The Legends Continue

Article first published as Blu-ray Review: 'DC's Legends of Tomorrow: The Complete Second Season' on Blogcritics.

New to Blu-ray, DVD, and digital is DC’s Legends of Tomorrow: The Complete Second Season. A spin-off of fellow CW series The Flash and Arrow, Legends finds a group of misfits, both heroes and villains, who are not notable to history banding together to protect all of time. The Complete Second Season is basically a continuation of the first year, but with several of the team members swapped out. A new set of villains, pulled once again from the two parent shows, helps make the adventure fresh.

I loved the premise of DC’s Legends of Tomorrow from the start, and appreciated many of the characters in the ensemble, but was underwhelmed with season one. Thankfully, season two does much to correct that right away. The first year was saddled with an uninteresting story arc that weighed things down. The Complete Second Season does have an ongoing plot thread, but it travels to many more time periods, takes itself less seriously when it’s appropriate to do so, and deepens the characters, making the show into the fun romp it should have always been.

Not every episode is gold, and sometimes the effects and scale of action have to be lesser than they should be for budgetary reasons. But even some of the duller ones, like “Abominations,” have exciting elements that make the most of the money, like Confederate zombies! Yes, the show plays fast and loose with the premise; plenty of things the characters do or see should change history seriously and they don’t, while minor changes have large impacts. However, the season starts and ends strong, with swashbuckling and adventure, and overall, it’s a pretty entertaining run.

A big part of how much enjoyment The Complete Second Season has to offer are the antagonists. The Legion of Doom is comprised of three previously seen villains: speedster Eobard Thawne (Matt Letscher), who has a very powerful motivation in these episodes; incredibly dangerous magic master Damien Darhk (Neal McDonough); and the always charming Malcolm Meryln (John Barrowman). Even before they are joined late in the game by former Legend Captain Cold (Wentworth Miller), they have engaging chemistry that makes one gleefully anticipate every scene they’re in as a group. They set a high bar for season three to live up to.

Less successful is the way the team has changed. While the Hawks were good characters to jettison, Captain Cold’s presence is missed, and too different when he returns on the other side to be comforting. Neither Nate (Nick Zano) nor Amaya (Maisie Richardson-Sellers) are that gripping. The former would have been much more interesting had he not eventually gotten powers. The season suffers from the decreased presence of Rip Hunter (Arthur Darvill), though the benefit of his absence is the welcome increased importance of Sara Lance (Caity Lotz). I’d say this mostly makes the makeup of the group a wash, though the chemistry between those around for both years has strengthened delightfully, with Mick Rory (Dominic Purcell) having an especially compelling arc in how he relates to everyone else.

As far as bonus features go, I’d say this release has the minimum needed to be decent, but nothing particularly special. There are a handful of deleted scenes and a fun gag reel. The Comic-Con panel included is from 2016, so not a terrible way to get excited before watching the season, but far less valuable after you’ve seen the episodes, and since its on the last disc, that’s likely when people will view it. It would be far wiser to include the 2017 panel instead, but they did not.

There’s also a featurette on the “Invasion!” crossover between all four CW DC shows, Arrow, The Flash, DC’s Legends of Tomorrow, and Supergirl. The Legends contribution to the miniseries is the finale, and the episode itself is pretty good. But the featurette itself seems to be talking about ideas that aren’t fully communicated on screen, and I found the full story to be relatively disappointing. It didn’t quite living up to what I’d hoped for, changing course too much between parts and shifting the makeup of the combined group hourly without satisfying explanation as to why.

Yes, this is a mixed review, but overall, I would recommend DC’s Legends of Tomorrow: The Complete Second Season. I’d say that just for Victor Garber’s performance alone, but he’s far from the only redeeming quality. This batch was better than the first, and I’m optimistic about where the show will go from here.

DC’s Legends of Tomorrow: The Complete Second Season is available now.

THE CARRIE DIARIES "Runs" Out of Time

Article first published as THE CARRIE DIARIES "Runs" Out of Time on TheTVKing.

The CW's The Carrie Diaries, a prequel of sorts to Sex and the City, but taking its cue from the novels, rather than the HBO show, draws its second season to a close this week in "Run to You." As they graduate, Carrie (AnnaSophia Robb) and her friends are at a crossroads. Their decisions will take them in different directions, and none has a harder choice to make than Carrie herself.

"Run to You" is a disappointing hour because of the lack of female empowerment. Here's Carrie, eighteen years old and barely out of high school, and she's ready to move across the country with no prospects of her own for a guy, Sebastian (Austin Butler). Granted, Carrie may be trying to escape her problems, having lost her job, too late to try to go to college in the fall, and estranged from her father, Tom (Matt Letscher). But still...

Even worse is Maggie's (Katie Findlay) story. She is a strong girl who is just finding out how she can stand on her own, but rather than decide that she wants to pursue her own goals, she's happy to accept Pete's (Claybourne Elder) marriage proposal. Will she even still go to college now? Who knows? Her fate is in the hands of a guy she only recently met.

Samantha (Lindsey Gort), the epitome of a woman who can use a man for her own selfish needs, though she isn't cruel, is watered done and overly sentimental in The Carrie Diaries. Perhaps she hasn't grown into who she will be yet, but this version of Samantha contains only occasional hints of the beloved icon fans adore.

This isn't a great example to have on TV for impressionable teens to watch. The characters of Sex and the City wanted to find love, sure, but that was far from the only thing going on with them, and they weren't going to compromise themselves or settle. The Carrie Diaries is teaching a new generation that its OK to just find a guy and do what he wants. Carrie herself breaks away from this at the end of "Run to You," but it's too little, too late, the message already hammered home.

 This show is set in the 1980s, so it's not like women were only destined to be housewives at the time. The 1980s was a period where females did want careers and were proving they were as good as men, continuing to break into fields that were long male-dominated. Where is that spirit in this finale? If anyone would subscribe to it, it would be Carrie Bradshaw, who has shown her mettle in previous installments.

Even Larissa (Freema Agyeman), the symbol of the free-spirited, independent woman, ties the knot in this season finale, marrying Harlan (Scott Cohen) in an airport. Granted, she has negotiated the arrangement she wants with him, but she's also using him as a crutch to escape her unemployment issue, bumping up the marriage so she can concentrate on fun in his arms, rather than trying to rebuild her career yet. It's not inspiring.

I do give The Carrie Diaries credit for not doing a traditional graduation episode. Since there have only been two short seasons, it would be weird to have big, tearful goodbyes for several of the players, but a lot of shows would have done so anyway. In "Run to You," the ceremony is brushed over in favor of getting to more character development, even if it's not good development.

I also liked the ending between Mouse (Ellen Wong) and West (RJ Brown). They are forced back into one another's orbits and do sleep together, but then Mouse tells him it was a good way to leave things, both heading on to very different futures.

The Carrie Diaries has done some things right. The portrayal of homosexuals in the 1980s is eye-opening. The main gay character, Walt (Brendan Dooling), is a fully fleshed out individual who defies stereotypes and forces his parents to confront who he is in a very moving scene. Donna (Chloe Bridges) ends up being a really interesting person, the pretty bully who is secretly a genius. The father-daughter relationship between Tom and Carrie and Tom and Dorrit (Stefania Owen) is great, and the sister bond between Carrie and Dorrit is sweet. The period references are only occasionally forced. The acting is decent.

But it also gets a lot wrong, as I've argued in many of the above paragraphs. It's a fluff teen drama that doesn't live up to its potential or legacy, and with the chance of a third season so low, it's not unlikely to be long-remembered. I did find it entertaining enough to sit through all twenty-six installments, and I'll admit I'd like to see it go on, albeit with a few things corrected, and likely without most of the cast just because that's what makes sense for the story.

I guess the thing that bothers me most about The Carrie Diaries, though, and this is a huge obstacle going in, is that none of these people are still in Carrie's life when she's an adult, except Samantha, of course. That means with every squabble she has with them, I'm waiting to see this being the last straw for their relationship. Yet, the tone of the show does not allow anything but hugs and reconciliation. This robs the chance of it being any kind of true prequel to the original show, lessening my enjoyment considerably. It needs more pathos.

The Carrie Diaries has not been picked up, and the odds are not in its favor.

THE CARRIES DIARIES "Win Some, Lose Some"

Article first published as THE CARRIES DIARIES "Win Some, Lose Some" on TheTVKing.

The CW's The Carrie Diaries, a prequel to Sex and the City sort of based on the book of the same name, returns for a second season tonight with "Win Some, Lose Some." It's summer, and Carrie (AnnaSophia Robb) is ensconced in a fabulous New York City apartment. Too bad her ex-boyfriend, Sebastian (Austin Butler), shows up and ruins her good times. Luckily, a true, life-long friend is just around the corner for Carrie.

In the first season, the connections drawn between this new show and SATC are few and far between, which could have made it harder to gain viewers. Though most SATC fans aren't watching the CW, anyway, with the network's main demographic having been born too late to enjoy the SATC craze. Either way, season two immediately sets about to make the parallels a little more obvious, tying the two together.

For one thing, Carrie's hair is now looking more familiar. And I'm burying the lead, because Samantha Jones (Lindsey Gort, 2 Guns) is on the scene! It takes awhile in "Win Some, Lose Some" for Samantha to show up, but once she does, she clocks plenty of screen time, with the promise of more in the near future. The official website does not currently list Samantha as a main character, but Wikipedia does, so I'm not sure how much she'll be included in The Carrie Diaries from now, but probably quite a bit.

It's very hard to make a prequel series (whether or not they call it that, it is considered such) because the performances of certain characters will inevitably be compared to those that came before them. Robb is not a lot like Sarah Jessica Parker, even though her locks now match somewhat, but I think Gort hews a little closer to Kim Cattrall. The mannerisms and the voice are a little off, but with her mouth closed, Gort looks a lot like her predecessor. Now, whether matching the look is a good thing, further inviting comparisons, when the personality is off, is debatable. I'm just reporting the facts.

"Win Some, Lose Some" does not really establish the needed chemistry between Carrie and Samantha. Their bonding feels a little false, and it's puzzling why Sam, as she's presented, would tag along with the kid. Her dialogue indicates Carrie is annoying her. Samantha actually seems kind of bored and lonely, which is the only explanation that makes sense for Samantha to follow Carrie around. Not the best start to an extremely important relationship.

That aside, though, "Win Some, Lose Some" is not a bad episode. It splits off the characters in pleasing pairings, and moves the story along. Plus, it's set during the summer, which is rare for a TV show to do. I wonder if The Carrie Diaries will stay in the warmer months for awhile, given that the sequel to the book is set in the summer? Let's hope so, because it feels novel and interesting.

Maggie (Katie Findlay) and Mouse (Ellen Wong) are at odds over Maggie sleeping with Sebastian last season, and apart from Carrie, we see how these two girls work out the tension between them. With Carrie destined to move on without her high school gal pals, one hopes that they can rely on each other, long after Carrie exits the picture. The season premiere finds a lot of strife in their friendship, but perhaps they can come to some sort of understanding eventually.

Elsewhere, there's a nice little story between Dorrit (Stefania Owen) and her father (Matt Letscher). Again, Carrie clearly is not involved in their lives down the road, based on SATC, so viewers will want to know these two have each other, even when Carrie moves on in the Big Apple.

It's kind of hard to appreciate some aspects of The Carrie Diaries, knowing so many of the characters must either die or having a falling out with the main girl before the end of the show's run. Perhaps it will seek to chart a new path, one in which Carrie's friends and family from her hometown keep in touch, but if this show sticks to the established plot, Carrie will move on without them. Thus, I appreciate that Carrie is on her own in this episode, even as I hope for happy-ish tie-ups of the supporting players, sans Carrie, at the end. Or in the middle, judging by the pacing thus far.

Donna LaDonna (Chloe Bridges) is the one person I wish for most to somehow forge something lasting with Carrie. However, after she does something nice for Walt (Brendan Dooling), The Carrie Diaries can't resist souring our image of her once more.  I love this character as much as I hate her, and it will be interesting to see how Donna turns out as an adult... if we get that far.

The Carrie Diaries is somewhat stuck in honoring what came before it, but for the parts of the episode that a viewer can forget SATC and just take this show on its own, it's enjoyable. Maybe waiting a few more years before making this production would have helped with that somewhat, but since the CW did not, I do appreciate what's being done, even if it's not quite rising up to the shadow it's living in.

The Carrie Diaries premieres tonight at 8 p.m. ET on the CW.

SCANDAL Puts Its "White Hats Back On"

Article first published as SCANDAL Puts Its "White Hats Back On" on TheTVKing.

ABC's Scandal begins season two last fall with "White Hats Off" and ends it this week with "White Hats Back On." In between, we get a dark, twisted game of manipulation, struggles for power, torture, murder, and intrigue. The characters go to places lower than they consider possible before, and do things they will live to regret. It's a hell of a ride.

It's nice to see the "White Hats Back On" for Olivia (Kerry Washington) and crew. They've done enough, suffered more than their share. They need to refocus on a mission of helping people and making the world better, not participating in the kind of stuff they've been doing. Not if they want to hold their heads high and be proud of their work. Olivia's literal donning of a white hat late in the episode symbolizes this shift.

Olivia's turning point is motivated by selfish reasons. Going into the hour, she believes she can finally be with Fitz (Tony Goldwyn), coming up with a plan that will allow him to both stay in the White House and have her on his arm. It's smart, it's fairly simple, and it should be possible to enact it.

However, Cyrus (Jeff Perry) sabotages everything, not by ruining the plan directly but by poisoning the romance between Olivia and Fitz. Both have secrets to hide: Fitz murders Verna (Debra Mooney) and Olivia sleeps with Jake (Scott Foley). They, as a couple, could get past these latest setbacks when Cyrus tells each the hidden truth. But Olivia decides their relationship shouldn't be so hard, and calls it off.

Stepping back from the mess she's been embroiled in all season, stemming from the Defiance election rigging scandal, helps Olivia better live with herself. I do think she's sincere when she talks about how she's been bringing her team down, and wants to improve their situation. However, she wouldn't have the courage to do this just for their sake. It takes an epiphany, brought on by continued manipulation and rule-breaking, to change her mind.

The one person who may have a problem with Olivia's about-face is Harrison (Columbus Short). In her absence, he has often had to step up to fill the void. He isn't necessarily the de facto leader, and hasn't really served as replacement. But it's likely he thinks he has, based on the ego we've seen from him, and he may bristle against going back to being second banana.

Olivia's decision comes not a moment too soon for Quinn (Katie Lowes). The delight she takes in torturing Billy (Matt Letscher) is disturbing. Huck (Guillermo Diaz) is very worried about Quinn, but still dealing with his own failings and struggles, is not in a very good position to lend her a hand. Thus, Olivia coming back into the fold, concentrating on her own people, whom she has mostly stood apart from this season, could be just what Quinn needs. Maybe Olivia can salvage Quinn's soul, restore Huck, and do what she has done for her team before.

Which isn't to say that Scandal is now going to be "White Hate Backs On" all the time. That isn't the way this series works, and before this season finale comes to an end, a new problem rears its head: Olivia's affair with Fitz is outed. This takes her, and those connected with her, right back into the muck, and should provide an interesting conflict to begin season three on.

Who is responsible for outing Olivia? It's doubtful that Cyrus is behind it. He is so stressed with the White House politics that he has a heart attack, surprising only in that it doesn't happen before now. Cyrus fights to stop Olivia and Fitz's coupling, and telling the press about them will only drag the issue out, hurting Fitz's chances of  re-election. So he's likely innocent of this.

It could be James (Dan Bucatinsky), Cyrus's "better" half. The concern in James's eyes when he comes to Cyrus in the hospital bed is genuine, but he also still asks about Fitz's marriage, furthering his career as a reporter. James and Cyrus's marriage is rocky and fraught with complications, but there is love in there, which is why it's my favorite element of the series, tied with Cyrus and Olivia's friendship.

It would not be above James to hurt Cyrus's career for the sake of his own, as a journalist, but considering we don't see James finding out above Olivia yet, the exposure will probably come as a shock to him, too, throwing more flame to the fire fight in his union. Cyrus doesn't keep James in the loop, and James is just as likely to tell Cyrus before the rest of the press, to rub his snooping abilities in his husband's face, which is something that doesn't happen. It's probably not James.

Jake, who could be jealous of Olivia and Fitz, most likely isn't responsible, tossed in a pit and left to rot. I hope Olivia learns about Jake's fate, maybe through Huck, even though Huck wants to get away from that world, and saves him. With Fitz and Olivia on the outs, Olivia could use a new, steady love interested, and Jake has that potential.

It could be Mellie (Bellamy Young). Earlier in "White Hates Back On," Fitz makes it clear their marriage is over. This is before Olivia sends him right back to Mellie's arms. Mellie can be self-destructive, and thinking everything is ruined, she may have taken the nuclear option and leaked Olivia's name. Though that would work against her own professional goals, so while she is a serious possibility, I wouldn't rank her at the top of the list.

David Rosen (Joshua Malina) is also a suspect. He plays Olivia and the group to get back into his old position, with even more power. In doing so, it proves he is susceptible to the same game playing everyone else in the cast engages in, even though it's something he despises in them before. This could be a parting shot as David leaves the group, looking for some justice against Olivia. Though, David doesn't seem super vindictive, and may still harbor feelings for one of the gang, Abby (Darby Stanchfield), so like Mellie, while it could be him, he isn't my first choice.

No, the most likely culprit is Rowan (Joe Morton, Eureka). He is introduced recently, has tendrils in many places, is behind the locking up of Jake, and is shown to be plotting against Olivia. At first, it seems his scheme could be to kill her, as someone tries to shoot Olivia this week. However, now that we know, because of the shocking ending, that Rowan is Olivia's father, it is likely his techniques against her would be less lethal.

What is Rowan's goal? Why is he after Olivia? What does he want her to do? Would outing her help him accomplish this? There is still so much mystery surrounding who Rowan is and what his mission is that Scandal could go in any number of directions from here. This is a rich vein to tap.

Or it could be someone else, someone we may not even have met. Maybe it's a secret service agent with a beef against the president, or who considers themselves well versed in morality. Maybe it's a political rival. Maybe it's an old foe. Who knows?

This is a wonderful, exciting season finale, concluding some arcs, but also leaving the door wide open for any number of new stories. Scandal doesn't operate on a week-by-week basis, and in keeping with its serial nature, much is not wrapped up. Life goes on, and the past will continue to haunt the present.

Scandal, thankfully, has been renewed and will return to ABC next fall.

Open up and read The Carrie Diaries

Grade: 81%

Everyone is at least a little bit familiar with the HBO hit Sex and the City. When the author of the book that series is based on, Candace Bushnell, decided to write a prequel, it is little surprise that the CW, known for their teen-centric dramas, would latch on. THE CARRIE DIARIES, premiering Monday, January 14th at 8 p.m. ET. The show has a built in audience, and will surely deliver big ratings, at least initially, from Sex and the City fans who want to see how it all began.

What’s disappointing is that there is not more connection between THE CARRIE DIARIES and the original series. Yes, they are made by different people, but given the popularity of Sex and the City, and that is what the CW will be banking on to build an audience, besides their typical demographic, a cameo by Sarah Jessica Parker, or a glimpse of a familiar setting, would go a long ways. While Samantha, Miranda, and Charlotte won’t show up for awhile, some thread to their world would be nice. The only touch I noticed in “The Pilot” that speaks to this is the final shot of Carrie (AnnaSophia Robb, Charlie and the Chocolate Factory) writing as she looks out the window.

That being said, the bones of the new show are firmly in place as THE CARRIE DIARIES begins. Robb may not look all that much like Parker, but she has the narration, fashion sense, and free spiritedness down. Carrie is still in high school and has a long way to go, but she’s starting off on the right foot.

Also, leaving the series set in the 1980s is a good decision. It allows it to be a period piece, setting it apart from the rest of the CW’s lineup. In retrospect, the production team can hand pick the best trends and music from that era, knowing what will stand the test of time. In this arena, they do well.

The key to the story of THE CARRIE DIARIES has to be that Carrie will grow into the character fans the world over love. That’s why the scenes set inNew York Citywork far better than the ones that take place inConnecticut. In the Big Apple, Carrie visits Century 21 department store and is introduced to the cultural scene by the style editor of her favorite magazine, Larissa (Freema Agyeman, Doctor Who, Law & Order: UK), which sets her off towards her life goals.

Back at the high school, Carrie hangs out with Mouse (Ellen Wong, Scott Pilgrim vs. the World), Maggie (Katie Findlay, The Killing), and Walt (Brendan Dooling), while drooling over Sebastian (Austin Butler, Life Unexpected). None of these people speak to who Carrie will become as an adult, which is probably why they will, or should, all drift away sooner, rather than later, during the run of the show. Obviously, in high school, Carrie is just beginning her real life, but knowing that none of these people play important roles later, the investment to be made in them is minimal.

The balance will have to be found in making Carrie’s high school days matter. Because they don’t, viewers will want her to hurry up and get out of her small town. But she can’t too quickly, because she has years left there. This could potentially stifle the plot, and perhaps the gun was jumped by bringing in Larissa and Carrie’s downtown job so soon.

Carrie’s home life is a different side of her entirely. Dealing with her mother’s recent passing, Carrie acts as a sort of mother figure to her younger sister, rebellious Dorrit (Stefania Owen, Running Wilde), while trying not to be too much trouble for her father, Tom (Matt Letscher, Scandal, Eli Stone). Dorrit and Tom are not in Carrie’s adult stories, so do they drift apart, do they have a major falling out, or will tragedy strike?

The home stuff is actually pretty interesting, because unlike the high school scenes, it contributes to Carrie’s maturation. But, again, because we all know what is to come, it feels a little painted into a corner. Sure, Carrie might maintain healthy relationships with her family, even though they aren’t mentioned for six seasons and two films, but it seems unlikely.

THE CARRIE DIARIES struggles with delivering the CW’s normal fare, teen angst, while building towards something much more. The “Pilot” is intriguing, but not overly special. The cast seems capable enough; will the writing find a balance that succeeds in moving things appropriately forwards? Having not read the novel yet, I do not know if the source material has a good answer for any of this, but the television show has to if it wants to stay on the air.

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

Article first posted on Seat42F

Not exactly 'Smitten' with Bent

This week, NBC's Bent finally premiered with two episodes, "Pilot" and "Smitten." In "Pilot," Alex Meyers (Amanda Peet, Studio 60 On the Sunset Strip, 2012) reluctantly hires Pete Riggins (David Walton, Perfect Couples, 100 Questions) and his crew to renovate her kitchen. They flirt, but he's a player, and she's got a boyfriend, Ben (Matt Letscher, Eli Stone, Brothers & Sisters), whom she forgets to mention, and isn't sleeping with. In "Smitten," Alex and Pete's dance continues, and Ben still isn't getting lucky. Though Pete is, just not with Alex.

For the curious who missed these episodes, the "Pilot" of Bent is free on Amazon right now, and "Smitten" is available for a small fee. Watch it, then come back and read this article.

Looking at the stars listed in the paragraph above, a pattern begins to emerge. Bent is full of terrific actors who have been in excellent television shows that were canceled before their time. Bent is not one of those excellent shows, and its imminent cancellation, which seems a very likely possibility, especially given the show's April premiere date, will not be mourned the way others have been.

The actors are great, and many of the names should be familiar. Besides the three listed above, Jeffrey Tambor (Arrested Development) plays Peter's washed-up-actor dad, JB Smoove (Curb Your Enthusiasm, a former writer for Saturday Night Live) is Pete's gossipy friend, Clem, Jesse Plemons (Friday Night Lights) is Pete's taken-advantage-of-apprentice, and Joey King (Ramona & Beezus) is Alex's daughter. Additionally, Pasha D. Lychnikoff (Deadwood) and Margo Harshman (Even Stevens) round out the cast.

But the problem with Bent is that there isn't much material for the performers to work with. The whole concept is that Pete is redoing Alex's kitchen? How long can that be stretched out? What happens when the work is done? Does he redo her whole house? Unless Pete and Alex are a couple by that time, there isn't much of a reason to merge their social circles. And if they are a couple, where does the tension go, as their interplay is the only real plot arc developed thus far?

Also, Harshman's character is called Screwsie. Whether that's because she likes to have lots of sex, or because she unscrews the top off many a bottle of cheap wine, the cutesy nickname is way too on the nose. Seriously, a grown woman goes by the name Screwsie? Does she want to be labeled an easy, alcoholic, slut?

Along the same lines, in the "Pilot" Tambor's character says that he's "Bent, not broken." If you need to explain the title of your series, the show needs a new title.

There are some hints of goodness. The bond that Pete forms with Alex's daughter, Frankie, is sweet. That is clearly his 'in' with her mother. If one can win over the kid, one can get the mother, and Pete has done that already. But since it's happened right off the bat, there isn't a lot of room to develop this further, and this relationship is not enough to carry the series on its own.

This cast would be great in a better written show. The chemistry is wonderful, when they get to use it. Perhaps that's what should be done. Keep them all together, but write totally new characters. Or figure out a different direction for Bent, quickly. Otherwise, it's destined to be yet another failed project for this very talented group of people who just can't find the right show.

Bent airs Wednesdays at 9 p.m. ET on NBC. In Columbus, NBC is analog channel 4, satellite 382, and high def cable 1004.

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