Drive Around STUMPTOWN

Article first published as TV Review: STUMPTOWN on Seat42F.

Let’s get this out of the way immediately: broadcast network television does not need another detective show. I’m serious. Please stop. There are way, way, way too many already. I don’t promise not to raise related complaints below, but that’s the first statement that needs to be made here, even though I’m very tired of making it.

All right, with that being said, let’s take a look at the new ABC series STUMPTOWN. Dex Parios (The MCU’s Cobie Smulders) is a traumatized war veteran who splits her time between gambling away her military benefits, drinking, and taking care of her brother, Ansel (Cole Sibus, Spare Room), who has Down syndrome. Then, the daughter of her dead love goes missing, and the hard-headed grandmother (Tantoo Cardinal, Blackstone), also a casino owner, asks Dex to get the girl back in exchange for erasing some of Dex’s debt. Thus, Dex acquires a new hobby.

Smulders is excellent. She proved it as Robin Scherbatsky in How I Met Your Mother, and she has continued to kill it as Maria Hill in the Marvel movies. She does complexity well, and she can be a total badass in action scenes. She has both humor and heart, and deserves to be the lead in a hit show. I just wish it were a Maria Hill series instead of this. Dex herself is even an interesting character that exists in a fleshed out world. But we’ve seen her type before. A lot.

The cast of STUMPTOWN is, as usual these days, stocked with fine performers. Sibus is very good, as is Cardinal. New Girl’s Jake Johnson is Dex’s platonic (for now) friend Grey. Michael Ealy (Almost Human) is Detective Miles Hoffman, who is assigned to work the case of the missing girl for the official police department. Hoffman’s boss, Lieutenant Cosgrove, is played by Camryn Manheim from The Practice. Adrian Martinez (Focus) plays informant Tookie. I have no gripes with this ensemble.

The production also looks good. The lighting and design are a bit unique, embracing Portland as a setting instead of New York or Los Angeles. The action scenes are quick, not too gratuitous, and while they come often, there is care to fit them into the story. Creator Jason Richman (Detroit 1-8-7) certainly knows how to make a quality television show.

But where things begin to fall apart for me is the premise and several key elements. Only on television do the cops decide to work with someone from the private sector on a regular basis, and it’s become a tired cliché in series. Dex is much smarter and better at doing the job than Hoffman or Cosgrove, which doesn’t make a lot of sense. The love triangle with Hoffman and Grey is predictable and trite. Tookie is the expected comic relief. None of this transcends the bounds that other programs have put in place, nor seeks to be startlingly original.

STUMPTOWN is a charming, well-made series. But it’s also a procedural, and to be honest, this type of show has now become so common that it’s gone beyond boring and into solidly annoying. If the focus was on Dex’s PTSD and personal problems, it could make an interesting cable show. Instead, as per usual, it looks like that will be handled in bits and pieces while the A Plot will be a case-of-the-week, easily wrapped up at the end of an hour. You might as well binge one of the dozens of similar programs already out rather than start a new one.

For what it is, STUMPTOWN is good. Smulders et al, and we the viewers, just deserve something a lot better than this.

STUMPTOWN airs Wednesdays on ABC.

ALMOST HUMAN Almost Great

Article first published as ALMOST HUMAN Almost Great on TheTVKing.

When FOX's Almost Human premiered, I was skeptical. It had a very cool concept and setting, but seemed bogged down in case-of-the-week procedural crap. As the weeks passed, though, it did move into some far more interesting stories and developed its characters in ways I wanted to see continue. So it's with a heavy heart that I review "Straw Man," last night's season, quite possibly series, finale.

Almost Human is set in the not-so-distant future, though, from the tech shown, one would think it would be a further reach. The idea, though, that technology has gotten out of hand and law enforcement struggles to control it, is solid and an easy leap to make, given the rapid pace of advancement today.

While most of the show is, regrettably, confined to the crimes our heroes investigate, we do get glimpses of the larger world. We know Detective Stahl (Minka Kelly) is genetically engineered, as anyone can be for a price, and her kind live separately from the rest of society, usually considering themselves above "normal" humans. We know there's a wall keeping out the really low dregs of society, making for a pronounced class system. And we know some androids, like Dorian (Michael Ealy) were designed with feelings, so they act more human, but also less stable.

"Straw Man" has some fine movement on these fronts. Besides seeing the how the homeless live, we also see Dorian reviewed by the board that will decide if he will continue to serve as a cop, despite the rest of his line being decomissioned. What emerges is a clear understanding that, unlike the newer models more commonly used, Dorian's type are individuals, meaning some can handle the work and some cannot. Dorian's co-workers love him and he does well so he will continue in his current position. But while I do think they will activate other Dorians following his success, not all can handle this.

The moments where the human characters are shown talking to or about Dorian are very entertaining. Poor Rudy (Mackenzie Crook) bumbles through his part of the evaluation, but John Kennex (Karl Urban), who is so against Dorian at the start, has only glowing things to say, crediting Dorian for Kennex's own continued service to the badge. While Kennex downplays this when Dorian thanks him, it's too late; Dorian and the viewer know the truth. This is the ultimate buddy cop bond.

Ealy is absolutely terrific as the machine. He can mimic a standard robot beautifully when he thinks he's losing the review, and his interactions with John are so authentic that he feels believable, until the actor tosses in those little, detailed touches that prove he's something else. There's a hard balance to strike in playing a character like Dorian, and Ealy is great at hitting it.

The main plot of "Straw Man" involves Kennex solving the case that disgraced his father, Edward (John Diehl, Miami Vice), and got him killed. With a little help from Dorian and Captain Maldonado (Lili Taylor), who gets some sealed files for him, Kennex clears his old man's name and brings the real killer to justice. It's a triumphant moment for Kennex, personally and professionally, and a high note to end the series on, should it not be renewed.

The problem is, it's all much too quick. As soon as we get any info about Edward at all, John has tied up everything neatly. This is likely because Almost Human isn't sure it's coming back so it didn't want to leave a cliffhanger. The hanging threads from other stories, including that of John's wife and Dorian's implanted memories, aren't mentioned, meaning there are still places for the show to go should it return, but it doesn't feel like it stops abruptly. "Straw Man" is a powerful, moving installment, one which will rank as a favorite among fans. Still, it's sad that such an important character element for the show's lead is treated so lightly, as it deserves much more weight.

The whole show deserves more exploration. While future episodes would involve more stand-alone cases, there are also a great many elements of the technology and society that viewers want to see. How did things develop as they did? What are the moral implications? How can this one department effect change on a grander scale? If it ran for seasons, these questions would be delved into more, making for a very engaging, intriguing show.

Almost Human is not without its weaknesses. The homeless man that Detective Paul (Michael Irby) takes pity on just happens to be the next victim moments later? Ridiculous coincidence. But the humor, heart, good writing, and excellent special effects tip the scales in its favor, not the perfect show, but a darn good one that will be missed when it goes.

Almost Human is currently awaiting news of its fate from FOX.

ALMOST HUMAN Fighting An "Arrhythmia"

Article first published as ALMOST HUMAN Fighting An "Arrhythmia" on TheTVKing.

Only six episodes into the first year, FOX's Almost Human takes their winter break after this week's "Arrhythmia." A thriving black market sells ailing people artificial organs under the table, then extorts more money from the patients in order to keep the transplant working. Kennex (Karl Urban) and Dorian (Michael Ealy) are joined in their investigation of the enterprise by another DRN (also Ealy) who no longer works in law enforcement after a tragic incident.

After a sextet of installments, I'm a bit disappointed in Almost Human. The first started out with such promise, setting up some long, serial arcs that could be explored in a very intriguing story. The next five, though, have been mostly stand-alone procedurals, with the lead characters solving cases-of-the-week, with virtually no movement beyond that central plot.

For some reason, networks like procedurals. As someone who watches a lot of TV, I find them boring and dumb and quickly grow bored. But there is an (unfortunately large) segment of the viewing populace who craves the no-thinking, fluff entertainment, which is why the airwaves are clogged with the stuff. Fans of that genre have plenty of choices, so why force something clever and fresh to conform to the old standards?

It's very likely Almost Human won't remain in this format forever. Fringe, Dollhouse, and others have played the game at the start, delivering half a dozen or so rote episodes before kicking off exciting stories. Apparently, the hope is that the initial batch will hook in some of those lazy or very casual viewers, even after the series grows into something must-see. I don't know that that theory works all that well, but that's what we're stuck with for now, muddling through mediocre junk until the writers are given the freedom to get to the good stuff.

Make no mistake about it, I think Almost Human is going to have plenty of good stuff. The bits in the pilot that are sure to be revisited are interesting, the futuristic setting is cool, we've been introduced to much new technology that will definitely come into play again, and the characters are well developed. The cast, which includes Lili Taylor, Minka Kelly, Michael Irby, and Mackenzie Crook, are quite good. The raw ingredients for a great science fiction series are present, if only it would be allowed to rise in the oven to what it's supposed to be.

Take this recent episode, "Arrhythmia," for instance. The relationship between Kennex and Dorian, the best element so far, is usually only explored in small chunks to better serve the pacing of the episodes. But here, we get a more extended view of Dorian and his model of android. By bringing in another DRN, we get to compare and contrast Dorian to his brethren. Dorian is also shown to be a developed individual, different than this other robot, and capable of making compassionate decisions. It's a really good Dorian story, and Ealy does an admirable job in the dual role.

The parts of the installment that deal with the organs are intriguing, too. There are real issues raised, and some of these are not resolved by the end of the hour. Almost Human could spend much time re-examining and debating whether it's right or not to resell these organs, and what sort of regulation should be in place. Yes, that's not going to be the bones of a long-term arc, but it could be something brought up again on multiple occasions.

More of this is what I'm looking for. We get that there is still crime in the future and that cop shows sell. However, exploring the implications of technological advancement, a blurring of lines in what life is, and questions of morality is way neater in a TV program. Ditch the standard fare and deliver a series that geeks will find worth watching, and they'll be something to praise. At the moment, Almost Human is a very good procedural, enjoyable even, but that's all that it is. It's time for the next step in the series' evolution.

Almost Human will return in a few weeks on FOX.

ALMOST HUMAN But Definitely Good

Article first published as ALMOST HUMAN Review on Seat42F.

FOX’s J.J. Abrams-produced ALMOST HUMAN, which premieres soon, is one of my favorite new shows this fall, right up there with Marvel’s Agents of S.H.I.E.L.D. and American Horror Story: Coven. It has great, well-developed characters, exciting stories, fantastic special effects, and presents a fully-realized dystopian future based on current trends. What else could one ask for?

As the “Pilot” begins, we are introduced to Detective John Kennex (Karl Urban, Star Trek: Into Darkness). Kennex lost his partner and his entire team in a raid gone wrong against the evil Syndicate, leaving Kennex himself in a coma for nearly a year and a half. Kennex is back to work now, his boss, Captain Maldonado (Lili Taylor, Six Feet Under), convincing him that he is needed to take down the Syndicate once and for all.

But Kennex’s transition back into his career isn’t easy. Cops are now required to work with an android partner, whom Kennex offensively dubs ‘synthetics.’ The MX series androids are logic-based, and one of them coldly calculated that Kennex and his partner’s chances to survive weren’t good during that fateful raid and leaves them, and so Kennex hates and doesn’t trust these machines. Maldonado’s solution is to give Kennex a less stable, older model of android named Dorian (Michael Ealy, The Good Wife), whom shows emotion.

So as we start out buddy cop drama we have an unusual, but pleasing, pairing. There’s Kennex, who has cut himself off from everyone in a very inhuman way, making him only part of a man, even though he’s still very good at his job. And then there’s Dorian, who seems more human than Kennex at the start, but we know others look down on him because of the emotional element, fully expected to be exhibited by people, but making many uncomfortable when it’s coming from an android.

The two have great chemistry, but there’s also a little more than the typical relationship present. It could be because of the science fiction aspect of the show. We might always be waiting for another shoe to drop concerning Dorian, as his line was retired for a reason. Or it could be because we’re never sure if Kennex might snap at any given moment, as his behavior is very irrational in the “Pilot,” destroying an MX that annoys him and visiting The Recollectionist (Hiro Kanagawa, Caprica) to relive memories that might help his work, even though it hurts his health. Both could be considered the loose cannon of the partnership.

What happens when you’ve got two wild card cops paired together? I guess we’ll find out!

The rest of the cast includes Valerie Stahl (Minka Kelly, Friday Night Lights) and Richard Paul (Michael Irby, The Unit) as fellow detectives, the latter of which doesn’t think Kennex is fit for duty, and the former of whom defends Kennex, as well as Rudy Lom (Mackenzie Crook, Pirate of the Caribbean) as the tech guy. These seems a pretty predictable lineup from a crime procedural.

The way the roles are played, though, is anything about standard. One is not used to seeing Lili Taylor in such a take-charge position, but she handles it well. Ealy is known for playing hotheads, and now he’s the calm one. Urban’s Kennex is nothing like the sometimes-bumbling Bones McCoy, other than his phobia of tech. This is a group of talented actors taking on something different, and clearly enjoying the chance to show us their range, of which they universally have plenty.

Hopefully, ALMOST HUMAN will avoid the pratfalls of a crime procedural. Admittedly, the “Pilot” has a lot of set up by necessity, and so doesn’t really have a case-of-the-week. But the beginning also points to many larger arcs, with plenty of fodder to do a more serial story telling. If it can stick to those guns, at least as much as Fringe, which had a similar tone, did, then it should be a pretty good series, indeed.

In fact, the “Pilot” only scratches the surface of what ALMOST HUMAN could be. We are introduced to players and the situation, and then a lot happens, not closing the story, nor even a chapter in it. It’s very much a hit-the-ground running show with a quick pace. Hopefully by the time they conclude the initial premise, either in a few months or a couple of years, tops, they keep going into something else, as the possibilities in this world are nearly endless.

ALMOST HUMAN premieres this Sunday and Monday on FOX.

Common Law brings a "Gun!" to the party

Freshman series Common Law brings its first season to an end with "Gun!" Travis (Michael Ealy) and Wes (Warren Kole) come to their senses, realizing that they need Dr. Ryan's (Sonya Walger) help after their new therapist (Ed Begley Jr.) has them going through his ex-wife's tax returns. To get back in her good graces, they finally open up about the events that led them to counseling, and with her guidance, they do something about the situation.

I stopped watching Common Law early in the season when I realized that, sadly, this series was destined to be more procedural than the direction most USA shows are moving towards. Every week, there's a case, and that's the main focus. And while the therapy aspect lends a certain original twist to the proceedings, there just isn't enough long-term story here to keep it interesting.

This is not the case with "Gun!" The last hour of the season is compelling and rich. Not only do we get flashbacks to where Travis and Wes were when they met, and what brought them to the point of Wes pulling a gun on Travis, but we also get to see them at their best. Whether in the past or present, these two have each other's backs, and are smarter than most everyone around them.

Unfortunately, this does not mean the show is improving upon my original assessment. An episode like "Gun!" can't be replicated week after week. Because of the conceit of the show, Common Law is destined to remain a case of the week affair. And while the guys will continue to grow with Dr. Ryan, especially now that they're voluntarily seeking her help and actively participating in their treatment, this does not lend itself to any big, sweeping arcs.

There is something to be said for character development. Many of the best shows on television concentrate on that. The problem isn't the therapy, which is actually quite illuminating, but that too much screen time is given over to Wes and Travis doing police work. Maybe they do it a little better than just about anyone else could, but that's just demonstrating skills, not revealing personality. So Common Law fails in this.

Even Mike (Jack McGee), who viewers learn something important about in this episode, gets the shaft because Common Law does not allow the characters to discuss his situation. Mike was kicked out of his house? Why? He did the therapy, and has become less angry. What's going on? I know it's a busy hour, but why tease this if it's not going to be expounded upon? This character deserves more.

Still, it's impossible not get a bit choked up when Wes and Travis do finally take down the group who killed their friend, Paek Man (Kelvin Yu). The music is pitch perfect, and the action is wonderfully orchestrated. As far as cop dramas go, this one is done right, and definitely is no less than deserving than others currently on the air. Dominic Purcell (Prison Break) makes a great villain. It all comes together just as it should, and there is a happy ending.

What if Wes and Travis hadn't solved the case so easily? At one point in "Gun!" it looks like Paek Man's killer will get away with it, and the partners will be separated. Why not pursue that for a few episodes next season, with the two working alone, investigating, then eventually teaming up again, off the job, to bring down their foe? Would that not make a far more interesting TV show than them saving the day in half an episode and restoring things to status quo?

Oh, well. Common Law isn't the first series, nor will it be the last, to squander potential in favor of formula. Let's just hope that they can figure out a way to do more episodes like "Gun!" and make stories last longer than forty-two minutes. Otherwise, thanks for this finale, but I've seen enough, and there's no reason to tune in very often in the future. Should there be a future.

Common Law has not yet been renewed for a second season.

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

Common Law commonplace

USA's Common Law premiered this past Friday night. As with many USA pilots, the first episode is super sized, to give the show time to introduce the characters and the story, as well as complete the expected, procedural case of the week. The "Pilot" of Common Law does both, and manages to live up to its network peers.

That's the problem. Just how many quirky twosomes can exist on the network, doing the same thing week after week, and still hold audience attention? Common Law draws comparisons to Psych, White Collar, and, to a slightly lesser extent, Royal Pains. But USA fans already have Psych, White Collar, and Royal Pains. Do they really need yet another hour of the same thing over and over again? With the huge variety or programming out there, why would anyone want to waste time watching clones of shows they already watch?

Now, fans of Common Law will strike back, complaining there are differences. And of course there are. Common Law embraces the notion of law enforcement partners having a similar relationship as a married couple more so than any other series before it, which is saying something. In fact, the two leads, Travis Marks (Michael Ealy, The Good Wife) and Wes Mitchell (Warren Kole, The Chicago Code) are in marriage counseling! They love each other, but bicker like a pair who have been together a long time, and enjoy pushing each others' buttons.

The counseling conceit is actually quite charming. Casting the lovely and talented Sonya Walger (Lost, FlashForward) as their therapist is fantastic, with the three providing a terrific dynamic. Any scene where the two cops are in treatment, especially in a group session with several other couples, really soars.

The problem is, like every other USA show, those moments cannot be the focus of the series. Instead, they bookend the episode, while the lead characters spend most of the hour solving yet another crime. One might begin to think that the number of fictional criminals caught on the dozens of similar shows is starting to exceed the number nabbed in reality!

Common Law also is funny. From the dialogue of the partners, to Travis shooting one of those silly air-tube-people, there are things to laugh at. Just like every other USA show. They never quite hit realism because they take the time to be entertaining, which is part of the draw. On every single one of the network's shows.

And there's the rub. We don't need Common Law because we already have too much in the same vein. As much as the three lead actors, as well as Jack McGee (Rescue Me) as the boss, Captain Sutton, get it right, there is just no room on the schedule for another variation on the rote theme. For that reason, and that reason alone, not because of a lack of quality, but because of a lack of originality, I cannot recommend watching Common Law.

However, if you'd like to anyway, Common Law airs on USA Fridays at 10 p.m. ET.

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Article first published as Common Law commonplace on TheTVKing.

Californication delivers "And Justice For All"

     Showtime's Californication season four finale: It starts with a surreal courtroom scene. Hank (David Duchovny) is read the verdict after being charged with statutory rape, a plot arc that started way back in the pilot, more than four years ago.

     For a startling few moments, it appears that Hank is going to prison to be locked up and kept away from friends and family. Hank is not a bad man, and it seems gigantically unfair. After all, he had been tricked, believing the young girl seducing him was a college student, with no idea she is actually the daughter of Hank's ex-wife's fiance. However, that becomes open for debate once it is revealed that Hank has met her once before that night, albeit when he was plastered.

     Luckily for Hank, and for us, Hank had simply fainted before hearing a key word - probation. A hefty fine and large amount of community service is something Hank can handle as we go into season five.

     Prison, however, would have left him a changed man, one likely unrecognizable to longtime fans. It's not a place that would suit Hank. And so it is with a sigh of relief, and copious sex with his attorney, Abby (Carla Gugino), that Hank is let off the hook. Has he learned a lesson? I don't know. He does need to clean up a few things, but most of Hank's problems are circumstantial. He drinks too much, but only engages in consensual behavior after open dialogue, nothing shady or malicious. Things just keep happening to him.

     The large middle section of this episode takes place at a dinner party that is just pure fun, plain and simple. It's a launch party thrown by Stu (Stephen Tobolowky) to celebrate the start of production on the movie Fucking and Punching. Hank goes with Abby, while Karen (Natascha McElhone) brings Ben (Michael Ealy). Marcy (Pamela Aldon) is living with Stu, and Charlie's (Evan Handler) plus one is his psycho realtor, Peggy (Melissa Stephens). Sasha (Addison Timlin) and Eddie (Rob Lowe) are there, too, of course, as the stars of the movie. Such an eclectic mix of personalities, many with shared romantic history, is just asking for trouble. So, of course, there is plenty of that, mostly instigated by Eddie, who asks probing, intrusive questions.

     I am most excited that Charlie now knows Marcy's baby is his. While Hank and Karen cannot commit themselves fully back to each other until their story is over, and the series is leaving the air for good, Marcy and Charlie need to work things out sooner. Their separation has been hard on both of them. While they are from from perfect, they have a chemistry that is unique and special. At times, Marcy's pulling away has felt uneven and insincere. I keep waiting for Charlie to wake up and do whatever it is she is waiting for him to do. I don't think either one will be happy without the other. Surely Charlie will not, as he admitted to the gathered assembly.


     I love Abby, and hope we have not seen the last of her. As things stand, she has not closed herself off to Hank, but she does ask him to make a choice. While this could be a chance to start anew for the troubled writer, he will never be able to move on from Karen. He has had opportunities to build a future with any number of wonderful women; Abby is just the latest, and possibly the best. But Hank never even appears to consider serious monogamy with anyone but Karen. It's not that he's a cheater, but rather he is having fun and biding time until he can end up in the arms of his one true love. Why must Hank stumble through life so lost? Why can't he just settle for someone else? I would actually support that choice, at this point, and it would not preclude him eventually wandering back to Karen in the long-term.

     This episode is not only a fitting ending for a terrific season, one in which Hank faces his past far more than at any time before, but it could also have made a fitting ending for the series. Hank can finally put the whole incident with Mia (Madeline Zima) behind him, though he still has the therapy of making a movie about the experience. As the episode draws to a close, Hank is walking the sets, seeing the real life people he knows in place of the actors standing in for them. Making a decision, Hank takes to the road, presumably to find his love, Karen, and daughter, Becca (Madeleine Martin), who have left for a road trip with Karen's new boyfriend, Ben. They, too, are thinking of him.

     Should this have been the way Hank went out? Having lost the two girls he cares more about than anyone in the world, but having found professional success, he heads off into the world to find them? I, for one, am gratified that there is more story left to tell about the characters. Yet, it is a moment so perfect, it makes me a little sad to see it come so early. One can only hope that Hank's journey will end on as uplifting a note as this season did.

     One question I am left with: why did the writers choose to have Ben save Hank? At first, I thought it is so Hank will like Ben and back off. But by the end of the episode, he is yearning for Karen again. The scene has the feeling of more than mere coincidence. I guess we shall see.

     Since there will be a season five, what will it involve? I am really hoping that Fucking and Punching will still be filming, for one. While each season has its own mix of fun characters, I am not done with Eddie, Sasha, or especially Stu. They need to stick around a bit longer. I can see where Eddie, especially, may be problematic, as Rob Lowe is already a series regular on NBC's Parks and Recreation. Any way we can keep these people coming back, I'm good. I also really like the possibility of Hank dating the actress playing Karen in the movie. I think perhaps Hank should turn around and go home, unsuccessful in his search, and then Karen can return to find him dating essentially her double. That would be interesting indeed!

Article first published as TV Review: Californication - "And Justice For All" on Blogcritics.

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Californication - "The Recused"

     Why does Hank (David Duchovny) have to be such a womanizing screw up? Things take a much darker turn this season on Showtime's Californication when Hank faces both assault and underage sex allegations, the latter of which leads to Karen (Natascha McElhone) finding out about Hank's one night stand with step-daughter Mia (Madeline Zima), which happened all the way back in the first episode. Hank's teenage daughter, Becca (Madeleine Martin), who usually stands by her father and overlooks his flaws, doesn't even want anything to do with him. Losing his family and facing jail time, one would think that Hank has been given a much needed wake up call. Sadly, that does not seem to be the case.

     The newest flub? Hank is now sleeping with his lawyer, Abby (Carla Gugino, Watchmen, Entourage). She attempts to recuse herself by passing Hank off on her boss, Lloyd (Alan Dale, Ugly Betty, Lost), but of course, Hank can't mind his manners for one day on the golf course with Lloyd. They erupt into fisticuffs, only to laugh and bond as soon as Abby agrees to take back Hank's case. Later, she has sex him one last time before telling him he is cut off from that pleasure until after the trial. Not only that, but by the end of the day, Hank has Karen smiling at him, too. How long does anyone seriously believe either women will stay out of his pants this time?

     What charm does Hank have to allow him to get away with all of this? I mean, I get it, having watched the show. Hank is just such an open, honest, likable guy. He may sleep with lots of women, but he'd happily commit to one, especially if that one was Karen. He has proven he can be faithful. Hank's ability to win Lloyd over post-fight is a little more confusing, both of them being dudes, but I think the same things that women find attractive in Hank, men find endearing in a different way. Hank doesn't hold grudges, his emotions are out there for all to see, and once Hank and another man get into it, they have taken out their anger and can move on from it. Even Karen's new love interest, Ben (Michael Ealy, The Good Wife, FlashForward), despite Hank's rotten behavior towards him upon their first meeting, is willing to befriend him.

     However, some things are above even Hank's charms. Despite his unknowingly bedding Mia, and Karen knowing that it was ignorance, neither she nor Becca can bring themselves to move past it. I think this is a case of both of them trying to bridge a disconnect between the Hank that they know and the man who can sleep with an underage girl, who was Karen's then-boyfriend's daughter, to boot. Yes, the facts support Hank, but it is still such a depraved act that it's hard to reconcile it with the Hank who would never knowingly do such a thing. Which he didn't knowingly do. They will eventually wrap their heads around it, but I don't think that might be such a good thing for Hank, in the long run. He has been forgiven a lot, and while I'd like to see him have a happily ever after with his family, he needs to make a few changes first.

     In the B plot, I am hoping that Charlie (Evan Handler) and Marcy (Pamela Adlon) are finally coming back together. Sure, Charlie is still continuing his conquest to bed one hundred women (he's up to twenty one), and Marcy is dating Stu (Stephen Tobolowsky, Glee, Heroes), but they make a great team, as evidenced by their pitch to Showtime this week. I wonder that they can't bring themselves to move past the past yet, as they clearly both see each other in that old, rosy light during the pitch meeting. Once Marcy admits to him that she is pregnant with his baby, which looks likely, I think it will come together. I guess some things just have to run their course, and Charlie and Marcy haven't finished the current track yet.

     Californication airs Sunday nights at 9 p.m. on Showtime.

Article first published as TV Review: Californication - "The Recused" on Blogcritics.

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TV Review: The Good Wife

    CBS had a hit last year with The Good Wife. A smart new legal drama, the story centered around Alicia Florrick (Julianna Margulies in a Golden Globe winning turn), the wife of a disgraced state's attorney. She took a job with a law firm, and had to compete with another junior associate for one open slot. The first season dealt with her adjustment to the work force, and reluctance to do everything that it took to do well. We also saw her husband, Peter (Chris Noth), beat his charges and get out of jail, although the reality was that the he did cheat on her. However, the main focus of most of the episodes of the first season was the case of the week that Alicia worked on.

     I'm not a big fan of procedural shows. There are plenty of them on television, and while they can be entertaining, they don't seem to add a lot to our country's storytelling lore. And before you protest, yes, I believe there are plenty of excellent writers out there contributing to this new medium, rather than books, at this time. There are some really awesome stories being told on television, and that's what eventually drew my interest, as I was an avid reader all my life, but only an avid television watcher for the last five years or so. Happily, so far the second season of The Good Wife spends much less time in the courtroom and much more time on the characters.

     Even when the show was delivering a similar story every week, a great cast played some really interesting, layered characters. These people have only deepened in season two. Alicia and Peter are living together, but it's far from a storybook happy ending. Peter is running for office again, but sleeps in the maid's quarters. Some fans of the show wonder why they even remain married at all. Alicia has choices; she could easily be dating her boss, Will Gardner (Josh Charles), whom she was close with in college. This past week gave us a little more insight into that situation.

     In last Monday's "Breaking Fast", Alicia's brother, Owen (Dallas Roberts, Rubicon, The L Word) came to town. Not at all shy about speaking his mind, he was the first member of Alicia's family that we've seen, other than her husband and children. He talked to her about their parents' screwed up marriage, and how their mother had just broke it off with husband #3. He speculated that perhaps Alicia just didn't want to be her mother, and that's why she refused to consider divorce as an option. Although Alicia denied the charge, learning that about her background, combined with what we'd already seen of Alicia's character, seemed to connect a few dots for me. It just made sense that she wouldn't want to end up like someone she had little respect for, as she clearly does her mother.

     Another great character is Cary Agos (Matt Czuchry). He was Alicia's competition in season one, and now works for the State's Attorney's office, often squaring off against his former bosses and co-workers. He is bent on revenge this season, although he likes to claim a moral clarity. Cary had a touching moment with Kalinda (Archie Panjabi, who won an Emmy for this role) recently, where she admitted that she missed having him around. Although Cary was originally suspicious and competitive against Alicia, they seemed to form quite the friendship over last year. To see the anger radiating off of him whenever they now encounter each other (which is often, as he remains a main character) is a bit heart breaking. It's fully realistic, but I yearn for the day where he can go back to his old firm. If he'd even want to, as their relationship continues to be poisoned the longer he is away.

     Alicia's bosses, Will and Diane (Christine Baranski), are also an interesting pair. So far Will's plot has mostly involved his feelings from Alicia, but his interactions with Diane are fascinating. There is some camaraderie between them, but it is often tossed out as they pursue their own interests. I'm not really sure how they ended up as partners. I know that's been covered in the show, but they are just so different, and they don't get along all that well. Things came to a head when Diane asked Will to vote with her against their new partner, Derrick Bond (Michael Ealy, Flash Forward), but Will was persuaded to side with Bond. It's hard to see how Bond will ultimately affect the leadership, but as he did bring Lou Dobbs (who guest starred as himself) along as a client, someone on the opposite end of the political spectrum as Diane, surely there will be change.

     Diane has been fascinating all on her own. Besides adopting Dobbs as her own client... well, I assume, although the last we saw on screen, she said she'd think about it. The fact that she'd even consider it says something about her. Also, she dated a ballistics expert last year who was an avid Sarah Palin fan. Diane is an avowed liberal, but she is sanely open to the other side when the person representing it is reasonable. I'm not saying Lou Dobbs is reasonable, but his discussion with her about representing him surely was. I just can't predict what Diane will do, and that, along with a long-time adoration for Baranski the actress, keeps me fully engaged with the character. 

     There are plenty of other people on The Good Wife I could talk about, but I'll end with just one more: Kalinda. The unflappable, possibly bisexual, always daring investigator has been thrown for a loop with the introduction of someone else who also does her job at the same firm. Bond brought along his own man, Blake Calamar (Scott Porter, Friday Night Lights, Caprica). I would have never suspected Kalinda could be shaken, but for some reason, Blake has that affect on her. She still does her job with excellence, but her anxiety in his presence is palpable. It's something I'm still trying to figure out, but is surely contributing to the renewed vigor the show has brought to season two.

     Bottom line, if you stayed away from this show last year because you were tired of legal dramas, it's time to jump on board. This series presents character studies as often as it does lawsuits, and there is plenty of meat on the bones. I myself did not watch it last year, but devoured the DVD in the past month. It's definitely worth watching. The Good Wife airs Monday nights at 10pm on CBS.

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Article first published as TV Review: The Good Wife on Blogcritics.