The New Normal Slightly Too Normal in Season Finale

Article first published as The New Normal Slightly Too Normal in Season Finale on TheTVKing.

NBC's freshman sitcom The New Normal completed its freshman run with a pair of episodes this week, "Finding Name-O" and "The Big Day." While not exactly a two-part story, these installments do flow well together, as Bryan (Andrew Rannells) and David (Justin Bartha) talk about baby names and prepare for their wedding, and then see the birth of their son and say their vows.

My issue with the episode, especially "The Big Day," is that The New Normal follows the traditional sitcom tropes. Right as Bryan and David are getting ready to say "I do," Goldie (Georgia King) goes into labor. Not only is this not the first show ever to have such an occurrence happen, it's not even the first series in the past month to use the scenario. As such, it feels completely stale and rote.

But maybe that's a good thing. The New Normal wants to show that an extended family, including two gay men raising a child, is just as typical as any other clan. By using such a familiar, played-to-death scenario for their year's final half hour, they seem even more like other programs on television.

However, I like to think they can do a little better, and they often do. There is plenty of sweetness and originality present throughout the first year of the series, including in these two chapters.

For instance, I love that Goldie decides not to go back to Clay (Jayson Blair) before the end, avoiding a predictable summer cliffhanger or a retread of a romance we've been shown is dead. Clay really is trying to change and be there for Goldie and Shania (Bebe Wood), but he has a lot to make up for. Someday, he may earn his place back at Goldie's side, but for now, it would be foolish of her to reconcile with a lazy, irresponsible ex, and she wisely chooses not to.

What's more, she is encouraged not to by those around her, who love and care about her. Sitcoms are the breeding ground for families made up of friends, which is sort of an artificial concept. The New Normal makes it feel authentic, though, and by reminding us how much Goldie has touched everyone's lives, and how much growth has happened for the characters this year, we see that this show will allow change and development much more so than many of its peers.

I also think it's important to have such a wonderful example of a steady gay couple on television. Bryan and David love each other, and even when the bicker, they both compromise to go out of their way and keep their relationship strong. This not only sets a great example for young gay viewers, but also may help the more closed-minded members of our society dispel some ugly and untrue myths about homosexuals, which linger mostly among the older generation.

The character that speaks to that the most is Jane (Ellen Barkin), of course. Jane arrives on the West Coast with some stubborn, Mid-Western opinions. (Disclaimer: I live in the Mid-West, and these are far from universally shared). After a little exposure to people outside of her small community, she sees that she is wrong, and she now understands a different point of view. She'll continue to be grump and coarse and have great one-liners, but she's a different person than in the first episode, and has become sort a role model.

The New Normal is hilarious, and there are plenty of funny moments in "Finding Name-O" and "The Big Day." Most of them involve the grooms' mothers (Jackie Hoffman and Mary Kay Place), who are both hilarious in their own right, and in totally different ways. We also get the return of Michael Hitchcock and John Benjamin Hickey.

The show is serious and touching, too. Among the best scenes in these episode are when Bryan and David agree on a name, Jane thanks Goldie for bringing her out to California, Jane and Rocky (NeNe Leakes) party together at the wedding, and when "Beautiful Boy" plays during the rush to the hospital for the baby's birth.

It does such a bit that Jane is not included in the beach wedding. I wonder why that was done.

I do wonder if there will be any objection from the Catholic community that a priest ends up performing the gay wedding ceremony. The Catholic Church is definitely an institution that is well behind the times on such issues (another disclaimer: I was raised to be Catholic), and it's fantastic to see someone playing a priest push for change in his own small way, but I could see some being upset about this. However, those are probably also the same people who wouldn't watch this show in the first place, so hopefully bad nothing comes of it.

The first year of The New Normal is relatively strong over all, with wonderful characters and heart-warming stories, and I look forward very much to a second batch of episodes next fall. If the show gets picked up, that is, which it deserves to be, but that is very much up in the air at this point. If you've enjoyed it, as I have, feel free to encourage NBC to renew The New Normal.

Glee gets a "Makeover"

 
Glee undergoes a "Makeover" in the third installment of this fourth season. Blaine (Darren Criss), lonely without Kurt (Chris Colfer), the entire reason he transferred to McKinley, seeks to find his place at the school. He decides, after a soulful rendition of "Everybody Wants to Rule the World" and a ridiculous montage of Blaine in various clubs, that maybe he should be class president. This puts him at odds with Brittany (Heather Morris), who is seeking a second term.

Blaine and Brittany square off in a debate with their running mates, Sam (Chord Overstreet) and Artie (Kevin McHale). It's fantastic that Sue (Jane Lynch) says what many viewers are thinking: when did Vice Presidents and forums become a part of the school's student government? It's a clearly staged set up for a humorous story.

Which is fine. Glee is often a little over the top, and unlike Isabelle's arrival, this appropriately furthers Blaine's growth at a time when it is needed. The silly stuff, Sam and Brittany's ditziness, and the song that duo share, "Celebrity Skin," make things entertaining, and keep it from skewing too dark. Overall, this works, especially when sense wins out over stupidity, and because of the tongue in cheek method in which it is carried out.

I just do not like the setup of a Sam / Brittany pairing. Glee makes us care way too much about Brittany and Santana to ditch it now. It will take a heck of a lot to win me over, and the show is nowhere close to this point. Blaine and Kurt cannot split, either!

For his part, Kurt is already settling into a new role in the Big Apple, serving as an assistant to Isabelle Wright (Sarah Jessica Parker, Sex and the City), which leaves him little time for his boy back home. While it may be understandable that he is excited about his new position, ignoring Blaine's calls isn't completely in character, and Kurt deserves a good smack.

I do not like Sarah Jessica Parker. I can't pinpoint exactly why; She seems like a perfectly lovely person. I just can't stand the parts she plays, even after watching (and liking) all six seasons and both movies of Sex and the City.

That being said, Isabelle is a great part for Parker. She slides right into the Glee cast with ease, becoming a fairy godmother for Kurt. Her trio song. "The Way You Look Tonight" / "You're Never Fully Dressed Without a Smile." with Kurt and Rachel (Lea Michele) is also annoying, but again, fits wonderfully into the voices and events of "Makeover." It's odd, but I think this might be the role that actually makes me begin to appreciate this actress.

Unfortunately, Isabelle's introduction comes too soon. Kurt just arrived in the city, and instead of struggling, he lands in a cushy job with a boss who loves him and doesn't mind that he breaks into the office late at night so his roommate can try on clothes. It's coincidence that Kurt just happens to find the kindred spirit of Isabelle, but it's too much to be believable. Had Isabelle arrived late in the season, there would have been a sense of a deserved reward. Instead, what's easy to miss in the truly charming plot is that the whole thing should have been held off on until mid-season.

Will Kurt decide to give up singing to work in the fashion world? It's disappointing, but it doesn't come out of nowhere. Kurt's clothing has always been an essential element to the character, and his voice, while very good, isn't usually played with the Rachel Berry star quality. As long as the decision doesn't come easily, this could be a pretty respectable shift. I just wish Kurt's desk was next to Ugly Betty's.

Rachel, on the other hand, is right on schedule with her story. She no sooner succumbs to Brody's (Dean Geyer) wooing, enhanced by the song "A Change Will Do You Good," than Finn (Cory Monteith) shows up at her door, catching the two of them together. Right from the beginning of the season, this is the exact turn of events that Glee tees up, completely obvious in its arc. It's done well enough, but I'm glad to get past what we all know is going to happen so that we can find out which way the writers are going to take things now.

The final plot in "Makeover" involves Will (Matthew Morrison) stepping away from McKinley to work for show choirs on a national level. It's strange, even when it is explained, that the committee meets at Will's school, and it includes previous guest star Dalton Rumba (Michael Hitchcock, who has written several episodes), though I appreciate seeing Sean Gunn (Gilmore Girls) as another member. It also feels like a repeated story, because Will already struggles with leaving the school in a previous arc when he is offered a role on Broadway.

The way Will's story will probably go is that he leaves, realizes he made a mistake, and then comes back, too late to save the group's chance at another Nationals win. This is a rebuilding year, anyway, so letting Will step back will only add to the chaos of the leaderless New Directions. Let's just hope Sue is made the temporary director in his absence, as that could be quite funny.

Will and Sue filmed a song for "Makeover" entitled "Mister Monotony" that is cut from this episode. This is horrible because advance photos of this number are all over the internet, and then the installment didn't deliver. Ironically, the song was sung by Judy Garland in the film Easter Parade, from which it was also cut. Come on, Ryan Murphy! It's time for another web exclusive deleted scene!

All in all, "Makeover" is not a bad episode of Glee, nor an overly impressive one. It goes a bit too light on drama and bit too heavy on goofy fluff. But it furthers a couple of plots, and is pretty entertaining. This places it somewhere near the middle when ranking episodes of the series.

Watch new episodes of Glee Thursdays at 9 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "Makeover" on Blogcritics.

"Hairography" distracts Glee

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     FOX's Glee continues season one with "Hairography." Hairography is, as the episode tells us, using swinging hair to distract from the lack of talent in the performing club. This is appropriate, as the word 'distraction' is used in "Hairography" a zillion times, give or take a few. Terri (Jessalyn Gilsig) wants to distract Will (Matthew Morrison) so he doesn't realize that she's not pregnant. Quinn (Dianna Agron) wants to distract Finn (Cory Monteith) so she can spend some time with Puck (Mark Salling) while she considers switching boyfriends. Both are lying to their significant others, and are hoping to get away with it.

     This is a shame. Quinn continues to prove herself completely unworthy of the good-hearted Finn. Sure, Finn does allow himself to get a little closer to Rachel (Lea Michele) than he should, but that can be chalked up to teenage hormones. What is important is that he doesn't act on the attraction. He is also honest with Quinn, and authentic with Rachel, so as not to deceive either girl. It may be an arguable point that Finn is a much better person than Quinn, who constantly lies and cheated on him prior to the series beginning, but I think Finn would come out the winner in any true discussion. He can do much better than to be with Quinn.

     Puck is a little more compatible. Quinn gets angry when Puck lies about sexting with Santana (Naya Rivera) while the two babysit Kendra's (Jennifer Aspen) kids. However, this only makes her a hypocrite. She is lying to Finn while she checks and sees if Puck might be the better match after all. He is, but Quinn's pride is too wounded to realize that, and she thinks she is better than he is. She's not. While Puck does lie to her at the time, he is generally an honest person, and tells her exactly who he is well before she makes a serious commitment to him. For that, Puck also deserves someone better than the manipulative Quinn.

     Kurt shows a true devious streak in "Hairography." Quinn asks Kurt to do a makeover on Rachel, hoping a sexier Rachel will distract Finn. Kurt agrees to help because he loves makeovers. But Kurt is only in the scheme for himself, as he also likes Finn, and wants both Rachel and Quinn to fail to win the quarterback. The results of his primping Rachel do not make Finn or Rachel happy. It's a betrayal of the plan Kurt made with Quinn, though not one she is likely to have a beef about. But it's also a betrayal to Finn, whom Kurt claims to care for, but really just wants to get with, and Rachel, who thinks Kurt is being friendly towards her. It is not a side of Kurt that comes out often at all, and borders on being out of character.

     Interestingly, throughout all of this, Rachel says she is only interested in Finn, even telling Kurt that she is in love with Finn, and Finn is the only guy fot her. Funny, since in the previous episode of Glee, Rachel is all over Will. Did she already forget about that crush? In "Hairography," she has no problem getting close and whispering with Will, neither one having any regard for the previous week's plot. It also hasn't been that long since Rachel considers Puck as a possible mate. So obviously she is not all about Finn, even if she does definitely have feelings for him. This is a glaring weak point in Glee's continuity.

     The music in "Hairography" sounds great. Not a surprise, because by this point, Glee is becoming pretty solid and consistent on the quality of their songs. There's also quite a bit of them. "Bootylicious," while not performed by the New Directions, is a fine addition to the songbook, in the way it is done in the series. "Papa Don't Preach" is incredibly enjoyable, and softens Quinn up a bit, if only for a few minutes. "You're the One That I Want" is a repeat, but is only partially shown, so it doesn't feel like much of a cheat. "Don't Make Me Over" also works.

     "True Colors" sounds great, but feels slightly weird. That's because Will wants to do it on stools, "without distractions," or so he says. But in the background, there are plenty of swirling colors providing all the distractions one could ask for. There isn't really anything to complain about in the staging, other than that it contradicts the dialogue. The colors actually do add to the production value of the song, and fit just fine. Too bad the lines couldn't have been adjusted slightly.

     "Imagine" is a performance that I am torn about. It is a really sweet moment when the New Directions, led by Mercedes (Amber Riley), stand up and join the school for the deaf kids in their song. However, isn't it pretty rude to interrupt their performance? This is a serious choir (so we're told, though it's hard to see how) who will soon be performing against the New Directions in competition. Yet, our main characters get up and take over singing it for them. It's fairly insulting, when you think about it. Luckily, most people won't think about it, because it is a touching moment.

     Strangely, though much of "Hairography" is about hair, and Will tells the New Directions they will be performing the titular song from the musical Hair, they never do. Though "Crazy in Love" is credited as a mash up with "Hair," only a very, very short bit of "Hair" makes it into the number. It's a disappointment, and seems kind of odd, considering this week's theme. For once, the music is (barely) bent to fit the plot, not the other way around, as it is in the previous episode. Not to mention, the ridiculously tight, short shorts do as much distracting in the number as the hair they are flipping around. And distraction is OK in this case, because "Crazy in Love" is a pretty bad song.

     In "Hairography," Sue (Jane Lynch) gets to take a break from being a true villain for part of the episode, and gets to be a real advocate for the kids. Her rant at Will about how wrong it is that he is using distractions, not believing in his students, and hurting their self worth, is perfectly valid. She is in the right, and Will is wrong, which he soon realizes. Sue can be outspoken in defense of the kids she works with from time to time, and this is a great moment for her to be so. It's also not out of character for Will to lose sight of what he should be doing, so the scene ends up working very well. Great writing.


Random Bits:

• Michael Loeffelholz makes his second and final appearance as Phil Giardi, husband to Terri's sister Kendra. Strange, since he's supposedly a close member of Will's family, that we don't see him again. Though, to be fair, Kendra disappears in season one as well, and Terri is barely in season two. So he's the first of a bigger fade out.

• Money is supposedly super tight for the Schuesters, as they complain about in earlier episodes, but Terri can afford to buy Will a car? Not to mention, I've never heard of an apartment that allows tenants to work on their cars in the parking garage. Nor is there likely to be a nice, big apartment building with a parking garage in the relatively small city where Glee takes place. Strange, indeed.

• The director of the bad girls' school is played by hip hop singer Eve (Eve). This seems plenty appropriate, and she will return a second time in "Sectionals" to reprise the role. Sadly, she has not been seen again since.

• A similar thing can be said about actor / writer Michael Hitchcock (United States of Tara, Men of a Certain Age), who plays the director of the deaf school, and is in the same two episodes as Eve. While it is nice that Glee allows other fine actors to step in as rival choir directors, and these two aren't the most memorable of the bunch, it is still a pleasure to see them.

     Check back for another season one Glee review soon!

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

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

Article first published as TV Review: Glee - "Hairography" on Blogcritics.

United States of Tara says "...youwillnotwin..."

     Lots of changes are occurring as United States of Tara begins its third season on Showtime. Season two ended a number of subplots pretty completely, so it's time to move on, though some of the new directions may take some getting used to. The biggest change may be the abandonment of the theme song, at least in the season premiere. It needs an update if they're going to continue to use it, anyway. Also, it appears that several minor characters are gone, quite possibly for good, while others are entrenching themselves even more firmly into the cast. As such, new dynamics are solidifying. Unlike other shows, I often feel United States of Tara is still finding its way, even three seasons in. However, that's part of the fun, as the series's story is as up and down a roller coaster ride as the character of Tara (Toni Collette) is, so it's not a bad thing, as it would be elsewhere.

      Tara has decided to go back to college, always having regretted dropping out just a few courses shy of a degree. Neighbor Ted (Michael Hitchcock) makes a call and gets her accepted into the right program, but she soon hits a snag when a class she needs is full. Appealing to the grumpy Professor Harris (Eddie Izzard) is partially successful, as he agrees to let her in - if he's impressed with an essay she writes. Unfortunately, as Tara sits down to write, she discovers it is much harder than she expected it to be.

     Meanwhile, Tara's husband Max (John Corbett) isn't very happy with her decision. It's not that he wants to hold her back, but she dropped out the first time, years ago, because she tried to kill herself. Max is worried Tara's current stresses, including recently finding out about childhood abuse, will drive her to do something dangerous again. He's not wrong, as Tara soon puts a knife to her wrist while struggling with the assigned essay.

     But this time, Tara's four main alter personalities - Buck, Alice, T, and Shoshana (all also played by Collette) - arrive to help her, convincing her to put down the weapon. Shoshana offers to come up with the prose, while Tara types, Alice pours Tara tea, Buck rubs Tara's shoulders, and T, well, tries not to get in the way. This is an unexpected turn; quite a surprise. Up until now, Tara's personalities have appeared to cause her problem after problem. Obviously, they hold they key to Tara getting better and overcoming her disorder, but they have gone about their business in a chaotic way, never in one that is blatantly useful.

     Has Tara finally accepted them enough to embrace them as a part of her? Or perhaps there are less secrets that need revealed now, so they can act in a manner not so obtuse? I'm not so sure this will be a permanent change, as Buck does take over Tara's body at the beginning of the episode to look for Tara's missing brother. Perhaps a balance can be found?

     Charmaine (Rosemarie DeWitt) is left at the altar last season, and is now determined to be an independent woman. As long as that independence allows her to rely almost entirely on Neil (Patton Oswalt), who buys her groceries, pays her bills, and paints her toenails. Oh, did I mention that Charmaine is pregnant with Neil's baby, and he is not the one who left her during the wedding? Neil wants to make things more official, and proposes, but Charmaine turns him down. Neil continues caring for her, even as she fails to appreciate him. However, Neil does eventually get more forceful after not being there during Charmaine's false labor, and insists on moving in. She relents to that, at least.

     These two have been in a delicate dance for years, and it's nice to see some forward momentum. Charmaine is damaged, like her sister Tara, but has different ways of coping. One way is clearly to push Neil away verbally, even while depending on him heavily. Neil is much more patient than most men would be, and the two share genuine affection. At first, I assumed Charmaine didn't want Neil because she is shallow. Now, I think the situation is much more complicated than that. I hope that Charmaine will eventually marry Neil, but what it will take to get her to that point is unknown at this time.

     Tara's daughter, Kate (Brie Larson), is learning a valuable lesson many young people are probably repeating all over the country. She seeks employment, but is haunted by her past, namely, sitting on a cake in a sexual manner, something readily searchable on the internet. There is some debate as to how a whole generation of internet exhibitionists will be affected in the long-term by their lack of discerning judgment. I personally feel like so many people post their whole lives that it will matter less and less as time goes on. The writers have chosen the more immediate option, though, and Kate will have a very hard time getting a job in any industry but one where morals are loose.

     Kate's brother, Marshall (Keir Gilchrist), is also dealing with contemporary issues. He is in a relationship with Lionel (Michael J. Willett). Lionel doesn't like labels like "boyfriend," though Marshall is more traditional. Well, as traditional as a homosexual can be, considering gayness is not usually thought of as traditional. I know marriage is trending towards later in life, if at all, and many couples rebel against convention. I find myself in Marshall's camp, however, it's hard to know what the new norm will be in a couple of decades. Is this a cycle, that will someday swing back more conservatively? Or is this a new trend that may lead to the end of marriage as we know it?

     See? United States of Tara is educational and thought provoking, as well as entertaining. You should watch it when it airs Monday nights at 10:30 p.m. ET on Showtime.


Article first published as TV Review: United States of Tara - "...youwillnotwin..." on Blogcritics.

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My Other United States of Tara Reviews:
United States of Tara is held together by love
United States of Crazy

Jane Lynch Parties Down once more

     The second season finale of Starz's Party Down brought back first season character Constance Carmell (the spectacular Jane Lynch, Glee).  The episode was called "Constance Carmell Wedding", as every episode is named after the event they Party Down crew caters.  Constance was becoming the tenth wife of a rich producer (Alex Rocco), a man much older than her, carting around an oxygen tank, but still with a youthful, even lecherous, spirit.  Constance hires her old buddies to cater the event to make sure they attend, but spends more time catching up with them than socializing with the wedding guests.

     This episode was full of great moments, from Patrick Duffy (as himself) breaking in and trying to stop the wedding, to Kyle's (Ryan Hansen) tribute song to Constance being an Aryan anthem, making her new husband and his other Jewish friends very uncomfortable, and the groom dying ten feet down the road after the car left the wedding.  Don't worry.  He wrote a fake name on the prenup his daughter made them sign, so Constance is now loaded!  My favorite moment was when Lydia (Megan Mullally) tells Constance that she's her replacement, and Constance replies that she doesn't think she's replaceable.  And she isn't.  As much as Lydia is finally starting to grow on me, no one can really replace Jane Lynch in anything because she is truly one of a kind.

     Other plots came to a head, too, giving each of the main characters important changes.  Casey's (Lizzy Caplan) scene is cut from her Judd Apatow film, taking away the chance at a big break that she longed for.  Henry (Adam Scott) decides to come out of acting retirement and go for a big role, although is it for his own sake, or to prove himself to Casey?  Roman (Martin Starr) gets incredibly high and writes an opus of a screenplay on toilet paper.  Ron (Ken Marino, who also directed this episode) declares his love for the engage daughter of his boss, Danielle (June Diane Raphael).  And Lydia makes the moves on Danielle's soon-to-be-divorced father, Bolus Lugozshe (Michael Hitchcock, United States of Tara).

     The brilliant comedy co-created by Rob Thomas (Veronica Mars) has not yet been picked up for a third season, and while I sincerely hope that it gets renewed, it will face some challenges if it does.  For one thing, Adam Scott will be a series regular on Parks and Recreation next year, so his character of Henry will appear in no more than three episodes and will become the second principal that has to be replaced.  However, even with a reduced Scott quotient, I would very much miss the show if it went away.

     Party Down airs on Starz, which is a premium subscription channel.  If you have Netflix and a TiVo, XBox, etc. with streaming connection, both seasons, including last night's finale, are available to watch instantly.  If you don't subscribe to Netflix or Starz, I highly recommend signing up for Netflix immediately and at least take the free month trial and watch Party Down.