New Look for PERRY MASON

Article first published as TV Review: PERRY MASON on Seat42F.

HBO brought back a beloved character of literature, radio, and television this week with their new PERRY MASON show. This is a prequel story, set before the titular man becomes the defense attorney he’s been portrayed as in the past. Set in Los Angeles 1932 during the Great Depression, Perry is a noir private eye working for a lawyer and taking care of his family farm, which he should probably unload, given it boasts a mere two milk cows and is at an airport. How does the drunk absentee lawyer become a hero in the court room? Keep watching to find out.

Matthew Rhys (The Americans) stars as Perry Mason. Rhys is an extremely talented actor, as many already know. His performance in this is as impressive as it customary for him. There’s plenty to sink his teeth into for this role, as Perry is deeply troubled, mostly legitimately. His entire past isn’t revealed right away, so there are still some unanswered questions, such as why did he leave the military dishonorably? But the things we can see make him as sympathetic as he is tortured, so substantially.

Rhys is surrounded by other fine performers. John Lithgow (The Crown) is a lawyer Perry is working for named Elias Bichard Jonathan. Juliet Rylance (The Knick) is Jonathan’s more-than-capable assistant, Della Street. Shea Whigham (Boardwalk Empire) is Pete Strickland, Perry’s co-hort. Tatiana Maslany (Orphan Black) doesn’t show up in the premiere, but is playing a religious leader named Sister Alice that promises to be compelling. Chis Chalk (Gotham) is similarly absent from the pilot, but will be a good cop among the bad. Plus, Nate Corddry (Mom), Robert Patrick (Terminator 2), Eric Lange (Lost), and a slew of less recognizable, but no less skilled, actors join them in smaller roles.

The design, costumes, and sets are no less impressive. Every item of clothing, prop, and vehicle is beautifully recreated and sets the scene brilliantly, though we should expect no less from a big budget production like PERRY MASON. In particular in the pilot, the original Angels Flight train is recreated in its previous location. This is noir, but realistic looking noir.

As good as everything looks, a lot of the characters are total scum of the Earth. The cops we see are like a gang, more interested in lining their pockets than protecting and serving. The Hollywood execs aren’t any better, trash looking after trash with violence and threats. There are good people in this world, like Perry Mason, and they can even thrive without doing too many bad things. But they do have to exist in the muck alongside the worst of humanity, and that informs their characters, making the whole piece rather depressing.

This is where fans of the old PERRY MASON may have an issue with the new version. The old Perry was a shining beacon, while this one isn’t separate from the baddies. They are often the people he works with and for.

The biggest obstacle, though, might be just how disturbing some of the visuals can be. I’m no stranger to violence and gore, and who can be in today’s prestige television landscape? But PERRY MASON finds new depths in a single hour. A dead baby, rendered in stomach-churning detail, is only briefly on screen, and yet it feels like too long. I won’t go into anything further, but if child violence is a trigger for you, steer clear of this show. And even if it isn’t, it’s extremely hard not to be affected by its portrayal here.

Is the world ready for a gritty PERRY MASON? Will subsequent seasons grow him into someone a bit cleaner, or is this destined to be a one-off miniseries experiment? Either way, it’s a very well-made, well-acted series, and unless they do worse than the baby, I’ll be tuning in to see how it turns out.

PERRY MASON airs Sundays at 9PM on HBO.

Blu-ray Review: 'The Heat'

Article first published as Blu-ray Review: 'The Heat' on Blogcritics.

The Heat was recently released on Blu-ray and DVD. The comedy-action movie is the story of a stuck up FBI agent named Ashburn (Sandra Bullock, Gravity) forced to partner with a rough Boston police officer named Mullins (Melissa McCarthy, Bridesmaids) to take down a drug kingpin. In one another they find friendship while learning something about themselves.

The Heat is a typical buddy cop movie for much of the running time. This time, the cops are women, meant to be novel take on the genre. True, there have not been dozens of female buddy-cop movies, however, the plot is pretty standard fare, so novel, it’s not.

The main draw of The Heat is the casting of  Bullock and McCarthy. They don’t seem a natural pairing, so of course one expects it to be entertaining when the two are thrust together. They are both terrific actresses, and have created two mostly well-defined, layered characters, but the material drags them down.

They are surrounded by a great comedic supporting cast. Marlon Wayans (Scary Movie) plays a fellow agent with a crush on Ashburn. Dan Bakkedahl (Legit) is a creepy albino DEA officer, and his partner is played by Saturday Night Live‘s Taran Killam. MADtv‘s Michael McDonald is a villain, and Back to the Future‘s Tom Wilson is Mullins’ boss. The cast also includes Tony Hale (Arrested Development) and Kaitlin Olson (It’s Always Sunny in Philadelphia). But none of these comedy stars manages to really contribute much of anything major to the movie.

We are introduced to Mullins’ family, constantly bickering and ripping on one another. Jane Curtin (3rd Rock from the Sun), Michael Rapaport (Prison Break), Nate Corddry (Harry’s Law), Joey McIntyre (Boston Public), Michael Tucci (Diagnosis Murder), Bill Burr (Breaking Bad), and the comedy duo Jessica Chaffin and Jamie Denbo (Ronna & Beverly) make up the loud-mouthed clan, who frequently improvise. They could easily fill out their own spin-off movie, a la The Klumps, only they’d probably be quite a bit funnier, which, to be fair, isn’t saying much.

Now, with Mullins’ family and a semi-clever twist at the end, The Heat isn’t a complete waste of time. Plus, there are some really nice scenes between McCarthy and Bullock. Overall, though, the film left me feeling a bit empty.

Director Paul Feig (Bridesmaids) also co-created Freaks and Geeks, and directed episodes of a ton of great TV shows, including The Office, Arrested Development, and Nurse Jackie. With his record and a great cast, you might think The Heat would be at least amusing.

There are a ton of special features on this release, including additional footage. There are deleted, extended, and alternate scenes. There are also a number of 10-minute segments of themed deleted scenes and bloopers with introductions by Feig. Which means if you do like the film and want more, you can spend hours pouring though the unused footage. Plus, we do get to hear about how the movie was made, and multiple audio commentaries, including one by the Mystery Science Theater 3000 guys, are included.

There is not a strong argument for going Blu-ray over DVD on this one. I always love watching things in the best quality available, of course, but there aren’t really any dark scenes, special effects, or detailed audio bits that beg for high def. Your experience would probably not be much negatively impacted by going with standard definition. Of course, even if nothing really pops in the visual or auditory, clarity is always appreciated, and the Blu-ray is an extremely clear presentation.

The Heat is available now.

No Hugs From MOM

Article first published as MOM Review on Seat42F.

CBS is definitely in the Chuck Lorre business. Already airing Two and a Half Men, The Big Bang Theory, and Mike & Molly, Lorre’s latest creation, or rather co-creation, MOM, premieres tonight. Not as funny as Big Bang, but way funnier than Men, MOM ranks in the middle of the pack for CBS sitcoms. With the fantastic cast, though, it just may make it long enough to grow into something special.

The mom at the center of MOM is Christy (Anna Faris, Scary Movie). Christy really does not like her life, and blames her mother, Bonnie (Allison Janney, The West Wing), for her problems. See, Bonnie was a terrible parent, more concerned with drugs, alcohol, and men than with her child, meaning Christy was not nurtured and had to fend for herself. Sadly, as she became an adult, Christy has turned into Bonnie.

As the “Pilot” begins, Christy is sleeping with her married boss, Gabriel (Nathan Corddry, Harry’s Law), working as a waitress, battling with Baxter (Matt Jones, Breaking Bad) over child support for their son, Roscoe (Blake Garrett Rosenthal, New Girl), and wishing her teenage daughter, Violet (Sadie Calvano, Melissa & Joey), would stop having sex. Unfortunately, given Christy’s track record, she has little ground to stand one with that last one.

But now, Christy is trying to set herself on the right course. She’s been sober for about six months, finally starting to pay attention to her children and job. For her house in order and break the cycle with Violet, though, she’s going to have to reluctantly accept the help of Bonnie, who is also off of alcohol, though not completely free from drugs.

The beginning of the episode, in which Christy cries to her customers, is pathetic and not at all funny. It’s not a promising way to start a “Pilot,” and viewers will be forgiven if they flip the station in the first few minutes. Stick with it, though, and you may be pleasantly surprised by the end of the half hour. MOM doesn’t tell Christy’s story in the first couple of minutes. It allows itself a full half hour to slowly unfold the plot, giving you one piece of the picture at a time. Later, you will realize the parallels and it all makes much more sense.

MOM bills itself as a comedy, but the reason I ended up liking it is because it packs an emotional wallop. There is something extremely sad about Christy and her situation. She is amusing when she flips out and gets frustrated, but some of this is to distract herself so she doesn’t break down sobbing. The crying scene at the beginning may have seemed inauthentic, but one quickly begins to admire Christy for not tearing up more often.

Christy is a strong woman. She’s made some mistakes, but she’s ready to turn things around, and putting forth the effort to do so. In the “Pilot,” we see her make sacrifices for her kids, but also struggle to connect with them. Perhaps these are common parts of being a mother, but they are extra hard for Christy because of where she is starting from, already having fallen so far.

Now, one may wonder if that’s the recipe for a good series, since once Christy is able to make headway, there will be less tension for her to combat. The answer, however, lies in the brilliant casting of Faris and Janney. Both superb actresses, the chemistry they exude immediately is entertaining and ripe for development, not only heart-wrenching, but extremely funny. Their rivalry and lack of understanding of one another could be rich fodder for years to come.

Toss in Corddry, who is always excellent, Jones, who takes the comedic element he provides in AMC’s dark drama and extends it, and French Stewart (3^rd Rock From the Sun) as the jerk Chef Rudy, and there is the makings of not only a strong mother-daughter relationship, which will be the show’s spine, but enough nice filler to provide enjoyable subplots and side trips.

MOM is not my favorite new sitcom of the fall, but it definitely has promise. I’m ready to find out where it goes. MOM premieres tonight at 9:30 p.m. ET on CBS.

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.

Harry's Law finds the "Gorilla My Dreams"

     NBC's Harry's Law goes into some deep, moral issues with "Gorilla My Dreams." While duck hunting, Harry (Kathy Bates) and Tommy (Christopher McDonald) meet a young woman (Emily Rose, Haven, Brothers & Sisters) who is harboring an escaped gorilla. The zoo wants the animal back, but with an IQ near 90, and demonstrable self-awareness, communication skills, and emotion, the woman argues he belongs somewhere more kind. In the meantime, Adam (Nathan Corddry) defends a high school crush (Smallville's Erica Durance) who, after being abused and raped by her own husband, dresses up as Wonder Woman and beats on abusive spouses.

     First, the gorilla (pun intended) in the room in "Gorilla My Dreams." The gorilla is an obvious puppet, which does distract and take away from the story. Couldn't the series have hired a trained animal instead? Sure, the gorilla is required to do a fair amount of acting that might make it hard for a simple animal, but it would look far better. Also, no need to say the long name of that made up Cincinnati zoo so many times. The message is clear: Harry's Law doesn't want to be sued by the real Cincinnati Zoo.

     That aside, it's a fascinating story! Apparently, some European countries have already granted the great apes personhood in the eyes of the law. And why not? If they can think, reason, and communicate, doesn't that qualify them to deserve treatment above that of livestock? Yes, the law sees them as property, but perhaps they shouldn't be. Admittedly, that would make it hard for zoos and medical researchers to continue to use them in the manner they do. But that could be a good thing, too. If mankind is causing suffering of creatures how can feel it, be upset about it, and process what is happening, it doesn't seem right. One look into those big, black, mournful eyes, and there is no doubt in the viewer's mind that this monkey deserves to have his feelings taken into consideration.

     However, unlike David E. Kelley's previous legal dramedy, Boston Legal, a fantastic show, by the way, Harry's Law gets a little more realistic with these far-out cases. Harry loses, despite her best efforts, and the ape is returned to the zoo. This makes total sense from the standpoint of the judge, as there is no precedent in the American courtroom, and a TV series isn't likely to change that in the real world. Harry's Law would rather point out the flaws in the system and make fans grieve over the injustice then deliver a feel-good ending. This deserves kudos, because it is socially responsible. The message may resonate with someone who can change things, which would be a wonderful legacy to leave behind. And if it does, Harry, who vows to keep fighting for this particular ape, can revisit the case down the line and reach that happy ending yet.

     The second case in "Gorilla My Dreams" will resonate even more strongly. The justice system is feeling abused spouses, who have a hard time standing up to their tormentors, and an even harder time getting charges to stick. With little recourse, it's inspiring that a vigilante would rise up to offer protection. The reasonable arguments about why this cannot be allowed do ring true. However, that doesn't change the fact that something within the system is broken and needs fixing. As such, again, Harry's Law makes an issue out of something that isn't right in the world, hoping to shed a little light on it so that people may stand up and protest.

     Now, one may argue that Harry's Law is "just" a television show, and its sole purpose is to entertain, not spark societal change. But reviewing the body of Kelley's work, it seems obvious that there are other motivations as well. Plus, with the Arab Spring and Occupy Wall Street movements, now may be the perfect time to embark on such a mission. Current events have left the world hungry for positive action and a shift towards fairness. What better time to deliver a legal series to the airwaves that understands these feelings, and seeks to address them? Harry's Law might be a legal procedural, but it's a hell of a good one, and hopefully what is going on in the world at large will feed the show's success, and vice versa.

     Also, there were some escaped exotic animals on Ohio recently, so good pull from the headlines!

    From a purely television standpoint, it must also be mentioned that "Gorilla My Dreams" is packed to the gills with fantastic guest stars. Besides Durance and Rose, Tony Plana (Ugly Betty, Desperate Housewives) plays the judge deciding the vigilante case, Robert Picardo (Star Trek: Voyager) is an expert that testifies for the firm, and Bill Smitrovich (Kelley's The Practice) is Harry's courtroom opponent. Plus, Matt Servitto returns as Judge Kirkland for Harry's case, and he is always welcome. The fact that this show attracted so much talent for just one episode, and not even an event or sweeps episode, should overtly hint that something wonderful is happening here.

    Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

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Harry's Law atones for "Sins of the Father"

     NBC's Harry's Law begins season two with a three-part episode, culminating in "Sins of the Father" this week. Harry (Kathy Bates) finally gets to court with Eric's (Alfred Molina, Law & Order: LA, Spider-Man 2) case. She argues fiercely, though a few, last minute surprises pop up. In the end, Harry plays a hunch and exposes D.A. Roseanna Remmick's (Jean Smart, 24, Samantha Who?) misconduct, spurring Judge Kirkland (Matt Servitto, Brotherhood, The Sopranos) to dismiss the case. It's only later that Harry realizes the real cold, calculating killer is Eric's daughter, Bethany (Daisy Betts, Persons Unknown).

     The Eric Sanders case is an intriguing legal mystery, recalling some of the best arcs of creator David E. Kelley's previous series, The Practice. There are twists and turns, a true villain of a prosecutor, and a fair-minded judge. There's a client that it is unclear whether he is guilty or not, and enough surprises to keep anyone interested. As such, "Sins of the Father," and the first two parts, "Hosanna Roseanna" and "There Will Be Blood," together make up a fascinating story and a strong season premiere.

    Harry's Law leaned more towards Kelley's Boston Legal than The Practice in season one, focusing on outrageous characters and situations. Considering that BL's run was much shorter than The Practice's, it may be a wise decision to pull back towards the serious. A dark, gruesome murder is not what one might expect from Harry's Law, so it certainly serves the purpose of defining the retooled show. Especially considering that the preview for episode four looks to be just as severe.

     But the show has not completely lost its fun side. The shoe store is still present, though Jenna (Brittany Snow), who runs it, has been reduced to guest star status, and is rarely seen. Instead, she has been replaced by Cassie Reynolds (Karen Olivo, Adrift in Manhattan), a serious and tough lawyer. Adam (Nate Corddry) is still around, but is less featured thus far. On the more outrageous side, Tommy Jefferson (Christopher McDonald) has been promoted to series regular, and shares office space with Harry. Which is good for Harry, because she needs him to loosen her up. Oliver Richard (Mark Valley, Boston Legal, Human Target) joins Harry for this case, and as he is a main character, probably for others. His constant insistence on repeating "Take it outside" lets him be a little goofier than his previous Kelley character, and it is nice to see him re-enter the universe.

     The biggest change in Harry's Law is a depressing one, though hopefully just temporary. While the series begins with Harry seriously depressed, she feels purpose throughout season one, helping those who truly need her. As season two begins, it is apparent right from the beginning she is back in her slump. She trudges around looking miserable, and has no fun on Eric's case. Tommy points this out to her, basically telling her that life is too short to be miserable. Thus, despite her new success, it may not be long before Harry chooses to downgrade again. Or, better yet, just reform the place she runs. It's nice to see her with staff and business, even if it comes a bit too quickly. So reappropriate the firm's resources, or give the darker cases to Oliver and Cassie. Harry has lost her spirit and she needs it back.

     That little musing takes nothing away from "Sins of the Father," in every way a brilliant, serious legal drama. Kudos to Harry's Law for producing such an engaging three-parter. Watch Harry's Law Wednesdays at 9 p.m. ET on NBC.

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Harry's Law dances its "Last Dance" of the season

     NBC's Harry's Law just completed its first season this past Monday night. Only twelve episodes in the freshman season, not atypical, considering it did not premiere in the fall, though it is ending its run over a month before most of the spring finales. That's bad news, because it's been an enjoyable ride. At first, I thought it a lesser sibling to David E. Kelley's other awesome legal dramas, The Practice and Boston Legal, but it began to come into its own in the second half of the season, setting itself apart from the other two, and starting to define its identity. Good news for fans of the show, it looks pretty likely it will be renewed for a second season, though it is not yet official.

     While overall I am quite satisfied with the first season, I have some requests for season two. First, expand the cast. Four main characters is pretty small, especially for a Kelley series. Tommy (Christopher McDonald), Rachael (Jordana Spiro), and Damien (Johnny Ray Gill) all deserve upgrades. I would not argue against Peyton (Paul McCrane) or Judge Coulis (Amy Aquino) also making the cut, though find them less likely to, since they are more outside of the central circle. In a perfect world, Kim (Camryn Manheim) would join them, making a case for focusing on both the prosecution and the defense as The Practice did. But that is likely unrealistic, as she has already starred in a Kelley drama. I'd add Richard Kind to the list, but despite my affection for the actor, his character of Marty may not have the legs for full-time status. Just please make him recurring.

     I'm also almost ready for a new office. Because the shoe store has served so little function, I think it will be time to upgrade the digs by at least the middle of season two. I like the idea of Jenna selling shoes at the same place the other practice law, but it has not yet been very important to the story, and certainly never been a major plot element. We can loose the store easy enough, though they should stay in the same neighborhood, as that has become a character unto itself. Kelley said that Harry would begin to work her way up the ladder as the series went along, so let's see a bit of that. Just not so far up that she forgets where she is starting from. In conjunction with the set improvements, we also need some more income. Perhaps Tommy could join forces, but retain his type of clientele?

     In the finale, Harry (Kathy Bates) defends Josh 'Puck' Peyton, a frequent court room sparring partner of hers. Peyton, known for his tendency to repeat phrases, has been facing a bit of a breakdown, having stripped and ranted in the courtroom an episode earlier. Apparently, the craziness continued as he walked into a house that wasn't his, something that happened off screen before the episode begins. Harry is drawn to Peyton as she seems to be to all misfits who are essentially good people, and defends him. He gets off with a time served sentence, and a beautiful friendship is born. Let's hope Peyton's leaving the D.A. will not keep him off the series.

     Could there be something more than friendship between Harry and Peyton? While Harry seems to resist any romantic story, Peyton does ask her to be his date to a legal gala. She turns him down because she already has a date, the often obnoxiously over the top Tommy Jefferson. Here, Harry is sought after by two men, at least to accompany them for the evening. Yet, only her offense at Tommy complementing another woman shows even the slightest interest on her part of anything beyond one evening. Personally, I'd love to see Harry pursue either Tommy or Peyton, both fun characters. This is a side of the character that needs development.

     I do not understand the hesitation to take these steps towards romance. Perhaps it's because Harry's personality is so off putting, though that argument begins to fall apart when you look at just how many people befriend her whether she wants them or not. Either way, I think the older group needs to be given their relationship due as much as their younger counterparts.

     Both Tommy and Harry have had exes appear on the show, both played by fabulous actors. Harry's Marty (Richard Kind) is a defense lawyer, while Tommy's Kim is an assistant D.A., which opens up the door for both of them to return. It also means a Tommy-Harry pairing could come complete with already introduced past baggage to get in the way.

     Adam (Nathan Corddry) has ended his love triangle as things come to a head with Rachael (Jordana Spiro) in the finale. The two work together to try to stage an appeal for a client on death row (The Blind Side star Quinton Aaron). Of course, their feelings get in the way, as Adam has recently left his girlfriend and declared ongoing emotions for Rachael. Rachael, in turn, proposes to her boyfriend as a reaction. Her strong mood swings, one moment hating Adam, the next calling him her best friend, exhibit her own feelings for him, even if she has trouble deciding what to do. Kim lets the engagement slip in her office, making Adam ask for time apart from Rachael as soon as the case is finished.

     Honestly, I didn't know which element of the Adam and Rachael scenes to care about more. Obviously, I love me a good serial plot, and things between Adam and Rachael have been brewing for some time. I could have jumped up and down cheering when she shows up at his office at the end of the episode and kisses him. I assume she then left to break up with her fiance.

     On the other hand, Aaron makes a fantastic guest star, and his story is extremely moving, especially after he loses his appeal. I hope he returns in season two so that Adam and Rachael have anther chance to save him from execution. I believe he's innocent! Both Kim and Adam and Rachael made such strong arguments, I can accept that the duo lost. Yet, Aaron is such a great get for the show, it would be a shame not to see him again.

     I'm still not totally on board with Jenna (Brittany Snow) and Malcolm (Aml Ameen) as a couple. She has such a strong personality that he is likely to be completely overshadowed by her. Plus, Malcolm is on the verge of getting his life together, and has a lot of work ahead of him. I don't know he can possibly do well in law school and put up with the very high maintenance Jenna. I like both of them separately, but think they would work better with other people. Should they continue, at least stop the pattern of her getting angry at him in every episode and giving him the silent treatment until he has to apologize for something he didn't even know he did. Three consecutive episodes of it is fine, as have already been done, but any more, and it'll get old really quick.

     Thank you Kelley, Bates, and the rest for a nice show that proved pretty darn entertaining. I look forward to more of it.


Article first published as TV Review: Harry's Law - "Last Dance" on Blogcritics.

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Harry's Law Doesn't Do Hugs

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     I have been excitedly anticipating the premiere of David E. Kelley's new series, Harry's Law. Not only was I a huge fan of Kelley's The Practice and its parody-like spin-off, Boston Legal, but I adore the legendary Kathy Bates, who stars as Harriet 'Harry' Corn. Adding to my delight was the casting of Nate Corddry (Studio 60 On the Sunset Strip, United States of Tara), whose credit list is still rather short, but who is a reliable delight, and whose career seems to be gaining steam. Having just finished watching the pilot, I was far from disappointed.

     I expected Harry's Law to be more like BL than TP, but that was not the case. It was a serious show, with just enough humor mixed in to make it enjoyable, as well as set it apart as different from the scores of other legal shows currently on the air. Admittedly, there were some outrageous moments, including the first five minutes, when Harry miraculously was uninjured in two serious accidents, and Corddry's impassioned speech to the judge. Zany characters, such as the prosecutor who repeated himself, were kept low key enough to not be distracting. However, much of the show was Harry grumbling at the people who forced themselves into her life, intent on accompanying her on her new adventure.

     Oh, did I forget to mention that there are Eli Stone elements? Not that Harry is finding god, but that she is embarking on something totally different from her life thus far, and finally finding herself, as well as meaning. After thirty-two years in patent law, Harry gets herself fired in less than a month when she stops caring. Granted, I am baffled that the firm didn't try to fix her attitude, as she is billed as top of field, rather than just ditching her, but it was a necessary first step on her journey of self discovery.

     I was further thrilled that the series is set in Cincinnati, Ohio. Though I have not lived in Ohio for a little over a year, I spent most of my life there until recently, and still love the state dearly. Sadly, I see little of the real Cincinnati in the sets, but I'll give it time and the benefit of the doubt. The street set provides my only real complaint, though. The neighborhood Harry opens her new office in is supposed to be crime-laden, yet still looks beautiful, with well cared for green trees, and some of the cleanest stone buildings I've ever seen. Couldn't the prop people make the street look at least a little dingy?

     If it seems like I'm taking awhile to get to specifics of the show, it's because this is a series hard to define. The real success isn't in the broad scopes, but the details, which come heavy and fast. Harry's world is a specific place, somewhere outside our own, but every bit as authentic.

     As you may have heard, the actual office in Harry's Law is a unique set. She now works in a shoe store. It was abandoned, with its stock, by the previous tenants. Harry wanted the shoes gone, but her assistant, Jenna (Brittany Snow, American Dreams) saw the value in the merchandise, and insisted on selling the footwear on the side. She even painted the storefront window to read 'Harriet's Law and Fine Shoes'. Will they restock once the current supply runs low? I hope so. Kelley has promised that Harry will face real growth should the show run for awhile, and will likely grow in power and clientele, making me fear the shoe element may be abandoned in a year or two. Might I suggest her shoe retail business grow with her? It's a really charming element.

     The shoe store is far from the only charm in this show, bursting at the seems with Kelley's trademark handiwork. Both of Harry's death defying stunts were not only humorous, but also served the purpose of introducing new characters. Adam (Corddry) hit her with a car, and insisted on working for her in atonement. The other accident was caused when Malcolm (Aml Ameen, The Bill) attempted to jump to his death, and landed on Harry instead. Malcolm ended up being Harry's first case, and was hired on as a paralegal at the end of the episode. A unique way to introduce main cast.

     I may be emphasizing the humor too much. There is a lot of heart here as well. Despite Harry insisting that she doesn't do hugs, she found herself the recipient of a number of them. Number one on the list was because of her defense of Malcolm. She knew Malcolm was a lost cause, but made a last ditch effort to appeal to compassion. She hoped to turn one jury member in her favor, despite Malcolm undeniably falling on the wrong side of the law. Harry failed at that, but she did win over the judge. Harry puts up a show that she doesn't care, but it's a token move, as most everyone can see right through her. Harry is going to do the right thing, no matter what it costs her. How can you not like a character like that?

     On Boston Legal, sometimes Kelley's characters got up on their soapbox, arguing political views. Harry did the same in the pilot of Harry's Law, making a plea for legalizing drugs. Yes, the message is liberal, though as Harry points out, it began as a conservative idea. As someone that mostly agrees with Mr. Kelley's liberal agenda, I take heart at his preachy writing. However, on BL, the liberal Alan Shore was balanced by the conservative Denny Crane (though I admit Crane softened as the series went on). What Kelley seems to be trying to do now is to put both sides of the idealistic aisle in one person: Harry. It's a delicate balance, one I assume will lean liberal a little more often, but I applaud the effort. Most of us fall somewhere in the middle, and can see both sides of many issues. I like that Harry is a real character that can, too.

     Fleshing out characters is something Kelley does extremely well. Not only are Harry and Adam well defined, helped along by extremely talented performers, but Jenna, Malcolm, and sympathetic neighborhood thug / self appointed security officer, Damien (Johnny Ray Gill), is, too. There is such a strong voice in this show, it's hard not to be impressed. Kelley has certainly created another triumph.

    Please do check out Harry's Law, which is destined to be a great series. Good first night ratings make me optimistic that your time will be well invested. Harry's Law airs Monday nights at 10 p.m. on NBC.

Article first published as TV Review: Harry's Law Doesn't Do Hugs on Blogcritics.

What is Childrens Hospital?

     What is Childrens Hospital?  The title of the first episode, which aired last Sunday on Cartoon Network's Adult Swim, is "Hospital Isn't a Place".  Wikipedia tells me that it is named after Dr. Childrens.  It also says that it is a web series for TheWB.com created by Rob Corddry (The Daily Show).  Rob not only gets writing and directing credit, but also is one of the stars, playing a doctor who always wears clown makeup.  Disturbing, yes.  Funny, doubly yes.

     Although this started as a web series (apparently in 2008, from the dialogue), two episodes will air each week for the next month or so.  Each episode is about 5 minutes.  The two this week were divide by a faux commercial for a crime show called "NTSF:SD:SUV", or "National Terrorism Strike Force: San Diego: Sport Utility Vehicle."  It advertised a 12 hour season finale special event, so I'm thinking that it isn't real.  Like Childrens Hospital, it mocks a popular television genre.  After all of the webisodes have aired, new episodes will begin running on August 22nd.

     CH spoofs popular medical dramas.  It's biggest source seems to be Grey's Anatomy, as the narration, personal drama, and sex seem to best match that show.  It also pulls from ER and M*A*S*H.  The best M*A*S*H reference was a voice on the hospital loudspeaker asking Captain Pierce to report to Colonel Blake's office, two characters from the old sitcom.  Also, the character who does the announcements is named Sal Viscuso, an actor who frequently did the announcements on the show it copies.  The voice is performed by Michael Cera (Juno, Arrested Development), a big name talent who isn't even seen on screen.

     Cera isn't the only well known personality to populate the medical comedy.  The series stars Lake Bell (How to Make It in America, Boston Legal), Erinn Hayes (Parenthood, Worst Week), Rob Huebel (Human Giant), Ken Marino (Veronica Mars, Party Down), and Megan Mullally (Party Down, Will & Grace).  Some of them have funny names, such as Bell's Cat Black, some have funny mannerisms, such as the Chief's crippling ailment, that seems to be not only undefined, but change throughout the episode.  The first two episodes boasted guest stars the like of Nate Corddry (Studio 60 on the Sunset Strip, United States of Tara), Nick Offerman (Parks and Recreation), and Ed Helms as Dr. Ed Helms (The Office).  Bell will be reduced to recurring status when the season two episodes kick in August 22nd, but the cast will add Malin Akerman (Watchmen) and Henry Winkler (Happy Days, Arrested Development).

     So, what is Childrens Hospital?  Sadly, I cannot tell you that, or even what it's about, and that makes it hard to review.  I'll let all of those names up there stand for the show, and if that doesn't encourage you to watch it, I don't know what will.  That much talent doesn't come together for crap.  I can tell you, the first episodes were hilarious!  Childrens Hospital airs Sunday nights 10:30 on Cartoon Network.