

Plus, it may not be a good idea for them to spend so much effort bonding with their CIA neighbor, Stan (Noah Emmerich). Their questions about the shooter can be seen as concerned citizens talking to a friend, but Stan could also take them for what they are, intelligence gathering. Stan is already a bit suspicious. Perhaps it would be better to be a little less chummy.

Of course, in any great drama, each side will suffer setbacks. Stan’s is brewing on the home front as his wife, Sandra (Susan Misner), complains they aren’t spending enough time together. Whether Stan divides his attentions to give her what she wants, or whether he ignores her, causing his marriage to fall apart, either scenario could hurt him personally and, by extension, professionally. This might provide a break for the Jennings at a key moment down the line.

It’s hard to root against Stan, but at the same time, Elizabeth and Phillip are highly sympathetic characters. They may be double agents working for the enemy, but they are also parents who care about their family. People are people, and whose flag they salute depends a lot on where they are born; not everything, if anything, they do is evil. This makes the series an intelligent, complex picture of a number of individuals, rather than the old fashioned good vs. evil dynamic.

Four episodes in, I still think the pacing may be a tad slow for my taste, but I am quickly becoming enamored of the series. THE AMERICANS has a fantastic cast who excel at what they are doing, and the writing is smarter than what I first perceived. I am definitely going to keep watching, as I don’t see any clear path laid out for how the story will proceed, which is exciting.

THE AMERICANS airs Wednesdays at 10 p.m. ET on FX.

The Americans can be deceptive

Article first published as THE AMERICANS Series Premiere Review at Seat42F

Grade: 86%

FX’s newest drama, THE AMERICANS, premieres this Wednesday at 10 p.m. ET. It is a period piece set during the Cold War. Ronald Reagan is president, and the Russians would do nearly anything to destroy their greatest enemy. For Russian spies who have been living in the United States for the better part of two decades, it becomes hard to maintain loyalty to their country, appreciating the finer things in America, like air conditioning. After having children and keeping things a secret, it might be tempting to give up one’s homeland for a nice cash pay out.

Or is it? The question of loyalties and allegiance are at the heart of THE AMERICANS, and it’s never a simple answer. Sort of like Homeland, but without quite as much mystery.

The two main characters, Phillip (Matthew Rhys, Brothers & Sisters) and Elizabeth Jennings (Keri Russell, Felicity), are Russians who were placed together in their job, forced to fake a romantic connection. Their union isn’t born of love, but part of the question posed right out of the gate is, is there love between them? There seems to be, from at least one side.

How hard would it be to live together, raising children, and not fall in love? Yes, there are plenty of unhappy marriages around the world, people who choose to be together, but can’t make it work. Yet, there are also a plethora of examples of arranged marriages that have turned out quite nicely. In Phillip and Elizabeth’s case, they are alone with a secret, isolated in a strange land, for a very long time, which means their bond extends beyond just the offspring.

Even the kids (Holly Taylor and Keidrich Sellati) are kept in the dark. This is done out of necessity, of course. It’s hard enough for adults to live a double life and keep their mouths shut; no one can expect the same out of children. But this makes for a very uneasy family unit, as the kids are taught to be patriotic Americans, and the parents can do nothing to correct these views without risking exposure. In such a place and time as when THE AMERICANS is set, the Russians are viewed as the enemy. That means the Jennings children learn in school to be against the very things their parents are devoting their lives to. Obviously, this creates some friction.

But as interesting as the family issues are to ponder and discuss, they are merely one aspect of the show. Phillip and Elizabeth are active agents. In the first episode, they take down an enemy of their native state, and have to keep him hidden while they decide what to do. This makes for some nail biting action sequences and tense scenes as they try to keep the hostage unseen.

What complicates things even more is that Elizabeth has a history with the particular scum bag with which they tussle. This plays into her decisions and actions, just as the fact that Phillip is in the dark plays to his. Even within this married couple that have shared almost everything, there are still secrets, and trust is not absolute, at least for one of the two parties.

I really enjoyed watching the interplay between Rhys and Russell. There are so many layers to their characters, and a great many factors must be taken into account in concocting every facial nuance. These vary, too, by time period, as there are a few flashbacks. The two stars are pros. They really keep viewers on their toes, while also showing a believable and sympathetic couple of individuals. Should THE AMERICANS ever turn into a war between them, I honestly have no clue who I would root for. Better that they stay together.

Yet, there is always that threat of a division. They don’t go into the assignment on equal footing, and limited by the amount of the past they are allowed to bring up, they can’t ever be their true selves. It’s a rotten way to live, and thus far, Phillip and Elizabeth have kept to their orders. The story told in the series starts at a crossroads, and which path each of them choose will determine whether they forge a stronger bond, or fall apart completely.

Then, there is the added outside threat of the feds who would very much like to catch them. One agent named Stan (Noah Emmerich, White Collar, The Truman Show) moves in next door to them, completely oblivious to who they are at first. Unluckily for the Russians, his instincts are sharp, and it isn’t long before he gets a tingling of suspicion. This is a story definitely not fated to play out for many years, and the status quo between Stan and the Jennings will not last long.

I am also interested to see what other actors will bring to the table. The official website counts the fantastic Margo Martindale (Justified) as a main player, although she is not to be found in the first episode. We get a glimpse of Richard Thomas (The Waltons) in this installment, and I hope he sticks around awhile.

What is puzzling to me about this pilot is, all of what I have just described sounds really, really cool. Yet, I grew somewhat bored over the course of the hour plus. It’s not a bad show, by any means, but it’s a slow moving one, at least, so far. Other series have pulled off sluggish pacing and managed to keep things interesting, but for some reason, the draw is lacking a bit here. It will be interesting to see if this is just because so much time is needed to set the story up in the first episode, or if there are larger problems that make themselves known over the course of the season.

"In Case of Loss of Control," consult A Gifted Man

NOTE: "In Case of Loss of Control" is listed as episode #1.07 on both imdb.com and wikipedia.com, but aired fifth in the series. Thus, as far as continuity goes, it might seem slightly out of place.

     Last night, CBS presented "In Case of Loss of Control," the newest episode of A Gifted Man. Michael (Patrick Wilson) courts Dr. E-Mo (Eriq La Salle, ER), a neuropsychiatrist, to join his practice. Together, they examine a young girl (Samantha Futerman) who keeps lying about her habits. Meanwhile, Michael also helps out at the clinic, as they take care of a young boy who needs a kidney, but who is an illegal alien. The boy's mother, his best chance at getting said kidney, is arrested, so Zeke (Rhys Coiro, Entourage) and Kate (Rachelle Lefevre) lie to Michael to get him to help.

     Michael is finally finding a rhythm between his practice and the clinic. Now that he has agreed to help Kate out several hours a week, he seems to be getting his life back on track. In fact, Anna (Jennifer Ehle) has little to do with the path Michael goes on "In Case of Loss of Control," mostly observing what is going on, without causing any trouble. Obviously, for A Gifted Man to stay interesting, and Anna's character to continue to be valued, this cannot be the norm. But after all of the craziness of the first few episodes, it must be nice for Michael to go through his business in a regular manner.

      The relationship between Michael and Rita (Margo Martindale) is calming down, too, now that she knows he has other priorities, and is able to schedule around them. What's more, with the addition of E-Mo to the staff at the main practice, Michael is under less pressure there. He has someone competent to help him out. The two worlds may be seperate, to some degree, but they are calming down into a nice balance, at least one the practice end.

     Too bad the same can't be said for Michael's interaction with the clinic docs. Zeke and Kate deciding to lie to Michael shows that his transformation, or at least how people see him, is not complete. They worry that Michael would hang the kids out to try if he learned of his less than legal status. Given the first few episodes, had Michael known the truth, he would have protested, but done the right thing in the end. Kate might still be suspicious, and that's understandable, but Zeke has been around a little longer, and should know better by now.

     Kate wastes no time in shaking up the clinic. Securing a grant, she is able to have Anton (Pablo Schreiber) continue construction, already expanding the space. Of course, even when she runs out of money, Anton keeps working, because he's such a good guy. But the point is, Kate is barely starting out and she is already taking on a lot. It is commendable that she wants to make the clinic a better place, but shouldn't she work on fixing what she has before adding to the load? The facilities need some updating, and certainly better equipment and supplies top the list. Expanding the floor space seems silly and stupid, given the circumstances. I guess it just looks more dramatic for a television program. It's a good thing the characters are interesting enough to overlook such foolishness.

     Watch A Gifted Man Fridays at 8 p.m. ET on CBS.

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

A Gifted Man might be a gift

     CBS's newest Friday night drama is A Gifted Man. The titular guy is Michael Holt (Patrick Wilson, Watchmen, Phantom of the Opera), a very talented and successful brain surgeon. Michael is visited by ex-wife, Anna (Jennifer Ehle, The King's Speech), only to learn that she died two weeks ago. Michael's sister, Christina (Julie Benz, Angel, Dexter) is excited, knowing that Michael was a better person than with Anna, and definitely buying the whole "visited by the dead" thing. Michael asks Christina's friend (Pablo Schreiber, Weeds, The Wire) to extract Anna. But as Anna pushes Michael to help those in need at her clinic, Michael decides to let her stay.
 
     A Gifted Man brings to mind the too-quickly-canceled drama Eli Stone. Both involve messages from the supernatural world pushing the main character to be a better person, even though their life is going quite well up til then. There are major differences between the two, to be sure, so this new series cannot be called a copy. But for fans still mourning the loss of Eli, this might just be the best they're going to get.

     It's not that Michael is a terrible person, exactly. He's just a bit of a jerk, and is just now realizing that maybe replacing living a life with living a career is a mistake. As such, he soon begins helping patients from Anna's clinic. To what extent Michael will go remains to be seen. He does not seem anxious to quit his own practice, probably a good thing, considering that is what is making him all the money. But maybe he can start funneling some of the profit, or his seemingly large salary, into avenues to assist the less fortunate. It's likely to be a slow process. Otherwise, A Gifted Man would be a movie instead of a television show. But there is plenty of room to grow.

     All of this means A Gifted Man will not be a standard procedural. It is on CBS, so there are sure to be elements. Michael may end up helping a new patient every week. But there are also bound to be many other elements. Considering it wasn't too long that Ghost Whisperer occupied the same slot, and it was allowed to be character driven, this bodes well for A Gifted Man.

     Wilson is a gifted actor, and handle the plot very well. Ehle doesn't seem to be as good, but perhaps the qualities that can appear weaknesses to some, will be chalked up by others as her talking from the "other side." It will be interesting to see how Schreiber's character fits into the fix, perhaps helping Anna and Michael connect and better communicate will be his mission.

     The only real regret going into this is that Margo Martindale is locked into a main character role as a secretary. Just coming off her Emmy-winning, layered performance on Justified, this definitely seems like a step backwards. Surely, her talents are far above this level. However, since only the "Pilot" had aired, it is possible that there something much deeper planned for her, as unlikely as that might seem.

     The fifth main character, Kate (Rachelle Lefevre, Off the Map, Twilight), will join the cast next week. Watch A Gifted Man Fridays at 8 p.m. ET on CBS.

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

Justifed ends in "Bloody Harlan"

     FX's Justified ends season two with "Bloody Harlan," which has a lot of death, and no shortage of action. All of the various plot threads come to a head, and tie up nicely, without much cliffhanger. The feud between the Bennetts and Boyd Crowder (Walton Goggins) explodes in a big way, with each group doing damage to the other. Raylan (Timothy Olyphant) risks his life and his relationship with Winona (Natalie Zea) to try to save Loretta (the unexpectedly very talented Kaitlyn Dever), who rushes straight into the hornet's nest on her quest for revenge. Art (Nick Searcy) must decide whether to stick his neck out for Raylan, or truly write him off.

     This season's baddies, the Bennett clan, will be sorely missed when the series returns for a third run. They are complicated and interesting. They're willing to engage in some wicked things to protect their family. They have morals that are tightly followed, but loosely defined. Plus, they are all portrayed be stellar actors.

     Coover (Brad William Henke) is first out, killed by Raylan weeks ago. The dumbest and least rational of the group, that makes sense. Doyle (Joseph Lyle Taylor), the cop, is a more tragic story, as he is ready to go straight. His family is switching to all-legal income, and will be moving away from crime and gang violence. Yet, Doyle is still enmeshed in illicit activity when Raylan finds him, and protecting his crooked kin earns him a bullet in the head. Dickie (Jeremy Davies), who is the baddest of the bunch, ends up in jail. Too bad he and Doyle could not have switched fates, as that would be a cheerier ending.

     The matriarch, Mags (the amazing Margo Martindale - give her an Emmy already!), is always the best, though. She is willing to kill, and also willing to sell out her neighbors, if it benefits her family. Her dream is to help Doyle's kids have a nice, clean life, but she takes what she thinks is the easy way navigating through it, by engaging in dark affairs to give them the seed money needed to start. This is her fatal mistake.

     Mags's final showdown with Loretta may be the single best non Raylan-centric scene in Justified yet. Loretta knows that Mags killed her father, and forces a confession out of her with a gun. She even shoots Mags in the leg. But as Mags is staring back at the teenager, there is a real moment of raw emotion between them. Mags cares very deeply for Loretta, at least as much as Loretta hates Mags. While Mags may fear for her life, there is just as much concern for Loretta's soul as Mags advises her not to finish the job. Mags wants Loretta to have a better life, much like she hopes for Doyle's family. Killing someone would be an act that would forever steal Loretta's innocence and goodness. I wouldn't go so far as to say Raylan is intruding in the confrontation, but his absence in the scene would have taken away nothing. 

     Justified loves playing with shades of grey, and both Loretta and Mags embody that wonderfully. While Loretta may have been justified (he he) in killing Mags, she made the right decision to not do it. But Mags also knows her time is up anyway, and so with a real sense of poetic justice, she offs herself the same way she killed Loretta's father - a poisioned glass of moonshine.

     Boyd has toed the line between rebel and do-gooder for two seasons. He seems to be leaning towards the former, as he does a splendid job in murdering almost all of the men the Bennetts send after him. Boyd is smart, at least as smart as Mags. Sure, she only agrees to meet with him to distract him, but he knows that, and is ready for her. With the Bennetts out of the picture, Boyd should have little trouble running Harland County next year.

     It's too bad that Boyd is going the way of a villain. He could make quite a nice partner for Raylan, even in an unofficial capacity. The two seem to have an understanding now, and do their best, especially on Boyd's end, to stay out of each other's way. Boyd will not provoke Raylan, but given the path he is on, sooner or later Raylan will have to take him out for good. Raylan may have taken pleasure in that before, but by the time it happens, I doubt either will enjoy the conclusion.

     Even more of a reason for Boyd to go over to the dark side is that Dickie manages to shoot Ava (Joelle Carter) during the fire fight. Ava has been portrayed as a good girl for the most part, but she keeps some seedy company, and always has. She knows what she is getting into by being with Boyd. Considering who her former husband was, she is right in thinking she has found a better version of him. Boyd has his faults, but he also doesn't usually shed unnecessary blood, and he has stood by Raylan when Raylan really needs him.

     The only real unanswered question in this episode is, did Ava survive the gunshot? Carter's twitter feed suggests that she did not, though she quickly backtracked. At this early stage in the game, the writers and producers may not even know if they will include her or not. She certainly doesn't have a whole lot to do this season, but neither do other main characters, like Tim (Jacob Pitts) and Rachel (Erica Tazel). Each of the Bennetts have more plot than the three combined. It begs the question, is Ava necessary?

     Raylan is at a crossroads as this episode comes to an end. He has gotten serious again with Winona, and they have a baby on the way. Yet, she said she may not be there for him when he gets home, since he follows Loretta against her wishes. Winona can be a truly selfish person, and not letting Raylan go save a young, teenage girl that needs him is not her best side.

     Should Raylan have chosen Winona? In a way he did, asking Art for a transfer so that he can have a stable job, not one where he routinely risks his life. But Loretta is facing an immediate threat, and Raylan has an established a responsibility for her. Winona needs to understand that. Perhaps she is thinking of her baby growing up without a father, but had Raylan died, his death would have been noble. It is a debatable point, but she should have let him have this one last mission before taming the beast.

     Art, on the other hand, has already written Raylan off before Winona comes to him for help (her parting gift?). She is able to convince Art to go to Harlan, and he and the other marshals, as well as various other law enforcement officers, swoop in and save Raylan's hide. Does this mean that Art has forgiven Raylan? Or did he just see the nobility in saving Loretta's life?

     The series would suffer mightily if Raylan left the Marshal's office, so it looks likely that Art and Raylan will find a way to move past this. What their relationship will be like going forward is anyone's guess, as it is strained and tested repeatedly this year. Winona is a major source of that strife, so if she leaves, that may help patch up Raylan and his boss. But as long as there is a working relationship, things will go on as they have been.


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

     Justified has already been renewed for season three, and will return next year on FX.

     To catch up on episodes or buy DVDS of Justified, please go to amazon.com

Article first published as TV Review: Justified - "Bloody Harlan" on Blogcritics.

Justified Returns With "War"

     FX's Justified returns for a second season with "War". "The Moonshine War", to be precise. There are few shows I look forward to more than this one, and last night's episode did not disappoint in the slightest. In what will kick off this season's big arc, Raylan (Timothy Olyphant) returns to an area near Harlan to tangle with more bad guys that he used to know. This gang is a family that controls a whole tiny area, running the local store and police force, as well as many, many miles of marijuana farmland. There is moonshine as well, of the homemade apple pie variety, though no one is fighting over that. But it's still a fun episode title.

     The clan is led by Mags Bennett (the fabulous Margo Martindale, Mercy, Dexter, The Riches), who insists she just runs the store. Mags seems sweet, taking a shine to little Loretta (Kaitlyn Dever), offering Raylan alcohol, being one of the few locals who is nice to Rachel (Erica Tazel), and even apologizing for torture committed by Dickie (Jeremy Davies, Lost). However, before the ending credits of this premiere rolled around, she had poisoned Loretta's father for calling a tip line about sexual offenders, specifically, one who had threatened his daughter. Clearly, she has a zero tolerance policy.

     Which shows you that Mags is going to be one tough cookie. She has total control of the town, with the help of Dickie, Coover (Brad William Henke, The Chicago Code, Lost, October Road), and her son in law enforcement, Doyle (Joseph Lyle Taylor). She has run things seemingly uncontested for decades, until Raylan and Rachel are drawn to town looking for the sexual predator, whom they catch. But with most of the new group signed for multiple episodes, you can bet that something else will draw Raylan back, and with a bunch of actors so talented, I am definitely looking forward to it.

     Besides that little taste of new story, much of the episode was spent catching up on the old plot, too. Raylan stopped Boyd (Walton Goggins, deservedly promoted to series regular) for taking his revenge on the gang that killed Boyd's father. Then the marshal traveled to Miami. With the help of his former boss, Raylan resolved the price tag on his head without any more bloodshed. Nice and neat, no? I liked the Miami plot, Raylan's past following him, but it's nice to know that things will be staying in Kentucky for the foreseeable future.

     Nice, even after Raylan was offered his old job back in Miami, which he turned down. Now normally when a show pulls that twist, it would seem fake. Or it would be because Raylan had grown to love the people in his new (old) home too much to leave. But I don't see that as the case here. Though never spelled out completely, it appeared Raylan is staying in Kentucky out of spite, not fondness. His Kentucky boss, Art (Nick Searcy), wanted him transferred back to Florida. Raylan didn't feel his conduct deserved another transfer, so he stayed.

     Raylan's stubborn streak is one of his defining characteristics, and while it sometimes bites him in the butt, other times it just proves how strong he is. This fell in the latter category. I still believe Raylan would like to leave Kentucky, but only on his own terms, not those dictated by others. He feels his name is tarnished now, and it needs polished clean before he moves on. It's a viewpoint that is understable, and totally consistent with the character. My money is on Raylan doing just that.

     Ava (Joelle Carter) was absent after the beginning of the episode, so no forward momentum for Ava-Raylan fans. But there was some definite steam between Raylan and Winona (Natalie Zea), who is getting divorced, and ended up in Raylan's bed once again, against his better judgment. Seems that Raylan's stubborn streak is no match for a woman he has strong feelings for, and Winona definitely falls into that category. As to whether this season will focus more on Winona, or pull a full-fledged triangle, we'll have to wait and see.

 

     While Justified has plenty of action, it's also a slow burner, and this season is just getting started. By the end of last year, so many things wound together and came to a head. Without seeing much Ava, without knowing what Arlo (Raymond J. Barry) is cooking up next, without knowing why Raylan will return to butt heads again with Mags, and without having a clue what Boyd was blowing up in that mine shaft at the end, I couldn't say where this season's path will lead. But I am just as excited for next week's episode as I was for last night's, after an absence of most of a year. So that should tell you something about the high quality this show achieves.

     Justified airs Wednesday nights at 10 p.m. on FX.

Article first published as TV Review: Justified Returns With "War" on Blogcritics.


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