Not SPEECHLESS About This One

Article first published as SPEECHLESS Review on Seat42F.

SPEECHLESS is a new sitcom on ABC that you may have heard of. As the previews make very clear, this is your typical family sitcom with a mom, dad, three kids, and one outside cast member to mix things up. As you may not have heard, there’s something about the show that makes it not quite your typical family sitcom, and yet, the very way in which this something is handled is what makes it so typical.

The family unit is made up of an overbearing mother, Maya (Minnie Driver, About a Boy, Good Will Hunting), a calm and supportive father, Jimmy (John Ross Bowie, The Big Bang Theory), a competitive daughter, Dylan (Kyla Kenedy, The Walking Dead), and a nerdy son, Ray (Mason Cook, Legends). Sounds normal enough, right?

Where things veer off a little bit is with the other son, JJ (Micah Fowler, Labor Day), who happens to have severe cerebral palsy. We’re talking a condition so bad that the poor kid can’t talk, having to use a laser pointer on a headset to point to the words on a card that he wants to say, on his way towards Stephen Hawking territory. I can’t recall the last time we’ve seen someone like JJ on a broadcast network sitcom.

What’s remarkable and laudable about SPEECHLESS is how little a deal it makes of JJ. Yes, JJ is a driving plot point, the family having to move schools frequently in order to find the best situation for him. And Ray’s first arc is all about feeling overlooked by Maya, who spends so much of her energy doing what is best for JJ. But this is by no means the only thing going on in SPEECHLESS.

The best part is how JJ himself is handled. He bullies Ray a little bit. Jimmy cracks jokes at JJ’s expense. Basically, he’s a part of the family, and no one in this clan treats him any differently on a regular basis. Sure, Maya might go out and fight harder for him, but in their dynamic, JJ is just like Ray and Dylan.

This should not be a revelation; shows have been trying to include more diversity for years. From Parenthood’s Max, who had Asperger’s (though the actor does not), to Glee’s Becky, who had Down Syndrome (which the actress does have), it’s not a completely brand-new thing to see this sort of character on television. And yet, it still feels fresh because so few regular series take the time to include a player with such challenging disabilities who contributes to the story in such a pedestrian way. This is a very good thing.

If JJ was all SPEECHLESS had going for it, I’d dismiss JJ as a gimmick, as sad as that would be. Thankfully, that is not the case. It’s a strongly written, well-acted comedy. Driver and Bowie are absolutely terrific, as they always are, but especially so in this particular setting. Cook, Fowler, and Kenedy are great, too, certainly able to keep up with the adults. Cedric Yarbrough (Reno 911!) rounds out the cast as Kenneth, the custodian-turned-aide for JJ, who easily integrates into the group from the first moment we, and the characters, meet him.

I’m sure the team behind SPEECHLESS doesn’t want to be known as “that family comedy with the cerebral palsy kid,” or at least I hope they don’t. They won’t be able to help that for awhile, and it’s impossible to write up an initial review without dwelling on it. But given the steady quality and amusing laughs, nudging it towards the top of the typical family sitcom heap (of which there are a few too many on right now), hopefully it’ll soon be talked about as “one of the better family sitcoms” period. It deserves that, and I love that I can say that about it. This would be a very different review if I could not.

As Joss Whedon said when asked why he writes so many strong female characters, “because you ask that question,” SPEECHLESS helps us along the path to answering a question about why you include an actor with a disability in the ensemble with “because you ask that question.” The more comfortable viewers can get with a wide variety of people on their screens, the better for it we all are.

SPEECHLESS premieres Wednesday at 8:30/7:30c on ABC.

LEGENDS Anything But Legendary

Article first published as LEGENDS Review on Seat42F.

Morris Chesnut, Sean Bean and Ali Larter | LEGENDS

TNT’s newest drama is LEGENDS, premiering this week. Rather than some epic tale rooted in mythology, as one might guess from the title, LEGENDS refers to the secret identities that deep cover spies have. It is based on a book by Robert Littell. A premise like this should still lend itself well to a large, serial story, in my opinion, but LEGENDS goes in the opposite direction, basically making a case-of-the-week show, or so it seems from the pilot, squandering both an interesting setup and an excellent cast.

At the forefront of LEGENDS is Sean Bean (Game of Thrones) as Martin Odum. Martin is one of those people who gets super intense about his mission, supremely focused on his goals, ignoring rules that might get in his way and a family, including a son (Mason Cook, The Lone Ranger), that could humanize him. This is a very familiar type of protagonist to TV viewers, as it seems that any character that carries a show cannot be average in any way.

In the pilot, Martin is approached by a mysterious man who tells him that the Martin persona is yet another Legend, and the real man is buried deep within by a shady part of the government. This is intriguing, of course, making viewers question both the truth in what we’re seeing and Martin’s mental stability. I could easily see a show or season-long story being focused on this, but the pilot barely glances across it, seemingly destined to be developed in tiny pieces, rather than played up as it should be.

Besides Bean, many other talented people are wasted on this project. Martin’s co-workers are played by the likes of Tina Majorino (Grey’s Anatomy, Veronica Mars), Steve Harris (The Practice, Justified), Morris Chestnut (Nurse Jackie, V), and Ali Larter (Heroes, Resident Evil). None of the characters they play really stand out in episode one. They’re mostly there to alternately back Martin up and get in his way, making up a very standard ensemble for such a show.

What is really troubling is that Bean’s characters inevitably die in just about every project he’s involved in. Because the rest of the characters are so under-developed, LEGENDS as it currently is would not work without its star,

There really isn’t much about LEGENDS that is original or impressive. The acting is top notch, to be sure, but the writing is not. There are hokey situations such as when Larter’s character has to pose as a stripper at the last minute, ostensibly to slyly get to Martin past the bad guys, but in reality, probably just to show off some of Larter’s skin to the viewers, who tend to like a little sex with their action. But it seems designed to be the equivalent of a popcorn flick, sort of like a crime-genre Falling Skies, rather than make an impact on the television landscape or win any awards.

In comparison to other procedurals, LEGENDS holds up well enough. The production looks good and there are no obvious problems. As I said, it copies the structure of other projects quite copiously, but so does everyone else, which is how we end up with so many versions of what is basically the same show all on the air at the same time. It’s not that there’s anything glaringly wrong with LEGENDS or the peers it borrows from. They just aren’t anything special either.

One wonders if we’ve reached a tipping point for this kind of show. Many of the procedurals currently running have either started to skew more serial or incorporate serial elements into their format. However, as long as Bones, NCIS, and others like them rule the airwaves and get the biggest ratings, I don’t see simple escapism entertainment going anywhere any time soon. That is disappointing to the critics, who watch a lot of TV and quickly tire of this junk food-like product, but maybe not to the casual viewer, relaxing with a favorite they stumbled upon and like to check back in with.

LEGENDS premieres this Wednesday at 9 p.m. ET on TNT.

Don't really want to move to Mockingbird Lane

Considering the cast and crew of NBC's Mockingbird Lane, created by Bryan Fuller (Pushing Daisies), I was super psyched for the series this fall. When it was held back, and decided that the "Pilot" would be aired as a stand alone Halloween special, without producing more episodes, disappointment set in. That is, until it actually aired. Then disappointment of a whole other kind appeared.

It's not that Mockingbird Lane is bad; it's just that the first episode doesn't live up to its potential. The set and effects (save for the werewolf in the opening sequence) are spectacular, and glimpsing the Golden Gate bridge behind the infamous house is a stroke of brilliance, providing a stark contrast every time it's seen. This links the show to the real world, even as it feels like fantasy. Lily's (Portia de Rossi, Arrested Development, Better Off Ted) introduction is even more cool, spiders flowing gracefully around her to make her garb.

But the rest of the episode is just too tame. Whereas The Munsters, the goofy sitcom Mockingbird Lane seeks to update, relies on gags and schlock, Mockingbird Lane treats itself like a serious drama. This doesn't work. Sure, these actors are capable of deepening the characters, and making this new show mean a lot more than the old one. But they don't get the chance, skipping over much of what should be an introduction-based episode, and jumping right into a boring story. Combining the comedy with the drama is what it needed here, and the mix is almost absent in this premiere, which skews more towards the drama side.

The crux of the first episode is how Eddie's (Mason Cook) parents are going to tell him that he is a werewolf, a monster, or Munster, like them. One would think that this is exactly what Mockingbird Lane should be doing, since it is taking an element of the classic series, and putting it into context people can relate to, providing a moral dilemma. Instead, the implications of what this means are glossed over, replaced with an empty "be yourself" type of mantra.

Herman (Jerry O'Connell, The Defenders, Crossing Jordan) is the only one of the Munsters that comes across as fully realized. He knows he is dying, but refuses to let Grandpa (Eddie Izzard, The Riches, United States of Tara) kill Eddie's new scout leader, Steve (Cheyenne Jackson, 30 Rock, Glee), to obtain him a new heart, thus saving his life. He also wrestles with what to do about Eddie. As a man who is made into a Munster by Grandpa, Herman straddles the two worlds, and is a compelling lead.

It's too bad this plot is cut short, though, when Steve accidentally dies. His death is funny, but there is definitely more that could have been milked from the situation, considering Herman's internal struggle is the best part of the episode. Once Steve is dead, not murdered, Herman doesn't mind taking his organ. Which kind of ruins what is built up til that point. How much darker and deeper would it go if Grandpa killed Steve, and then forced Herman to take the heart against his will? How would that affect family dynamics, as well as how Herman feels about himself? And why not let Steve stick around for a few episodes first, so the family can get to know him, and his death would mean more? After all, Jackson is terrific in the part.

Grandpa can be excused for being how he is, because it seems logical that he would think the way that he does. I just wish he was played more over the top, or commit to the scary, rather than doing neither at one hundred percent, either of which Izzard would shine in. Lily doesn't get much to do in the first episode, so it's hard to see where she fits in, though she is clearly torn between Herman's want for the family to be good, and Grandpa's longing to return to the traditional ways of feeding on humans freely. De Rossi has the chops to make this work, given screen time to do so, which she is not in the "Pilot."

The real problem is with the kids in the cast. Eddie is too flat, not up to the task of the real emotion his situation calls for. Marilyn (Charity Wakefield) is no better, though her fault lies in the writing. We know that she wants to stay with the family, even though Grandpa despises her for being born normal. This needs to be explored, especially in the opening of the series, but is pushed off for another day, if ever.

Should Mockingbird Lane be allowed to continue, there is plenty of potential here for a fantastic show. I just fear that the luck luster plot of the "Pilot" combined with the lack of faith the network has put into it has killed a bold experiment before it even begins.

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

"Witch's Lament" saddens Desperate Housewives

     "Witch's Lament" is the Halloween installment of ABC's Desperate Housewives, and thus is spooky, containing ghosts and dark woods. In the episode, Bree (Marcia Cross) enlists Lynette (Felicity Huffman) and Gaby (Eva Longoria) to help her move Alejandro's (Tony Plana, who also directed this episode) body before Ben (Charles Mesure) disturbs the area with his new condos. Meanwhile, Carlos (Ricardo Antonio Chavira) tries to deny his alcoholism, which is triggered by his murder of Alejandro, and growing worse. He meets Allen (Scott Lawrence, JAG), who is willing to be his sponsor, if Carlos will let him.

     Alejandro's murder is the slow-simmering mystery of the final season of Desperate Housewives. It's not a question of who killed the guy, as that is known by viewers and several characters alike. However, when will the other shoe drop? When will Alejandro be found? Will the wives or Carlos pay for his death? Will Chuck Vance (Jonathan Cake) be the one to catch them, or is there something he can do to help? Would he even want to help anymore?

     In "Witch's Lament," this plot takes a huge twist when Bree, Lynette, and Gaby discover that someone has already dug up Alejandro. Many questions remain, such as who found the body? What did they do with it? Will Alejandro be turned over to law enforcement or used as blackmail? Is there any solid evidence to connect the main characters to the crime? Who is the man chasing them near the grave site?

     Of course, Carlos should have just called the police in the first place. The circumstances and witnesses, his friends, would have likely been enough to clear him on the ground of self-defense. Yet, he didn't, and now it's far too late. Once the truth comes out, and at this point it seems almost certain that it will, someone will pay. Whether it will be just Carlos, who actually killed the man, or all of the wives, too, for helping to cover it up, remains to be seen.

     Carlos is taking the murder harder than anyone, which is to be expected. He is, at heart, a good guy and a religious man, which causes him to feel deep guilt. Although the alcoholic plot has already been covered by Bree in an earlier season, it feels fresh when repeated under these circumstances. Anyone in his position would need some kind of escape from the pain and feeling of responsibility plaguing him, and alcohol is a handy balancer.

     Now there is simply a wait to see what will happen. Can Carlos ever start to feel better without confessing? Alcohol may hurt him, but he is also seeking some sort of punishment. Not as blatantly as Susan (Teri Hatcher) does for her involvement, but the self-destructive path makes sense. If the law doesn't catch him, then he will make sure he pays in another way. This story isn't going away anytime soon, so much is still very up in the air.

     Susan is completely oblivious to all of the major developments this week. She, instead, interns for Andre (Miguel Ferrer, Crossing Jordan), which basically means she has to watch his kid, Jasper (Mason Cook, Spy Kids: All the Time in the World in 4D). Susan is trying to get Andre to like her, so she does whatever he asks. But after seeing how he doesn't even like his son, she makes it her new mission to bring father and son closer together. This fails, too. Susan's intentions are good, but she can't change Andre. He is a personality that she just does not understand at all, which makes it impossible for her to reach him.

     More importantly, though, Andre warns Susan that, to be an artist, she will have to be like him, and there may not be anything she can do to stop it. He seems to scare Susan a little bit, but he's just talking crazy. Susan has been an artist since long before the series began. Even though she is pursuing the interest with renewed energy now, that doesn't mean her approach will be drastically different than it has been all of these years. For Andre to suggest that she's going to lose herself and her family because of an artistic drive at this point in her life seems highly unlikely. This is a plot better suited to someone just out of high school, not close to middle age.

     Lynette also has family problems. Jane (Andrea Parker, The Pretender, Less Than Perfect) offers to make Penny (Darcy Rose Byrnes) a Halloween costume, making Lynette feel like she is being replaced. And she sort of is. Tom (Doug Savant) is getting serious with Jane, who wants to be there for their kids. Lynette scrambles to find Penny a costume, pretending to make it. In the end, Jane must save the day when the costume Lynette gets, giving it to her daughter without first inspecting it, is too slutty.

     Predictably, there is a nice bonding moment between Lynette and Jane as they understand each other, and Jane shows sympathy. But then things take a darker turn as Lynette tells Jane to stop trying to steal her family. Lynette's accusations, at first sounding mean, prove founded when Jane vows to fight for Tom. Tom and Lynette are separated, so it's understandable that Jane would think Tom is available. But she has never tangled with Lynette before, so she doesn't realize just how fierce this mama grizzly can be. Lynette and Tom will probably end up back together in the end, but Jane brings a new threat that will not be easily shoved aside, and is far more interesting than expected.

     Lastly, Renee (Vanessa Williams) makes a fool of herself when taking Chinese sex drugs before a date with Ben. While the pair get off to a rocky start this season, they are relatively solid now. Ben accompanies her to the hospital when Renee has a reaction to the drug, and obviously isn't too bothered. The feelings they share are growing, and won't fall apart without good reason. With this being the final season, and both not being as central as other characters, look for the couple to not have too many obstacles to overcome. Everyone likes a happy ending.


     Watch Desperate Housewives Sundays at 9 p.m. ET on ABC.

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Article first published as TV Review: Desperate Housewives - "Witch's Lament" on Blogcritics.