SLEEPY HOLLOW - "Kali Yuga"

Article originally written for Seat42F.

“Kali Yuga,” the title of last night’s installment of FOX’s SLEEPY HOLLOW, is, according to Sanskrit scriptures, the final stage the world goes through and is associated with the demon Kali. This seems appropriate, given that in the hour Hawley’s godmother, Carmilla Pines (Jaime Murray, Defiance, Warehouse 13), shows up and tries to use a statue of Kali to turn him into the same type of demon she is. It’s yet another end-of-the-world scenario trying to force its way into the not-so-sleepy hollow.

Murray is a fantastic actress, and I’m excited to see her join the cast, hopefully in a recurring capacity. She is brilliant at playing characters that are hard to relate to, seeming alien to the average person. Carmilla Pines, a female Indiana Jones now cursed, is just such a person. She loves Hawley (Matt Barr), whom she raised after his parents died, but she’s selfish and bent on power of some sort. This makes for a villain who’s not 100% detestable and may one day be redeemed, but who still deserves to be stopped.

Stop her, they do, though this is complicated by the fact that Ichabod (Tom Mison) and Abbie (Nicole Beharie) are still at odds over the Orion fiasco. Together, the witnesses make quite a team. Separated, they leave themselves vulnerable, and it’s that much harder to save the day. They do manage to get past their troubles, while locked in a deadly vault of course, in time to save Hawley, but not before Carmilla escapes. Had they been more on their game, they likely would have at least captured Carmilla, too, as while Hawley doesn’t want her around, I’m not positive he wants her dead, either, hesitating to murder her, as anyone likely would in his situation.

SLEEPY HOLLOW’s biggest strength is in the dynamic between the two leads, and while last week’s individual romps are fun with limited interaction between them, as the show should be able to do from time to time, the scenes in “Kali Yuga” serving this duo are great. From karaoke to Jenny (Lyndie Greenwood) playing couple’s counselor, there are numerous funny and sweet moments. They do resolve things perhaps a bit too easily in a vault that is entirely too simple to escape from (they have plenty of time to keep pushing buttons until they find the correct one), but it’s satisfying to see them back on the same page.

There are weaknesses in “Kali Yuga,” too, besides the vault buttons. For one, SLEEPY HOLLOW has been building an Abbie / Hawley chemistry, which is suddenly ditched this week in favor of an immediate implied Jenny / Hawley relationship. What the hell is up with that? I see Abbie isn’t OK with it, but how did it even come about when Hawley has been paying more attention to Abbie? Even if he spends time with Jenny, we don’t see the shift. Secondly, if Carmilla and her minions are super-fast, why do they tussle with our heroes at all? Why not just rip away their weapons before they can be used? The fight scene doesn’t make any sense.

A mystery is teased in “Kali Yuga” when all charges against Frank Irving (Orlando Jones) are dropped and he returns home to his wife, Cynthia (Jill Marie Jones). Cynthia is suspicious, as she should be. Who let Frank go free? A visit to Katrina (Katia Winter) assures Cynthia that Frank is no longer being controlled by Henry (too-long-missing John Noble), but that last shot showing Irving doesn’t have a reflection is weird. I wish a little more running time were devoted to this, but am excited about where it might be going.

Overall, I like, not love, “Kali Yuga.” Some glaring plot weaknesses, mentioned above, bring it down, while character chemistry and mythology is well served. Tossing in Henry Knox (Ron Rogge, Obsessed) as yet another historical figure Ichabod knows is tiresome, but at least SLEEPY HOLLOW doesn’t beat us over the head with flashbacks this time, so it seems more natural to the story. Season two hasn’t lived up to expectations set in season one yet, but there’s still time to fix that as the series builds towards its season (possibly series) finale next month.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

SLEEPY HOLLOW Not "Lost"

Article originally written for Seat42F.

In “Paradise Lost,” the first of seven episodes this winter, FOX’s SLEEPY HOLLOW returns strong. It’s been six week since the defeat of Moloch, and neither Henry (John Noble) nor Irving (Orlando Jones) have been glimpsed since. Katrina (Katia Winter) keeps Abraham (Neil Jackson) captive as she tries to figure out how to separate his soul from the demon, while Ichabod (Tom Mison) and Abbie (Nicole Beharie) ponder life after being witnesses. Then, an angel shows up.

I really dig Abbie and Ichabod thinking they may have won the day, and thus their lives’ purpose is fulfilled. It’s an interesting concept no television series has ever really explored much. What happens to the superhero after the supervillain has been vanquished? What is the purpose of supreme good when supreme evil no longer exists? Neither character has much of a plan beyond what they deal with immediately, and thus are a bit lost when it comes to moving forward.

Of course, viewers aren’t likely to buy the notion that the duo’s ordeal is over, as novel as that might be, as that isn’t the format of SLEEPY HOLLOW. It’s also far too fast-paced a show to give any character much time to dwell on a new world order before sending chaos back into their midst. Thus, “Paradise Lost” introduces new challenges early in the hour.

Enter Orion (Max Brown, The Tudors, The CW’s Beauty and The Beast). He tells them he’s an angel that has been trapped in Purgatory, and now that he’s out, he wants revenge on the being that put him there, which just so happens to be our own Headless Horseman, a.k.a. Abraham. But Orion’s words seem off to Ichabod, and those fears prove founded when it is discovered that Orion plans to bring judgment upon the Earth, as he has done in the past, basically ending life as we know it.

Orion is interesting because he’s an avenging angel. He thinks he’s good, and there’s an argument to be made that he is. But he is also full of hubris, thinking he is worthy of passing judgment on others, which isn’t true. And so he must be stopped, which Abbie and Ichabod manage to do, after getting over their disagreement with one another.

More importantly, Orion’s escape from Purgatory signals that others have fled, too, so there will be plenty of demons around for our heroes to battle, as well as some potential new allies. A disarmed Orion will likely not be one of the latter, though he lives to return another day at the close of “Paradise Lost.”

The big twist at the end of “Paradise Lost” is that Captain Irving is walking around again. He is presumed dead by our crew. Did he briefly go to Purgatory? Or does he remain on the Earth because Henry owns his soul? It’s a very mysterious introduction, one that leaves the explanation for another week. But at least we see Irving, as Henry is completely MIA from this episode.

Another after-effect of the big battle is that Ichabod and Katrina’s marriage is in tatters. That’s understandable. Katrina proved herself untrustworthy where Henry is concerned, and her continued compassion for Abraham as a friend, someone who Ichabod has no interest in being close to again, sparks his jealousy. I don’t think Katrina is with Abraham romantically, but one can see why Ichabod might suspect that is the case.

Can Abraham be saved? He’s been on a sort-of path to redemption, and Katrina could hold the key to his cure, should she be back on the market. I can’t help but feel it might be a better outcome if Ichabod is done with the witch, especially as that gives an opportunity for a demon to become a man again, but also because Katrina is annoying. Let’s hope this is how things shake out.

Lastly, there’s a bit where Jenny (Lyndie Greenwood) goes to Hawley (Matt Barr) for help, and he expresses regret at their break up. I’m not sure what this is about. Didn’t Hawley ditch Jenny because he has real feelings for Abby? Is he changing his mind? Or is SLEEPY HOLLOW creating false drama? It’s bad enough that Abbie doesn’t know about Hawley and Jenny’s past; I hope this doesn’t morph into a true love triangle.

While there are weaknesses where intriguing possibilities are glossed over, “Paradise Lost” is a good returning installment because it quickly gets the story moving again and there is some fantastic Abbie / Ichabod interaction, the cornerstone of SLEEEPY HOLLOW. It’s hard to ask for a better return of a broadcast network show.

SLEEPY HOLLOW will take next week off for some stupid athletic competition, and then resume its run Mondays at 9 p.m. ET on FOX.

SLEEPY HOLLOW Wants Its "Mama"

Article first published as SLEEPY HOLLOW Review Season 2 Episode 9 Mama on Seat42F.



FOX’s SLEEPY HOLLOW introduces viewers to the “Mama” this week. Mama Lori Mills, that is, mother of Jenny and Abbie. She is haunting Tarrytown Psychiatric Hospital, the setting of many a SLEEPY HOLLOW scene, presumably urging patients to kill themselves. Our heroes take the official police case, well-suited to the supernatural component that no one else knows about or is willing to admit.

Lori Mills (Aunjanue Ellis, The Mentalist, The Help) is someone oft-talked about, but never seen. We know she was crazy, and that the demons she wrestled with deeply affected her daughters, who were taken away and placed in foster care. We suspect, given what those daughters have found out as adults, that Lori’s ghosts were real, though, and that she had a firmer grasp on reality than anyone knew, but just didn’t know how to deal with it. “Mama” clears up a lot of the details in that theory and reveals quite a bit about Lori.

The mystery itself, where Abbie (Nicole Beharie) and Jenny (Lyndie Greenwood) investigate their mother’s connection to several recent deaths, isn’t anything special. Since Abbie and Jenny are good, it makes sense that Mama Mills is, too. Besides, a prime suspect, Nurse Lambert (Cynthia Stevenson, Men in Trees, Dead Like Me), who seems a little too sweet, is introduced right away in “Mama.” When Lambert shows up in the abandoned wing, Abbie may be too distracted to think that’s strange, but it immediately confirms her to the even moderately discerning viewer as the real culprit.

Why “Mama” succeeds, though, is the emotional heft bringing Lori into the story delivers. Sure, it could have been a little weightier if saved until a crisis point in one or both of the girls’ lives. But it feels more realistic (if that words applies to SLEEPY HOLLOW) to bring her in during a ‘typical’ week. It makes Abbie and Jenny confront their childhood and their memories, and gives them deeper understanding of where they come from. Lori fought the demons, too, and it allows them to bond, especially in the teary farewell sequence, in a way the family never has. There is love, understanding, and acceptance.

“Mama” is a side trip from the main plot, and Lori isn’t likely to pop up again soon, if ever. However, it’s a strong touch point in the growth of these characters, so is important and makes the episode far more intriguing than if the ghost had just been a random person.

Ichabod (Tom Mison) is sidelined for most of the hour, which does seem a little convenient, given the Mills story. The way SLEEPY HOLLOW gets around this is by making Ichabod sick, which leads to numerous amusing scenes as the ailment is played for laughs. I’ll hand it to the writers; when they are on their game, they can dress up a story in the best of fashions.

Hawley (Matt Barr) also shows up, now cast as the helpful boyfriend. He assists the Mills without asking for anything, and even brings Ichabod, whom he clearly is lukewarm, at best, on in the hand-holding séance, soup. It doesn’t seem like Hawley and Abbie are official yet, and Abbie learning Hawley used to sleep with Jenny will be the false drama that delays them. But they are firmly on the road to coupledom, which is welcome.

Captain Irving (Orlando Jones) is in “Mama,” too, of course, being a resident at Tarrytown Psych. He is one of the intended victims, though that death would be far too pedestrian to actually stick, and so he is saved. More importantly, though, he uses the going-ons as an opportunity to escape, hopping into Abbie’s vehicle as she leaves the facility.

I’d think the other characters would be happier to see him out. Irving’s soul does belong to Moloch, but he’s a friend who has been wrongfully imprisoned. Surely, he’ll be more help out in the world than behind bars. But I guess they also have to hide him, and that could get them in trouble, which leads to Abbie’s reticence. Oh, well. She’ll get over it. Though isn’t Irving staying in to protect his daughter? Doesn’t his leaving endanger her?

In Casa de Henry, Katrina (Katia Winter) is goaded into holding baby Moloch, who appears to be a normal sweet child. In SLEEPY HOLLOW, things are not always as they seem, and the infant is an illusion, created by Katrina’s necklace that allows her to see Abraham as he was, rather than the Headless Horseman he has become. The baby makes her neck scaly and gross, which she can’t help but notice.

I’m glad the baby does this to Katrina because it destroys any fantasies she may have of doing motherhood over again. Surely she can now resist any pull the infant has over her and do what must be done, quickly concocting a potion to stop him. She doesn’t count on his rapid growth into a child, but that shouldn’t change her plan, should it? Her pause at the end of “Mama” has to just be from shock, right?

“Mama” is not the best SLEEPY HOLLOW episode, but by layering lots of good things on top of a formulaic framework, fans will probably be distracted enough not to notice. The character development is rich and the mythology is satisfying, which leaves one with an overall good impression of the installment.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

SLEEPY HOLLOW Would Benefit From Less Structure

Article first published as SLEEPY HOLLOW Review Season 2 Episode 8 Heartless on Seat42F.

In this week’s SLEEPY HOLLOW, “Heartless,” we learn that baby Moloch is not dead, but merely in need of some TLC. Apparently, the demon doesn’t eat formula, though, instead needing to consume souls (natch). Henry (John Noble) brings forth a shape-changing succubus (various actresses, but mainly Still’s Caroline Ford) to collect dinner, which our heroes must scramble to destroy before it kills more people. This is easier said than done because the only way to kill a succubus is to use a spell to burn its heart, which is hidden somewhere outside its body.

I’m quite disappointed SLEEPY HOLLOW still uses a case-of-the-week format so often. Sure, the succubus plot is tied into a larger arc, that of Moloch coming into our realm. And the hour is full of character development and fun moments, which is why the show is still worth watching. But the story would be so much better if it would allow itself to be more free-form, rather than forced to conform to a repetitive structure, with the good stuff built around the unoriginal core. Sigh.

“Heartless” begins with Ichabod (Tom Mison) and Katrina (Katia Winter) curled up to watch a reality dating show. It’s a humorous scene, Ichabod’s fish-out-of-water quality multiplied times two, and mainly brings a smile to the viewer’s face. However, pick apart the moment a little deeper, and you’ll notice that it illustrates a schism between the pair, with both seeing different things in the show and concerning love. This could be waved away easily enough if the hour didn’t further illustrate that they are at different points in their lives with differing opinions as to what must be done.

Ichabod is a Witness, called upon to stop the forces of darkness. Katrina gets in the way of that a little, as Abbie (Nicole Beharie) is definitely feeling neglected (even if she tries not to show it) when Ichabod repeatedly puts Katrina before his partner. This isn’t good for the work, even more so than Ichabod’s nagging hope that he might still save his son. Plus, when Ichabod is confronted by the succubus, it sees pain and woe within him that definitely indicates Mr. and Mrs. Crane are currently out of sync.

Katrina, for her part, does prove her worth to the team, which even Abbie is forced to admit. But she’s not a team player, striking out on her own mission to go back to being a double agent without consulting anyone first, least of all her husband. One may assume that her motivations are pure, but this disconnect will only increase the tension and discord between the couple, which really do feel doomed to failure at this point.

Even more worrying is how Katrina is sucked into what is going on with Moloch. Her affection for Abraham (Neil Jackson) is most likely feigned, something Henry probably sees through even if Abraham doesn’t, but the look Katrina gets when staring at the baby seems real. Moloch appears to be a typical human infant, not a scary demon child, and he did come forth from Katrina’s womb. Might she see him as a second chance to be a good parent? A way to prove to Henry that she can be? Or is this part of an enchantment she’s under because of the necklace she’s wearing?

While Ichabod’s love life is falling apart in “Heartless,” Abbie’s is coming together rather nicely. Hawley (Matt Barr) doesn’t like to show his vulnerable side too freely, but he’s definitely smitten with the cop, and comes to her defense without asking for payment. The fact that Abbie gives him a reward shows the feelings are mutual because she wouldn’t go out of her way for him if she didn’t care. When Ichabod blesses the relationship, it’s all but certain they will get together.

Now, Hawley and Abbie aren’t a perfect match. He has a heart, but he’s also got a business to run and won’t switch his activity to purely altruistic pursuits. This often puts him at odds with the job Abbie must do. However, they both want this, clearly, so they’ll find a way to make it work.

The vast majority of this review is about the good elements in an exciting story. If the show would just free itself up a bit further, as they sometimes, but not often enough, do, it could be among my favorites. Unfortunately, it holds back, not reaching its full potential, which is a frequent disappointment.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

No "Weeping" For SLEEPY HOLLOW

Article first published as SLEEPY HOLLOW Review Season 2 Episode 5 The Lady Weeping on Seat42F.

After last week’s disappointing go-round, it’s gratifying to witness SLEEPY HOLLOW’s return to form in tonight’s “The Weeping Lady.” A haunting figure from Ichabod’s (Tom Mison) past begins threatening the women he cares about. It’s not a creature-of-the-week story, though, as the plot ties into a number of threads for various characters, making the struggle matter to the much bigger picture.

“The Weeping Lady” opens with Ichabod hanging out with Caroline (Laura Spencer), who, as viewers may remember from last year’s season finale, is involved in historic re-enactments. The two have become friends, and this bond survives even after Caroline (justifiably) mistakes Ichabod for a single man with whom she could have a romantic entanglement. Sadly, this marks Caroline to be The Weeping Lady, Mary’s (Heather Lind, Turn: Washington’s Spies), first victim, and she’s soon dead.

It’s a shame Caroline bites it. I know Spencer is super busy these days, with roles on The Big Bang Theory and Bones, but she lets us see a side of Ichabod that no one else does. Their involvement in her hobby, which allows Ichabod to nostalgically revisit his own time, is sweet and moving. It’s also a break from the monsters and mayhem. I hope SLEEPY HOLLOW finds someone else to take Caroline’s place in the near future, even if the show risks repeating itself in developing characters.

After Caroline, Mary goes after Abbie (Nicole Beharie), of course, but Abbie survives. It doesn’t make a ton of sense that Abbie escapes what Caroline cannot, but that’s just one of those things viewers have to accept to enjoy a television show. Main characters usually survive; guest stars, not so much. Besides, we don’t really want to lose Abbie.

Finally, Mary learns of Katrina’s (Katia Winter) existence, and the spirit is no match for the witch, who manages to stop her once and for all. Katrina is a formidable foe for anyone, and no one else stands a chance at Ichabod’s heart while she is around.

Is that still true, though, after “The Weeping Lady?” Katrina reveals that she covered up Mary’s death in the past, and this is a final straw for Ichabod, who reams her out for all of the deceptions she has committed. Before the couple can work things out, Katrina goes home with Abraham (Neil Jackson) to protect her cover, further alienating Ichabod. Ichabod is too good a man to just end his marriage, but it’s something he should consider since Katrina is proving to be less than trustworthy and is certainly not around much. Her excuses make sense, but they are excuses, and there’s far too many of them.

While Ichabod’s relationship falls apart, Abbie’s is kicking off, her flirtation with Holly (Matt Barr) heating up. Or is it? Unfortunately, what Abbie doesn’t know is that Holly and her sister, Jenny (Lyndie Greenwood), have an existing physical relationship. Holly definitely prefers Abbie and rejects Jenny’s advances, but that won’t stop some major drama when the siblings learn that they have their eye on the same guy.

Henry (John Noble) slides into the episode because he brings Mary forth in an effort to thwart Katrina. He is subsequently chewed out royally by Moloch (D.J. Mifflin) for endangering Katrina because she’s an important part of his plan. This really starts to fill in some blanks in the overall mythology of SLEEPY HOLLOW and it’s very interesting to see where Henry fits in the villain hierarchy, perhaps a little lower than some might have thought.

The way all of these various character are interwoven, though, is by far the best part of “The Weeping Lady.” There’s a little bit for each of these players, complete with Revolution-era flashbacks, and they all seem to fit together like a well-made puzzle, interlocking, sometimes in unexpected ways, but all part of a singular vision. It really takes a team of brilliant minds to make a show this cohesive, and while not every episode of SLEEPY HOLLOW is perfect (last week’s stinker, for example), this is a fine example of the program at its best.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

"Go" Forth and Make Better SLEEPY HOLLOW

Article first published as SLEEPY HOLLOW Review Season 2 Episode 4 Go Where I Send Thee... on Seat42F.

In last night’s SLEEPY HOLLOW on FOX, entitled “Go Where I Send Thee…,” a young girl goes missing in town. Abbie (Nicole Beharie) knows the mother, a woman who was kind to her while Abbie was in the foster care system, and so is determined to help. Ichabod (Tom Mison) wants to assist simply because he got an amber alert and feels it is his calling. The two quickly discover that the girl’s disappearance is supernatural in nature, she having been taken by The Pied Piper (Ryan Gray) as part of a family curse.

“Go Where I Send Thee…” is one of, if not the, weakest installments of SLEEPY HOLLOW ever. The vast majority of the hour is a very basic procedural, with Abbie and Ichabod working a case. The fact that Abbie just takes this on all by herself without any consultation with her boss or the department is ridiculous. The case turning out to be supernatural seems to be just coincidence, not part of the overall series arcs, which stretches credibility of the world being built. Most of the plot just plays out like any cop show on television, and SLEEPY HOLLOW is not just any cop show; it is far better than that.

Normally, SLEEPY HOLLOW mixes the case-of-the-week stuff with the bigger mythology, and often the case-of-the-week turns out to be itself part of that larger story. Here, we have something almost completely stand-alone. That’s fine, I guess, if more time is spent establishing Abbie’s connection to the girl’s mother and it’s used to tell us something new about Abbie’s past. Instead, this does not happen, barely skimming over the elements that might make the crime interesting.

Also, when the series devolves into this basic structure, much of the screen time is usually still given over to the other supporting characters who are working behind-the-scenes on something more. “Go Where I Send Thee…” has only a tiny bit of this. We see that Henry (John Noble) is secretly hiring Holly (Matt Barr) to get him ingredients for some unknown project. It is confirmed that Henry has control of Irving’s (Orlando Jones) soul and could use him to do bad things. But other than these very brief glimpses at Henry’s plans, there is little to tie this episode into anything else.

There is some levity in the episode. The early scene of Ichabod showing Abbie he can drive a car and their playful interaction is fun. They do have some banter later, and Ichabod makes one or two of his judgmental declarations. Holly brings an interesting viewpoint to SLEEPY HOLLOW, a privateer who doesn’t yet care about others, though surely he eventually will. Unfortunately, there’s just not nearly enough of this stuff to salvage the installment.

Look, I know the broadcast networks have a lot of lazy viewers that just want to be entertained without having to think. I don’t understand this mindset because even when I’m tired, I still strongly prefer quality over repetitive junk food. But when a series already has a serial story guiding it and most episodes commit to that, what is the point of producing a week like this? How many of the aforementioned target audience are going to be hooked in by SLEEPY HOLLOW, which they’re likely aware by now doesn’t serve up such an effortless meal on a regular basis? So I really don’t understand why the show would revert to something different than it normally is for a single installment.

At least there’s always next week for them to make it up to the disappointed fans. It’s early enough in the season that “Go Where I Send Thee…” can be overlooked if the coming weeks and months don’t repeat this one’s mistakes.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

"Evil" of SLEEPY HOLLOW to Deliver This Episode

Article first published as SLEEPY HOLLOW Review Season 2 Episode 3 Root of All Evil on Seat42F.

This week’s episode of SLEEPY HOLLOW is called “Root of All Evil.” A bank robbery looks suspicious, so Ichabod (Tom Mison) and Abbie (Nicole Beharie) search for something that would cause otherwise-sweet people to go evil. They find it in a Judas coin, biblically rooted, and the artifact is also the reason Ichabod’s friend, Benedict Arnold (Scott Pythress, The Signal), turned against the Americans during the Revolutionary War. When Jenny (Lyndie Greenwood) gets a hold of the money, our heroes must quickly act to stop her before she does something she’ll regret.

“Root of All Evil” is consumed a bit too much by the case-of-the-week for my taste. Most of the hour does involve Abbey and Ichabod chasing down this coin, which, of course, ends up affecting another main character. This is a really simple, predictable, tired plot that SLEEPY HOLLOW tries to distract us from by showing historical flashbacks, tossing in some rich character stuff, and introducing Nick Hawley (Matt Barr, Hellcats), a privateer who can’t be trusted. To be fair, these are terrific distractions and they do work for a lot of the running time, but the core of the installment is still not up to snuff.

I do like that conflict is coming between Abbie and Ichabod. Their bond is an instrumental part of the series, but that doesn’t mean it cannot be tested. Ichabod believes that his wife, Katrina (Katia Winter), is working undercover for them. Abbie thinks Ichabod is naïve, and it’s likely Katrina will side with her son, Henry (John Noble), when things get rough. Abbie’s argument is a sound one, and one I had not considered. Ichabod even seems a little unsettled by it. But his faith in the woman he loves is deep, and he isn’t about to choose Abbie over Katrina, at least not at this juncture.

I’m not sure if Abbie is right or not. “Root of All Evil” does show us Katrina sowing the seeds of doubt between Henry and Abraham (Neil Jackson), which could mean she’s trying to dismantle their plans from the inside. She definitely wants Henry to cease what he’s doing. But that doesn’t mean that she will be able to bring herself to harm Henry, which may be necessary to stop him. Katrina’s words may get to Abraham, but they only seem to reinforce Henry’s attitude.

This week’s SLEEPY HOLLOW reveals another part of Henry’s plan, but not fully. Henry becomes Irving’s (Orlando Jones) lawyer and cuts off the former cop from Abbie and Ichabod. But Henry also promises to get Irving out of the mental institution, which doesn’t immediately make sense because Irving is a friend of Henry’s enemies. Ichabod manages to sneak in and tells Irving not to trust Henry, that Henry must be playing Irving somehow, but if Henry is going to get Irving back to his family, can Irving resist whatever Henry has in mind for him? There definitely seems to be some trouble brewing on this front.

The other big unknown is where Sheriff Reyes’ (Sakina Jaffrey) loyalties lie. Jenny hates the new woman because Reyes put their mother away in the place where their mom eventually killed herself. But Abbie seems to think Reyes may have been trying to help their mother, protecting her from jail. Or, at least that’s what Reyes says to Abbie and Abbie doesn’t argue, though Abbie’s facial expressions indicate she may have doubts. Is Reyes a good person doing her job, which coincidentally interferes with the good guys’ plans, or is she trying to subtlety impede them? I’m just not sure at this point.

There are some really good bits in “Root of All Evil.” Everything with roguish Holly is fun. A confrontation between Reyes and Ichabod is more amusing than perhaps it should be. There is also a timely commentary on homosexuality, which Ichabod has no problem with, though he can’t understand why a man would be disrespectful enough to wear a hat indoors. This viewpoint may not be all that realistic for a guy out of time, but it does make those who would block civil rights for gays look foolish, and that’s certainly welcome.

“Root of All Evil” is a good episode because of all of the various elements SLEEPY HOLLOW includes in even the most routine installment. It has a weaker base than most episodes of the series, but still has enough of what makes SLEEPY HOLLOW special to satisfy fans. If this is an example of a ‘bad’ episode, and I think it is, the show is doing very well indeed.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

Hatfields & McCoys bring History alive

Premiering to record breaking numbers for cable, it is clear that the History Channel has a hit on its hands with the new miniseries Hatfields & McCoys. It's not too late to catch the six hour saga, as it continues to repeat. And catch it, you should. This is what the History Channel should do more of! Bring the stories of the past alive in well scripted, well produced drama. In this goal, Hatfields & McCoys succeeds admirably.

That's not to say the series is perfect. At times the dialogue seems hokey, though it could be authentic to the time. And sure, dramatic license is taken to spice up historical events. But the core here is a true story, and watching a series such as this will not only entertain, but enlighten the viewer to an important chapter of America's tale. That is a laudable feat.

Hatfields & McCoys stars Kevin Costner (Dances With Wolves, Swing Vote) as Devil Anse Hatfield and Bill Paxton (Big Love, Twister) as Randall McCoy. Starting out as friends during the Civil War, tensions begin when Devil deserts to return to his family. This is an act Randall, a god-loving loyalist, cannot wrap his head around. It may be a minor incident, with no death involved, but it's the start of a deep misunderstanding between two honorable men, as each holds different priorities the other cannot comprehend, both of which are just.

If only that were the end of things. But then a pig is possibly stolen, and the hotter heads in both clans stir trouble. Not seeing the harm in minor clashes, Randall and Devil do not act to bring order to the families they head until it's too late. Then, as the body count rises, and the offenses continue, both are caught up in the battle themselves. Each insult must be answered with another. Not every cousin and brother can be kept in line. It's easy to see, without demonizing either party, how things spiral out of control, until it becomes nearly impossible to stop the feud. Of course, there is an end point, but for those who aren't history buffs, you'll have to watch to find out what the final straw is.

To keep Hatfields & McCoys interesting for six hours is no small chore. To accomplish this, an entire host of supporting characters are introduced in the two clans. It's hard to keep track of who belongs with who at times, making one long for the simple two-color system modern sports teams utilize in creating jerseys. They are all from a similar area of the country, and live similar lives, so by sight, there is no difference. And some of these players are taken out before they get the chance to do anything truly notable. But each adds to fleshing out the world, and keeping things moving, as well as providing a felt cost as the body count rises.

Among those who make an impression, in no particular order: Uncle Jim Vance (Tom Berenger, Inception, October Road), the war-loving Hatfield; Perry Cline (Ronan Vibert, The Borgias) as the McCoy's sleazy lawyer cousin; 'Bad' Frank Phillips (Andrew Howard, Limitless, Burn Notice), who serves as a mercenary for the McCoys to avenge a personal grudge against Uncle Jim; Levicy Hatfield (Sarah Parish, Mistresses), Devil's supportive wife; Judge Wall Hatfield (Powers Boothe, 24, Deadwood), who thinks the legal system will sort things out; Cap Hatfield (Boyd Holbrook, Milk, The Big C), a half blind sharpshooter; Cotton Top (Noel Fisher, Shameless, The Riches), a Hatfield who is mentally stunted; and Sally McCoy (Mare Winningham, Mildred Pierce, Grey's Anatomy), Randall's slightly insane wife. Each of these actors do a wonderful job, and deserve as much credit as the two leads for selling the miniseries so well.

Of course, there is a love story. How can there not be? Johnse Hatfield (Matt Barr, Hellcats, Harper's Island) is a player, who falls for Roseanna McCoy (Lindsay Pulsipher, True Blood, The Beast), a sweet girl. Their families refuse to let them be together, even though the young ones argue a marriage will help prevent an all out war between the clans. Surprisingly, love does not win.

As compelling as the story may be on the surface, it's a little hard to reconcile the presented soulful, truly good Johnse with the one who is eventually seduced by wicked cousin Nancy McCoy (Jena Malone, Sucker Punch, Life as a House), and then has four more wives later in life, as the ending scroll tells us. This feels like it might be the most twisted away from reality plot, done to further the television expectations.

Luckily, any weak points in the script, besides being overlooked because of the fantastic acting, are overshadowed be spectacular production value. Settings and costumes look great, and the music, when it doesn't veer into melodramatic territory, really helps set the tone. There is a lot to praise here, and the overall impression is very impressive. Look for some Emmy nods later this summer, and perhaps even a few wins.

If you missed it the first time, check out Hatfields & McCoys, currently running on the History Channel.


If you like my reviews, please follow me on Twitter! Article first published as  Hatfields & McCoys bring History alive on TheTVKing.com.

The Hellcats "Woke Up Dead" last night

     The CW's Hellcats has had a break, and begins its final run of new episodes in its freshman season tonight. Promos and the episode title refer to Dan's (Matt Barr) application video to get into film school, which has the Hellcats running around fighting zombies. Dan begins to question his resolve to show it, though, when he learns that other applicants, including last year's winners, take a more artistic approach. Luckily for him, Savannah (Ashley Tisdale) turns Dan's video in anyway, and it is met with much enthusiasm by the gathered audience. Dan (and viewers) will have to wait for an official acceptance, but it appears likely he will be at Lancer next season as a student.

     It's almost a bit of a tease, as the zombies were actually in very little of the episode. Those expecting some serious screen time for the undead did get an extended dance sequence / trailer, but fantasy stayed fantasy, and reality stayed reality. The separation is likely a good move. While some shows can get away with mixing a bit of hyper-reality into their stories, Hellcats already satisfies that with all of the cheer leading stuff. It's not that their competition routines are unrealistic, but it does fall into the pure entertainment category more than straight drama, so extra is not needed.

     Marti (Alyson Michalka) finds out that Wanda (Gail O'Grady) lied to her about her father, Rex, being dead for all these years when she goes to a guitar store and finds one of Rex's set lists dated five years after Wanda said he died. Marti is deeply hurt, but Wanda tells her not judge without having been in the situation. Marti was a young child, and Wanda removed her from a drug-addicted parent. While perhaps Marti would have liked a dad growing up, not having one is likely better than having Rex.

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      This is a sticky issue with no clear right side. Marti has every right to feel betrayed and lied to, but at the same time, Wanda had the best of intentions when making the decision. Plus, Wanda's choice likely made both of their lives much better. A toxic childhood has been avoided. Marti can be hurt, but she should apologize and forgive Wanda before too much time passes.

     Lastly, Alice (Heather Hemmens) helps Kelsey (Holly Elissa Lamaro) expose a cheating ring at Lancer, only to later be asked to kill the story by Lewis (Robbie Jones), who is part of it. Dishonesty is not part of Lewis's current character, but since the misdeed happened his freshman year, it fits his backstory. Poor Alice is torn between career and wanting to help someone she still cares deeply about. While she tells Lewis no, she does make a tentative effort to protect him, which is dropped as soon as Kelsey laughs at her. It's not likely Alice will be winning Lewis back anytime soon, so she should try not to lose too much sleep over it. As she says, Lewis has stellar grades. He can recover from this.

     What did you think of the episode? Should Wanda have told Marti the truth? Will Alice stand up a bit more strongly to Kelsey? Is Dan's entry into film school a done deal? Were there enough zombies for you? Does Aly Michalka look just as hot as a decapitated corpse? Sound off in the comments!

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     Hellcats airs Tuesday nights at 9 p.m. ET on the CW.

Article first published as TV Review: Hellcats - "Woke Up Dead' on Blogcritics.

Hellcats should know "Don't Make Promises (You Can't Keep)"

     Usually when a show is about to take a month or so off, they offer some kind of big finale, often ending with a cliffhanger. Not so this time with the CW's Hellcats. I won't say that last night's episode is bad, but it certainly isn't one of the best. In fact, the episode I would have wanted going into the hiatus aired two weeks ago. It's a shame they couldn't have switched those around. Ah, well.

     Savannah (Ashley Tisdale) gets the most interesting, juiciest plot this week. While at her house, Kathy (Magda Apanowicz, Caprica) lets slip that Savannah's little sis, Charlotte (Emma Lahana), is pregnant with Noah's (Tom Stevens) baby. Noah is Savannah's ex, and he hooked up with Charlotte the night Savannah last rejected him. Now Charlotte and Noah are engaged. Noah admits to Savannah that he really has feelings for her, and asks her what she wants him to do. Savannah breaks the news to Charlotte, who denies it, but breaks off the engagement.

     I have found the stories about Savannah's family fascinating. I like that they are uber-religious, and that causes them issues, including teen pregnancy. I firmly believe that parents who are too strict risk their children rebelling. It's a shame that Noah is such a slime ball; he had seemed like a decent guy up until now. But there aren't any better adjectives for a guy who impregnates the sister of the girl he likes.

     It's great to see Savannah strength here. Right from the beginning, there has always been a force within her, especially evident when she is around her mother. Her character is not rebellious for rebellion's sake, but she has an inner passion that benefits herself and those around her; she stands up for what she believes when necessary. Her character may possibly be my current favorite in what has become a very large cast.

     I think we are supposed to have our heartstrings tugged by Marti's (Aly Michalka) search for information on her long-gone father. I am not feeling it. As Dan (Matt Barr) points out, if Marti really wants to know, she would have demanded it a long time ago. Wanda's (Gail O'Grady) refusal to cooperate with her isn't really a good excuse; that doesn't usually stop Marti. Wanda may have gone into a downward spiral once Marti pressed her years ago, but that is nothing new either, and should not have been enough to make Marti give up for the next however-many years.

     The competition between the cheerleading squads is much more satisfying. Likely because of Savannah's history, there is obviously great rivalry between Memphis Christian, who doesn't have a cool nickname, and the Hellcats, who don't either, but act like they do. That last line was not intendied to insult, but "Hellcats" is teeming with corniness, trying to insert drama where none exists. Anyway, watching them square off is wonderful, and I enjoyed how many of their moves match up, emphasizing that both are very good.

     I also like the hint at something brewing between Lewis (Robbie Jones) and Kathy. We don't know enough about Kathy yet to know if she is a good match for him or not, but the scene we get of her away from cheerleader feuds make her seem sweet. Lewis has been hurt by multiple girls, and doesn't deserve to have to put up with a high maintenance woman. Plus, I adore the actress who plays Kathy, so the more she is involved in the show, the better.

     The chemistry between Vanessa (Sharon Leal) and Derrick (D.B. Woodside, 24, Buffy the Vampire Slayer) has been off for awhile, so it's no surprise that they broke up last week. I admire Woodside greatly, and hope the series sees fit to keep him coming around. That being said, Vanessa isn't having any better luck with Red (Jeff Hephner). Perhaps it is because she is sneaking around, ashamed of tossing aside Derrick, but so far, I'm not seeing this spark they supposedly have. Either go for it or don't, but if there isn't anything there, don't force or fake it.


     Overall, Hellcats is having a pretty good first season. I hope it hasn't peaked too early, with that wonderful take down of Bill Marsh (Aaron Douglas - also great) already having happened. A new major arc is needed fast to fill out the rest of the season when the show returns next month.

     Hellcats airs Tuesday nights at 9 p.m. ET on the CW.

Article first published as TV Review: Hellcats - "Don't Make Promises (You Can't Keep)" on Blogcritics.

 

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Hellcats Fall 2010 Overview

     The CW's Hellcats is not just Bring It On: The Series. Nor is it another 90210. It's a teen (or just past teen) drama, sure, with all the usual affairs and scandalous twists. But it's also an inspiring sports series, as those cheerleaders are very much athletes, and there's some legal mystery tossed in for flavor. Plus, a few unnecessary, but fun, dance numbers a la Glee. I guess that's what makes it worth watching. There are plenty of elements to keep things interesting.

     After eleven episodes, I'm still not particularly impressed with the cast. They're decent, but not above average. I am most enjoying Matt Barr as Dan Patch. Dan is certainly the most likable, and the most in touch with who he is of the central characters. He also carries the Memphis accent pretty much by himself; even the other characters who are from the area seem to have shed it. Perhaps it's because he's a townie, while the rest are integrated with the college students, who arrive from all over. Lead Alyson Michalka is also one of the better ones, as many of her emotional scenes are played on her face, rather than dialogue. Her disconnect from others is part of the character trait, so her tendency to underact at times seems like a choice rather than a failure.

     I do have to give credit to Heather Hemmens's Alice. While she was established as the villain from day one, her motivations have been made clear, and even made viewers sympathetic to her bitterness. As the episodes this fall unfolded, it was clear that Alice did have lines she would not cross, even if she went further than most characters would. She's not completely disloyal to those around her, even if she often puts herself first. It's the subtleties that make her character successful, and Hemmens does accomplish those with grace.

     One quick criticism. Marti joined the Hellcats as a replacement for the injured Alice. Alice healed from injuries several episodes before the fall finale, and yet, how they both fit on the team now has never been dealt with. There are only a certain number of flyers the Hellcats can accommodate at once. It appears to me that Marti kept the flyer position, and Alice just dances now. But is that how it is? It would have been nice to have dealt with that on screen.

     As mentioned before, there is some legal plot going on, with Marti investigating an old case for an inmate named Travis (Ben Cotton), whom she has come around to believing innocent. I will certainly not knock the series for trying something different, and adding such an odd element to their show. Odd, considering that most of the scenes deal with college cheerleaders. However, it almost feels like it should be its own spin-off. It's like there are two different series going on at once. Should Hellcats continue for a few years, I could totally see Marti and Morgan Pepper (Craig Anderson) doing their own law-based series, leaving the other characters to the cheering. It could be quite enjoyable.

     I guess that subplot, though, demonstrates a level of realism that imbibes Hellcats. Life is complicated, and people are involved with several different things at once. Keeping the principal cast small (only six), and using supporting characters as support, rather than giving them their own plots (for the most part), has allowed Hellcats to do what other shows cannot, as they are too involved trying to serve everyone, and don't allow any one character too much depth.

     Yes, I did say in the preceding paragraph that there are six main characters, even though seven names appear in the opening credits. Wanda (Gail O'Grady) might as well be supporting, as she really only pops up in Marti's arcs. I know O'Grady is a talented actress from her previous work, and could handle a larger piece of the Hellcats world. But I really like Wanda in her current space, and there is something to be said for someone who can play that type of character and do it so engrossingly. As such, I would not lobby for a change in Wanda's part, other than perhaps a few more one-liners every now and then.

     A large part of this fall has concerned getting the Hellcats to qualify for the national championships. Yet, the cheerleading saga has not choked out the other story. It's something that has hung over everyone, but not consumed them except when it needed to. It justifies the title of the series, but does not define it. I like that.

     I love, love, love the Bill Marsh (Aaron Douglas, Battlestar Galactica) character. Having grown up in a town and a high school where football players were often above the rules that applied to everyone else, it's thrilling to see such a corrupt athletic department, with emphasis on the football program. It's so bad that one of the athletes, Lewis (Robbie Jones), actually quit the team in protest. Sure, other shows have toyed with the idea, but I can't remember one that delivered so evil a character as Bill. I personally believe football players and the game are often too glorified, and like seeing them taken down a peg. Well, at least in viewers of the show's opinions of them, as no one can watch Hellcats and like what's happening under Bill's leadership.

     That being said, there are plenty of great coaches in the real world like Red Raymond (Jeff Hephner). Introduced as a thorn in Vanessa's (Sharon Leal) side, he, like Alice, has grown into something more complicated. He's a truly moral coach, trying to keep the crap away from his players and his team. The one time he did cross that moral line was to help out Vanessa, and so his action can be excused. Red has power, but not enough to change the system. More coaches (and athletic directors) like Red could change the sport, and keep experiences like the one in the show from happening too often.

     On top of all of that other stuff, the series still takes time to work on religion. Savannah (Ashley Tisdale, High School Musical) was home schooled, and originally attended a very religious college. She transferred to Lancer, but her younger sister, Charlotte (Emma Lahana) remains at home, in the religious school, and in the church. Charlotte is pregnant, go figure, while Savannah remains a virgin. It's a commentary on the stifling affects that can be had being raised in uber-religious families. But Savannah is a positive role model for the faithful, and shows that a balance between the holy and the secular produces great individuals. The series doesn't demonize religion, but provides several different viewpoints into how faith affects people, and the children they raise.

     Overall, it's a pretty good show. I can't point to many weak points that need fixing, and they've covered a lot in eleven episodes. As I said, all of the actors are at least decent, and will surely grow better with time. The story arcs are excellent, and the different elements coming to the table are pretty well mixed. While not life-altering, it earns a season pass on my TiVo, and is worth watching.

     Hellcats is currently taking a winter break, but will return January 25th to the CW.

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Article first published as TV Review: Hellcats - Fall 2010 Overview on Blogcritics.