SUPERGIRL Takes Flight

Article first published as Blu-ray Review: 'Supergirl - The Complete First Season' on Blogcritics.

Disclaimer: Warner Bros. Home entertainment provided me with a free copy of the Blu-ray reviewed in this article. The opinions I share are my own.

The first season of CBS’s Supergirl arrives on Blu-ray, DVD, and digital download this week. The 20 episodes set up the titular character just as she becomes a superhero, introducing us to her life both with and without the cape. It’s a rollicking fun time, and while it doesn’t quite hit the quality of some of the other DC Comics shows on the air right now, it is far better than what the comic brand is churning out for the big screen.

Glee‘s Melissa Benoist stars as Kara Danvers, a.k.a. Kara Zor-El, a.k.a. Supergirl, a young woman who has been living on Earth for awhile after her home planet was destroyed. Having had plenty of time to adjust to her new home, Kara is an adult as the series begins, working as an assistant for media mogul Kat Grant (Calista Flockhart, Brothers & Sisters, Ally McBeal) and trying to start a career. This is somewhat derailed when Kara finds she can no longer sit still, creating a costume with the help of her best friend, Winn (Jeremy Jordan, Smash), and saving the day. These actions gets her noticed by the DEO, a military organization devoted to protecting the planet from aliens, and which secretly employs her sister, Alex (Chyler Leigh, Grey’s Anatomy). But even after joining up with DEO leader Hank Henshaw (David Harewood, Homeland) and his crew, Kara manages to balance both lives, a modern woman who can have it all.

The girl vs. woman issue is addressed head-on in episode one. Supergirl is a show to which no feminist should object. Kara is strong, independent, and fierce. She’s also brave and loyal and very capable. The only other character that even comes close to her level of accomplishment is Cat herself, so strong females are well represented on the series, lest anyone think the title is a step backwards for the fairer sex.

Sadly, since production is moving to Canada, Cat will be a less frequent presence in season two, which is a shame because Cat and Kara’s relationship is pretty much a linchpin of the show.

Unlike Superman, her already famous and successful cousin, Kara was old enough to remember their world of Krypton when it was destroyed, which influences the way she sees the world, as well as her hopes and dreams. Due to a flight into the Phantom Zone, Kara’s arrival on Earth (and waking up for her pod to begin aging again) was delayed awhile. Unfortunately, when she arrived, she brought the horrible prisoners of Fort Rozz with her, including her Aunt Astra (Laura Benanti, Go On) and Uncle Non (Chris Vance, Transporter: The Series). This sets the stage for the baddies Kara will face in her new crusade.

There are a lot of fun bits for those already familiar with the world of Superman. While the Man of Steel himself only makes fuzzy and at-a-distance appearances (though he has recently been cast for season two), we see the likes of The Martian Manhunter (no spoilers), Maxwell Lord (Peter Facinelli, Nurse Jackie, Twilight), Lucy Lane (Jenna Dewan Tatum, Witches of East End), and Sam Lane (Glenn Morshower, Bloodline) in this series. Not to mention, Jimmy, sorry, James Olsen (Mehcad Brooks,Necessary Roughness) is a main character and love interest. There are also tributes to previous Superman and Supergirl incarnations, such as casting former Clark Kent, Dean Cain, and former Kara Danvers, Helen Slater, as Kara’s parents. So I appreciate the tributes paid.

But Supergirl is also its own world. It’s very clearly not the same universe as the recent DC films are set in, nor is it on the same Earth as the CW shows take place on. Thanks to a multiple Earths theory, DC has the freedom to portray lots of different versions of the same characters and places at the same time. Which doesn’t prevent a guest appearance from The Flash‘s dimension-hopping Barry Allen (Grant Gustin), nor preclude more crossovers with its small screen peers after Supergirl moves to the CW this fall.

So, while the series starts out as too case-of-the-week, and while it ends with some exaggerated and easy outs, most of this run is pretty good. It’s easy to root for Kara and her friends, and I like the positive approach and outlook the series supports. I look forward to seeing where future seasons go, and can recommend this first season without hesitation.

On The Complete First Season, we get a fair amount of extras. A pair of ten-minute featurettes reveal how the show approached their version of Krypton and The Martian Manhunter, two wonderful elements in the story. We also get a too-short look at the cast attending Comic-Con, a gag reel, and deleted scenes for almost half of the episodes. My complaints are the very outdated menus and the extra padding at the start and end of every deleted scene. But other than that, it’s a decent batch of bonus material.

Supergirl – The Complete First Season is available now.

AMERICAN ODYSSEY Too 'Merican

Article originally published AMERICAN ODYSSEY Review on Seat42F.


If you like semi-political thrillers, thought Homeland was just a little too complex and conspiracy-driven for you, but 24 is too action-packed and flat, then NBC has you covered with AMERICAN ODYSSEY. Set in the Middle East, Africa, and the United States, it has shady government agencies, murdering terrorists, and secrets that must be exposed for the good of the public, chock full of dangerous villains and noble heroes. Is it all too on the nose, though?

Were AMERICAN ODYSSEY the first program of its kind to the table, it might stand a chance at being something worth watching. The problem is, not only are there already a plethora of choices out there, but this one doesn’t rank near the top in quality. If you want a show like this that will keep you guessing, watch Homeland. If you like spy games, check out The Americans on FX. If you want to see a government that keeps secrets, well, The X-Files should be back on the air in the fall. All of this makes American Odyssey pretty unnecessary.

The plot is extremely formulaic. As we are introduced to the various stars, there are several scenes early in the pilot to introduce the factions and get things moving. Multiple bits in a row basically feature one of the leads running into someone they know but haven’t seen for awhile and learning something vital from said acquaintance. The first time this happens seems hokey; by the third instance in less than ten minutes, I was completely out of the story and marveling at how American Odyssey may know what pieces to play, but no sense of style in playing them.

The cast is great, but how many new dramas out there can’t boast that these days? Sadly, it takes more than familiar, talented faces to make a show like this worth watching right now, and this one just doesn’t make the cut.

In case you’re still curious, though, there are really three leads in AMERICAN ODYSSEY. The first, Odelle Ballard (Anna Friel, Pushing Daises), is the lone American survivor of a security force massacre conducted by military contractors, trapped far, far from home. Her husband, Rob (Jim True-Frost, Treme), and daughter, Suzanne (Sadie Sink), are told she is dead. Luckily, Odelle finds some assistance in the form of young Aslam (Omar Ghazaoui), who helps her evade the man who just missed killing her, Frank Majors (Adewale Akinnuoye-Agbaje, Lost).

Activist Harrison Walters (Jake Robinson, The Carrie Diaries) won’t let the public go on believing Odelle has been lost because he knows those no-good officials are up to their wicked schemes and is determined to stop them. Getting a tip from hacker Bob Offer (Nate Mooney, It’s Always Sunny in Philadelphia) and assistance from reporter Ruby Simms (Daniella Pineda, The Originals), Harrison is soon hot on the trail of Colonel Stephen Glen (Treat Williams, Everwood) and the others.

Thirdly, Peter Decker (Peter Facinelli, Nurse Jackie) is a lawyer who realizes something is up when a firm he is working for makes some strange moves. While Peter’s wife entreats him not to do anything rash, comfortable with the life they live, Peter is just too noble to look the other way, soon getting himself involved in the plot. He’d better be careful, though, because he has a daughter, Maya (Elena Kampouris, Labor Day), to look out for.

If all of that sounds a little too melodramatic, that’s because AMERICAN ODYSSEY is a little too melodramatic. It takes itself a hair too seriously, and tries too hard to sell its product. The fact that the show was retitled AMERICAN ODYSSEY when it was originally just called ODYSSEY basically tells you what you need to know about the direction the production is going in.

Which is too bad. NBC could use a good, strong political thriller with a sprawling cast like this, just one that is written and developed at a little higher quality. AMERICAN ODYSSEY isn’t bad, but it’s not great either, and with plenty of superior options, it doesn’t make enough of a blip on the television landscape.

AMERICAN ODYSSEY premieres this Sunday at 10 p.m. ET on NBC.

NURSE JACKIE Starting to "Sink"

Article first published as NURSE JACKIE Review on Seat42F.

Showtime’s NURSE JACKIE begins its sixth outing this weekend with “Sink or Swim.” Jackie (Edie Falco), I’m sorry to say, is back to her old drug habits again. Unfortunately, whether she’s out of practice of covering for herself, or perhaps she’s just using stronger stuff, she’s not nearly as good at hiding her high as she used to be. This means Jackie is not heading in the right direction.

When NURSE JACKIE began, Jackie handled her drugs. We knew being an addict was bad, but because Jackie never seemed to let it screw up her life, viewers could overlook Jackie’s misbehavior. Eventually, though, it did start getting in the way of her work and her family, and that’s when it had to stop.

Now that Jackie has kicked the habit, it’s easy to root for her beating the addiction, and hard to see her succumbing to her old ways. There are negative consequences right out of the gate for Jackie’s slip. This is a destructive habit, and if Jackie can’t get her act together, she’ll lose everything she’s still working hard at putting the pieces back together for.

Jackie does have a new ally in “Sink or Swim.” She meets a woman named Antoinette (Julie White, Go On, Alpha House), a Southern spitfire who wants to be Jackie’s sponsor. Antoinette is opinionated and pushy, but maybe Jackie needs someone like this. I think once Antoinette becomes aware of Jackie’s relapse, and she seems sharp enough to notice strange behavior, she might be someone who can actually get through to Jackie and push her onto the correct path, whether Jackie wants to get clean or not.

I also have hope that Antoinette can be Jackie’s new bestie. With O’Hara (Eve Best) officially gone from the cast, Jackie is in need of a friend. Zoey (Merritt Wever) would love to be that person, but Jackie always keeps Zoey at arm’s length. Antoinette seems like someone who could break through Jackie’s defenses. Plus, I love White already. I look forward to seeing their relationship develop.

Of course, Jackie is far from the only imperfect one in NURSE JACKIE. Her daughter, Grace (Ruby Jerins), is following in her mother’s substance-abusing footsteps. Cooper (Peter Facinelli), plagued by feelings that he hasn’t accomplished what he wants to by age 40, is tempted to reunite with Roman (Betty Glipin), a woman who is nothing but trouble. Despite the hospital’s disapproval of employee relationships, Zoey and Prentiss (Morris Chestnut) aren’t staying away from one another, either. Eddie (Paul Schulze) is sleeping with some age-inappropriate women.

Jackie could possibly right some of these wrongs if she wasn’t so distracted. Coop tries to talk to her, but Jackie blows him off. And Zoey is practically begging Jackie to ask about Prentiss, but of course Jackie resists, never one to get involved in other’s business if she doesn’t have to.

The dynamic of this cast is a great one, and that’s despite the fact that they aren’t all in one another’s person lives too much. The workplace chemistry is nearly perfect, the varying personalities all interplaying in interesting ways, still managing to seem fresh six seasons in. Though part of that could be the revolving cast, it’s still impressive that NURSE JACKIE avoids any weak links, year after year.

“Sink or Swim” does a fine job of not only catching us up with all of these players, but also setting up the next arcs for them. It’s a transitional episode, to be sure, both adding new elements to the story and picking up the threads where they left off. It is an enjoyable entry, and succeeds in getting viewers primed for another go-round with Showtime’s best half-hour series.

NURSE JACKIE airs Sundays at 9 p.m. ET on Showtime.

"Frenemies" Make for Drama-Filled GLEE

Article first published as TV Review: 'Glee' - 'Frenemies' on Blogcritics.

FOX’s Glee returns from hiatus this week with “Frenemies.” The episode revolves around three pairs of characters with very different relationships. Each work through something within the installment, providing great character moments and furthering of the larger plot arcs, as well as a couple of major shakeups. And, as usual, the New York scenes are much, much better than the McKinley story, which is heartening, since the show will soon become New York-centric.

The first pair, and the best in my opinion, is Santana (Naya Rivera) and Rachel (Lea Michele). The hour begins with them never having been closer, Santana regretting being mean to Rachel in high school, so viewers will quickly note there’s nowhere to go but down for them. After Rachel invites Santana to take part in a photo shoot, resulting in a fun “Brave” performance, Santana sees Rachel as rubbing success in the face of the former cheerleader who is now stuck waitressing. So Santana steals Rachel’s signature number, “Don’t Rain On My Parade,” and nails a Funny Girl audition, being cast as Rachel’s understudy. Rachel is so angry she calls off any relationship they have, while performing duet of a terrific “Every Breath You Take,” and moves out of the apartment.

First, for this plot to work, we must completely ignore the fact that Funny Girl is holding auditions specifically for an understudy, not having chosen one from among the ensemble or girls who previously auditioned for the lead. We also must set aside the surprise Rachel seems to exhibit when learning she will get an understudy, a staple of Broadway that she would surely have known about., Then, we have to forget that we see an absolutely terrible singer audition at a Broadway level in front of a Broadway director (Peter Facinelli). This is a completely unrealistic and dumb scenario. Almost as dumb as expecting up to believe Rachel has time to work, go to school, be in a band, and lead the musical.

But, where the characters are concerned, the episode soars. Rachel is being a stuck up pain in the butt. Starring in one show that isn’t even close to getting off the ground yet has gone to her head, something we’ve seen from her before, harkening back to the early days of her personality. It makes sense that Rachel would lose it here, and Santana being a convenient dumping ground to let off steam about her own insecurities, Rachel targets the doubts she has about herself and slays Santana. Plus, there is likely still lingering pain for the things Santana did in high school, and Rachel begins to lose trust in the other girl, if she ever truly had any.

Santana is not without blame for this feud. Choosing to try out without telling Rachel first is an understandable move, and one that can easily be forgiven. Picking Rachel’s song to sing is less so, a very personal blow. But Santana is just pushing Rachel’s buttons, not really launching a war. If their friendship is real, Rachel should be able to look past these things and rejoice to spend more time with her buddy.

The end of the episode is extremely sad. Santana only shows a bit of regret when its too late, and the feeling is not strong enough to spark an apology, nor should it be. Rachel is completely without remorse, storming out and burning the bridges. If things are ever to repair themselves, and they must because, as great as the drama is between them, their friendship is inspiring and an important element of these later seasons, Rachel has to swallow her pride, willingly or being humbled against her will, and say she’s sorry. This probably won’t be quick in coming, but that’s OK, as long as it does in the end.

Poor Kurt (Chris Colfer) is caught in the middle of the fight, but he does the absolute right thing by refusing to take a side, remaining completely neutral, which, given his history with Rachel, Rachel sees as betrayal. But Kurt recognizes that the bond they all share has grown too vital to turn on it, and since they’ll all still be in his band, he must play nice. Something tells me the next practice sessions is going to get ugly, if Rachel doesn’t just quit between episodes.

Besides his roommates’ falling out, Kurt has his own story in “Frenemies.” Convinced Elliott, a.k.a. Starchild (Adam Lambert), is out to take over the band, Kurt tries to be his closest friend, putting stock in the old adage about keeping your enemies closer. Blaine sees right through this and takes Kurt guitar shopping with a rousing “I Believe in a Thing Called Love.” So Elliott does seem to be what he appears – a genuine, nice, supportive person who won’t stab Kurt in the back.

Sure, there’s a chance Elliott is putting on an act and will still turn out to be a villain, but I don’t think so. Glee has always been an optimistic, cheery show at heart, and I really, really dig the relationship between Kurt and Elliott. As upset as Blaine (Darren Criss) might be when he glimpses a too-chummy photo of the two, and as much as Elliott might provide to be an obstacle in that relationship going forward, he also seems like he’s good for Kurt, helping Kurt get past skepticism and find his potential. I hope he doesn’t just disappear one day without closure, a la Adam.

Back in Ohio, Tina (Jenna Ushkowitz) and Artie (Kevin McHale) celebrate their continued friendship, despite their romantic break up years ago, with a sweet “Whenever I Call You Friend.” That lasts only until Sue (Jane Lynch) forces them to compete for the title of valedictorian. This sends Tina into another ugly spiral, sparring with Artie in the sadly under-charged “My Lovin’ (You’re Never Gonna Get It).” Tina goes too far, shoving Artie from his wheelchair, but they soon make up and celebrate their renewed happiness with “Breakaway,” though neither gets the speech at graduation.

I’ve said it before, much to the dismay of some Glee viewers, and I’ll say it again: Artie and Tina are lame, boring, unlikeable characters. Tina is a selfish jerk, as shown on numerous occasions, and Artie is a whiny pushover, forgiving Tina far too quickly for her very cruel comments about Artie’s girlfriend, Kitty (Becca Tobin). One assumes they’ll make up soon, which they do, because neither has the backbone for a continued battle. But their relationship lacks depth because how can two people who treat each other like this really be friends? It’s true that those who know you the best can wound the deepest, but I just don’t see Tina display real, sympathetic remorse when apologizing.

Their storyline drags “Frenemies” down, and they will likely continue to have an increased presence until at least graduation. I’d like to believe we’ll ditch them then, but signs point to at least Artie will be joining the New York contingent. I’ve never understood Glee‘s insistence to make the two of them continued main characters when ditching better players, but I guess we’ll probably be stuck with them til the end.

Sue is ridiculous in this episode. I like her meta-references, which point out completely real flaws in the show, but her silliness just does not make up for bad writing and story structure. Plus, there’s no way she can make the third place student valedictorian, as much as I enjoyed Blaine’s cheeky quote about getting everything just handed to him. She is not being a fit or realistic principal, and its time to get her back out of that office.

I also don’t buy that the judging panel of Will (Matthew Morrison), Beiste (Dot-Marie Jones), Figgins (Iqbal Therba), and Sue is deadlocked on choosing the valedictorian. For one, both Tina and Artie’s speeches (which start touching, and then veer off into terrible and inane) are basically identical, and knowing Will and Beiste, they’d argue to let both of them share the honor. The only way this result occurs is if Sue just declares that’s not an option and makes a unilateral decision, which is likely what happened, but I wish we’d seen it play out.

In short, “Frenemies” has some heartbreaking, but really great, drama in New York, and a weak, stupid sequence at McKinley. This unevenness has always bugged me about the show. I hope when they finally commit to the Big Apple, which has proven to exhibit some much higher-level storytelling, the series improves again before it comes to an end.

Glee now airs Tuesdays at 8 p.m. ET on FOX.

GLEE's "Twerk" is Oh So Right and Oh So Wrong

Article first published as TV Review: 'Glee' - "The End of Twerk" on Blogcritics.

Glee somehow manages to deliver some of its best stuff and its worst in this week’s episode, “The End of Twerk” this week. Much of the hour was a very inane statement about freedom of speech and “twerking,” while the rest was about rebelling in a good way, the best of ways, really, standing up for yourself and fighting back when things aren’t fair.

Since when did a particular obscene dance move count as free speech? And assuming that it does for a moment, as that’s really neither here nor there, when did public schools have to hold freedom of speech over decency standards? Most K-12 institutions would never be considered on the cutting edge of what’s acceptable, taking a much more conservative approach. It feels like a strange battle and an even stranger battleground.

Will (Matthew Morrison) comes out of the gate strong which his argument that the kids should be allowed to twerk, leading what seems like the whole school in a rendition of “Blurred Lines.” The number is highly inappropriate, not to mention, where did all these other students who are joining in the dance come from? It feels staged, false, and is bound to make some, this reviewer included, terribly uncomfortable, based on the setting.

I actually respect Sue (Jane Lynch) for dressing down Schue afterwards. Firing him is going too far, though it’s very strange how the rest of “The End of Twerk” acts like Will still has his job. Even the school board meeting scene is Will fighting against a twerking ban, with nary a mention of his career. So as much as I enjoyed both the point Will makes about different dance styles and his mocking the principal with a Sue-style tantrum, Sue is in the right here, and story is mostly poorly concocted.

I could also complain about the reference to “Western Ohio,” but I feel like I’ve got nothing new to say about how no writer on Glee apparently has heard of Google, and how disappointing it is to see a series get just about everything about the Buckeye state wrong, so I won’t.

The other bit that sucks this week is Marley (Melissa Benoist) finding out from Bree (Erinn Westbrook) that Jake (Jacob Artist) is cheating with the Cheeri-o. As mentioned in last week’s review, this seems out of character and comes from nowhere. Not to mention, it just isn’t entertaining story. We get a decent performance of a terrible song as Marley croons “Wrecking Ball,” but other than that, this plot is irredeemable.

Thank goodness the other major McKinley story, this one involving Wade “Unique” Adams (Alex Newell), is fantastic! Bullied by his classmates, Unique seeks a bathroom he can use in peace, and instead finds himself in the middle of a battle that results in Sue bolting down a purple porta-potty in the choir room. The New Directions come together to support Unique, and by the end of the episode, I dare anyone to not be moved by this student’s story.

I can’t imagine any other series giving viewers as real a portrayal of a transgendered teenager in the modern era. Glee broke new ground a few years back with its depiction of homosexuals, but Unique is even bolder territory. It’s easy to see how and why stupid adolescents would pick on Unique, but the brave way the character is used makes Unique feel fully realized and sympathetic.

The climax of this thread happens when Unique laments “If I Were A Boy.” The most moving number in quite some time, we feel the pain. Newell is very much like Unique in real life, as those who watched The Glee Project will attest, and I think that brings a level of rawness an actor separated from the part would struggle with achieving. Unique’s tears are the tears of many a kid out there, and should be required viewing for all high school students. Who could still pick on a person like Unique after watching this and feeling her frustration and hurt?

Kudos to Glee for standing up for what is right and humanizing an issue that is far too often reduced to political or religious squabbling.

In New York, Rachel (Lea Michele) and Kurt (Chris Colfer) feel stuck in their lives, still lamenting Finn’s (Cory Monteith) passing, and decide they need to make some bold changes in order to feel like they are alive again. To do this, first Rachel fakes a new hair style without checking with her director, Rupert (Peter Facinelli), which doesn’t go over so well until she proves she’s still sexy in a charged performance of “You Are Woman, I Am Man” with Paolo (Ioan Gruffudd). Then, Rachel and Kurt get drunk and get tattoos, which doesn’t quite go how either expects.

I like both that Rachel’s “haircut,” which actually fits the part she’s playing very well, causes a problem, but also that it does not become a big, lasting thing. Her attitude that she is untouchable is a little too diva-ish for a young actress getting her first break, but I can see what she is going for, and by donning a wig, not actually trimming the locks, she shows she is smart enough to leave an escape hatch. Rupert has every right to be mad at her, but when he decides he likes the change, that’s a satisfying pay-off, too.

Also, while not a big fan of the side tattoo, Rachel having the name Finn scrolled on her is a sweet tribute. It’s not like she got the tattoo of a boyfriend while he was still alive; it’s a memorial to a loved one who died too soon, making it all right, even as she will eventually move on with someone else. Keeping it a secret may seem a little strange. but it’s really no one else’s business, anyway, a mark done truly only for her own benefit. Very nice.

Kurt’s tale with the tattoo place is actually even more unexpected and cool. At first, Kurt lashes out at the artist (Bradford Tatum, Magic City) for a misspelling that is actually Kurt’s own fault. While some tough guys would kick Kurt’s butt, this particular man sympathizes, offers wise advice, and even helps Kurt out. It’s a surprising pairing, surely a single episode guest stint, but it’s also a really neat one that gives Kurt just what he needs. Well done.
Oh, and then there’s the big finish number of “On Our Way.” Not particularly stand-out, but a feel-good ending in the series’ own style, so it works.

When Glee sticks with its more mature stories, the ones in New York, it does right by its fans. When it continues the original mission of promoting tolerance, diversity, and acceptance of others, as it does in a fresh way with Unique, it soars. There are some things Glee does wrong, and much of the criticism it gets is justified. But there are also things it does exceedingly well, and those should be acknowledged, too. “The End of Twerk” has both, and as much as I might wish for more of the latter, at least it’s true to form.

Glee airs Thursdays at 9 p.m. ET on FOX.

Still "Love, Love, Love" GLEE?

Article first published as TV Review: 'Glee' - 'Love, Love, Love' on Blogcritics.

Glee kicks off its fifth season on FOX this week with part one of a two-hour Beatles tribute. Entitled “Love, Love, Love,” the story picks up in the spring, where last season left off, shortly before prom. Rachel (Lea Michele) attends her callback audition for Funny Girl, Blaine (Darren Criss) tries to lock down Kurt (Chris Colfer) once more, new love blooms for Artie (Kevin McHale) and Kitty (Becca Tobin), and McKinley High has a new principal.

I like the new crop of characters, added last year and now promoted to series regulars, a lot, but I’m kind of glad “Love, Love, Love” more serves the longer-running roles. Sometimes there are too many subplots going on in a single episode of Glee to really get a satisfying amount of screen time for any of them, but this week’s premiere keeps the focus on a few people, which works really well, especially as it serves some of the more popular parts.

The most anticipated cliffhanger this summer is finding out if Rachel gets to be on Broadway! In “Love, Love, Love,” we see her go for a chemistry reading with Funny Girl‘s leading man (Ioan Gruffudd, Ringer, Fantastic Four) and director (Peter Facinelli, Nurse Jackie, Twilight), but the two experienced Broadway vets certainly have doubts about her, and think Claire Danes might be a better choice.

Rachel’s lamentation of “Yesterday” is a moving number, though not completely earned. She’s been in the Big Apple less than a year. Some stars are born over night, and given the pacing of a TV show, she probably practically will be; she may even get this part. But it’s not like this is a make-it-or-break-it moment for her, so as much as I appreciate a nice melody, it’s a little overly dramatic. Admittedly, that’s in keeping with her character, just the part of her character that makes one sigh and shake their heads.

Luckily for Rachel, she has a second chance when the guys show up in the diner where she and Santana (Naya Rivera) now work, which just happens to allow singing from its waitresses. The staff belts out “A Hard Day’s Night,” and while the song would probably be more effective as a Santana-led number, it does the trick. We still don’t know if Rachel will get the job or not, but Glee fans are sold on her worthiness for it.

“Love, Love, Love” is kind a reboot for Glee in many ways. Although they choose not to move on to the next school year yet, many of the stories kind of reset themselves, and fresh beginnings emerge. Rachel’s job is one such development, as is Sue’s (Jane Lynch) triumphant return to McKinley, with merely a mention that Becky (Lauren Potter) confessed the gun was hers and got a one-month suspension, thus clearing Sue’s name.

One one hand, I like that Glee isn’t beholden to all the hanging threads from last year, which those unresolved things weighing it down and driving the fall plot. On the other, it would be nice if the series took the time to resolve bits instead of just moving past them, essentially abandoning a few of the stories. It just didn’t feel like last year’s tale was done, but season five is moving on anyway. I guess it might have been poor planning on arc structure, holding onto things longer than they should have, and then deciding enough was enough.

Sue’s promotion to principal is directly a result of her framing Figgins (Iqbal Theba) for a variety of unsavory activities in the workplace. This isn’t the first time Sue has assumed the position, and last time I wondered if it might be permanent to cut down on the swelling cast. This go-round feels just as temporary, though, with Figgins sticking around as janitor and vowing revenge. I actually look forward to the goofy war that might be waged between these two comic-relief characters.

Sue’s first act is to call Will (Matthew Morrison) and Roz (NeNe Leakes) into her office, demanding that they both take home national championships this year if they want to keep their jobs. Never mind that the year is almost over, and that the national title for cheerleading is handed out in February, a couple of months prior to this episode, and the New Directions shouldn’t even be eligible for Nationals. Oh, well.

It’s a little frustrating when Glee sacrifices authenticity for what they deem to be the most “fun” story. I like to see a new side of Sue, helping teachers and coaches make their clubs succeed instead of only caring about her own brood, but I just wish the writer’s room would make better use of Google. These facts aren’t that hard to check, and I’m sure the episodes could still play out in a similar manner given a little creativity.

Another big moment that doesn’t feel quite real afterwards, but is so great while watching one doesn’t realize it at the time, is Blaine’s proposal to Kurt. Making up with an energetic “Got to Get You Into My Life,” being just boyfriends again isn’t enough for Blaine. So he recruits all the rival glee clubs in the area in the fantastic “Help!” number, including Dalton Rumba’s (Michael Hitchcock) deaf students, Vocal Adrenaline sans any familiar faces, and a remorseful Warblers club led by Trent (Dominic Barnes) and Sebastian (Grant Gustin), to do (what else?) “All You Need Is Love” for Kurt. It’s a big, splashy proposal that delights as a visual and auditory treat, times two, but doesn’t really fit in at all with Glee‘s established world and character rivalries.

My one complaint about the finely executed “All You Need Is Love” scene, besides the premise of it, is that Mercedes (Amber Riley) is present but doesn’t have a single line of dialogue. Recently dropped from the full-time cast, it does make sense to bring Riley back for such an important moment, but it’s cruel to waste her as set dressing. This will only be made up for if she sticks around to talk some sense into Kurt and Blaine in the second half, next week.

It’s way too early for Blaine and Kurt to get engaged. Kurt says yes because how can he not when confronted with the massive, showy, dream proposal? But his conversation with his father (Mike O’Malley) on the way there proves he isn’t fully committed to this. Why must all the teenagers at McKinley try to get married the second they leave the halls of high school, or even before? Can’t they just enjoy their youth and being with those they care about, without rushing towards commitment?

I understand Blaine’s desire to do this. He feels he has lost Kurt and wants to solidify his hold on him. However, it’s a sign of immaturity. Where is Will’s scene trying to talk Blaine into waiting, or at least offering sound advice? Some of the students are hesitant, but this arc really begged more exploration and characters’ self-reflection before the big moment. I hope we get some after the fact, rethinking what has been promised.

Two original cast members of Glee that the show has never, ever found a good use for, though god love ‘em for trying over and over again, are Artie and Tina (Jenna Ushkowitz). They just do not resonate the way others have, yet somehow remain in the show (after somehow being demoted to juniors in season three). “Love, Love, Love” tries valiantly to serve both of them, but despite signs that Artie, especially, is going nowhere, it’s long past time to let them go, especially when better players such as Mercedes and Brittany (Heather Morris) have already been given the boot.

Artie’s new romance is with Kitty. This makes for an entertaining trip to the fair and a group rendition of “Drive My Car,” which immediately devolves into a secret fling when Kitty’s new rival, who emerges from nowhere, Bree (Erinn Westbrook), disapproves. Then we get a sad, but terrific, “You’ve Got to Hide Your Love Away,” before a confrontation from Tina pushes Kitty to make the relationship public.

This is actually one of Artie’s better episodes. McHale gets to show a range of emotions, but the character is still too much of a pushover to be sympathetic. What Artie tries to make look like understanding for Kitty’s reputation ends up casting him as a schmuck. Perhaps many kids in his position would do the same, willing to keep his fling a secret in order to continuously get some sugar from a beautiful girl, but Glee is about not being ashamed and standing up for yourself, so this doesn’t fit the message of the series.

Kitty’s growth into a fully developed person, not just a Cheerio mean-girl, is welcome, and has been going on for awhile. However, her quick flip-flopping between whether she’s OK with people finding out about her and the boy in the wheelchair rings false. She goes from thinking hiding things is a great idea to being fully supportive of a public pairing in no time at all. And what exactly does she see in Artie, besides, admittedly, a great singing voice? It doesn’t gel.

Tina, for her part, is shown to be bitter and nasty after last year’s events. Her attacking Kitty seems noble at first, protecting a friend, but is quickly unmasked as jealousy and pettiness, doing her character no favors in the likability column. Which is why it’s weird that Blaine, Sam (Chord Overstreet), Jake (Jacob Artist), and Ryder (Blake Jenner) try so hard to cheer her up. Blaine has an inexplicable friendship with Tina, but the rest don’t owe her anything. And the result of this little subplot is that Tina is going to the prom with Sam? Poor Sam, is all I can say.

Now, the boys’ way to make Tina is enjoyable, staging a classic Beatles presentation of “I Saw Her Standing There.” Marley (Melissa Benoist) sort of steals this scene, making a perfect screaming, crying fan girl with big glasses dancing near the stage. It’s a really fun piece of music, well performed.

And that’s why “Love, Love, Love” works. For all its many flaws in character development and authenticity, these songs rock. Glee does as much justice as one would expect from the show with these classic numbers, and even when the story doesn’t quite work with them, viewers are likely to forget that in the moment and just enjoy themselves. It’s why the Beatles are so enduring to this day, and I’m glad Glee is spending a second hour with them next week, which can only benefit the show.

Glee airs Thursdays at 9 p.m. ET on FOX.

NURSE JACKIE Bares its "Soul"

Article first published as NURSE JACKIE Bares its "Soul" on TheTVKing.

This has been a tough year for the titular character on Showtime's Nurse Jackie. Jackie (Edie Falco) has struggled to put her life back together while going through a divorce and trying to hang onto her sobriety. Her personal and professional pressures have not made such trials easy, but she has managed to make it through and celebrates one year of being clean in the season finale, "Soul."

I didn't think Jackie could ever turn over a new leaf. She was closed off and withdrawn, a sneaky liar who used people, where the series began. Now, she's so much better a person. She is far from perfect, of course, but even when her relationship with cop Frank (Adam Ferrara, Rescue Me) suffers its slings and arrows, it isn't because she treats him poorly, as has been the case previously.

Watching Jackie read last rights to the patient-of-the-week, Wally (John Cullum, Northern Exposure), and how she reacts after, is nothing new, and yet it seems so. She has always had a soft spot for those under her care, but now it's different because it seems genuine. To the outside, it always was. To the viewers and Jackie herself, this is new.

It's awesome to see her come around. It's been a very slow journey, which is good, because it has allowed time for very natural character development. It's why Falco deserves all of the praise she gets for the role, and it's why you celebrate with Jackie when she does well.

That's why the end of this episode is so disappointing. Every thing that is working for Jackie, with daughter Grace (Ruby Jerins) even showing up to her ceremony, despite their issues, feels unearned when Jackie swallows a pill.

Why does she do it? Yes, addicts backslide, but Jackie seems to be doing so well prior to this! Wally's death is depressing, but she makes up with Frank. I don't understand how she can throw everything away as she does. It will come out; these things always do. So now it's just an unpleasant waiting game.

Sadly, Jackie's support system isn't as strong as it used to be. Zoey (Merritt Wever) tries to be a good pal, but also is maturing herself, setting her own path outside of anyone else, especially when it comes to her relationship with Dr. Prentiss (Morris Chestnut), which is kept a secret. Eddie (Paul Schulze) also makes effort, but isn't capable of just being a friend all the time when Jackie moves on with Frank or when he is accused of doing things he isn't by Jackie's daughter. And O'Hara (Eve Best) is almost completely MIA this year after moving to London, and she won't be coming back, as Best has regrettably resigned from the series.

This means that no one is really in a great position to notice Jackie's problems. With her life more fractured and divided than even before, and giving up custody of her children, she can slip through the cracks.

Jackie isn't the only one that matters on Nurse Jackie, which boasts one of the most outstanding ensembles around. Akalitus (Anna Deavere Smith) has dealt with memory issues in a very moving story that turned out OK, to fan's relief. In "Soul," Thor (Stephen Wallem) makes a connection with Wally and pays tribute to him. And Cooper's (Peter Facinelli) elicit behavior with Dr. Roman (Betty Gilpin, Ghost Town) bites them all in the butt when it means the hospital can't fire her without risking a lawsuit.

I'm not upset that Roman is sticking around. She's a horrible person who cannot be trusted, but she's made Cooper grow a spine and creates some delicious drama in the dynamics of the cast. Every show needs someone who can stir the pot, and Roman does so in a way no one really has yet on Nurse Jackie. Many of the problem people have been in authority, but by bringing in someone lower on the totem pole, whose power is ill-gotten and far from absolute, the story takes an interesting turn.

In the end, season five has continued a wonderful tale with fantastic characters. This is a series I greatly look forward to watching every week, and miss whenever it's gone. Thankfully, Nurse Jackie will return for a sixth outing next year.

Wish Nurse Jackie a "Happy F**king Birthday"

Article first published as NURSE JACKIE Season 5 Premiere Review on Seat42F.

Grade: 94%

Showtime’s NURSE JACKIE is back, and it’s time to wish the titular character a “Happy F**king Birthday.” In the season premiere, set the day before Jackie’s (Edie Falco) anniversary of being born, things are falling apart. Jackie may be sober, but with her support system dwindling, and beset by negative thoughts and feelings, will she stay strong?

I’ll be honest, considering that “Happy F**king Birthday” picks up months later, I didn’t think that there was any way that Jackie would still be sober. I won’t spoil if she is or not, but the episode does a good job of keeping the viewer guessing, with circumstances providing a confusing gray area, until the end of the episode, in which there’s a near-perfect scene involving a ring box that says a lot of who this woman is and what point she is at in her life.

But before we get to that, it’s another day in the life of Jackie. Kevin (Dominic Fumusa) is doing everything he can to make things difficult for her, presumably as pay back for Jackie’s infidelity. They fight over the girls (Ruby Jerins and Mackenzie Aladjem), and he won’t even give his ex-wife a straight answer as to whether she can see the kids on her birthday.

I think this does contribute towards Jackie’s feelings when O’Hara (Eve Best) drops a big announcement concerning her infant. Jackie doesn’t feel her life as a mother is fair, and wants O’Hara in the same boat. It’s probably not all selfish, as Jackie genuinely needs her bestie’s support during this trying time. But there is definitely a little bit of jealousy when O’Hara gets to be there for her son and Jackie doesn’t have her daughters around.

To make matters worse, early in the episode Zoey (Merritt Wever) announces that she thinks it’s time to move out. I really love the dynamic between Zoey and Jackie, one of the strongest elements of the show, and I don’t feel like we’ve had nearly enough of them as roommates. Jackie is understandably happy about Zoey’s decision, as Zoey does get on her nerves, but I think, given Jackie’s present loneliness, she’ll be wishing Zoey lived with her again soon enough.

The question is, will Jackie speak up before it’s too late? She’s too late to salvage things with Kevin, which puts a cramp on her parenting style, and a serious damper on her love life. She’s too late to be a factor in O’Hara’s decision (which is a doozy, I promise). Will Zoey be yet another missed opportunity by Jackie?

My guess is, Eddie (Paul Schulze) will help fill the void in Jackie’s life. This is just a theory, based on small hints in the episode, but they seem to be on good terms, and she needs a friend.

Jackie isn’t a bad person and doesn’t deserve her unhappines. Yes, she has lied and cheated, but isn’t addiction a disease? Couldn’t Kevin be a little more understanding? And now that she has made efforts towards controlling her habit, she will continue to gain more sympathy. She has done bad things, undeniably, but that doesn’t make her a bad person.

We see some of the good things that Jackie does in “Happy F**king Birthday.” Akalitus (Anna Deavere Smith) has her job back, and that’s all thanks to Jackie. Jackie also manipulates a patient to purchase a very expensive, but badly needed, piece of equipment for the hospital. That is a noble need, even if it’s carried out in a method that’s a bit shady. Things like these help Jackie make up for the bad things she has done.

As usual, there are a couple of new characters joining NURSE JACKIE this season. One in particular Jackie gets off on the wrong foot with, of course. The new guy (Morris Chestnut, V) used to be in the army, but of course Jackie misjudges him in their first encounter, as his her pattern when someone else arrives at All Saints. Ah, well. I’m sure it’ll sort itself out as the season progresses.

There is no misjudging the other, Dr. Roman (Betty Gilpin, Ghost Town), though. She is all pretty looks and not much else, skating by and using her hot body to manipulate others. Even those who are not attracted to her, but instead desperate for approval, bend over backwards to please her. Which means Cooper (Peter Facinelli) and Zoey are wrapped around her fingers. She is definitely there to shake things up and cause trouble. Which is why I hope she lasts at least a little while, detestable as she is.

Roman does present an opportunity for Cooper to grow, though, which is a positive to her presence. Jackie pushes Cooper to act like an adult, and we’ll have to wait and see how well he will follow through on Jackie’s nudge.

Lastly, a former hospital staffer gets their job back (besides Akalitus, I mean). I cannot possibly say who and ruin anything, but I think most NURSE JACKIE fans will be pleasantly surprised and touched when, late in the half hour, the development occurs.

For those who love NURSE JACKIE, myself among them, “Happy F**king Birthday” is equal parts a way to catch us up on what has happened during the interim, and a glad return to a beloved favorite. The episode has serious developments, but is also an excellent example of a typically great installment.

I would not recommend missing NURSE JACKIE’s fifth season premiere, this Sunday at 9 p.m. ET on Showtime.

Nurse Jackie can "Handle Your Scandal"

Showtime's Nurse Jackie has had a rough year. Jackie (Edie Falco ) is going through a divorce which might cost her custody of her kids, all while struggling to stay sober after a too-brief stint in rehab. But things go from bad to worse in "Handle Your Scandal," the fourth season finale, as Jackie finally has the showdown with Dr. Cruz (Bobby Cannavale) that has been brewing.

Dr. Cruz is cruel. Wonderfully balanced between total jerk and compassionate person by Cannavale, Cruz spends most of the year teetering a very fine line. But as the season wraps up, he shows just how vindictive he can be by firing Eddie (Paul Schulze), Akalitus (Anna Deavere Smith), and ultimately, Jackie. It's one thing to run the hospital like a business. It's another to take out one's personal disappointments in the office. What Cruz does has just as much to do with his son's screw ups as his own power trips. Because of this, let us hope that Cruz does not return next season, at least not the version of him shown in "Handle Your Scandal."

That being said, it's been great to have a villain like Cruz around. It's tested Jackie in ways that she never has been before, made all the more difficult by her new-found lack of substance abuse to cope with it. Jackie learns to play things cool and hold her tongue, until she cannot take it anymore. And by that point, everyone, both characters and viewers, are one Jackie's side. Her cursing match is earned because of her restraint, and means all the more when it finally does occur.

In fact, Jackie has been pretty heroic all season. She has always been likable, but it's not until she begins cleaning up her messes, acting responsible, and letting people in that she becomes someone to be admired. Allowing Zoey (Merritt Wever) to become a friend and roommate, standing by Akalitus and Eddie, fighting for her kids and sobriety, Jackie is a whole different person. This growth may be too quick, pointing towards a possible backslide, but it is thrilling in the moment.

Everyone always follows Jackie's lead. Now that she participates in the social environment, instead of hiding from it, this is even more true than before. By the time that she leaves the hospital, taking it with more grace than many in her position would, the entire staff roots for her. They clap, and refuse to stop when Cruz yells his head off. They stage a candlelight vigil. Jackie has found her place, and somehow, she must get it back.

Will Jackie, Akalitus, and Eddie return next season? Well, the first two simply have to. Eddie is fun, but expendable. However the series would not be the same without Jackie or Akalitus. Obviously, the former isn't going anywhere, but the latter is vital, too. Will they come back because Cruz eats crow and gets himself in order, chalking up his really bad behavior to a reaction against the now departed Charlie (Jake Cannavale)? Even this might not be enough to redeem the administrator.

Finally, Jackie gets to play the good mom. Kevin (Dominic Fumusa) may mostly be in the right in leaving Jackie, but he's handling the divorce extremely poorly. While he should be sympathetic, he comes across as a bully, instead. It's an interesting choice to demonize him at this point, even though he sort of has to be to best serve the titular character. Still, it would be nice to see if he has the kind of moments that Jackie and Grace (Ruby Jerins) share in "Handle Your Scandal," rather than only being portrayed as taking he low road.

In other stories of romance, Zoey seems destined to get back together with Lenny (Lenny Jacobson). One can see why she decides that she must strike out on her own before settling down. But now that she's had just a taste of life without Lenny, it is clear how deep the affection between the pair is. Zoey might get to show another side of herself if she has to grovel to get him back, but that's totally appropriate in this situation.

Speaking of other sides, Cooper (Peter Facinelli) really steps up to the plate when O'Hara (Eve Best) needs someone. He is still the familiar Cooper, and will probably screw up again, revealing O'Hara's baby daddy. But for now, he is being a caring individual, nurturing what could be a real friendship with his fellow doctor.

It's these supporting characters that really raise Nurse Jackie up to the very high level it is at. Falco is absolutely fantastic, but surrounding her with the rest, which also includes Stephen Wallem as Thor, is why Nurse Jackie is the best half hour show on Showtime. Everyone is just so good at the parts they are playing, and their chemistry is spot on in every single relationship. Enough good things cannot be said about Nurse Jackie, and "Handle Your Scandal" really plays this all out to the Nth degree, banking on the show's many strengths. I can't wait to see what season five has in store!

Nurse Jackie will return to Showtime next year.

If you like my reviews, please follow me on Twitter!

Nurse Jackie - "...Deaf Blind Tumor Pee-Test"

     Showtime's Nurse Jackie's third season finale, named "...Deaf Blind Tumor Pee-Test," wraps up the year nicely, with a number of major developments. The biggest may be that Jackie's (Edie Falco) husband, Kevin (Dominic Fumusa) reveals he had an affair, and Jackie kicks him out of the house. But a number of other important events occur, too, such as Cooper (Peter Facinelli) getting left at the alter, and Akalitus (Anna Deavere Smith) deciding Jackie is important enough to deny HR a drug test. The statues return to the chapel at the hospital. Zoey (Merritt Wever) considers another man besides boyfriend Lenny (Lenny Jacobson).


     Jackie forcing Kevin to move out of the house has nothing to do with his affair. Sure, she might be a bit jealous, but she carries on an affair for a long time with Eddie (Paul Schulze). Instead, Jackie is feeling trapped in her life, not able to do the things she wants, and having the walls close in on all sides. As her co-workers find out about her personal life, and everyone begins to suspect, if they don't already know, that Jackie has an addiction problem, one thing she can control, to get a bit of space for herself, is getting rid of her husband. Kevin's admission is merely a convenient excuse for Jackie to pull away, something she is already doing with him anyway. Whether she will eventually fix the marriage on Nurse Jackie or not is up in the air.

     It's interesting to see so many people becoming involved in Jackie's life, and by extension, her being involved in theirs. She has always maintained separate home and professional lives, but as her mistakes get bigger and bigger, she self-destructively ties the two worlds together tighter and tighter. Or maybe it's for the best. O'Hara (Eve Best) was Jackie's sole confidant, but Zoey has forced her way in, and Kelly (Gbenga Akinnagbe) has real potential, now that they have connected over a shared interests in drugs. But Jackie's growing feelings of compassion for her co-workers, even the ones she calls annoying, is best exemplified as she quietly urges Cooper's fiance to go into the hospital and marry him, though the unheard whispers are for naught.

     Akalitus stands up for Jackie by throwing away a pee test she is pretty sure Jackie will not pass. This is a testament to Jackie's place at the hospital. But it also confirms a speculation, for which the evidence continually strengthens, that Jackie's boss knows about the pills Jackie takes. Because they do not affect her job performance, Akalitus allows Jackie to get away with it. But that doesn't mean they go unnoticed. It also makes it likely that Akalitus knows Jackie is making progress, or trying to, on her own, or that O'Hara is helping her, and there is no sense making unnecessary waves for an issue already being handled. Somewhat.

     O'Hara crosses a few lines for Jackie in the past on Nurse Jackie, but none as big as her latest one. Seeing few other available, attractive options, O'Hara tells Jackie she will provide her with a supply of drugs. O'Hara will be trying to ween Jackie off of narcotics, and give her things that will harm her less than some other options, but O'Hara is still supplying her best friend with illegal substances. This is a huge risk, as it would cost O'Hara her career, if not her freedom, if anyone ever found out. But their friendship is incredibly strong, and O'Hara values Jackie above almost anything else in this world. It's a true sign of love, and probably the best thing O'Hara can do for Jackie under the circumstances, though it's also enabling.

     Cooper has been running from his moms' split, and going to extremes while doing so. His wedding to a girl he has been seeing only three weeks, which he began planning before their first date, is stupid and impulsive. He likely knows this, but cannot help himself, so strong is his craving for someone steady in his life. Someone that really loves him. He feels abandoned, and because Cooper tends to act out in large, childish ways, it's a move that makes sense to him. But the fact that his bride cannot go through with it is a smart decision for them both, because a marriage under these circumstances is not one that is destined to last very long.

     Zoey already has a good man, but she's about to let it fall apart if she's not careful. Even though Lenny has been nothing but faithful to her and she loves him, she is sometimes less than satisfied with what he offers. When an attractive cop shows interest, Zoey returns the flirts. It's a volatile situation, and should Lenny observe continued interaction between the two, considering how he reacts when encountering Zoey treating the man the first time, he may not stick around. Or, a better scenario would be that Lenny decides to fight for Zoey. She may not deserve him, but they do make a pretty cute couple.

     It should also be mentioned that Nurse Jackie has comedic timing and supporting characters down solid at this point. The series boasts one of the best ensembles on television. Besides the characters mentioned above, both Sam (Arjun Gupta) and Thor (Stephen Wallem) contribute to the overall tone with their one liners and reactions to various situations. Neither generally gets a whole, large story to themselves, but without their contributions, the show would be lacking that glimmer of greatness and heart that sets it above so many other series. Wonderful writing and acting, all around.

     In all the commotion going on in "...Deaf Blind Tumor Pee-Test," it may be easy to miss a really important occurrence. Jackie's younger daughter, Fiona (Mackenzie Aladjem), lights a fire at school. While it could be innocent mistake made by a curious child, it could also be a sign of deeper issues. Kevin brings up both Fiona's recent actions, as well as other daughter Grace's (Ruby Jerins) mental issues, as evidence that the couple is not doing a good job parenting. And he's right. Kids can sense things that are wrong with grownups, and their spats may be causing serious damage to their offspring. How long before Fiona has as many problems as Grace does?


     Nurse Jackie will return to Showtime next year for a fourth season.

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

     Please click here to buy DVDs and streaming episodes of Nurse Jackie.

Article first published as TV Review: Nurse Jackie - "...Deaf Blind Tumor Pee-Test" on Blogcritics.

Nurse Jackie - "When the Saints Go"

     Showtime's Nurse Jackie continues its third season with "When the Saints Go." Sadly, the day has finally arrived when the moving truck comes and empties out All-Saints's sacred room. No one is more depressed than Akalitus (Anna Deavere Smith), though several others pay homage to the quiet space. As a favor to Akalitus in her day of mourning, Jackie (Edie Falco) lets new obnoxious nurse Kelly (Gbenga Akinnagbe) walk all over her. Most of the nurses are enthralled with Kelly, especially Thor (Stephen Wallem), who seems to fall head over heels right off the bat, but it's only a matter of time now until Jackie's claws come out, and she resumes her rightful place as Top Dog.

     If there is any doubt that Jackie cares about her co-workers, and there usually isn't, despite her efforts to keep them out of her personal life, that notion is dispelled in this episode. The only reason Jackie possibly sucks it up when Kelly marks his territory all over hers is because she cares about Akalitus and doesn't wish to cause her any more headaches on an already difficult day. Kelly takes Jackie's chair, says demeaning things about her, takes over a patient, and changes a medication order. Normally, any one of those would be enough to make Jackie assert her authority, but instead, she lets his continuous challenges roll right off her back.

     What's most surprising in "When the Saints Go" is that her co-workers don't take more notice of Jackie's calm demeanor. Only Zoey (Merritt Wever) even rises to her defense. Considering how important Jackie is, everyone turns to her with her problems, and she handles all difficult the patient issues with grace, one would think her 'friends' would have a little more loyalty. Kelly may be underestimating her now, but Sam (Arjun Gupta) knows better, and should clue his new friend in. When Jackie barks at Sam to jump, he jumps. When Kelly asks why he takes it, Sam replies that that's just how it is.

     Jackie is far from a saint, as anyone who watches Nurse Jackie can tell you. Her brilliant handling of the Emergency Room is tempered by her secret pill addiction and previous, though now ended, affair. While most of the characters are clueless about the vast majority of Jackie's secrets, they don't often pry. Believe it or not, this makes the show seem more realistic. While not selfish, exactly, people have more exciting things to do than investigate an odd behavior now and then. As long as Jackie keeps her waves small, she isn't likely to raise much suspicion. Thank goodness for ineptitude.

     Except from her husband, Kevin (Dominic Fumusa), that is. Jackie plants false evidence leading him to believe she is taking her sobriety seriously, but of course, she's not. He buys it, for now. Considering that the preview for next week's episode shows him finding some pills, he probably won't forever. A major element of this show seems to be finding just how far a marriage can stretch without breaking. It is likely Jackie will lose Kevin soon enough. She must hit rock bottom before she can start to get better, and she's not even close yet. Kevin is the most probable trigger to send her careening over the edge.

     Jackie isn't just lying to Kevin. She tells her bestie, O'Hara (Eve Best), that Kevin is being a jerk towards her. He isn't, but it's all part of Jackie's game to solidify her friendship, which is still tentative after O'Hara learns about Jackie's pill addiction and lies. So Jackie is choosing to lie even more? Not a good way to fix things in the long-term. While it was painful to watch the two separated earlier this season, the next go round will be much, much worse. Not looking forward to it, but it's inevitable.

     The subject of Jackie's affair, Eddie (Paul Schulze), is trying to move on. Kevin sets Eddie up with his sister, Tunie (Jaimie Alexander, Kyle XY, Watch Over Me), and Eddie starts to fall for her. But then Jackie pulls him back, asking him not to date her. While perhaps it's conceivable Jackie would let Eddie move on if it isn't with one of her relatives, it's more possible that Jackie just doesn't want Eddie with anyone but her. She hasn't slept with him since season one, but best guess is that she wants a backup plan for if, or when, Kevin leaves her once and for all. It's not fair to Eddie for her to keep him in limbo, but he allows it. He should take Tunie out and forget about Jackie.

     Cooper (Peter Facinelli) is heading towards a bad, bad place. While his lies are much more transparent than Jackie's (he's telling people his bunion is an intense Achilles injury), he isn't handling his mothers' divorce very well. He is using a literal crutch in the figurative sense. What Cooper needs is a real friend. He had that with Sam, but lost it. Either Sam needs to forgive Cooper, or Cooper needs someone else, but without some sort of help, Cooper is not likely to recover anytime soon.

     Thankfully, there is some honest happiness in "When the Saints Go." Zoey is asked by a patient to give Lenny (Lenny Jacobson) an attractive woman's phone number. Wever kills in the comedy department, both physically and with words, hedging over whether to deliver the message or not, since she is dating Lenny. She needn't worry, as Lenny uses the number to wipe sauce from his face, and cornily tells her she's the only woman he is interested in. The two of them have wonderful chemistry, and he's a good balance for the neurotic Zoey. Their relationship is humming along, and growing stronger. And unlike in other shows, Nurse Jackie probably won't introduce false drama just for the heck of it. Wedding bells, perhaps?

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

     Many more episodes left to go, as Nurse Jackie is only about halfway through its season. Be sure to watch Monday nights at 10 p.m. ET on Showtime.

Article first published as TV Review: Nurse Jackie - "When the Saints Go" on Blogcritics.