FAKING IT "Burnt" Finale

Article first published as TV Review: 'Faking It' - 'Burnt Toast' on Blogcritics.

I’ve been really excited about MTV’s Faking It these past couple of months. It has all the heart and authenticity that Awkward. used to have before losing its creator couple, with an interesting, fresh story. Going into the season finale, “Burnt Toast” starts to drop the ball just a bit. There are still some terrific, heart-warming moments, but a few things feel forced, and the cliffhangers come across as staged. Could this be a minor misstep in a promising freshman series, already renewed for a second season? Or does it signal that Faking It doesn’t have what it takes to make the long haul, a nifty concept with no follow through?

For those not familiar with the story, Faking It finds two best friends, Karma (Katie Stevens) and Amy (Rita Volk), posing as a lesbian couple to help build their popularity at school. But then Karma falls for Liam (Gregg Sulkin), and in order to  hook up with a guy she likes and who is finally noticing her, she starts to strain her real friendship with Amy. This is particularly rough on Amy because she has discovered that she really is gay and has romantic feelings for Karma. What a mess!

In the finale, Amy comes clean to Karma, not so intentionally, in the toast she makes at her mother’s wedding. Karma obviously doesn’t return the feelings, but tries to handle it gracefully, not being weirded out, but unable to give Amy what she wants. This might work out OK if Shane (Michael J. Willett) didn’t build up Amy’s hopes so far before the truth is discussed, meaning Amy actually thinks Karma is going to be receptive to her, and she’s deeply hurt when Karma isn’t.

While not everyone has gone through this exact same thing, many viewers should be able to relate to the hurt feelings Amy harbors. But one cannot blame Shane for giving advice based on Amy’s description of her interactions with Karma, clearly seen through rose-colored glasses. Most people know what it’s like to get excited and then be disappointed. It’s part of life and it’s part of growing up. Faking It handles these emotions very well, the young actress expressing authentic pain, and the misunderstandings coming about in a genuine way,

Then, however, Amy sleeps with Liam. This, I do not get. Liam is upset that Karma is lying to him from the start and Amy feels dejected. However, Amy doesn’t like men. Yes, there is definitely room for bi-sexuality in the world, but Amy exhibits no symptoms of such leanings before “Burnt Toast,” so her sudden interest comes out of nowhere. Perhaps one can forgive teenagers for acting against their own interests in a moment of pure negative emotions, but the ending still bothers me because it just doesn’t fit.

It’s also awful how Shane easily agrees to celibacy to be with Pablo (Anthony G. Palacios). Shane is a horn dog, clear and simple, and while he does believe in love, he wouldn’t want to give up the physical side of a relationship so easily. Should Shane wrestle with the decision, that could make sense, but he jumps right in with no worries about being able to live up to his promise. This is more character inconsistency, and that’s what Faking It needs to be careful of going forward.

Still, usually the characters on this show are very well-defined, and there is some fantastic chemistry. Whether its the buddy relationship of Shane and Liam, or the way Amy pines and doesn’t want to admit she’s pining, there’s some better-than-decent writing and acting going on, especially with a young, mostly untested cast. Even when Karma gets narcissistic, there’s still a general style and tone that makes her sympathetic, a normal boy-crazy teenager with a good head on her shoulders who will come around.

Saving the half hour is the giant crack in Lauren’s (Bailey Buntain) shell. Dumped by her boyfriend, she tries to commiserate with new step-sister Amy. Buntain plays the part in such a way that it’s obvious there’s more there than just a mean girl, even if that’s mostly the purpose Lauren serves so far. Offering the olive branch now is perfect for Lauren; they are at a wedding, she’s feeling dejected and without friends in her new town. Of course she chooses now to reach out. It’s a shame Amy, while not batting her away, doesn’t reciprocate.

Faking It is pretty steady for most of its freshman run, so it could be that the writers just slip up a little in trying to build a memorable season finale. Hopefully, it will reign itself back in next year and live up to what it should be, a half hour that’s more drama than comedy, but with a light, amusing charm. I don’t champion many series on MTV, but overall, this one is proving itself worth the watch. If you haven’t been following Faking It, check it out before season two begins.

MTV Series Not FAKING IT

Article first published as TV Review: 'Faking It' - Series Premiere on Blogcritics.

MTV’s newest scripted series is Faking It, airing after the once-great Awkward. Faking It is the story of two best friends who are mistaken for being a lesbian couple. Half of the pair, starving for attention, decides this could be their ticket to popularity, and leaps at the chance to continue the charade. The other is less enthusiastic, but since her pal really wants her to do this, she reluctantly agrees, perhaps hoping for something more to develop.

Tonally, Faking It matches Awkward. pretty well. Both are set in a high school, and feature misfits who want to be well known, but only for good things. There’s a bully and a love interest, as well as well-meaning, but somewhat clueless, parents. There’s also a hint of a cartoonishness in both series, more comedy than drama.

When Awkward. was at its height, the characters were sharp and well-developed. Faking It struggles with this depth and authenticity out of the gate. The school itself is ridiculously unrealistic, a place in Texas where the weird and special are actually respected and revered. What kind of place would the jocks be looked down upon and beauty is ignored? It just doesn’t gel with the real world, and hurts the overall effect of the piece, even when the narration acknowledges the oddity.

Faking It hinges on its main cast, and across the board, while not quite hitting all the right notes yet, they are pretty good. Katie Stevens (American Idol) is sympathetic as Karma, the exuberant half of the couple, wanting attention, but without being so self-involved as to turn viewers off. Greg Sulkin (Wizards of Waverly Place) is serviceable as Karma’s crush, an artistic soul that takes people as they are and is honest. Sometimes he may not be the most thoughtful person, but he isn’t a hater. Bailey Buntain (Bunheads) is terrific as mean girl Lauren, struggling with her own issues which color her better than the stereotype she could be.

And then there’s Rita Volk (The Hungover Games) who is fantastically memorable Amy. Amy is Karma’s better half, but throughout the first episode, it’s quite clear that Amy is dealing with serious internal conflict. At first, one might think Volk is an inconsistent performer, not sure quite which direction to take Amy in. As the story unfolds, however, it becomes apparent there’s something more at play. Amy is actually gay and in love with Karma.

Without this twist (which Volk telegraphs just the right amount), I don’t think Faking It works. And without as earnest a player as Volk, showing us the pain and angst in Amy’s face, it becomes standard drivel. Because these elements are arranged correctly, though, what viewers get is someone who is trying to find her self, further confused by attention she’s getting from a friend who is out of sync with her needs and emotions. Toss in the fact that Lauren’s mother is marrying Amy’s father, and there is drama to be mined in this sitcom, but not the forced kind, and while there are only nuggets of greatness in the pilot, this series could go somewhere.

I also adore Michael J. Willett (United States of Tara) as Shane. He jumps to the wrong conclusion about Amy and Karma, revealing a bit of narcissism as he sees what he wants to see in others, rather than the truth, but he’s also incredibly kind to the pair. He may have some selfish interests, but those aren’t his only motivating factors. His flaws can be chalked up to naivety and brashness of youth, not ruining the draw he has as the all-important catalyst.

Faking It does not have me hooked yet. But there are enough goodies tucked away to bring me back for another outing. Who knows? It might even replace the now-tarnished Awkward. as the sole reason to keep MTV in my channel list.

Faking It airs Tuesdays at 10:30 p.m. ET on MTV.

"The Good Parts" of United States of Tara

     Showtime's United States of Tara ends after three seasons with "The Good Parts." Not written as the series finale, the episode opens with Tara (Toni Collette) killing her newest alter, Bryce, who has already killed off the other personalities that live inside Tara's head. One might think that would be a relief for Max (John Corbett), especially since Tara plans on seeing a specialist doctor in Boston, but instead, his frustration with the situation builds until he blows his top at dinner. As Max and Tara prepare to leave town, what will happen to suddenly emotionally distant Marshall (Keir Gilchrist) hangs in the air, and Kate (Brie Larson) considers Evan's (Keir O'Donnell) invitation to move to St. Louis.

     "The Good Parts" would serve as a fine season finale, but as a series ender, it leaves much to be desired. While this season, certainly the best of United States of Tara's three, has been an amazing discovery of the trauma behind what makes Tara the way she is, it also leaves things far from resolved. Bryce's major disruption of the status quo shakes Tara into not only understanding her issues, but moving in new ways to finally solve them once and for all. Bryce's murder of Tara's alters is deeply disturbing, but it opens the door to something exciting and different for a fourth season. Definitely, progress will be made. Sadly, with Tara on her way to get help, the brief reappearance of the beat up, but somehow surviving, three main alters, T, Buck, and Alice, actually cheapens the moment. This seems like a turning point, but they reset her to square one.

     Please, Showtime, isn't there any way to reconsider? While United States of Tara may not carry the audience some other series on the network do, the writing is top notch, the acting is excellent, and the story is evolving in very interesting ways that will now never be played out. It seems a shame to cancel a show at its creative peak. Maybe allow a television movie or a few, or even a shortened fourth season to wrap things up?

     Perhaps most disappointing, had a fourth season been ordered, would have been Charmaine (Rosemarie DeWitt) and Neil's (Patton Oswalt) move to Houston. They are enjoyable supporting players, and while they may need distance from Tara and her drama for a happy ending, including an upcoming (finally!) marriage, they would have been sorely missed. Of course, now I guess they don't have to be, because the whole series will be missed. Had the series been picked up for another season, they may have moved back or taken frequent trips back and forth to keep them involved in the story. Guess that decision will never have to be faced.

     Max gets some serious development right at the end. Being married to a woman like Tara must be a serious struggle for any man, but much of what Max goes through has been kept hidden. Marshall forces some hidden disappointments to the surface with his film. Even though Max doesn't like it, much of what Marshall says rings true. Max's pain could be because his son hits too close to home. Max's dinnertime eruption in the series finale is a fine way to show how he is not as easy going as he often appears to be, and is struggling to hold it together. Further exploration of his psyche, and why he does what he does, would be welcome. If there were more episodes, which there will not be.

     Marshall also gets some intriguing growth in season three, as the death of Lionel (Michael J. Willett) spurs him to also release pent up emotions. Faced with serious loss, Marshall gets a renewed sense of today, which could be construed as a commonly used device, but in the hands of Willett, opens up whole new areas of the character. Marshall is the steady rock of the household, and his losing it helps Tara and Max see how their lives affect their children. It's a revelation that is obvious in retrospect, and worth talking about. Marshall needing some distance makes sense, and it a logical, good storytelling move. He will be available to love and help them, but he is not a care taker, and he should not be, as Max and Tara agree.

     Kate struggles with finding a place in the world throughout the series, bouncing between interests and careers. "The Good Parts" leaves her with a strong romantic bond, and a finding of responsibility. Being with Evan really seems to mature Kate, in ways she really needs to grow up. He's a great influence on her in so many ways. It's too bad there will not be a chance to explore her stephmotherhood.

     Kate and Marshall's relationship is one of the best sibling pairings on television, as they need each other more than most brothers and sisters. To see Kate step up to help Marshall the way she does is incredibly gratifying. The two are as co-dependent as Max and Tara in a totally different way that is healthy for them both. This is the factor done most correctly in the series finale.

     Yes, this review is a little truncated. Just like United States of Tara. I did it on purpose, as a tribute.

     It may be too little, too late, but if you are so inclined, I urge you to write to Showtime asking them to bring this brilliant series back. Click here for the Facebook page trying to do just that.

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

     Go to amazon.com to buy past seasons of The United States of Tara.

My Other United States of Tara Reviews:
United States of Tara "The Road to Hell..." Tara / Family / Kids
United States of Tara says "...youwillnotwin...": Tara / The Rest of the Family
United States of Tara is held together by love
United States of Crazy

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

United States of Tara and "The Road to Hell Is Paved With Breast Intentions"

     This season of The United States of Tara finds Tara (Toni Collette) dealing with her alters more directly. No longer are they just using her body, but she is communicating with them, and making agreements with them. But this week’s episode, “The Road to Hell Is Paved With Breast Intentions,” finds Tara touching on something else that may be going on. For the first time, it occurs that Tara may actually be using the personalities as an excuse, as Dr. Hattarras (Eddie Izzard) theorizes. It’s not that she is consciously doing it, but the fact that her alters begin taking over to shield Tara from her mother, Beverly (Pamela Reed), whom Tara does not get along with, is a sign.

     That does not mean that Tara is in control of the others yet. It merely hints that she may be able to control them, once she understands them better, and knows where they come from and why. While this has been an overaching theme of the series, Dr. Hattarras does a lot more to define it than Tara herself, or even Shoshanna, her psychologist personality, has. As such, Tara is actually making much faster progress than she previously has, especially in “The Road to Hell Is Paved With Breast Intentions.”

     Dr. Hattarras does not have all the answers. Not even close. He is skeptical at first that Tara isn’t already controlling her alters. Which goes to show that Tara is probably a much more severe case than most. Surely, Hattarras has dealt with others with the disorder that led him to draw the conclusions he holds. So Tara is something entirely new and different to him, an experienced mental health expert.

     At the end of the episode, Dr. Hattarras us listening to tapes of his sessions with Tara, and one piece of audio sticks out. A strange voice comes out of Tara saying “You will not win.” This is a reference back to the season premiere, when Tara faced the same phrase. What does it mean? Is it a new, unseen alter fighting against her? Or is it her, fighting against whatever caused the condition? This seems to be a whole-season mystery. The whole situation has really raised this season to whole new levels, making it far superior to the first two.

     A side plot where Dr. Hattarras tries, and eventually succeeds, in trapping a rat that has infested his office, is curious. Is the rat a methaphor for Tara’s condition? It proves elusive and grates at him, and then, all of the sudden, he understands it? Perhaps it is just a silly gag, but that seems unlikely.

     How important is family? In this week’s episode of Showtime’s The United States of Tara, “The Road to Hell Is Paved With Breast Intentions,” Neil (Patton Oswalt) calls his mother-in-law, Beverly (Pamela Reed), who is estranged from her daughter, to reconnect with the family. Neil’s motives are not pure. He and Beverly’s daughter Charmaine (Rosemarie DeWitt) have recently had a baby, and since Neil lost his job, his hope is that the rich Beverly will spend a bit to help them out during her stay. Unfortunately, Beverley no longer is swimming in cash, and that motive never pays off.

     It may seem callous of Neal to invite Beverly just for that reason, but Beverly spent many years lying about very important things to her family, and may be part of the reasons that her other daughter Tara (Toni Collette) developed multiple personalities. Because of that, Tara and Charmaine have cut their mother out of their lives, much to Beverly’s chagrin. Is it wrong to use someone when they don’t deserve your respect and love?

     Beverly realizes immediately why Neil has called her, but decides to go anyway, without telling anyone the truth. She just wants to meet her infant granddaughter. The debate here is, is Beverly just as manipulative and conniving as she was, or does her desire to know her daughter’s child supersede the not-so-nice way she goes about it? This isn’t easily answered, as both sides of the disagreement have valid positions and arguments.

     Personally, I am always for the importance of family, and despite the bad things that Beverly did, she should be in her daughters’ and granddaughter’s life as much as possible. That’s why it is so sweet that Tara decides to reach out to her mother as part of her therapy. Perhaps Tara is dealing with the difficult Beverly for somewhat selfish reasons, but at least they are renewing their relationship. That is something to be thankful for.

     This week on Showtime’s The United States of Tara, Tara’s (Toni Collette) kids, who aren’t yet quite adults, continue to forge their own paths, as their parents are too busy to offer much guidance. It’s resulted in a situation where both Marshall (Keir Gilchrist) and Kate (Brie Larson) have made some not-so-wise choices. In “The Road to Hell Is Paved With Breast Intentions”, this continue to act on following the decisions they have made.

     Kate is now a flight attendant, which is the latest in a long line of attempts to figure out who she is. It is not likely that Kate will stay a slight attendant very long, as nothing else she has done ever sticks either, no matter how much she initially likes it. While Kate is still young enough to make some mistakes, and search for her calling, she does need to spend some serious time considering, instead of jumping wildly from one thing to another without forethought. Otherwise, perhaps Tara isn’t the only crazy lady in the house.

     Daughter Kate also spends time flirting with a passenger. After subtly being rejected by him, she asks him out directly, to which he also lets her down. While Tara’s motherly advice to go for it may have been good given the facts that Tara knows, Kate could have predicted what the passenger’s response would be, given his behavior. And after such a brief meeting, why is she so smitten? It continues her pattern of obsessing over things she knows little about.

     Marshall, on the other hand, who always did carefully consider things, is now also acting on impulse. After a threesome instigated by Marshall’s boyfriend, Lionel (Michael J. Willett), Marshall ends up kissing the third party, Noah (Aaron Christian Howles, Swingtown). Lionel dumps Marshall when he finds out, and Marshall and Noah immediately begin seeing each other.

     While Marshall’s unhappiness with Lionel is relatively clear, especially when Marshall admits that part of the reason they are together is because of lack of choice, he is going about things all wrong. It would be out of character for Marshall to cheat, except, he is a teenager who recently first experienced physical love, and he is pursuing the guy he wants at the time. Hormones and lust can cause people to behave illogically, and Marshall has subcumbed to that.

     In this week’s episode, Marshall and Noah look at home movies, and discover a real love between Tara and Max (John Corbett) that is not exactly what Marshall is used to seeing. What he now realizes is that his parents have a real, loving, stable relationship based on deep emotions, not just physical attraction. Despite Max and Tara’s problems, they have a strong marriage. Hopefully, Marshall will use this new realization in his own love life, and stop acting so stupidly.

     United States of Tara airs Monday nights at 10:30 p.m. ET on Showtime.

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

     Go to amazon.com to buy past seasons of The United States of Tara.


 My Other United States of Tara Reviews:

United States of Tara says "...youwillnotwin...": Tara / The Rest of the Family

United States of Tara is held together by love

United States of Crazy