"New" GLEE Not Same as "Old"

Article first published as TV Review: 'Glee' - 'Old Dog, New Tricks' on Blogcritics.

FOX’s Glee feels different this week in “Old Dog, New Tricks.” It’s almost like a two-dimensional representation of what the series is, taking a snapshot of each character, but missing the deeper essence. It’s hard to pinpoint specific examples for this opinion, it’s more an overall feeling that comes about when watching it. This is likely due to series star Chris Colfer writing his first episode, not quite experienced and polished enough to really capture the show yet. But it’s hard to find fault in the series allowing one of its family to give this a shot, and in the brave way Colfer makes the effort.

Perhaps it’s easier to rip apart the unseen writers than it is to criticize the work of someone who has graced our screens week after week, and whom I am a fan of, but in the spirit of writing a legitimate review, it’s necessary to pick “Old Dog, New Tricks” apart a little. The story is trite and simplistic, predictable from the start. The resolution is equally easy to see coming, and while the overall effort isn’t bad, it’s also not one of the strongest, a decently enjoyable story that is out of place in the bigger picture. It just doesn’t fit the current state of Glee.

One thread finds Kurt (Colfer) searching for some meaning, feeling like he’s been left behind by his friends when he is snubbed for a benefit concert Rachel (Lea Michele) is throwing. He finds this purpose in a retirement home where a number of the residents are putting on a production of Peter Pan, a choice made for its young spirit. When their Pan drops dead, Maggie (Academy Award nominee June Squibb, Nebraska), who is Wendy, asks Colfer to fill the role. Her co-stars (including Star Wars‘ Billy Dee Williams and The Carol Burnett Show‘s Tim Conway, both supremely wasted in this hour) make Kurt audition, but having hearing his terrific “Memory,” in which Maggie joins in, Kurt gets the part.

As if making a bunch of old people smile isn’t enough, halfway through the episode Kurt also decides to try to repair the relationship between Maggie and her estranged daughter, Clara (Melinda McGraw, Men of a Certain Age). Clara is loathe to listen to Kurt’s pleading until the lad trots out the dead mom card, and then she softens and shows up. It’s a sappy, emotionally manipulative development that happens way too fast to feel authentic, but it’s also the ending that viewers would be supremely disappointed if it didn’t occur.

Rushing things is actually a recurrent issue in “Old Dog, New Tricks.” Rachel is in full-diva mode, dismissive of Kurt, until she suddenly isn’t, with only a tiny catalyst and no screen time spent agonizing over her misbehavior. Sam. (Chord Overstreet) and Mercedes (Amber Riley) fight over a dog, and what will happen quickly shifts back and forth. While I don’t think the plot justifies a second half, Glee could use another fifteen minutes to really make this story work. Either that, or cut one of the subplots to make room for the others.

In the end, Kurt, Maggie, and the rest show us their huge opening number, “Lucky Star,” which relies too heavily on Kurt, since this is more their show than his. This transitions into the retirees going to Rachel’s benefit and doing a full-cast “Take Me Home Tonight.” Both songs are good enough, but not particularly memorable, which fits this episode. I will say the best part of the latter is there is a Jayma Mays look-alike front and center at the beginning, making me miss Emma a bit.

Moving over to Rachel’s intersecting story, the Broadway story wants to work on her tarnished image after missing a performance, especially now that the tabloids have dug up the truth. A drastically different looking Santana (Naya Rivera with plastic surgery?) proves to be a surprisingly adept PR agent, possibly setting the stage for a new career in the final season, and gets Rachel involved in a dog charity. This gives us “I Melt With You,” a fluffy, weirdly staged performance, though like those songs in the rest of the episode, it isn’t bad. Of course, this all only works if Rachel can start acting real, not just throwing up a facade, and this take awhile to sink in for Rachel, just in time to be there for her friend Kurt.

While fixing an image problem is understandable, how does Rachel find time to start a charity? I understand she has dropped out of school, but she is overloaded even before that. Glee needs to start being a little more realistic in budgeting its characters’ time. This goes ditto for Kurt, who still has his education, his internship, and his relationship to worry about. Are days in New York thirty hours long? At least Colfer matches the rest of the installments in this element.

Lastly, Sam wants to adopt a dog, which Mercedes doesn’t think he’s ready for. Sam and Artie (Kevin McHale) train the pooch anyway, to “Werewolves of London,” of all things, despite it being a small dog. Yet, while Mercedes is moved by Sam’s efforts, and does listen to Sam when he reminds us he once took care of his family, a fact forgotten, she still makes him give up the pet due to their busy schedules. I like the development this couple gets, but the canine seems superfluous to the larger story of Mercedes not taking Sam as a joke any longer, which she is guilty of.

The entire hour of Glee feels like it’s a story being told by Kurt. Colfer’s essence is present in every scene. On one hand, that’s kind of cool because it shows a distinctive voice of a talented individual. On the other, that means the story just isn’t true to the other characters, a problem more obvious in Rachel’s part more than Sam and Mercedes’. Colfer has one character down (his own), but struggles to uncover what makes Glee, Glee. I’d actually really like it if he tried again next season because he likely learned a lot from this experience, and given a chance to develop his skills, he would probably get it down the line. But for now, “Old Dog, New Tricks” just isn’t quite up to snuff.

Glee‘s season finale airs next Tuesday at 8 p.m. ET on FOX.

Harry's Law is the only law

NBC's Harry's Law ends its hiatus last night with "After the Lovin'." Adam (Nathan Corddry) and Harry (Kathy Bates) disagree over the morality of taking a settlement from Harry's former firm after her old colleague, Sam (Christian Clemenson, Boston Legal, CSI: Miami), gets a nail in the head. Tommy (Christopher McDonald) is also accused of being immoral when a girlfriend finds out he is seeing other women, and sues him over it. And Cassie (Karen Olivo) tries to help a friend whose ex-husband (Jay Harrington, Better Off Ted, Private Practice, in a chillingly awesome performance) seems threatening.

Morality is something that can be subjective, and Harry's Law loves to play in the gray areas. Harry does what she thinks is right, even if that crosses the boundaries of what is known to be legal. Adam tends to follow the letter of the law more carefully. But in "After the Lovin'," the letter of the law isn't clear. They cannot accept the settlement if Sam is not in his right mind. But is Sam sane? Traumatic events can put one's priorities in order. Does Sam agree to cutting a large check because his brain is injured, which the doctors deny, or because he has a change of heart?

To be completely fair, should Sam ever come to his senses and press charges, any judge is likely to side with Adam here. Given Sam's abrupt about face post-accident, it only makes sense that caution should be taken in this situation. Yet, Harry has a point about the evil of cigarette corporations, and wanting to get money out of them. Though her judgment is clouded because Sam works for Harry's old firm, which kicked her to the curb. But even setting that aside, Harry's client (Brent Jennings, Moneyball) deserves the money for losing his wife to addiction to the unhealthy product.

Seeing Adam and Harry at odds in "After the Lovin'" is actually a great development. Harry clearly has a motherly instinct for Adam, and Adam is hurt by Harry's questionable actions because of the high respect that he has for her. Harry threatening to fire Adam may have gone a little too far, but everyone says things that they don't mean when they are upset. Their business relationship is fundamentally stable, even if they disagree. It's great that they are there to keep each other in line when a line is in danger of being crossed.

Clemenson is fantastic in the regrettably small role of Sam. A veteran of creator David E. Kelley's former series, Boston Legal, Clemenson brings the same level of talent he consistently showed in his Emmy-winning performance, now with a different character. There are similarities between Sam and Jerry, to be sure, but there are also differences. Sam is more toned down, and less quirky. It's wonderful to see him again in any capacity, and hopefully Clemenson will return to the show soon.

The opening of Harry's Law, when Sam almost breaks the fourth wall at the beginning of "After the Lovin'," is absolutely fantastic. The fourth wall was frequently torn down on BL, though HL has a somewhat different tone. The scene brings to mind a memorable occurrence when Jerry sang the Boston Legal theme song, though, sadly, Harry's Law does not have a full theme for him to perform. Terrific reference for Kelley fans.

So Tommy is in trouble again in "After the Lovin'." And, at first glance, it seems that it's just his womanizing ways leading him astray. The latest victim? A girl he has been seeing for months (Melinda McGraw, Men of a Certain Age, Mad Men, The Dark Knight), who learns that they aren't exclusive. She is understandably upset, and perhaps thinks of taking legal action because she has been dating a lawyer and has court on the brain. Of course, this is an overreaction, and she drops the suit. But it shows the level of pain that she is feeling.

Tommy is far from blameless, of course. He acts dishonestly and without regard for her feelings. However, as is the case in other areas of Tommy's life, his being a player is a defensive mechanism for his insecurities. Tommy is afraid of being alone, and so keeps backups. He does love this woman, but is afraid that she will abandon him. Is it too late for him to make a real go of a relationship with her if he commits to sincerity and drops the act? Let's hope not. He should be happy. She seems like a warm person who may entertain a second chance, and Tommy needs lots of those.

Tommy's actions are not exactly defended by Oliver (Mark Valley), whom Tommy asks to represent him in "After the Lovin'," but still earns Oliver disgusted glances from Chunhua (Irene Keng) anyway. What did Oliver do to her? There has got to be more to this story than has been shown on screen, and it's important for both of these characters that the viewers are let in on that.

Cassie has a very tough case. Her friend (Emily Maya Mills) is scared, but there isn't any proof to justify a restraining order. Judge Beckland (Derek Webster) would like to help, but there's just no basis for him to do so. Add to that, the ex's counsel (Omar Metwally) believes his client is a good guy, and Cassie has no case. In fact, as "After the Lovin'" goes on, Cassie's friend seems paranoid, and viewers might be forgiven for thinking that she is trying to set her ex up. And in trying to protect herself, Cassie further hurts her client's standing.

Which reveals a glaring hole in our legal system, without offering a way to fix it. This is something that Harry's Law does plenty, but when the safety and well being of a child are on the line, it is even more disturbing than usual. Without the ex acting against the mother of his child, there is nothing anyone can do. But once he acts, it could be too late.

This is 'solved' in "After the Lovin'" by Cassie's friend's kid (Izabela Vidovic) loading a gun that her mother leaves pointed at the door. The ex comes by in the middle of the night and is killed. He is no longer a threat, but the cold way that the child seems completely unaffected by her actions is even more scary. How must the father have treated his daughter for her to be this way? Not a happy ending.

What's more, next week's episode of Harry's Law will feature another creepy kid. So tune in to the new time slot Sundays at 8 p.m. ET on NBC.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Harry's Law - "After the Lovin'" on Blogcritics.

Men of a Certain Age "The Pickup"

     TNT's Men of a Certain Age takes a very depressing turn in "The Pickup," with two of the three guys' lives heading in the wrong direction. Terry (Scott Bakula) is letting work slip as he looks for women to sleep with to help take his mind off of Erin (Melinda McGraw) dumping him. Even his surprise 50th birthday party is a miserable affair for him. Things come to a head when Terry finally pushes Marcus (Brian J. White) too far, and Marcus slugs Terry before quitting the dealership. Owen (Andre Braugher) refuses to let Terry quit, too, telling him he needs to grow up and clean up the mess he causes Owen by prompting Marcus to leave. Meanwhile, Joe's (Ray Romano) golf game is suffering, and he allows himself to get pulled back into the gambling world.


     A gambling addiction has long plagued Joe, and while addiction is something that must be battled long after the habits stop, and relapse frequently occurs, it is sad that it is happening to Joe again. He works so hard to avoid anything that might tempt him, which is not easy for him. But by being a good friend to Manfro (Jon Manfrellotti) and helping him out while Manfro undergoes chemo, Joe is drawn back in. It's a tough call to make, because to remove temptation, something right for his life, Joe must abandon a friend in his hour of need, which is not a very nice thing to do. Is staying clean more important than the care one has for a close friend?

     Neither option is appealing, and Joe doesn't really make the choice, which is where he gets into trouble. By being a half-hearted friend to Manfro, Joe isn't really being there for him as he needs to be, nor is he avoiding the triggers of his condition. Manfro has to convince Joe to do the favors Joe is doing, and Joe only somewhat fights back. One could argue Manfro isn't being a very good friend by putting Joe in these situations in the first place, but Manfro is sick and suffering, so he likely isn't thinking things through all that clearly. He needs errands run, and he asks Joe to do it. Simple as that, to Manfro. Not so simple to Joe.

     This is probably why Joe's golf game isn't going too well. To play any sport focus is a primary component, or so I hear. Joe's focus is on Manfro and on his own gambling addiction, rather than the game. While it's too bad Roy (Damien Leake) isn't asking the right questions to figure out why Joe isn't doing so well, as he is the one really seeing the effects, it's not like Roy is really a friend, either. So it looks like Joe is losing his coach, his best chance at making it onto the Senior Tour. The addiction is costing Joe yet another thing he really cares about. He needs help badly.

     Too bad Joe isn't able to draw enough strength from Albert (Braeden Lemasters). Albert is inspired, with his father's help, to overcome his own anxieties and take the stage to perform with his band at school. The performance is a rousing success, and for a minute, it appears Joe will be inspired in turn by Albert. And he is, to a degree. But instead of taking Albert's lesson and applying it towards life, he only tries to use it for golf. He should take another look at his son and see that Albert uses Joe's advice, which is geared towards golf, in everything. If Joe brings the right attitude towards the gambling problem, maybe he stands a chance at escaping yet again. His determination kick the habit cannot be at half strength.

     Terry is nearing rock bottom. Hopefully, he will not need to hit it to clean things up. Sleeping with random, mostly younger, women will not help him forget about Erin. She is a very special person, who matured Terry romantically for awhile. For the first time in his life, Terry is ready to give up his playboy ways and commit to one person. Sadly, she is not in the same position as he is. But Terry needs to look for a woman that will make him happy for years, not just a few minutes in bed. Sleeping with his birthday party caterer is a big step in the wrong direction.

     Unfortunately, the maturity Terry finally finds in his romantic life does not extend at all to his professional one. He allows himself to let everything important slide while grieving over the loss of his relationship. Many teenagers have made a similar mistake, but not most fifty year olds. Perhaps because the experience of losing love is so new to Terry, he cannot help but act in this manner. Sadly, society does not allow such mistakes in the real world, and if Terry expects to have a decent life, he needs to get past it quickly.

     There is nothing mature at all about the way Terry feuds with Marcus. While Marcus is usually the biggest jerk in any episode, this time, Terry starts the trouble, and is much more in the wrong. A bigger man would let Terry slide, even though that's not what Terry needs. Marcus is far from a bigger man, and quits instead, causing a scene in the process. Most people would not act as Marcus does, but hopefully that will be the kick Terry needs to get things back on track. He is called on his crap.

     Also helping Terry is Owen. Owen is a good friend who is willing to sit silently and let Terry unload his problems. However, Owen also has a business to run, and Terry is messing up that business. Owen tasks Terry with making up for it, and blatantly tells him his behavior is not acceptable and cannot continue. This combination of sympathy and firmness may be what Terry needs. It's a calculated discipline designed to kick Terry's butt without being cruel about it.

     It also proves Owen is surely the most put together of the three main characters. Thanks goodness one of them is doing well.


     Men of a Certain Age airs Wednesdays at 10 p.m. ET on TNT.

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

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "The Pickup" on Blogcritics.

Men of a Certain Age attempts "The Great Escape"

     TNT's Men of a Certain Age is back. Although the first season is uneven, the second is solid, including the mid-season premiere tonight, "The Great Escape." In the episode, Owen (Andre Braugher) considers an offer to sell the dealership. His wife, Melissa (Lisa Gay Hamilton), is totally on board when she realizes Owen will be home with the kids, so she can pursue her writing career. Joe (Ray Romano) comforts his sick friend, Manfro (Jon Manfrellotti), on the eve of his chemo. He also offers solace to his ex-wife, Sonia (Penelope Ann Miller), who has just broken up with the guy she left Joe for. Terry (Scott Bakula) is ready to get serious with Erin (Melinda McGraw), just as she decides to go back to her ex.


     While much of the series is not about the three central men's love life, this episode very much is. And why not? Two of them are single, one by divorce, one because he's a habitual bachelor. At this point in their lives, it's time to settle down, not sow the wild oats. As such, it is perfectly reasonable that both Terry and Joe are interested in long-term relationships.

     Joe should not go back to Sonia, no matter how much he wants to. His wife cheated on him, and he is far too willing to forgive her mistakes. She trades a stable married life to Joe for a mid-life crisis that is now falling apart. Joe is a nice guy, and he deserves better. While both feel it would be awkward to act on their rekindled feelings now, Joe is certainly planning on letting things build, and trying again. If he does so, Owen and Terry should stage an intervention and stop it.

     Very touching is Manfro's story. It is nice that the bookie is back in Joe's life, despite Joe's gambling problems, because Manfro is a good, non-judgmental friend. Unlike Terry and Owen, he has not known Joe his entire life, so his judgment is not clouded by history. He, more than the other two, could possibly talk Joe out of a reconciliation with Sonia. Or at least keep an open mind about it, if that's what Joe needs.

     Even better, Manfro gets his own love interest this week. On the eve of receiving chemo treatment, he meets a kind stripper with a heart of gold. While she does keep relating Manfro's situation to her father's, at least she knows what she is getting into, so there will be no surprises. She won't leave him halfway through treatment. It's just what Manfro needs, and hopefully more of the happy couple is on docket for later this season.

     Sadly for Terry, Erin is not going to happen. While she appears perfect for him, she's already taken. Perhaps he can go back and see Annie (Carla Gallo), who he runs into this week, at the coffee shop to help him get over Erin? As delightful as Gallo is, she is likely not poised to join the cast full time, and so a long-term relationship between the two probably won't happen. But in the meantime, any episodes Gallo wants to do will be welcome.

     Terry needs to find a girl like Erin, but one who is not in love with someone else. His potential mate will likely be divorced, as it is unrealistic to expect a nice, pretty girl good enough for Terry will still be single at fifty. Unless this woman is in the same boat as Terry, ready to settle down after a long time of playing the field. Her past may make Terry uncomfortable, and provide some growth. Honestly, the second option might be better in the long-term.

     Poor Owen cannot escape from his father's shadow. As much as he'd like to sell the dealership for his family, when the times comes for Owen to tell Owen Sr. (Richard Gant), he only says he is determined to bring a body shop into the mix. Is this the truth? Or he is avoiding a difficult situation? It appears Owen and Melissa have made up their minds, but then Owen chickens out when announcing the decision. It's hard to tell if he is serious with his father or not.

     If Owen does go through with selling, it will likely wound his father very deeply, and justly so. Owen Sr. only recently gives Own the dealership, and if Owen parts with it so quickly, it's kind of being rude with a gift. On the other hand, Owen Sr. springs a bad financial surprise on Owen post-deal, so it's understandable that Owen is tempted to get out from under the debt. It's a complex situation with no right answer. Unhappiness will follow either decision. Let's hope Owen and Owen Sr., who are finally getting along, can weather the storm and keep their relationship on firm ground.

     Melissa, of course, is also a part of the equation. She has given up her life to take care of the kids for many years, and she is right to expect Owen to take a turn when a good opportunity arises. As his wife, Owen should likely put more weight on hurting Melissa than his father. She deserves the chance to do something she is passionate about, and not selling will deeply disappoint her.


     Men of a Certain Age is off to a great start! Tune in Wednesdays at 10 p.m. ET on TNT.

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

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "The Great Escape" on Blogcritics.