Wake Up to THE MORNING SHOW

Article first published as THE MORNING SHOW: TV REVIEW at Seat42F.

WARNING: This review contains spoilers for the first three episodes.

One of Apple TV+’s new dramas is THE MORNING SHOW. Set at a Good Morning America type of series, the program follows anchors past and present as they navigate through the current political climate and their own ambitions. Featuring an all-star cast, this is probably the best program I’ve seen from the brand-new streaming service so far.

As the pilot begins, sexual harassment charges go public against veteran anchor Mitch Kessler (Steve Carell, The Office). The network reacts quickly, firing him. Producer Chip Black (Mark Duplass, Togetherness) is thrown because he was preparing to let go Mitch’s on-air partner, Alex Levy (Jennifer Aniston, Friends), go for being past her prime (in talent, not age). All this drama excites the new head of news for the network, Cory Ellison (Billy Crudup, Watchmen), and other anchors like Yanko (Nestor Carbonell, Bates Motel), Daniel (Desean Terry), and Alison (Janina Gavankar, The League) want the empty seat. But it’s little known, passionate, online sensation Bradley Jackson (Reese Witherspoon, Big Little Lies) that swoops in and takes the spot.

The plot of THE MORNING SHOW is beyond juicy. It has the #MeToo controversy that is still so relevant, but also all manner of scheming and backstabbing. While none of the characters come off as unlikeable, there is plenty of insecurity and ambition. Besides those mentioned above, behind-the-scenes staff Hannah (Gugu Mbatha-Raw, Touch) and Mia (Karen Pittman, Luke Cage) seem like key players, as does Alex’s secretly estranged husband, Jason (Jack Davenport, Smash). So there’s no shortage of participants, and not all of their motivations are immediately clear.

Add to all the individual concerns, there’s the business perspective of a network and a popular, but struggling, series that that must be taken into consideration. The Morning Show is losing ground to competitor Audra (Mindy Kaling, The Mindy Project) and looking to shake things up; Cory himself is a new approach. So even before Mitch blows everything up, there’s tension. But with this latest development, no easy way out is apparent, leaving the cast to fight amongst one another.

What’s more, there are actual questions of journalism and responsibility layered in. Bradley is temperamental, to be sure, but there’s a level of genuineness and naivety to her role. She believes in the profession and the mission, and doesn’t like being used as a pawn, which she’s smart enough to pick up on immediately. Will she bring back what The Morning Show needs to rise again, or will it chew her up and force her to be something she isn’t? And which needs to happen for the show to succeed? This isn’t The Newsroom, after all, and drama can equal ratings.

Perhaps the toughest part for some to swallow is the effort made to humanize Mitch. It’s very easy to write him off as soon as the rumors start, and the all-too-ripped-from-the-headlines button under his desk does him no favors. But then, in the third installment, Mitch is talking to his high-profile friend (Martin Short, Saturday Night Live) about snap judgments and nuance, and there’s a moment where some may start to feel sorry for Mitch. Not because his behavior was excusable (it isn’t), but because he truly doesn’t know why he’s been taken down, or how what he did was wrong. Should inappropriate consensual relationships be a death knell for a career? As a straight, white man, I refuse to weigh in on that and I certainly understand how some may have no sympathy for him, but I’m fascinated by the questions raised. What is an appropriate punishment for the details of his case?

Reviews for THE MORNING SHOW have been mixed, but I like it. It’s smart, it’s quick, and it makes you think about things we should all be considering more carefully than we usually do. Catch it now on Apple TV+.

Visiting MIDNIGHT, TEXAS

Article first published as MIDNIGHT, TEXAS Season 2 Set Visit on Seat42F. (many more photos available at this link)

NBC’s MIDNIGHT, TEXAS returns for a second season this Friday. If you missed season one last summer, there’s still time to catch up on all ten episodes through Hulu. Or you can just jump in when it returns. But assuming you caught the show, based on the books by Charlaine Harris (True Blood), here’s a bit of a preview for season two, cobbled together from interviews during a recent set visit.

And yes, there will be spoilers. This is a preview, after all.

Season two picks up basically where the first year left off. A hotel has opened in sleepy Midnight, founded by new characters Patience (Jaime Ray Newman, The Punisher) and Kai Lucero (Nestor Carbonell, Bates Motel). They are gypsies who have been going from town to town healing people. They’ve faced some skeptics, and they found some believers. Now they’re ready to settle down and open up a more permanent shop. And they’ve chosen Midnight as the location, an invading presence in a town still trying to settle down from the last big event.

Carbonell, whom you may recognize from Lost, and who was sought after because the new show-runners worked with him on Ringer, looked to Reiki as a way to ground the character. He says the cast is made up of the nicest people, all so welcoming and willing to take big swings, and open to trying things in new ways. He’s very happy to have joined the ensemble. Carbonell learned to trust the moment and the director on Lost, especially during his 13-day shoot (a normal episode takes about eight days) on his character’s backstory episode, which was far different than he had imagined. Now, he brings those skills and experience to MIDNIGHT, TEXAS.

The hotel itself is a sprawling, impressive, versatile set, featuring a pool in the lobby that will definitely get some use. It’s a big of a departure for sleepy, lived-in Midnight. The building is also apparently “so much worse than just being haunted; you’ll wish that was the only problem.”

The hotel isn’t the only thing new that has come to MIDNIGHT, TEXAS. With showrunner Monica Owusu-Breen having left to oversee the new Buffy the Vampire Slayer reboot (which the cast universally insists she will ‘slay’), writer duo Eric Charmelo and Nicole Snyder (Supernatural), who worked on season one, have stepped into her shoes.

Nicole and Eric said their instructions for season two were clear: make it soapier, sexier, and scarier – essentially, like True Blood, but for network television. (Though not with the obvious move, bringing in Quinn, the weretiger character who appears in both book series. He’s still MIA this year.) With much of the material of the trilogy of books having been covered in the first two seasons, they also had a goal to set up the world for a much longer, larger, more dynamic story.

Everyone involved in the production seems to agree that they have succeeded in this. The action is more sprawling, no longer confined to Midnight, and more serialized. The cast claims the two-hour finale, which they were shooting during the set visit, and which involved a lot of night shooting, will blow your mind. Nothing has been spared.

Oh, and the great Jaime Murray (Defiance, Warehouse 13) has also come on board in an ‘integral’ role, though details about her part were not revealed.

Of course, not everything is about the new cast and sets. Fan favorite characters are well-served, too, with blossoming relationships explored and a threat coming from within, leaving you to wonder who is friend and who is foe.

Manfred (Francois Arnaud) still has to deal with the black ooze coming out of his ear at the end of season one. Plagued by “demon cancer,” he’s not quite himself as the story gets back underway. And he is beset by nightmares that aren’t just nightmares. Can he vanquish demons not just from the outside world, but from within himself, too?

At least it’ll be easy to hide the illness from his squeeze, Creek (Sarah Ramos), who is away at school, and so not around to catch him behaving badly. (Although Ramos is no longer a series lead, she will appear in season two of MIDNIGHT, TEXAS.)

Bobo (Dylan Bruce) has a few different things to contend with. For one, he’s bought the Cartoon Saloon, giving the place a Merlot’s-like feel. Second, he is enjoying his new relationship with Fiji (Parisa Fitz-Henley), his best friend.

Though, things will not necessarily go swimmingly for them. Haunted by past mistakes, Fiji has a lot about herself to figure out. Not to mention, being with her is going to endanger Bobo with a Final Destination-esque plot. So let’s hope the couple can get through that and come out the other side alive.

Perhaps a bit less dramatic is the wedded bliss of Olivia (Arielle Kebbel) and Lem (Peter Mensah). The couple has a few things to work on, such as re-decorating their shared living space into something suitable for them both, and the psychic connection they now have after Lem drank Olivia’s blood. But those aren’t deadly issues. Just fun.

Olivia has had a lot of emotional pain in her life, and this season will provide some healing. Not that she’s stopped being a badass assassin; quite the opposite. But she needs to learn how to embrace the wonderful parts of life, too, and to figure out how to be strong enough to be vulnerable.

Kebbel also promises satisfying, big resolution between Olivia and Madonna (Kellee Stewart), who was revealed to be working for Olivia’s father at the end of last season.

Then there’s Joe (Jason Lewis), whom after a millennia of hiding, is trying to figure out what his life is now. This will lead to some fresh temptations for the angel, and Joe will be forced to confront the person he was.

Which is not to say that season two of MIDNIGHT, TEXAS is backwards-looking. While the past does play into character development, it’s used to inform how the characters grow moving forward, not driving the plot as it sometimes did in season one.

It’s been said that Friday nights are a great night for genre television on the broadcast networks, and with MIDNIGHT, TEXAS moving into the regular season – albeit for a nine-episode run this fall, rather than trying to complete a full twenty-some episodes – let’s hope that stays true. The new and expanded sets look great, the story teased is intriguing, and the cast and crew seem to be having a lot of fun. I look forward to going along for the ride with them.

MIDNIGHT, TEXAS begins its second season this Friday on NBC.

"Death" Comes Again to BATES MOTEL

Article originally published as BATES MOTEL Review on Seat42F.

This article contains light spoilers from the season premiere.

BATES MOTEL begins its third season on A&E with “A Death in the Family.” Don’t worry, it’s not one of the main characters who has passed. But the death is important because it affects one of the players deeply, and helps shape a likely season-long or longer arc, providing some rich acting opportunities.

I liked Bates Motel from the beginning, but it’s really taken awhile to find its legs. By necessity, Norman Bates (Freddie Highmore) can’t start out being a total psychopath, yet there are many hints, some very blatant, about who he is becoming, and he’s more than hinting at his tendencies. The series will have to end with all the other main characters dead or having abandoned Norman, so there is no happy ending to be had. This is a madmen’s descent into total craziness.

“A Death in the Family” lets us feel that very strongly. When a new guest (Revolution’s Tracy Spiridakos) comes to stay at the motel, Norman is very odd around her. When a new school year starts, he resists it the way a small child would. When his mother sets a boundary, he is indignant and petty, but eventually gets what he wants. This is a boy no one is helping escape his destiny, and he’s becoming more and more comfortable with his oddities. It’s a wonder the townspeople, especially those who would remember him from high school, aren’t more leery of the small business owner during the movie this series is a prequel to, as his antics get quite public.

There is one scene in particular that illustrates who Norman currently is. He makes a decision that would seem quite natural for any other teen, but that feels creepy or worse from him. Based on the dialogue uttered by the other character in the scene, it seems like Norman may be seeking control. His actions are definitely much, much more selfish, rather than those a normal person would have in this situation. He’s manipulative and not attuned to others’ feelings. This is brought out even more when he then does something that runs counter to this decision later and he doesn’t notice. This is a pivotal moment for BATES MOTEL, likely signaling the impending doom of someone because Norman won’t be able to get out of them what he seeks, and this person probably won’t realize the true extent of the danger they are in until it’s too late.

Highmore continues to bring something special to this part, and I hope it doesn’t keep him from getting other work after Bates Motel. At this point, I can’t imagine anyone else in the role Anthony Perkins made famous. Highmore has that mix of terrifying monster and naïve innocence that make his character so compelling, even if one wants to stay far away.

It’s interesting that Norman goes so dark at a time when his home life is going so well. Norman, Norma (Vera Farmiga), and Dylan (Max Thieriot) are living in relative harmony, the latter two being respectful of one another and even offering assistance and advice. Of course, they both also have their own things that they focus on, which is how Norman slips through the cracks, but really, how much attention does a normal eighteen year old need? It’s only because Norman is so different, and his family can’t see it through their affection for him, that he is further lost to them.

There’s also development on the local drug plot, which involves Sheriff Romero (Nestor Carbonell) and Dylan. I am relieved that this is a comparably small portion of the hour, though, with it certainly not being Dylan’s primary plot. For any serial drama to make a certain number of episodes a year, there are usually some subplots less interesting than others. The drug trade is one of the lesser ones, but as long as it’s not focused on too much, it doesn’t really hurt the show.

Like I said, I like BATES MOTEL, but “A Death in the Family” may be the most interesting episode of the show aired since the pilot. It does some really neat things with some of the characters, and feels like it’s moving the story into the next, more murderous stage. I think there is a very limited lifespan this show should go, maybe four or five seasons max, but season three looks to be a very good one to watch.

BATES MOTEL airs Mondays at 9 p.m. ET on A&E.

The "Truth" About BATES MOTEL

Article first published as TV Review: 'Bates Motel' - Season Finale on Blogcritics.

A&E’s Bates Motel wraps its second season this week in “The Immutable Truth.” Dylan (Max Thieriot) races to find his brother, Norman Bates (Freddie Highmore). To do this, Dylan must enlist Sheriff Romero (Nestor Carbonell) to help, a choice Dylan makes even though he just murdered a man and must admit it to the officer. However, the two men locating Norman is only the beginning of the trouble, and it seems certain someone in the family will end up in jail.

“The Immutable Truth” is probably the most intense episode of Bates Motel yet. Things have slowly been building to a head, and they reach it here. The show often has murder and suspense, but never so much at stake and so close to the edge as this week. It’s a gripping hour, sure to satisfy viewers who have been waiting for just such an installment.

It also features Norman at his craziest. This week, he is coldly making a list and planning on killing himself, hallucinating his mother, Norma (Vera Farmiga), and passing a lie detector test by convincing himself the truth is something it’s not. This is a portrait of a psychopath, drawn out much more obviously than ever before on Bates Motel, putting together all the strange pieces of Norman.

The direction of “The Immutable Truth” deserves much of the credit. From a shot of the stuffed owl Norman hangs in the house, to scary glimpses through the dark, to Norman’s creepy face, each camera angle is chosen deliberately for maximum effect. This is a horror staple, of course, but when done right, can convey scariness even when there’s nothing inherently scary happening, and Bates Motel makes good use of this.

There is now a sense of dread hanging over Norma and Dylan not quite clear before. Norma wants to flee the country to protect Norman, as she has been trying to cover up his misdeeds for awhile, explaining her own irrational actions. Dylan wants to get Norman help, knowing that Norman is not mentally stable. Both are united in their desire to be there for Norman, but this just puts them squarely in danger, as no one can save Norman, which we know. Will Norman kill one or both of them himself?

At least Norma and Dylan have each other, comforting for the moment. There is a real turning point when Dylan saves Norman, which prompts Norma to express her love for her estranged son, even buying Dylan a plane ticket so he can leave with them. They end up staying put, but that bond, ever fragile, has been strengthened in “The Immutable Truth,” growth earned through trial and tribulation.

One wonders how Romero will now act towards the family. He is convinced Norman is innocent, but he knows Dylan is guilty. He does help Dylan cover up the deaths, believing Dylan to be the right person to have in charge of the city’s illegal drug trade, vital to the area’s survival. But will Romero be keeping closer tabs, trying to exert influence? Or will he be a staunch ally, determined to keep their secrets safe as long as they don’t bring more trouble? He’s not a bully, he’s a compassionate man, but his moral code is hazy.

My one complaint about this season finale is the way bodies drop to the floor as if checking off a list of the year two recurring players. The show doesn’t need Nick Ford (Michael O’Neill), Jodi (Kathleen Robertson), and Zane (Michael Eklund) to come back, so it just kills them off. I’m almost surprised Christine (Rebecca Creskoff) doesn’t wind up dead just so the series can start fresh again in 2015.

Still, “The Immutable Truth” is a pretty darn good way to end the season, both for the emotional levels taken in the character dynamics, and the way Norman is rapidly becoming the monster film fans know him to be. I don’t know how many more years Bates Motel has left in it, but at this point, it could build to a natural ending any time A&E is ready for it to do so. No rush.

Bates Motel has been renewed and will air its third season next year.

I've "Not Forgotten" BATES MOTEL

Article first published as BATES MOTEL Review Season 2 on Seat42F.

A&E’s BATES MOTEL has been “Gone But Not Forgotten,” but now it’s back with a second season. After a brief, dark opening, the show picks up four months after the events of last year’s finale. Miss Watson’s (Keegan Connor Tracy) murder remains unsolved, and Norma (Vera Farmiga) wonders why Norman (Freddie Highmore) seems so obsessed with his former teacher. Meanwhile, Bradley (Nicola Peltz) is being released from a mental hospital after trying to kill herself (the aforementioned prologue), and now that she’s out, she isn’t about to just return to the life she lived.

It’s kind of sad to see Bradley turn into such a different person. Surely it’s fun for Peltz to play, and she does just as convincing a job with bad Bradley as she did with good Bradley. But the sweet, popular girl that everyone liked, even those whose love interests looked at Bradley a little too long, has been replaced by someone completely self-destructive. This means that one of the two lights on the show has dimmed considerably, a regrettable thing in a dreary drama.

That being said, the hallmark of a good character is growth, and for Bradley, she’s going through quite a bit of it. Realizing she didn’t really know her father and now won’t get the chance to, she is determined to uncover his lies and get revenge for his death. This is a stronger, more determined Bradley, and if she goes a little off the rails, or even a lot, well, there’s plenty of time left for redemption.

There is still some hope for Bradley. A couple of times in “Gone But Not Forgotten,” we do see glimpses of the old Bradley. So if she survives her coming ordeals, which are kicked up quite a notch by the end of the hour, there is still some chance that she can recover herself. But that’s a real ‘if’ in a show like this.

Norman does offer to help Bradley, but is he in a position to do so? He’s got his own serious problems. We don’t know for sure if he killed Miss Watson, having only seen him in her house and then running through the rain while she lay dead. However, it seems like a solid bet since Norman has a history of blocking out the memories of killing people, such as his own father. “Gone But Not Forgotten” doesn’t clear up the mystery. It seems destined to hang around awhile, much like last season’s murder.

Norma seems relatively sure Norman did the deed, and equally determined not to let her son find out. I know she wants to be a good mother and protect Norman, but is covering up his crimes the way to do it? Shouldn’t she be trying to get her boy help so he can move past his homicidal tendencies? Or does she worry he’s a psychopath and really just not know how to deal with that, and so buries her head in the sand to get by?

Norma spends much of this premiere fighting against the bypass, now starting construction, which will draw business away from their motel, which seems to be doing OK for now. This is an important cause to her livelihood, but I’ve got a feeling that she pours herself into such things to avoid processing what Norman does. She’s selfish at times, but knowing Norman has killed has to affect her more than she lets on, and keeping active will prevent too much quiet introspection.

We get less of Dylan (Max Thieriot) and Emma (Olivia Decody) in the first episode back, but that makes sense, since Bradley, Norma, and Norman have enough important story to fill the installment. Dylan is still fighting his feelings for Bradley, out of respect for Norman, while working the pot business and Emma is still pining over Norman and being jealous of Bradley. So they’re status quo for now.

BATES MOTEL does a nice job of setting up suspense, then letting it play out in unexpected ways. Sherriff Romero (Nestor Carbonell) is investigating what happened to Miss Watson and he’ll probably eventually get to the truth. But there’s no rush, other threads continue, and any breaks in the case will likely happen when we least are looking for it. It’s not as high quality as some other shows, as it does sort of stick to a formula, but the writers do know what they’re doing and it’s quite enjoyable overall.

The only question I’m left with is, as much as Norman seems to keep getting involved in shady stuff, how will he eventually be the unassuming motel proprietor? Will everyone that has reason to be suspicious of him eventually die, finally allowing him to fade into the background of the town? He does seem to keep bringing more trouble on himself, though, and as Norma won’t be around to deflect attention forever, there has to be some good tie up that makes sense at the end. Maybe, by the time Norma dies, the evidence will all point towards her and, for some reason, Norman will accept that?

BATES MOTEL airs Mondays at 9 p.m. ET on A&E.

Check Into BATES MOTEL

Article first published as Blu-ray Review: 'Bates Motel - Season One' on Blogcritics.

Horror is a very popular genre on television right now, with The Walking Dead crushing in the ratings, American Horror Story earning accolades left and right, and Hannibal being just plain awesome. Earlier this year, A&E, a network not known for anything but formulaic, procedural dramas, decided to enter the ring with Bates Motel, a prequel to the classic Alfred Hitchcock film Psycho. Imagine my surprise, then, that Bates Motel is every bit as worthy of praise as its peers.

Bates Motel is set in the modern day, and thus inspired by, rather than confined to, the film. The setting looks identical to that which viewers are familiar with, and some clothing and hairstyle choices are pulled straight from the source material. It pays homage quite clearly, though later episodes really take some license to go their own direction.

The reason to give a prequel story like this a chance, and the method through which it soars so well, is that it is made by producers of Lost and Friday Night Lights. These two amazing shows knew how to do character development and slow-burning plots, and they apply it here again. Combine this with a thoroughly creepy tone and place, you have a heck of a TV show. Plus, the cast is terrific.

As the story begins, Norman (Freddie Highmore, Charlie and the Chocolate Factory, Finding Neverland) moves with his mother, Nora (Vera Farmiga, Up in the Air, The Departed), to a run-down motel in a small town after the suspicious death of his father. Here, the seventeen-year-old boy tries to build a normal life for himself with friends (Olivia Cooke and Nicola Peltz), but is hampered by his controlling mother.

Yes, Norma is exactly what we’d expect her to be, having seen the old movie, or even just knowing she named her son after herself. She’s harsh and unfeeling, despite her assertions of love. She holds Norman a prisoner as much as a son, and even involves him in her murderous schemes, or at least covering them up. She is manipulating and shaping him into the killer that he himself will become, and making sure she sinks claws into him that will stay attached far beyond her death.

Not that Norma is the only dangerous thing in town. It’s hard to trust Sheriff Alex Romero (Nestor Carbonell, Lost), even after Norma worms her way into the arms of his Deputy, Zack Shelby (Mike Vogel, Under the Dome). Pot fields and sex-slave rings abound. Creepiness is everywhere.

Norman’s path isn’t completely lost yet. He’s a nice, obedient boy, most of the time, and he has an older half-brother, Dylan (Max Thieriot), to look up to. He also has a teacher, Miss Watson (Keegan Connor Tracy, Once Upon a Time), that sees untapped potential within him. There is always the slim chance he might get out of this story without being ruined, though I doubt that would satisfy the fans.

High definition is a must for this series. Given the dark tone, there are plenty of shadows and muted colors. This blu-ray release does a fantastic job of showing off the blacks and layers within in 1080p. It’s nice to get such crispness from such richly detained sets and props. The soundtrack is well mixed in DTS 5.1. If a production is going to go this much trouble to deliver a high quality release, both visual and audio, it is worth it to seek the best picture and sound available.

The special features are unfortunately few. There are deleted scenes, of course, and a really cool Paley Center Panel included. For those who buy the initial release, a few of Jiao’s (Diana Bang) neat sketches are tucked in. But that’s it, no audio commentaries or behind-the-scenes extras, sadly.

Bates Motel: Season One is on sale now.

Bates Motel dreams of death

Article first posted as BATES MOTEL Review on Seat42F.com

Grade: 96%

A&E is not particularly known for their dramas. They’ve had a few scripted series up to this point, like The Glades, Breakout Kings, and The Cleaner, but they are formulaic crime dramas, not a complex, serial show that deserves attention and praise. With the premiere of BATES MOTEL on March 18th, that changes.

BATES MOTEL, as one might expect, is set at the same location as the classic Hitchcock film Psycho, and looks perfectly in sync with the earlier work. This television series is a prequel to the movie, set many years earlier. As the first episode, “Fist You Dream, Then You Die” opens, Norman Bates’ (Freddie Highmore, Charlie and the Chocolate Factory, Finding Neverland) father dies, and his mother, Norma (Vera Farmiga, Up in the Air, The Departer), moves them to a small town where she has purchased a motel and the house behind it.

The elements one would expect from such a project are immediately present. Norman is eager to please and mostly obedient. Norma is controlling and manipulative. The motel itself is cursed from the beginning, it having been taken away from a family that has long owned the land by the bank, and a descendant of that family is not happy to let it go. The tone is creepy and disturbing, but not too obviously so.

The cast does a superb job. Highmore is the right mix of good son and budding psychopath. He is trying to be a normal kid, but that’s not the way his mother has raised him, nor does she let explore that option. Farmiga captures the portrait of the type of mother that would name her son after herself. The way she coldly receives the news of her husband’s death, then later handles Norman, is compelling to watch, and surely she is making a mark on the television landscape, owning the role.

Right away, death also comes to the Bates Motel. There are strong hints that Norma might have offed her own husband, and (very slight spoiler) there will be a second body by the end of the first hour. I don’t know if BATES MOTEL is a horror show, per se, and if there will continue to be serial killings throughout; after all, no one suspects Norman long after his mother passes on. But the stage is set for what must be.

Much of the purpose of the series will be to take Norman from normal child to cold-hearted murderer. We see he has a possible support system, with girls who want to be his friends and a teacher offering mentorship. But we also see how the boys don’t take a shine to him, and how Norma cuts him off from social interaction. And then, witnessing what Norma involves him in, we see the seeds of things to come.

Not that Norma is totally obvious in her machinations. To a viewer at home, sure, we can tell she’s a horrible mother because we see it all. To a character in the show, outside of the family, she may seem a little strict, but not someone to worry about. At least, not yet.

The supporting cast is just as good as the two leads, which helps with the overall effect. After all, BATES MOTEL is set in a town, so there must be townspeople. These fellow residents pleasantly round out the world in a very authentic way without distracting or mandating plots of their own. They include Nestor Carbonell (Lost) as the Sheriff, Keegan Connor Tracy (Once Upon a Time) as Miss Watson, Norman’s teacher, and Olivia Cooke as an odd classmate. Upcoming guests (according to IMDB and Wikipedia) will include Jere Burns (Justified), Mike Vogel (Pan Am), Richard Harmon (The Killing), and even Kate Winslet (Titantic, Mildred Pierce).

“First You Dream, Then You Die” is a lot of setup, especially the beginning, but manages to not feel too much like it is. We enter at a critical moment in Norman’s life, one that will put him on a certain path, and he already begins going down that path in the premiere. The start of the action is not sudden or jarring, and yet, this pilot does a good job of actually getting into the meat of the story. Credit writing, directing, and production, as well as the performers, because this is an excellent pilot in just about every way imaginable, with a definite cinematic quality.

My only slight complaint is that there is a bit of heavy handedness present. “First You Dream, Then You Die” begins with Norman listening to dialogue on a television talking about a grown man living with his mother. Norma wears the same dress and hairstyle to dinner that the corpse at the end of the film is sporting. But while it may have been better to spread out such references through multiple episodes, instead of sticking a bunch in the premiere, it does effectively tie this project to its source material, so it’s not totally unwarranted.

BATES MOTEL deserves attention, and Highmore and Farmiga will hopefully get some Emmy credit. Which means you probably won’t want to miss a show this good. I certainly won’t.

Ringer retorts "That's What You Get For Trying to Kill Me"

     In the mid-season finale of the CW's Ringer, "That's What You Get For Trying to Kill Me," Gemma's (Tara Summers) fate hangs in the balance. Charlie, a.k.a. John (Billy Miller, The Young & the Restless) grows impatient with the lack of resolution. Siobhan (Sarah Michelle Gellar), who hires Charlie in the first place, offers to pay him if he will let Gemma live. When she isn't fast enough with the money, Charlie asks Bridget (also Gellar) for a ransom. Even though Bridget tries to pay, Charlie gets spooked, and gos ahead and kills Gemma. Siobhan is angry, and takes out Charlie in revenge.

     The death of Gemma in "That's What You Get for Trying to Kill Me" is both interesting and disappointing. Viewers are believing Gemma is dead for weeks, only to learn she is merely Charlie's captive. Then there is a completely contrived, terrible scene in which Gemma somehow survives a shot to the head (Charlie's aim is bad at THAT range!?), almost escapes, and learns that Siobhan is still alive. Yet, Charlie recovers from the blow she gives him in time to kill her before she can tell anyone. The whole sequence is handled so poorly, one almost forgets how cool it is that Gemma's murder is unexpected, especially after she is given a vital piece of information. Thus, the entire thing is a mediocre wash, that with a little better plotting, could have been really awesome.

     Siobhan's emotional attachment to Gemma is somewhat unexpected. Up to this point, Ringer paints Siobhan has a cold, heartless bitch. Of course, she must have been nice at some point, or Andrew (Ioan Gruffudd) would never have married her, and Gemma wouldn't have been her friend. That empathetic side of Siobhan is shown briefly, as she kills Charlie.

     Bridget and Andrew are now a firm couple. It's a little icky, since Andrew is Bridget's twin sister's husband, and Andrew thinks Bridget is Siobhan.  But since the two are such a good match in personality, and they are both happy together, that kind of overrides the gross factor. As long as one doesn't think too hard on it. Of course, it can't last. Siobhan is back in town, and she probably won't be please that Bridget is 'fixing' her life. So poor Andrew, brought even closer to Bridget by recent tradgedy, faces a betrayal that might prove impossible for him to get over.

     Henry (Kristoffer Polaha) is just a big ball of mad these days. He hates Bridget, whom he thinks is Siobhan. He blames her for Gemma's death, and mucking up the ransom, eevn though it is Henry that spooks Charlie. His rage needs some focus, and it's a mystery who will get the brunt of it. Look for Tyler (Justin Bruening) to be a very similar character once it comes out that Siobhan's baby isn't his.

     The coolest part of "That's What You Get For Trying to Kill Me) is when Victor Machado (Nestor Carbonell) unmasks Jimmy (Darren Pettie, Mad Men), as a mole. Machado is a heck of a detective, and puts together the most obscure reference to do so. With smarts like these, it shouldn't take Machado too much longer to realize that Bridget is posing as Siobhan, especially with the real Siobhan back in town. Wonderful character who deserves more screen time!

     Also, kudos for the great Amber Benson (Buffy the Vampire Slayer) guest appearance! Too bad it is so short, and she is murdered, so can't return in any part of substance.

     The final story in "That's What You Get For Trying to Kill Me" is the least satisfying. Juliet (Zoey Deutch) puts the moves very hard on Mr. Carpenter (Jason Dohring), only to be rebuffed. Then she claims that he rapes her. Carpenter is pretty mad at Juliet, but given his professionalism thus far, it seems unlikely he would commit such a heinous act. It's possible, but more likely, Juliet is lying because she is hurt at being rejected. Not really interested to see how this plays out, but hope it resolves quickly.

     Ringer will return to the CW in January.

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"The Poor Kids Do It Everyday" on Ringer

     Six episodes in, the mysteries on the CW's new drama Ringer keep coming. In this week's episode, "The Poor Kids Do It Everyday," Bridget (Sarah Michelle Gellar) and Henry (Kristoffer Polaha) both wonder what happen to Gemma (Tara Summers), wondering if each other engaged in foul play. They seem to come to an understanding, but then Bridget calls in an anonymous tip to the police on the crime scene evidence that Henry cleaned up, and leaves her own fingerprints on the weapon. Also, Machado (Nestor Carbonell) searches for the also missing Malcolm (Mike Colter), and Juliet (Zoey Deutch) finds an ally in Mr. Carpenter (Jason Dohring, Veronica Mars, Moonlight) at her new school.

     In Ringer, the viewers get the important clues long before the characters do. By this point, audiences can assume that no one is trying to kill Siobhan (also Gellar) because the man that Bridget killed in self-defense was sent by Siobhan, though he carried Siobhan's picture, not Bridget's. This means it is likely that Siobhan wanted everyone to think she is dead, and by Bridget taking over her life, Bridget ruined Siobhan's plan. Or at least a part of it. It's why Siobhan wanted to kill Bridget. It's also why she has Gemma taken out, probably, as Gemma knows about the twin sisters, and also knows that Bridget has taken Siobhan's place.

     But is Gemma maybe somehow still alive? If not, why not show her body?

      Why does Siobhan want everyone to think she is dead? It's obviously something she plans for, setting aside money that Bridget also unwittingly takes, and heading to Paris. It's interesting that Ringer shows so much, but explains so little. Though fans know what Siobhan is doing, the why has not been covered for any of it, leaving as more questions that the series is answering.

     In "The Poor Kids Do It Everyday," the series does the same with Bridget. We see that Bridget implicates herself in the possible murder of Gemma, but it is not clear why. This gets Machado's attention, of course, as he has Bridget flagged. But for now, everyone except the missing Gemma assumes that Siobhan is still living her life, and if they even know who Bridget is, thinks she is the one missing. Without knowing that Siobhan is still alive, Bridget thinks that will be no suspect to be found for Gemma. It keeps Henry and Siobhan, meaning her, since she's taken Siobhan's place, clear of any suspicion. But, still, setting up herself is a big risk. Why not find a bum in the alley to get prints from? If Machado realizes the rouse, then he might think Bridget did something to Gemma, creating even more problems.

      Malcolm's capture and torture by the men looking for Bridget is a big complication that will have to be resolved soon. Given the CW's penchant for killing off main characters, his number might just be up. After all, he is certainly the most expendably of the main characters. Bridget already has a new sponsor, and Machado is only looking for Malcolm because he has information on Bridget. If Malcolm dies, Bridget's secrets are protected a bit longer. Hopefully, Ringer will find a new and interesting twist to keep Malcolm around, but it seems unlikely. Unless Gemma is really dead, and Ringer doesn't want to off two characters so soon.

     Also, is it really a coincidence that Bridget finds a new sponsor so quickly in Charlie (Billy Miller, The Young and the Restless). Is anyone fooled? Who is he working for, and why is he there?

     It also seems odd that Juliet gets any plot at all. She isn't a main character, nor is she paramount to what is going on with Bridget and Siobhan. This isn't exactly a complaint, since following Juliet to schools opens up the door to see Dohring back on television. However, her scenes seem out of place, especially coming after so little independent development for the character in the first few episodes.

     Is Bridget sleeping with Siobhan's husband, Andrew (Ioan Gruffudd)? She would have to, to completely sell the charade, especially since Bridget is determined to fix the marriage, but the series shies from showing this explicitly. Probably because of the gross factor involved in sleeping with one's own brother-in-law. If one stops and thinks about it, Andrew is living a common male fantasy, and not even getting to enjoy it. But, more likely, he will be morally offended when the truth comes out. Or he'll choose Bridget over Siobhan since Bridget is actually good to him. It sure seems like Bridget might be falling for Andrew, though whether that's because of the life she has with him, or because she genuinely cares, is uncertain.

     Ringer airs Tuesdays at 8 p.m. ET on the CW.

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Sarah Michelle Gellar's a dead "Ringer" for... Sarah Michelle Gellar?

     Sarah Michelle Gellar (Buffy the Vampire Slayer) returns to series television with the CW's Ringer. In "Pilot," which aired last night, Bridget Cafferty (Gellar) is found to be in the protective custody of Victor Machado (Nestor Carbonell, Lost) after witnessing a murder committed by a very dangerous man. Scared she isn't safe, even with Victor, Bridget flees to her twin sister, Siobhan Martin (also Gellar). But then Siobhan disappears while the two are on a boat, and Bridget assumes she is dead. In a panic, Bridget assumes Siobhan's identity.

     Fitting in as Siobhan is not as easy as Bridget hopes. For one thing, Siobhan is in a loveless marriage with Andrew (Ioan Gruffudd, Fantastic Four), living with a bratty stepdaughter named Juliet (Zoey Deutch, The Suite Life on Deck). Soon, Bridget discovers that Siobhan is sleeping with her best friend, Gemma's (Tara Summers, Boston Legal, Damages), husband, Henry (Kristoffer Polaha, Life Unexpected). And Siobhan also has someone trying to kill her. Plus, it doesn't take long for Victor to show up and ask "Siobhan" where her sister is.

     Oh, and by the way, Siobhan isn't dead; she's just hiding in Europe.

     Does Ringer sound deliciously complex enough to herald a Gellar return to TV? It should. It's got dark and twisty mysteries, concerning both sisters, and enough characters to spur some viewers to begin a cork board to keep track of all the connections. With the twists in the first hour alone, Ringer clearly establishes itself as a very adventurous show, in for many surprises as the weeks go by. The message? Don't trust anything you hear or see, because there's probably more going on than is shown. Which sounds just fine for an avid TV watcher tired of predictable procedurals.

     Gellar shines in Ringer, of course, both as the seemingly heartless, manipulative Siobhan, and the warmer, scared, ex-stripper Bridget. She is the lead, plain and simple, and everyone else in the series revolves around her. But she can handle that. A peek Bridget's relationship with her NA sponsor, Malcolm (Mike Colter, The Good Wife), and the fact that Bridget lets slip to Malcolm enough clues that he will eventually be able to find her, show there is some love and trust between them. Whether Siobhan has grown so cold that she won't mind her sister being murdered or not remains to be seen. Yet, Gellar plays both with enough levels that neither seems simple to figure out.

     The four men who are Gellar's co-stars also do quite well. It is not surprise that Carbonell can handle mysterious drama, given his previous track record. But Polaha really stands out, completely shedding his past roles, and holding his own against some very talented actors. There isn't a lot of Colter in "Pilot," but Gruffudd manages to show some vulnerability in the scenes with his daughter.

     Of course, the point of the first episode of Ringer is to open up a lot of questions, and it does. Why doesn't Juliet's mother want her? Why does Siobhan fake her death? When will she return? What happened to a boy (Siobhan's son?) that drove the sisters apart six years ago? Is Henry the father of Siobhan's unborn baby?  And who will catch Bridget first?

     Do not miss Ringer, airing Tuesdays at 9 p.m. ET on the CW.

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Article first published as TV Review: Ringer - "Pilot" on Blogcritics.

Wilfred - "Happiness"

     FX's Wilfred premiered "Happiness" last night. In it, Ryan (Elijah Wood, Lord of the Rings) tries to kill himself, not knowing his sister, Kristen (Dorian Brown, NCIS, Roommates), has prescribed him sugar pills. After spending a sleepless night waiting to die, Ryan's new neighbor, Jenna (Fiona Gubelmann, Blades of Glory) asks him to watch her dog, Wilfred (Jason Gann, who co-created the original Australian version, and reprises his role here) for the day. While everyone else sees Wilfred as a shaggy mutt, Ryan views a man in a dog suit. This version of Wilfred has insight into Ryan, and encourages him to not only blow off the job Kristen has secured for him, but also break into an annoying neighbor's (Ethan Suplee, My Name Is Earl) house, poop in his shoes, and steal his pot. Ryan thinks Wilfred is saving his life, but Wilfred also plants Ryan's wallet at the scene of the crime.

     Now obviously Wilfred is just a dog in reality. How could he plant Ryan's wallet the way he does? This speaks to the big question of the show, what exactly is Wilfred? Is he something Ryan is imagining? Maybe Ryan did kill himself, and this is some sort of afterlife or purgatory to make him realize what a mistake he has made? Is Ryan going crazy? Each of those has their own set of larger queries to raise, and obviously that is something to be explored as the series goes on. But then, is Ryan the one putting his wallet underneath the broken window, or did Wilfred do it? Knowing that will speak to whether Wilfred, in any incarnation, is actually helping Ryan, or being self-destructive.

     It's not often a half hour comedy show raises such issues, and gets one thinkig about the meaning of life, the power of the brain, and fate versus self-direction. Wilfred raises each of these subtlely in "Happiness," and will likely explore them more in depth in later episodes. It's not just a man in a funny suit. It's about a guy's journey to figure out what he is. The fact that the episode opens with a quote from Mark Twain, "Sanity and happiness are an impossible combination," sets the tone for the rest of the thirty minutes perfectly. Which puts Wilfred heads and shoulders and snout above most of its kin on television.

     But lest you worry Wilfred is too metaphysical to enjoy after a hard day of work, rest assured it is funny, too. When asked by a waitress if Ryan always serves his dog nachos, he deadpannedly replies that Wilfred worked out today. Much of the humor will be had at Ryan's expense, and go over Ryan's head. That's OK. It doesn't make him stupid. Sitcom is short for situation comedy, and there is plenty of comedy to be had about this situation.

     It should be testament to how good the series is that it attracts many large guest stars. Ethan Suplee, who is easily recognizable from the Kevin Smith movies, is merely the first in a long line. Among the familiar faces in this first season are Ed Helms (The Office), Chris Klein (American Pie), Rashida Jones (Parks and Recreation), Nestor Carbonell (Lost), and many more. I wouldn't want to spoil all the surprises, but it's certainly worth tuning in for.

     Wilfred airs Thursday nigths at 10 p.m. ET on FX.

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Psych Out (Until November)

   This past Wednesday, USA's Psych ended its summer run. Like most USA shows, Psych does half of their season in the summer, and the other half sometime during the regular television season. For Psych, a crime procedural about a very observant man who pretends to be a spy, that usually means January. But this year, as they have twice before, there will be a Christmas episode, presumably in November. Yes, November. Don't ask my why. This year's will be It's a Wonderful Life-themed.

     In the season finale, Shawn (James Roday) and Gus (Dulé Hill) helped a spy (Franka Potente, the Bourne movies) clear her name. It was a little like the Bourne Identity series. It wasn't quite the standard case of the week episode, but it also wasn't one of the special episodes that rate a different directing style or a theme song remix. Instead, it was a slightly bigger case than they usually solve, it being a season finale, and the case also had to be wrapped up a little quicker so that the writers could spend the obligatory few minutes not quite getting Shawn and Detective Juliet O'Hara (Maggie Lawson) together.

     That's right. Not getting them together. For four and a half seasons now, Shawn has been in love with the female cop, but never actually made a real move on her. While the two get slightly closer to something real every season, for some reason, like most shows, the writers just won't pull the trigger. Last year, Shawn had a steady girlfriend. This year, Juliet overheard Shawn basically say that he loved her, and she finally kissed him. But it was in Declan Rand's (Lost's Nestor Carbonell) house, the man she has been dating. And she didn't leave when Shawn left, though I doubt she kept her vacation plans with Declan. Of course, we won't know that for sure until at least November, if not later.

     What is the obsession with shows like Psych for putting two characters so obviously right for each other, close, but not allowing them to forge a relationship? Perhaps it's the Moonlighting curse, as that show allowed its two main characters to consummate the relationship, and then watched the series blow up in their faces. Other shows (Bones springs to mind) have waited like Psych has. But Grey's Anatomy hasn't suffered from Derek and Meredith being together, and House is about to take the plunge between the title character and Dr. Cuddy this year. If they can do it, so can Psych.

     Two more criticisms about this season of Psych: the theme song and the recasting of Young Shawn in the flashbacks. Although four actors have played Young Shawn during the series' run, Liam James has done it by far the most, and the new boy that has played him the last few episodes does not measure up at all. Get Liam back! Also, the longer version of Psych's theme song is amazing, while the short version is lame. I know it's the same song, but it's true. Most of last winter, the long version aired. It aired very little this summer. Please install the long version permanently, save, of course, for any special episodes with remixed versions, which are nearly always cool.

     Psych will return to USA later this year.

Article first published as TV Review: Psych Out (Until November) on Blogcritics.

Lost Season 6 worth buying immediately

     It had to end sometime.  After six spectacular seasons, ABC's Lost came to an end last May.  Although Lost usually waits to put out their DVDs until late in the fall, Season 6 is already out, and I highly recommend going to the store and purchasing it at your earliest convenience, if not sooner.  All sixteen episodes, including the two hour premiere and two and a half hour finale are included.  This was the season that tied it all up.  From the flash sideways universe, to Richard (Nestor Carbonell) and Jacob's (Mark Pellegrino) origins, to the tear jerking series finale, it was a hell of a year.

     But, of course, if you're like me, you've already seen the episodes.  The most exciting thing in this DVD release is the special features.  There are a few, though not more you easily get through in a couple hours, audio commentaries aside.  There's here forty minute "THE END: Crafting A Final Season" which shows clips and interviews from throughout the last year.  It brought almost as many tears as the episodes did to me eyes.  "A Hero's Journey" is about how Lost set out to tell the classic hero tale, times sixteen.  "See You in Another Life, Brotha" tackles some of mystery surrounding the sideways universe, and why the alternate characters were always looking in mirrors.  "LOST on Location" takes you to the set for six episodes, mostly revealing how the special effects and water scenes were created.

     The crown jewel of the DVD, and the reason you must buy now, is the twelve minute epilogue to the series, "The New Man in Charge".  It finds Ben Linus (Michael Emerson) arriving at the warehouse that puts together all those nifty food drops to the island to fire the two employees.  Half of the minisode is Ben and the guys watching a tape on the function of the Hydra Station, which didn't reveal a lot of new information, so much as confirmed widely held theories.  And then Ben goes back to Hurley's old mental institution to tie up one of the show's biggest loose ends.  I won't reveal who he finds there, as the surprise was great, but it is a major player who was not brought back like so many others were.  And there's a brief appearance by Hurley (Jorge Garcia), too.

Psych best USA has to offer

    In a network filled with the best procedurals on television, most of the few worth watching, Psych stands out as the current best. Seven episodes (out of nine airing this summer) into it's fifth season, it's also the longest running, with the departure of Monk after eight years last fall. The reason it works so well is it's just so fun! The show stars James Roday and Dulé Hill (The West Wing) as Shawn Spencer and Burton Guster, better known as Gus, but often introduced by Shawn with a variety of odd nicknames. The two make up the Psych detective agency, which works freelance for the Santa Barbara Police Department, helping them solve crimes, frequently involving murder. Shawn pretends to be a psychic, but is just highly observant. Gus, his best friend since childhood, supposedly holds a regular job, which he hasn't been shown at in some time, and is persuaded by Shawn to help out.

     This season, things have changed slightly, now that Shawn's father, retired cop Henry Spencer (Corbin Bernsen, L.A. Law, Major League) has been brought in by the police to coordinate all consultant hires. Although Henry is in on their scheme, he is often helped them in the past, and still does, although sometimes making them work a little harder to earn their keep. Their boss is Chief Vick (Kirsten Nelson), who often has little, if any, plot. The cast is rounded out by police detectives Carlton Lassiter (Timothy Omundson, Judging Amy), who hates them, and Juliet O'Hara (Maggie Lawson), who tolerates them much better.

      This year started out with a couples of sub-par episodes, but the last couple have been back to the usual standard. In last night's offering, Chi McBride (Pushing Daisies) played a prison guard who lost some inmates, and Shawn and Gus helped him track the cons down. Recent episodes have also been bolstered by an extra long version of the theme song, arguably the best part of the series in the extended form. The shorter cut isn't very good.

     Next week, Psych will guest star Nestor Carbonell (Lost).  Psych has only two episodes left this summer, but will return in November for seven more, including the show's third Christmas special, which this year will have It's a Wonderful Life as it's theme. Considering how good special episodes of Psych usually are, I am certainly looking forward to it.

     Psych airs Wednesday nights at 10pm on USA.

Lost: Ab Aeterno

     This week's episode of ABC's Lost was called "Ab Aeterno", which translated to English means 'from the beginning of time'.  This was highly appropriate, as it was a very heavy mythology story.  Almost the entire installment was dedicated to the long awaited back story of Richard Albert (Nestor Carbonell).  As previously suspected, he did arrive on the island on The Black Rock, an old sailing ship.  It was revealed that he actually got there in 1867, and why he still looks the same as he did back then.

     The episode was also heavy on plot between Jacob (Mark Pellegrino) and the Man in Black (Titus Welliver) who have been on the island for a very long time, seemingly since the beginning of time, if the episode title is to be believed.  The big reveal here was why people were brought to the island, and to confirm that perhaps some castaways died when they made the right choices and atoned for their sins.  But this one was about Richard, and most of the Jacob / MIB plot was more reassuring past hypothesis than anything.  Obviously the MIB has chosen to take the form of now-deceased Locke (Terry O'Quinn).  This is just a guess, but perhaps he had to take a form other than his own to leave the island?  That's the only reason I can think of, besides O'Quinn's popularity and contract, that Welliver hasn't played him all season.  The question now is, who will step up and assume Jacob's role in the ultimate showdown between good and evil at the end of the season?  There will be another big mythology episode coming up shortly before the series finale, and presumably that one will tackle all further revelations about the duo that the series creators intend to reveal.

     That being said, we still don't know why Hurley (Jorge Garcia) can see and talk to the dead.  Obviously this is an extremely important point, and I want to know why.  My first instinct is to say that this rules him out as being Jacob's successor, but come on.  Many of the fans will be disappointed if it's Jack (Matthew Fox), thinking they took the easy way out.  Many of the fans will be disappointed if it's not Jack, because he is the obvious choice, and deserves the mantle.  Either way, it's going to be a delicate balancing act to satisfy all of the fans, though if any show can do it, Lost can.

     What's next for the Losties?  Well, obviously there is showdown of ginormous proportions coming.  It's good vs. evil.  People are choosing sides or trying to stay out of it, but everyone will be involved.  With only ten hours left, next week marks the halfway point.  And we've barely seen Desmond (Henry Ian Cusick).  Obviously, that's the real crime.