REWIND Rewound

Article first published as REWIND Rewound on TheTVKing.

SyFy recently aired Rewind, a two-hour pilot of a series that is not being produced. In the special, an unlikely terrorist (David Cronenberg, The Fly) destroys New York City, killing nine million people. Luckily, the government has a top-secret time travel project, and sends a trio of would-be heroes back in time to try to surgically stop the attack while not altering the rest of the time line.

On one hand, it's cool that SyFy is giving viewers a chance to see something they haven't gone forward with. There's always the chance it will get a ton of positive attention and the network will decide to pick up the show. Cartoon Network did a similar thing this week, and Amazon posted a bunch of pilots last spring, giving viewers the chance to pick the series ordered. So this could be the start of a new trend where programming is more viewer-controlled.

However, it's also kind of depressing to see two hours of something that there won't ever be any more of. When a pilot like Rewind is aired in this manner, it's mostly a burn off, getting a little bit of value out of something that would otherwise provide none. But it's also a tease, showing us a taste of something we can't ever have the next chapter of. There is little chance Rewind will be picked up, and without lots of attention and advertising being devoted to getting eyes to the broadcast, it's doomed to be a one-off.

The concept of the time travel machine presented in Rewind is a neat one, especially because those operating it have no control over the time or place they travel to. It's definitely an early-stage device that needs further study and fine-tuning. This makes sense, and is a departure from the typical machine shown in the genre, which usually works quite well.

However, in the case of Rewind, I think SyFy made the correct choice of not going further.

The characters are likeable enough, but mostly stock. Our hero, Henry Knox (Shane McRae, Four Kings), is strong, but intelligent; emotionally tough, yet caring. He immediately clashes with Doctor Lyndsay Bryce (Jennifer Ferrin, Hell On Wheels), who doesn't think the army should be involved in her scientific project, but he sort of wins her over by the end of the pilot. There's also a corrupt military officer who wants to use the machine for his own purposes. None of these are fresh or original.

As the pilot plays out, it appears that the main characters will be trapped in the 1920s, which is where I thought the show was going. Instead, a too-convenient solution pops up after all hope is, and should be, lost, and everyone gets home safe and sound. This not only feels like a cheat, but also dooms the concept into a case-of-the-week procedural, rather than an intriguing, complex serial tale. Perhaps the procedural is more sell-able for a network, but it makes for a far inferior show. There are none of the consequences for rushing into a project that isn't ready.

There's also a computer that can pretty much predict all of the effects of a given action in the past, as well as access old paper records for anything, which is not at all realistic. Granted, other shows have given computers more abilities than they typically have (looking at your 24), but Rewind's system may just be more over-the-top and omniscient than any I've seen on screen before, especially for a series set in the present day. It takes one out of the moment when it is invoked.

So basically, there are some really good ideas present, and some nice supporting cast members, including Jeff Fahey (Lost), but the thing falls apart late in the hour, and is not the recipe for an original show that can inspire and energize a fan strong fan base. Too bad.

Will Amazon Change Television?

Article first published as Will Amazon Change Television? on Blogcritics.

It wasn't that long ago I was pondering in this column, "will Netflix change television?" Now, with the streaming release of 14 comedy and children's' pilots by Amazon this week (the dramas will be forthcoming), even more changes are afoot in the television landscape.

Streaming video is nothing new. YouTube has been around for quite awhile. It's even been pushing "channels," including Felicia Day's "Geek & Sundry" for some time. And websites like Revision3, CollegeHumor, and FunnyOrDie have also made some inroads in web-based programming. But these all mainly feature shorts, and despite a couple of big blips, and Day building herself a very respectable reputation, none of them have had a consistent runaway hit nor as widely viewed as anything on a traditional network.

Amazon and Netflix hope to change that. Already having large platforms and subscriber bases, they are making carving a new path by producing recognizable programming blocks - hour long dramas and half hour sitcoms. This hybrid of new and old provides a possible bridge for those not yet fully embracing the digital revolution, giving them a familiar-looking access point. So it seems natural that those companies might as well offer their own original content alongside the shows they buy or rent from other companies.

Because Netflix and Amazon are not beholden to the traditional model, meaning they don't need to kowtow to advertisers or negotiate with cable providers, they aren't reigned in by the same restrictions as traditional networks. It gives them freedom to experiment and change the game, making them pioneers that, depending on their success or lack thereof, others may try to emulate. There is a lot of potential for Netflix and Amazon to become the leaders of the next entertainment wave.

Netflix's approach makes sense for its customer base. It develops high-quality series, and then releases an entire season at once, giving the public the opportunity to watch an entire series without waiting a week for a new episode.

Amazon is taking a different approach, involving the consumer much earlier in the process. Traditional networks order and review a bunch of pilots and then decide which ones to pick up. Amazon is putting this choice in the hands of their customers by releasing a number of ordered pilots publicly, and then gauging interest from crowd sourcing to see if a series should be made.

On one hand, this is Amazon asking us to do its job. Rather than having to review and consider possibilities themselves, they are just putting stuff out there and seeing what everyone thinks. It takes a big chunk of work and decision making away from them.

On the other hand, this may be a much more effective way to do business. Why let a handful of corporate folks decide what we should get to see? We are the ones who watch (or don't watch) the shows. Shouldn't we have a say in what is produced?

It's actually a smart thing to do. By allowing the public to pick which pilots it likes, Amazon is guaranteeing an audience before spending the money to produce an entire series. It's a lower risk investment, and a way to make sure the company delivers what the people want.

It also benefits the viewer. We get to tell Amazon what we want. We aren't beholden to what a small group of people think, but rather chart the course for the company. It makes so much sense that it's a wonder no one has done it before now.

Now, the public at large doesn't necessarily choose things wisely. There are plenty of people who enjoy quality, smartly written programs, and grumble when American Idol or NCIS tops the ratings chart. Hopefully, Amazon will keep this in mind and give some weight to what is the best-made show, rather than just what is the most liked. But there is definitely a happy balance of the two to be found, and given that Amazon is judging based on multiple criteria, the company may very well have thought about this issue already.

If it succeeds, and I really hope it does, this could be something easily adaptable by the traditional networks. What if, instead of airing reruns through March, NBC, ABC, and the others let us check out the pilots they are considering? It could provide a needed boost during a season when reruns typically mean lower ratings, and make "pilot season" a highly anticipated "event." TV fans might take a sense of pride and ownership in a show they help vote into life. I am completely in favor of this technique. I've only watched a few of Amazon's shows thus far, but it seems there is a decent variety, and I look forward to checking out more.

Will it spread? Who knows? But I hope so.

Defiant Defiance

Article first published as Defiant Defiance on TheTVKing.

There's a lot that is familiar in SyFy's new drama Defiance. A loner hero blows into town just to get a bit of money, and then intends to leave. Instead, he is sucked into the plight of the rebels, and ends up risking his life for them. A small frontier town stands up against an army they couldn't possibly hope to beat, and wins. A leader who doesn't feel up to the challenge finds her way. Generational divides between parents and children tear families apart.

But those small elements, used many times over in fiction before, don't seem all that familiar when watching the "Pilot." Instead, Defiance feels fresh and inspiring. The effects are great and the acting is terrific. The story is interesting, and the way it is presented to excellent. Overall, I am very impressed with the first two hours, and could see this as a show to watch, should the quality be maintained.

Defiance is set in our not-so-distant future. Aliens, seven species that together are called the Votan, come to Earth, accidentally terraform it, and go to war on its surface, wiping out much of the native population. We don't yet know the details of why this happens, but I assume that will be revealed over time, based on the tidbits the "Pilot" gives us, and probably has to do with resources. At least, that's the explanation that makes sense, given those are still being fought over in the first episode. More info can actually by found on the Wikipedia page for the show, which likely makes use of press materials and the tie-in video game to explain the story.

I do hope that Defiance gives us this back story. It's true that the tale being told here is primarily about characters, and not about the political maneuvers that led to the current reality. I don't disagree with the decision to skip over a lot of it in the first episode, as the initial two hours are well structured to draw viewers in. But it would be nice if the history is established as cannon on screen and known to all viewers, not just those that read online or play a game.

As the story begins, it's been years since the war ended, and Earth is a vastly different place. One town, Defiance, is a beacon of hope for those who wish to get along and live together, as the war ended when many refused to fight. There are plenty of others that live outside of its walls, including some kind of central authority. But Defiance, standing on the site of what was once St. Louis, attempts to carve its own path.

At the center of the series are Jeb Nolan (Grant Bowler, True Blood, Ugly Betty) and his adopted  Irathient daughter, Irisa (Stephanie Leonidas, MirrorMask). They tend to keep to themselves, and hope to find a paradise to settle down in, possibly in Antarctica. At first, they are resistant to Defiance, but realizing their dreams are just dreams, they decide to stay and forge an actual life.

The dynamic between the two is wonderful, and equal parts familiar and foreign. Irisa doesn't quite act like a human teenager would, but then again, she does. Perhaps her emotions are just stronger and control her a little more, taking her to the extreme. But she also has great affection for Jeb, which says something about his personality that isn't immediately apparent, having spent the effort raising and caring for a girl that he has no familiar connection to.

In Defiance itself, various factions struggle for power, though not in a way that obviously tears the town apart. Wealthy Castithan couple Datak (Tony Curran, The Pillars of the Earth, Gladiator) and Stahma Tarr (Jaime Murray, Warehouse 13, Hustle) don't get along well with human miner Rafe McCawley (Graham Greene, The Green Mile). But when their children, Alak (Jesse Rath, 18 to Life) and Christie (Nicole Munoz, Defying Gravity) bond in a Romeo and Juliet-esque fashion, the Tarrs come up with a very sinister plan to take over the mines and the fortune that comes with it.

I can't fully decide if the Tarrs are villains or not. They are certainly shrewd and cold and not above killing, yet they also seem to care about Defiance. Perhaps their ways are just very alien, and they are hard to understand. They may yet have some sort of honor code, but they aren't very likeable at the onset. Maybe they can find some way to peacefully co-exist with the McCawleys?

There are also several other colorful characters in town including: Kenya (Mia Kirshner, The L Word), madam of the local brothel; Tommy (Dewshane Williams, Being Erica), the lawman's earnest apprentice who takes a shine to Irisa; and Doc Yewll (Trenna Keating, Combat Hospital), the sharp-tongued Indogene doctor, who seems perfectly at home in the Old West tone of Defiance, despite her strange appearance.

Holding this ragtag band together is Mayor Amanda Rosewater (Julie Benz, Dexter, Angel). Benz is playing against type here, and doing it well, Amanda being a departure from previous roles. This is someone who isn't a natural leader, but can rise to the occasion, filling in the shoes of her beloved predecessor, Nicky Riordon (Fionnula Flanagan, Lost, The Other), but also forging her own path. She is very much a diplomat, which helps her hugely in her current position. She's tough, but fair; guarded, but trusts those who have earned that trust. Amanda also has an unexpected, but sweet, connection to one of the town's other residents that grounds her and adds a nice layer to the character.

By the end of the first installment, the citizens of Defiance must band together to face a common enemy, but this is only the beginning of their struggle. There is a major villain making a move against the town, and while there is definitely some mystery as to the motivation and purpose, the bad guy is revealed at the end of the "Pilot." This keeps us from being in suspense, but also provides tantalizing crumbs as to what will occur.

"Pilot" is a well-crafted and intelligent story set in a rich, detailed world. Obviously, much care has been gone into developing this universe (at least five years, actually), so it feels more authentic than most sci-fi settings. Defiance manages to deftly balance large arcs with character tales, contributing to a really neat presentation. This show could definitely go somewhere.

Defiance airs Mondays at 9 p.m. ET on SyFy.

A New Idea for Pilot Season

A few networks have aired their abandoned pilots as TV specials. These are shows where the first episode was filmed, but production didn't go any further than that, the pilot never having been ordered to series. They don't quite feel like TV movies because there isn't a clear conclusion, but the characters are doomed to never get further development or closure.

The most recent examples of this are USA's Over/Under, which premiered last week, and NBC's Mockingbird Lane, airing last Halloween. Mockingbird Lane had lots of potential and looked fantastic, but also had some very clear story problems that needed to be fixed were the project to move forward. Over/Under is a little more puzzling, because, despite some murkiness in the plot, the premise seemed solid.

The question is, why choose to air them at all? It will annoy fans who may like the show, who grow frustrated that they don't get any more of the tale, and for those who don't like it, well, that doesn't really matter. What possible benefit does the network get by putting these on TV?

One possibility is, if enough people tune in, the network might have a viable project on its hands without taking the risk of paying for thirteen episodes up front. This way, there is already a built in audience before more money is spent, lowering the possibility that viewers won't tune in, since it is known at the start how many people are interested in watching.

Yet, neither of these broadcasts has resulted in that happy occurrence as of yet. Instead, they remain a blip on the television schedule, likely to be forgotten in the annals of television history. It's a terrible fate for any show.

Which means that it is hard to argue for more of these abandoned pilots to make it to air. The schedule is filled with reruns. Wouldn't it be nice to fill some of those gaps with something original? Haven't you heard about a pilot you really wanted to see, but it never saw the light of day? Yet, if these types of experiments don't work, the networks won't be encouraged to try them again.

Of course, with many viewers knowing ahead of time that the chances of these kinds of pilots going anyway are slim to none, many won't tune in just because they don't want to get invested. What's the point? If they like it, they will just be disappointed in the end. If they don't like it, they wasted their time. It's a lose/lose situation for audiences.

I have a proposal, and anyone can use it free of charge. I promise here, in writing, I will not sue anyone if the idea is run with. In fact, I'll be ecstatic. Here it is: Broadcast networks have long struggled with what to air in the summer. They also rerun most shows through March and into April. Why not pick one of those two times and air lots of pilots that they are considering picking up?

There are so, so many benefits to this idea. For the networks, they get to make use of money already spent. They get to find out ahead of time what people think. They can drive up viewership at a time when not as many people are tuning in. For the people at home, they get to play an active part in the development of the fall slate. Don't like what's on? You can't complain if you didn't participate.

The set up would be simple for the digital age. The networks spend a couple of weeks airing the many, many dramas and sitcoms they have made first episodes for. Not only can ratings be taken into account, but so can reactions. Apps can be launched for instant feedback. This plays to the young demo, which is what advertisers want, anyway. In a perfect world, there may even be some way for audiences to offer suggestions for improvement, and the networks to pick the best ones moving forward. Buzz will build before fall premieres. What an exciting event that would be!

Now, there could be an argument against such populist sentiment, as the highest quality programming doesn't always translate to mass appeal. But our current system of ratings being a big deciding factor already runs this way. And studio bosses could still choose to push ahead with their favorite efforts.

This isn't a perfect suggestion, of course, but I do think it's better than the way things currently work. After all, wouldn't NBC have liked to have known ahead of time that no one wanted to watch The Playboy Club? It could have saved them money in the long run.

Think my idea is a good one? Weigh in on the comments below.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as A New Idea For Pilot Season on Blogcritics.

Things looking Grimm

     Last night, NBC's Grimm premiered. In "Pilot," Detective Nick Burckhardt (David Giuntoli, Priveleged) begins seeing people morph into strange creatures. His dying Aunt Marie (Kate Burton, Grey's Anatomy, Law & Order), who raised him, warns that he is the next in a long line of Grimms, tasked with hunting down the supernatural. Since she will be gone soon, he is inheriting her powers. This comes in handy, as Nick is soon investigating a serial killer who goes after girls in red hoodies. Luckily, he meets Eddie Monroe (Silas Weir Mitchell, My Name is Earl, Prison Break), a reformed big bad wolf, who reluctantly tells him about the supernatural world, and helps him track down the killer, a postman (Tim Bagley, Monk, Web Therapy), who happens to be another Big Bad Wolf with a Red Riding Hood complex.

     Basically, Grimm is a crime procedural with a heavy supernatural twist. This makes it hard to figure out, exactly. With David Greenwalt, a creative force for Buffy the Vampire Slayer and Angel on board, Grimm could start off with cases of the week, and grow into something truly special. Or it could continue this format for years to come and grow boring. Or it could pull off the rare feat of a procedural, making enough character development merge with whatever the crime is, and end up being successful because of the people in the series being extremely interesting. A cynic would think the middle choice is most likely, and looking at the fare on television, that is probably true. However, with a wonderful cast and cool mythology, Grimm certainly has the chance to be neat if the network lets it, and the writers and producers are so inclined.

     Poor Burton takes on another character that won't be long for the series. She does a similar thing in the first season of Grey's Anatomy, setting up the central character, before bowing out and letting them stand on their own. She surely won't be alive by season one's end, at the latest. It's too bad, because she makes Marie creepy and mysterious, loving and dangerous. It's a really complicated character, and Burton is up to the task. Thank goodness, even though the part may be temporary, an actress with skill is cast.

     How long will Nick stay with Juliette (Bitsie Tulloch, Quarterlife, Lonelygirl15)? She is someone that can go a number of ways, thus making her character a good one to put in the mix. Nick and Juliette are living together, and he wants to propose to her. But as Nick's Grimm destiny manifests, Marie warns him to dump Juliette, as being the spouse of a Grimm is far too dangerous. So in Grimm, Juliette, who is currently a main character, will have to go one of two ways. Either Nick is done with her, after much agonizing, and likely some serious threat to her life, which may or may not result in her death, or she bucks up and becomes a talented hunter alongside him. The latter option is the more unexpected one, and the more people helping Nick, the better his mission will go. That would be a step towards Buffy, and a sign that the series is on the right track. But maybe she'll just die, which would be boring.

     Nick and Eddie's partnership, while not at all original, has pretty good chemistry. Like so many other team ups that both characters are not equally as enthused about at first (see: White Collar, Bones, Castle, etc.), they will become fast friends very soon. Which is fine, because both have back stories that will serve to enhance the show's mysteries. Neither performer has had real starring, meaty roles before, and it's time to give them the chance, especially Mitchell, who has shone is recurring roles on popular series. In "Pilot," they seem capable. They relationship will be the heart of the series.

     On the other side of things, in what will surely clash with Nick's new career, he already has a partner in Hank Griffin (Russell Hornsby, Lincoln Heights). Hank knows nothing about Nick's new abilities, but does seem to notice that Nick is now getting "instincts," which lead them to the bad guys. So Nick keeping the two sides of himself a secret is out. Hank's direction is nearly the same as Juliette's, though he probably won't just get reassigned and disappear. Either he becomes a valued ally, or he dies. Again, if the show is going for a strong ensemble with some serious serial staying power, he needs to step up. It would be a shame if Nick loses all of his connection to the human world, so minimally, either Juliette or Hank should stick. Both would be preferable.

     Lastly, Nick's boss, Captain Renard (Sasha Roiz, Caprica, Warehouse 13) is working with some of the creatures that Nick must hunt. Is he a baddie, too? What are his motives? First glance makes him see evil, but that is not necessarily the case. It's nice to see the great Roiz isn't regulated to toothless, bit part boss, but is instead an integral part of the larger story. The questions I have about Renard top all others to date, so he really makes Grimm worth looking forward to.

     Watch Grimm Fridays at 9 p.m. ET on NBC. The series also stars Reggie Lee (No Ordinary Family, Prison Break).

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

Homeland finds a home on my TiVo

     The "Pilot" of Showtime's new drama Homeland premiered two days ago. The premise is this: Nicholas Brody (Damian Lewis, Life, Band of Brothers), a U.S. Marine missing for eight years, is found in Iraq. Returning home, he is hailed as a hero, and his family, including wife Jessica (Morena Baccarin, V, Firefly), who has been trying to move on, rally around him. But a CIA analyst named Carrie Mathison (Claire Danes, Temple Grandin, My So-Called Life) thinks that newly-minted hero Brody might be a hidden terrorist, based on a snippet of information she gets from an imprisoned terrorist about to be executed. So it becomes her obsession to prove it. Oh, and Carrie might just be crazy. 

     Homeland is a fascinating character study. But of which character? Jessica, ready to move in with Nicholas's best friend, Mike (Diego Klattenhoff, Mercy, Men in Trees), before she finds out that her husband is still alive, drops everything to support him and pretend he never left? Nicholas, who has spent years being tortured, even forced to kill his partner (Chris Chalk) with his bare hands, but then lies about it, either because he's a bad guy, or because he just wants to forget the terrible experience? Or Carrie, who is on antipsychotics, and is illegally bugging Nicholas because of one piece of intel that may or may not be true. And even if it is, it may or may not be about him, risking her entire career and that of her mentor, Saul (Mandy Patinkin, Criminal Minds, Dead Like Me), on a hunch? All are pretty much equally intriguing.

     The big question of the series?  "Is Carrie right?" In the Homeland pilot episode, it appears that she is. Nicholas acts a bit funny, and she catches him in a lie. This proves nothing, and some things turn out to be coincidences. But then she discovers Nicholas's hand ticks in a repeating pattern every time he's on camera, as if sending a secret message. It's enough of a straw to grasp for Saul to let her pursue it, keeping her on the job, for now, and possibly saving both of their jobs, but only if she's right. However, could it just be a tick? Might it mean something entirely different than what Carrie thinks?

     Yes, and that's how Homeland seeks to keep viewers guessing. If the series made things so simple, few would be interested in watching it. Carrie is delusional and obsessive; there's no arguing that. She also operates with very narrow blinders on, not really considering other possibilities once her mind is made up, which it very quickly is. This is not the makings of an intelligent, smart operative. She must once have been one, considering that, while her job is scaled back, she is not fired, and the way that Saul, a seemingly intelligent man, has trust in her. But now she is teetering on the edge of instability, and it won't take much to push her over that cliff.

     What Nicholas has been through would be a nightmare for any sane person. He lived in a hole, cut off from everything that he knows, for eight years. Whether he remains loyal to his country and profession, or whether he is turned, one can hardly blame him. The horrors he still faces through haunting memories are unimaginable. But now, not only is he away from Iraq, but he's home. He has to readjust to family. He appears to be doing so in front of the cameras, but a tense and somewhat angry bedroom scene with Jessica shows very clearly that he does not have it all together. There are any number of reasons this could be, but, thankfully, Homeland doesn't reveal why quite yet.

     Equally jarring is Jessica's experience. True, she lives much more comfortably these eight years. There was likely a period of deep grief, but she came out the other end intact. Now she has to reopen old wounds. She is glad to see him, but she has moved on. She tries to backtrack, putting herself back in the mindset of his wife. Not only that, but she has just as little chance of understanding what Nicholas goes through as the viewers. Less, because she doesn't get to see the flashbacks. It's a complicated situation under the best of circumstances, and with Carrie sure to make their lives even more difficult, these are not the best of circumstances.

     Homeland is extremely gripping, and is off to an incredible start! It feels like an action show, but with little action. You won't want to miss it, airing Sundays at 10 p.m. ET on Showtime.

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

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

Free Agents - "Pilot"

     NBC's new sitcom Free Agents, which premiered last night, is about two friendly co-workers who sleep together. This might not be the best idea, considering Alex (Hank Azaria, The Simpsons, Huff), the gentleman in the scenario, is recently divorced, and the girl, Helen (Kathryn Hahn, Crossing Jordan), lost her fiancé a year ago. The episode begins with the aftermath of the sex, so how two people who are just friends end up in bed together is not shown. But Alex begins crying, and then gets clingy. Helen, when not trying to help Alex move on, downs copious amounts of wine and looks at the dozens of pictures of her fiancé that line her walls. Not exactly a match made in heaven.

     Yet, there's something about these two that is oddly endearing. They are both messed up people, but they seem to really take comfort in each other. While the romantic sparks may not be flying left and right, there is genuine affection present. Helen tolerates Alex's crying, and even helps him shop for a shirt for a date. Alex leaves a date with a very attractive, much younger girl when Helen calls him upset. The rest of the pieces could eventually fall into place if they just remain available for each other.

     If the series were just about Alex and Helen, it would be wonderful. Sadly, the rest of the ensemble cast mostly drags the series down, even those that are welcome on screen. For instance, it's thrilling to see Anthony Head (Buffy the Vampire Slayer, Merlin) as Stephen, their somewhat creepy and sex-obsessed boss. Natasha Leggero (Ugly Americans, Last Comic Standing) is a hilarious woman, and gets the best one-liners in Free Agents. But both are mere distractions from the central story, which is not nearly as funny as they are. And that's ok, when sweet romance is the subject material.

    Then there's Mo Mandel (Chelsea Lately) who is a seemingly well rounded co-worker, but his entire plot in the pilot is getting Alex to double date with him. Walter (Al Madrigal, Gary Unmarried) is a married man who is skeazy because of his desire to go out with Mo and the girls. Maybe he really just wants some time away from his house, but he comes across as not someone you'd want to hang out with. Gregg (Joe Lo Truglio, Reno 911!) the security guard is just as bad as Walter, forcing Alex to sit through homemade videos of him swinging a sword. All three of these characters are worse than useless. I find myself groaning each time they are on screen.

     For Free Agents to succeed, it needs to figure out what it's strengths are, and trim the fat. There could be a really cool story here, told in an original way. But sitcoms on television feel the need to beef themselves up with "quirky, funny" supporting characters, and they are not always necessary. It's almost as if two completely different series are warring for screen time, and it makes the flow stumble.

     That being said, scenes where Alex improvises a sexual conversation to co-workers, or Head shows Alex photos of some of the named sexual positions, are really quite humorous. So some belly laughs are OK, as long as they included appropriately.

     Free Agents normally airs Wednesdays at 8:30 p.m. ET on NBC.

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

breaking_in "Pilot" pretty funny

     Most network television shows are winding down by this time of the year, or more accurately, ramping up for a big finale. But there are a few that, for whatever reason, didn't make the schedule until now, and are getting one last chance to succeed. Usually, these series air for less than ten episodes and are never heard from again. There are exceptions, such as Grey's Anatomy, that end up being runaway hits. Wednesday, FOX presented breaking_in, a sitcom that I find really funny, so I hope it's the next exception.

     The story begins with Cameron (Bret Harrison, V, Reaper) in his seventh year of college, easily hacking his way through school, and being paid to help others do the same. A man named Oz (Christian Slater, The Forgotten, My Own Worst Enemy), who runs a security company, catches Cameron in his illicit activities. Oz offers Cameron a choice: be exposed and go to jail, or come work for him. You see, Oz's company breaks into businesses for a living. They are not crooks, exactly, but hired to be crooks by their victims to test security measures. Cameron reluctantly accepts the latter option.

     Harrison is a comic genius, brilliant at playing the straight man forced into situations he doesn't want to be in. He's done it multiple times before, and he accomplishes it just as well as ever here. Slater, on the other hand, exudes power and threat with a glance, and is obviously relishing his role as leader of the crazies. His catch phrase, "I'll allow it," is uttered with a smirk whenever he catches one of his employees pranking another, even if the prank goes beyond the bounds of human decency, as they usually do.

     These are the two actors the show will depend on. One fairly fresh faced and new, the other experienced with an established following. Their interactions are some of the best parts of the episode, and there will definitely be a power struggle between the two as the series goes on. Cameron initially wants out, but by the end of the pilot, decides to stay. However, I do not see him going along easily with Oz's free-wheeling ways, so there are bound to be plenty of clashes.


     Joining Cameron and Oz in this odd job are Cash (Alphonso McAuley), a nerd obsessed with candy bars and hazing the new guy in outrageous ways, Josh (Trevor Moore, The Whitest Kids U'Know), a sometimes jerk and flaw(less?) character actor who vies for leadership, Creepy Carol (Jennifer Irwin, Eastbound & Down, Still Standing), an annoying office worker who sneaks up on people, and Melanie (Odette Annable, formerly Odette Yustman, October Road, Brothers & Sisters, Cloverfield), a total psycho whom Cameron is attracted to. Of course, she already has a boyfriend, with a personality more similar to hers, named Dutch (Smallville's Lex Luthor, Michael Rosenbaum). There are other employees; it's a big office; but none that got any attention or lines.

     Rosenbaum will make you forget all about Lex in seconds. He is unrecognizable with hair and an attitude. Moore basically takes all of the things he does well in his IFC sketch show and does them within a larger plot, a good use for the actor. Irwin is likely a recurring character, but her familiar face is welcome. McAuley is funny, and I assume Cash will be Cameron's best friend before long. Annable is everything you want in a love interest. She's generically sweet and attractive, but it's the flashes of insanity that will set her apart. Ensemble wise, the chemistry is great from the get go. Each different personality brings something unique to the table, which will help with varied assignments.

     As soon as Cameron comes to work at the company, Oz puts him in charge of a mission. Oz is very much of the "toss him in the water and he will sink or swim" persuasion, not a caring mentor. He hires the people he thinks will get the job done, and has little patience for hand holding.

     Josh takes offense, feeling passed over. I find that surprising, because Oz seems the type to give this test to any rookie, and Josh should have seen it before. Cameron also has a temperament that will serve him in a leadership role, as he listens to everyone and cares about people. Josh, on the other hand, will clearly let ego get in the way.

     Don't make the mistake of thinking Josh is dumb, though, or he would never have gotten the job in the first place. Josh subtlely tricks Cameron into stealing the wrong car in his first assignment. Cameron pulls off a complicated, tricky job with the entire team, but has done so at the wrong dealership. Josh does prove he's not a total tool, and Cameron shows his ability to handle difficult people, when Cameron gets Josh alone to help him fix the mistake. Cameron is not a pushover, as one might first suspect. During the second attempt, he just throws a rock through the window and runs inside. Hilarious.

     I think this series has some real comedy gems within it, and I look forward to more episodes. breaking_in airs Wednesday nights at 9:30 p.m. ET on FOX.

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

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The Killing lives up to AMC's reputation

     It's not often that a network can make several hit series in a row. Most new shows do not last into a second season. Yet, perhaps because they take their time, and only add series sparingly, AMC has yet to have a miss. First there was Mad Men, which was followed up by Breaking Bad. Last fall, The Walking Dead set the bar even higher, but this past Sunday The Killing did not disappoint. Four very different shows, but each amazing in their own right, and each very deserving of much viewer attention. I think they all could make a Top 10 list of best TV shows currently on the air. What will AMC think up next?

     Of course, AMC can't claim all the credit for the concept. The show is based on the Danish series Forbrydelsen, translated as The Crime, though billed as The Killing when aired in English-speaking countries. Forbrydelsen's first series, which follows roughly the same plot as AMC's new version, spent twenty episodes on this initial case, as opposed to AMC's thirteen ordered installments. A second series, only ten hours this time, has been made with a different cast, and a third is in the works. It is assumed that AMC will end the first case by episode thirteen, though it's unknown if they will change the cast for a follow up second series, which already looks like a likely possibility.

     Unlike traditional procedurals, which only have an hour to present all the facts, the structure of The Killing allows a deeper exploration of all facets involved. Over thirteen hours, there is much more character development, for the detectives as well as the suspects. With such a large playing field, no one potential killer stands out in the beginning, as possibilities will be slowly toyed with. If it is done wrong, it can get awfully boring. AMC seems to be doing it right, though, like a great novel, albeit a pretty long novel. The richness of each element, especially the characters and setting, can be celebrated and taken their time with. I highly approve of the conceit.

     Tone wise, AMC's The Killing is reminiscent of The Girl With the Dragoon Tattoo, a slow moving, but very gripping, Swedish movie and book series. The writers, actors, and director all manage to make a gradual mystery unfold in a way that keeps interest throughout. Intensity can be achieved, even if action is lacking. In the first two hours alone, I was easily hooked. Not an easy thing to do, but AMC has done it again.

     The Killing begins a bit slowly, though not dull, as Detective Sarah Linden (Mireille Enos, Big Love) begins her final day on the force in Seattle before moving to California with her fiance (Callum Keith Rennie, Battlestar Galactica). It happens to be a Monday, which seems an odd day to be a last day, but whatever. Her replacement, Stephen Holder (Joel Kinnaman), arrives early and begins to move into her office. A bloody sweater and a credit card are found in a field, and Linden and Holder are sent to investigate. Little do they know that these are just the first clues in the murder of a teenage girl, and Linden will not be getting on that plane to leave the city at the end of the night.

     Enos is amazing! I didn't realize she had it in her with her understated double role on the HBO series, but she can carry a show! She stares pensively just as well as January Jones, and her very pale skin fits perfectly with the weather and scenery. Enos conveys much without speaking, and definitely is a screen presence. Kinnaman's Holder is the perfect second banana, being so different from her, and yet more intelligent than he initially lets on. His finding the cage in the basement of the high school proves his worth, which was in question until then. I think their partnership will certainly end up being a valuable tool to solve the case.

     I think it is fairly apparent that Holder may also be a love interest for Linden. While her relationship appears relatively solid in the opening moments of the pilot, she puts her job before her fiance, surely an upcoming source of conflict. He forgives her the one day delay easily enough, but this season will go on for thirteen episodes, all of them centered around Rosie's killing. As Linden is the main character trying to solve the murder, her delay will be stretched out, and I assume, so will her guy's patience. But Holder is already fond of her, and he seems to enjoy their clashing. Plus, Holder gets along very well with her son, Jack (Liam James), more so than the other guy.

     Regardless, as to whether the series decides to go there with its leading crime solvers or not, there is certainly wonderful chemistry to be played with and tweaked. Will Holder keep getting in the way, or will they slowly learn to work together? I think mostly the latter, but with a healthy does of the former mixed in for good measure. I can only hope Rennie's character will later show up back in Seattle to mix things up between the partners.

     Meanwhile, Mitch (Michelle Forbes, True Blood, In Treatment) and Stan (Brent Sexton, Justified, Life), whom the credit card belongs to, are starting to feel that something might be up with their daughter, Rosie. They last saw her on Friday, when they left to go camping, and Rosie was supposed to spend the weekend with her friend, Sterling (Kacey Rohl). Yet, the school reports that Rosie did not attend classes today. Stan asks Sterling where his daughter is, but a search of Rosie's secret boyfriend Jasper's (Richard Harmon) only turns up that he's sleeping with a much older woman. No one knows where Rosie is. The the detectives arrive and start asking questions.

     Both parents are familiar faces in the television landscape. While I only mention two of Forbes's credits above, she has at least half dozen more worth keeping in mind. But this is a departure for her. I've never seen her play the grief stricken mother before, and she does it as beautifully as any other part. She makes the part realistic, yet unpredictable. Sexton might not be quite as well known, but he's 'that guy from that show'. Surprisingly, he is a wonderful foil for Forbes, playing things in quite a different way, while still very believable. It's their togetherness, though, that solidifies the performances.

     Seemingly unrelated, Councilman Darren Richmond (Billy Campbell, Once and Again) a widower who doesn't talk about it, prepares to announce a major endorsement in his run for mayor against the incumbent. But it seems he has a leak within his camp, and it is most likely one of his two most trusted advisers, Jamie (Eric Ladin, Mad Men) and Gwen (Kristin Lehman, Drive, Judging Amy), the latter of whom he is also sleeping with. Then Rosie's body is found in a car that belongs to Richmond's campaign, and though the car was reported stolen Saturday morning, Darren just hopes the endorsement is a done deal before the endorser finds out his secret.

     I can't quite figure out Richmond. One moment he's compassionate, the next he's worrying how events will affect his poll numbers. I think he is purposely being kept shady until he can be ruled out as a suspect, or revealed as the murderer, though my gut tells me he's not it. Which may be precisely why I should suspect him, considering how well this show is written. I do think his staff will be revealed to have some part in something secret, whether it relates to the murder or not, and thus is born a satisfying B-plot.

    The Killing continues on AMC Sunday nights at 10 p.m. ET.

Article first published as TV Review: The Killing - "Pilot; The Cage" on Blogcritics.

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Chaos gives a fun pilot that doesn't feel like CBS

     The first thing that struck me about CBS's Chaos is that it does not feel like a CBS show. I say that as a compliment. CBS is known for its crime procedurals, which tend to follow the same formula most weeks. While the network has some truly excellent series that break the mold (for example, The Good Wife and The Big Bang Theory), Chaos is not what I expect from them. It feels more like a FOX offering, or perhaps NBC. As such, I applaud CBS for delivering a fun, highly enjoyable pilot.

     In the beginning, Rick Martinez (Freddy Rodriguez, Six Feet Under, Ugly Betty) arrives to work at the CIA, only to find that his job no longer exists due to budget cuts, a timely twist that I'm sure many viewers can relate to. Because his dream employer has always been the Agency, Rick begs Director Higgins (Kurtwood Smith, That '70s Show, Worst Week) for any position, listing his various skills, many self-taught. Higgins relents, placing him within a rogue-ish department known as ODS as a mole, assigned to report back to Higgins on any rules the other men break. Hesitantly, Rick agrees to accept the odd job.

     The colorful group of men that make up ODS, led by Michael (Eric Close), operate outside of direct oversight, having high connections that allow them to break the rules. They are onto Rick from the moment he walks in the door, and have him blackmailed inside of an hour. Most of the rest of the episode involves a real mission, where Rick struggles to earn their trust, and ends up siding with them against Higgins before the end of the pilot. Because the ODS guys are likable, while Higgins is almost villain-like, Rick must be with them in the scheme of things to make a valid central character. However, in the eyes of legality, Higgins is a hero trying to clean up a department of misfits.

     There is action and a little suspense, but the strongest element of this spy series is the humor. Rick swallows a live scorpion at one point. A team member, Casey (Tim Blake Nelson, O Brother, Where Art Thou?) is known as the Human Weapon. Another, Billy (James Murray, Primeval), speaks with a thick Scottish brogue after leaving his native country under suspicious circumstances. A CIA man with no office wanders the halls and tries to befriend others in hopes of landing a more stable assignment. I welcome very much these gags because we already have more serious series in the genre, and its nice to see a network show that holds fun in high regard.

     While every single main character shines and has distinctive characteristics right after the bat, I find Fay (Carmen Ejogo, Kidnapped, Away We Go) the most interesting. That's because her attraction to Rick seems genuine, but she works for Higgins, and was once married to Michael. As such, her loyalties are surely pulled in several different directions, and it's hard to know if she can be trusted or not. I hope the series goes on for quite a while before we find out Fay's true motivations.

     If you'd like to check out Chaos, it airs Friday nights at 8 p.m. ET on CBS.

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JWTV Quickie: Body of Proof - "Pilot"

     When we last saw Dana Delany, she was leaving Desperate Housewives' Wisteria Lane with a female lover, not long after she matched wits with Castle on Castle. I guess it should be no surprise, then, that the star is popping back up on ABC. This time, in Body of Proof, Delany plays Dr. Megan Hunt, a medical examiner who used to be a neurosurgeon, until she was in a car wreck, and could no longer live with the guilt of killing anyone. Plus, her hand goes numb. Now Hunt cares, something she didn't use to do, so she goes out of her way and solves the crimes that result in the victims she examines.

     Does Megan step outside the purview of her occupation? Possibly, but I don't hear Detective Bud Morris (John Carroll Lynch, The Drew Carey Show, Close to Home), whom clashes with Hunt throughout the case, complain when she helps him catch the killer. If you have a genius, use her. And make no mistake about it, Megan is a genius. Which is why her boss, Dr. Kate Murphy (Jeri Ryan, Star Trek: Voyager, Shark), lets her get away with spending a huge portion of the department's budget. Also, I'm guessing, why Bud will be using her again and again, since he's listed as a main character.

     Now I could tell you the basic story of Body of Proof's "Pilot", but if you've watched one of the gazillions of other crime-related procedurals currently running, you pretty much know how it goes down. Megan is a mix of House's House, Castle's Castle, and Bones's Brennan, three of the best offerings in the genre. She is very intelligent, doesn't have much respect for authority or rules, but gets away with it because she helps bring justice to the world. If this show succeeds, and the high ratings it racked up during last night's premiere are a good first step, it should not be because it masters a formula. We have more than enough shows that do that. I, for one, will not be watching if it relies too heavily on a case of the week format, though I'm willing to give the series a chance to prove itself before I tune out.

     No, what I want to see, and what I hope the writers deliver, is interesting characters. While I find Hunt's co-worker, Peter Dunlap (Nicholas Bishop, Home and Away) dull, and am not impressed with Bud's partner, Det. Sam Baker (Sonja Sohn, The Wire), I like Bud, Kate, and geeky mentee Ethan (Geoffrey Arend, Trust Me) just fine. I love 'why doesn't anyone call me Doctor' Curtis Brumfield (Windell Middlebrooks, Scrubs) even more, especially when he's ranting how Hunt shouldn't get the special priveleges that she does. Delany is fantastic as Hunt, bringing just the right amount of depth and layer. My heart breaks when she admits to losing her daughter for her career, and then losing her career. The only inauthentic moment of the entire hour is when, as shown in the preview, Hunt mouths off to Bud about being worse than he's heard.

     But my main concern, starting out, is I need to see plenty of Hunt's family. Todd (Jeffrey Nordling, 24, Dirt, Desperate Housewives) is a scheming jerk, keeping Hunt away from their daughter, telling Hunt not to even come to a birthday party. Or maybe he's not. Let's see more of their backstory! Maybe, considering Hunt's referenced past, he is justified in trying to keep sole custody, at least in regard to the old Hunt. Now Hunt wants to be there for Lacey (Mary Matilyn Mouser, Life is Wild), and if cake is any evidence, it's not too late. If the series can give enough time to personal details, it will be great.

     A special episode of Body of Proof will air this Sunday, and then the series returns to its normal time slot Tuesday nights at 10 p.m. ET on ABC.

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Breakout Kings delivers respectable "Pilot"

     After an extremely disappointing first foray into scripted television with The Glades, A&E is trying its hand again with a rejected FOX pilot, Breakout Kings. The differences between the two are enormous. Breakout Kings would be better compared to Leverage, except the pilot has me thinking Kings will be a darker, edgier, better developed version. Which is good, because I got bored with Leverage and stopped watching awhile ago. Unlike Leverage, the main characters are immediately given some real depth. Plus the cast is just plain better.

     The concept is that several cons will work with the U.S. Marshals to catch fugitives in exchange for reductions to their sentences. Four are chosen, but one is quickly kicked off the team, so we are left with three. Lloyd (the fantastic Jimmi Simpson, Psych, It's Always Sunny in Philadelphia) is super smart, especially at reading people, which probably contributed to whatever gambling-connected illegal activity got him into trouble. Shea (Malcolm Goodwin, American Gangster) can pick a lock or drive in a high speed chase equally well. Philly (Nicole Steinwedell, The Unit) is a sexy con woman, who regrettably will be replaced in episode two by Erica (Serinda Swan, Smallville, Percy Jackson).

     They are joined by Ray (Domenick Lombardozzi, The Wire) a loose-with-the-rules cop that once caught them, now secretly also a con, and Charlie (Laz Alonso, Southland, Avatar), the boss. The two struggle for leadership for much of the pilot, though Ray eventually defers to Charlie. This seems strange, given his personality, until the ending twist that Ray is no longer a cop, and is as much making a deal as the other cons. Also present at their office is Julianne (Brooke Nevin, The 4400, Call Me Fitz), a woman with social anxiety problems whom Ray is protective of for reasons still unknown.

     The con the group goes after in the pilot is interesting, as he is extremely smart and keeps them scrambling. However, my main interest in the case of the week is how he tests the central cast. Lloyd, Shea, Philly, Ray, Julianne, and Charlie all have to contribute to his take down, so we get an immediate look at each character's specialty, and how they will contribute to the whole. I can't imagine how effective the booted con would have been, as he appeared to be there for muscle, not exactly a need for this task force. I think his presence in the beginning of the episode is merely to show that Charlie means business and will not hesitate to remove anyone who will not cooperate.

     My main worry going forward is that Breakout Kings will devolve into a procedural. There is certainly the potential for that, but I feel the series will be stronger if it focuses on each of the central group. What is Ray's connection to Julianne? Why is Lloyd in jail? Is there a bit of a romance brewing between Julianne and Lloyd, or is he just there to help her with her issues? Why has Charlie agreed to this task force? What is the motive for participating for Ray, other than that he can be a cop again, and this was his idea? We get a little less background on Shea at this point, and I will withhold my questions about Philly, since they likely won't be answered, sadly. Erica better be as good, and that's a tall order.

     Despite my gut distaste for procedurals, a balance would work okay. There are a number of great shows that blend the serial and the procedural elements together to form a satisfying mixture. As long as there is continuous character development and unfolding background, the show can bring in a new bad guy to catch every week without being a total waste of time. Even cooler would be a bad guy who eludes them for numerous episodes, which just may be on the horizon.

     I'm very much looking forward to Robert Knepper reprising his disgustingly sleazy T-Bag on the show for four episodes. T-Bag was a main character in Prison Break, a former favorite show of mine, and Knepper was one of the best parts. It has been announced that T-Bag will be in Breakout Kings. When he last saw the one-handed molester, he was back in prison, after a couple of break outs, so I'm assuming he will escape again. This time without Michael's help. I will likely refresh my memory with some PB DVD re-watching, and I recommend you do the same. That goes double if you have never seen the show.

     Breakout Kings airs on A&E Sunday nights at 10 p.m. ET, and reruns throughout the week, so there is still time for you to watch the pilot before episode two premieres next weekend.

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

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Mr. Sunshine Lets in a Ray

     While we all miss Cougar Town for the next ten weeks (ten!), Monica's Chandler is borrowing her time slot with ABC's Mr. Sunshine. (Note: if you are a sitcom buff, or Wikipedia frequenter, this show has nothing at all to do with the short-lived spring 1986 series of the same name starring Jeffrey Tambor.) This isn't Matthew Perry's first show since Friends; I very much enjoyed his slightly more dramatic turn in the under appreciated Studio 60 On the Sunset Strip. With Ben in Mr. Sunshine, which Perry writes as well as acts, he has struck a balance between the two roles, creating yet another memorable guy.

     Ben is the manager of an arena that hosts a variety of entertainment, including a circus in "Pilot." He isn't very personable. Even the woman he's been sleeping with, Alice (the wonderful Andrea Anders, who ironically also starred in Friends spin-off Joey), will tell him that. But we didn't see the totally self-involved Ben much. Certainly not enough to hate him. As the series begins, he's realizing he needs to be a different person, and it's time to make that happen. This show is about his journey, and that journey began the same time the series did.

     If a man finding compassion within himself doesn't sound like a funny sitcom, keep in mind that besides Alice, Ben is surrounded by his cluelessly racist boss Crystal (Allison Janney, The West Wing), her incredibly dumb son Roman (Nate Torrence, also Studio 60), possibly homicidal assistant Heather (Portia Doubleday), and eternal optimist Alonzo (James Lesure, Las Vegas), with whom Alice is moving in. Heather is actually a recurring character, as is the janitor "Bobert"(Jorge Garcia, Lost), but both deserve to be upgraded to regular at the earliest convenience, if not sooner.

     Other reviews I have seen of this show label it as a slow burner, saying future episodes pick up and are much funnier than the pilot. If so, I'm as optimistic as Alonzo about the show's prospects, because I loved the first episode. Sure, some of the characters like Heather and Roman seemed a bit one-note, but it was only a 22-minute first episode. They will grow over time. Anders and Perry are pros, already exhibiting well-defined, nuanced characters, and Janney is always awesome. Her insistence that an Asian kid hand her a trophy at her charity benefit had me dying laughing. Not to mention her song. And the photo op.

     The writing and jokes could be less funny, and I'd still tune in to see the talent. I'm glad that's not the case, though, because others need to tune in if Mr. Sunshine is to retain the decently strong ratings it began with. I certainly don't want it to replace Cougar Town forever (unlikely, as Cougar Town has already been renewed for next year), but I consider The Middle completely expendable. So, too, are the reruns of Modern Family if ABC commits to a longer, original sitcom programming block, as NBC is doing on Thursdays. I know I want to see more. I'm excited after just one episode!

     If you miss Matthew Perry as much as I did, please watch Mr. Sunshine, Wednesday nights at 9:30 p.m. on ABC.

Article first published as TV Review: Mr. Sunshine Lets in a Ray on Blogcritics.

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The Traffic Light is Green

      I don't know why I liked FOX's new sitcom Traffic Light so much. It wasn't particularly groundbreaking or original, the cast isn't packed with actors I already love, and it's a sitcom on FOX, a network not particularly known for their half hour situation comedy, all of which are strikes against it. Yet, first with Raising Hope, and now with Traffic Light, FOX is venturing successfully into sitcom territory. I guess the biggest draws of TL are that the characters are authentic and relatable, and the jokes are still funny. Which is really all you can ask for in a sitcom.

     The premise is three couples (well, two couples, and one perpetually single guy) are at different stages of their lives, a theme this year, as we've so recently seen on ABC's Better With You and NBC's Perfect Couples. CBS: your turn, but do it with older people. Then CW can do one with teens! Just kidding. Please don't. For some reason, though, all three series have staked their own territory, and can comfortably coexist. That's quite a feat.

     Traffic Light's central cast are represented by the three colors on a traffic light, as shown explicitly near the end of "Pilot", in case you didn't get the subtle reference. Red light Mike (David Denman, The Office) and Lisa (Liza Lapira, Dollhouse, NCIS) have been married for six years, but Mike would rather hide down the block in his car watching a movie then go home and help his wife with their child. Yellow light Adam (Nelson Franklin, Scott Pilgrim vs. the World) has just moved in with Callie (Aya Cash), and both are sneaking around for time away from each other. Green light Ethan (Kris Marshall, My Family, Love Actually) is happy to womanize, though a misunderstanding with Callie in the pilot sends his recent ex, Sherry (Mercedes Masöhn) back into his arms. Masöhn is not listed among the main cast, so we'll see how long she lasts. My guess? One more week, tops.

     That character description did reveal the weakness of the show, that makes it seem dated and not so well written, when examined too closely. Mike, Adam, and Callie all are willing to lie and trick their partners in order to get alone time. This is not the basis of a healthy relationship! Callie's lie was mostly done off screen, so what is shown is three male friends who think it's a total drag to be around controlling, nagging women. As a happily married man, I'm against this image, though I didn't even notice it until my wife pointed it out. Which is why the series has gotten away with it thus far. However, should it continue a couple of seasons, it's an element that needs to be toned down or abandoned. 

     Women-hating aside, I was amused for most of the half hour, though I can't remember many specific jokes. It's the heart that allows Traffic Light to be enjoyable. Lisa overlooks Mike's flaws, as she genuinely loves him. Mike puts Adam above Lisa as he dresses in a clown getup to help save Adam's job, so there is real affection between friends, too. Mostly, it's these personal connections that make the show. Which led to the unexpectedly sad twist in the final moments, which I won't spoil, that elevated the show from pretty good to a much higher, solid good.

     Based on the mostly positive reviews I've been seeing, I'm guessing that the decent pilot won't even be as good as coming weeks. Traffic Light airs Tuesday nights at 9:30 p.m. on FOX.

Article first published as TV Review: The Traffic Light is Green on Blogcritics.

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