‘A Young Doctor’s Notebook’ – Previewing Season Two

Article originally published as ‘A Young Doctor’s Notebook’ – Previewing Season Two on Blogcritics.


A Young Doctor’s Notebook, now subtitled & other stories, returns this week for a second four-episode season on Ovation. Picking up this year with 1918 and 1935 timelines (about a year after the first season left off for both versions of the protagonist), this is both a continuation of the plot, and an entirely new tale. Based, in part, on the short story “Morphine” by Mikhail Bulgakov, the writers are tying that text back into the setting and characters introduced in season one.

When last we’d seen him, the older doctor (Jon Hamm) had been caught prescribing himself morphine. Now, released from a mental institution, he travels back to the office where he spends the Russian Revolution, determined to confront his past — while sober. Whether he can face up to the man he’d at one time been, and the things he’s done, is a central question to this second season, especially where a certain woman is concerned.

As the second season narrative begins, the younger doctor (Daniel Radcliffe) is in the throes of addiction. In an unhealthy sexual relationship of convenience with Pelageya (Rosie Cavaliero), he is much more concerned about his next fix, and not getting caught skimming drugs than he is about romance. Yet, there is some sort of affection between them, if only because she enables the Younger Doctor in his habits.

During season one, the under-the-influence older doctor had been spinning out of control as he relives the beginning of his tumultuous journey, while the younger doctor is a naive, optimistic lad; season two turns the tables. Now the younger doctor is the reckless one, out of control, while the older doctor sits in judgement, knowing full well that he is fact sitting judgment on his younger self. This created a complex dynamic, allowing both actors to explore the psyche of their damaged parts in different, unique ways.

This is a very poignant time for A Young Doctor’s Notebook to air in the United States, given the recent death of Robin Williams. Mental health and addiction are at the forefront of the public consciousness, and the series delves into the subject in an interesting, entertaining, enlightening way.

Students of history may find in A Young Doctor’s Notebook several tidbits of interest. Season two takes place during the Russian Revolution, bringing the war to the very doorstep of the hospital for most of the four installments. Natasha (Margaret Clunie), a member of the ruling elite, and The Colonel (Charles Edwards, Downton Abbey), her protector, stop over in the chaos and each catch the eye of one of our central cast. I’m not sure how much actual, factual past is included in this story, but the pair of new characters do help it feel like the office is set in the real world, rather than existing apart, on its own, as it sort of did in season one.

A Young Doctor’s Notebook is funny, but through an extremely dark brand of comedy. Whether joking about a dead horse or trying to get laid, there’s a pathetic sadness to the characters who exist within the series narrative. Tears may not make it to the audience’s eyes, but they do emanate from the characters on multiple occasions, and with good reason. This is a dangerous, tragic world, and the misfortunes, while amusing because of the cartoonish, over-the-top manner through which they occur, are genuine.

I don’t know if A Young Doctor’s Notebook return for a third season, given the lack of more source material. It’s a unique series I have very much enjoyed, thoroughly impressed by the talent behind it. I watched all four episodes of the second season in one sitting and craved more, a testament to its quality.

A Young Doctor’s Notebook airs Tuesdays at 10 p.m. ET on Ovation.

Blu-ray Review: ‘The Birdcage’

Article first published as Blu-ray Review: ‘The Birdcage’ on Blogcritics.

FOX recently released The Birdcage on Blu-ray for the first time. For those very few not familiar with the film, a remake of the Franco-Italian La Cage aux Folles, it is the story of two sets of parents, one straight-laced, one flamboyantly gay, brought together by the marriage of their children. The worlds-colliding tale is not particularly original; many other similar stories in various media have been told before and since, but with a truly terrific cast and sharp writing, it’s still a hilarious movie, remembered fondly by most who have seen it, and worthy of periodic re-watches.

Headlining the film are Robin Williams (The Crazy Ones) and Nathan Lane (The Good Wife) as Armand and Albert Goldman, and Gene Hackman (The Royal Tenenbaums) and Dianne Wiest (In Treatment) as Senator Kevin and Louise Keeley. Each of these four are among the best in the business, and in this 1996 release, at the top of their games. None are stock roles, all with dynamic arcs and distinct personalities. All get to do outrageous things, but they aren’t over-the-top as people, with emotional depth and authentic pathos. They are the main draw of The Birdcage and why it works so well, even with a story that isn’t all that ground-breaking.

The couple getting married are played by Dan Futterman (Judging Amy) and Calista Flockhart (Brothers & Sisters), and while their impending nuptials may be the catalyst of the tale, they are overshadowed by the older actors. Both actors serve the purpose they need to serve, and sparkle in little bits, but they just aren’t the focus, and that’s fine.

The supporting cast includes Hank Azaria (The Simpsons) and Christine Baranski (The Good Wife). Neither of them were big names when The Birdcage came out, but have since established respectable careers for themselves since. Watching them complement the stars of this movie, quietly stealing scenes, it’s easy to see even back in the 1990s that they would go some place.

Perhaps more vital than the stars of The Birdcage is the environment in which it takes place. Homosexuality still carried a lot of taboo two decades ago, which is only now being melted away. It was a strange and alien lifestyle to many, and The Birdcage makes a certain type of gay man accessible to the masses. While focusing on flaming and feminine, playing to a bit of a stereotype, it also communicates that these guys are real people, too, putting faces on the type. It made many in the audience rethink their preconceived notions, and thus serves as an important work in our culture.

After praising all of this, you might expect an impressive, extras-laden release when the title finally gets a Blu-ray edition, especially considering the film topped the box office for three weeks, making plenty of money, and received favorable reviews. You would be wrong.

This single-disc only has the theatrical trailer, with no other bonus features. The only thing that makes this hurt a little less is that the previous DVD edition didn’t have anything, either, but the mistake should have been corrected for this new version.

As far as how the film looks and sounds, this is a decent release. The audio, which does boast a terrific soundtrack, is well-mixed and seems sharp. It is presented in 5.1 surround sound, and the more energetic scenes, especially those in the club, make good use of this. The video is slightly weaker, much better defined that in standard definition, but still not a true high-def experience. Details aren’t as clear as I’d like, but for the most part, the quality isn’t too dated.

The Birdcage is available now on Blu-ray.

THE CRAZY ONES Much "Improved"

Article first published as THE CRAZY ONES Much "Improved" on TheTVKing.

CBS's freshman comedy The Crazy Ones was funny from the start, but somewhere along the way, it has become so much more. It has found the perfect blend of heart and humor, often dwelling into deep pathos to find the laughs. This seems a natural direction for series star Robin Williams to go in, and the perfect ensemble surrounding him has tapped into the same vein.

This week's episode, "Dead and Improved," has a great illustration of a laugh out loud scene that will make you cry. A jingle writer that works for Simon (Williams) has died and his daughter, Melora (Missi Pyle, Big Fish), begs Simon to send him off right. The problem is, no one, Simon included, liked the man, making it super difficult to strike the 'wow' note in a eulogy that Melora seeks.

The story is so much more than this simple plot, though. Simon begins to look at his own legacy when faced with mortality. There is raw doubt in his eyes as he wonders if he's all show, no substance. His daughter, Sydney (Sarah Michelle Gellar) assures him that he's a good man who has had a lasting effect on the world. Through Sydney, Simon begins to see what Melora saw in her own dad, which allows him to find his speech, one that will make everyone laugh and cry at the same time.

It's very hard to serve a plot like this and to do it well. The Crazy Ones nails it. We have Williams, Gellar, and Pyle delivering knock-out performances with a brilliant script. It's full of nuance and meaning, one sure to ring true to many a viewer out there. Anyone who has parents or children can relate to this, making an excellent scene on its own mean something personal to those watching at home, providing connection for the audience.

"Dead and Improved" takes the idea of legacy a step further by tying the B plot into it, too. A Charmin rep, Mitchell (Kurt Fuller, Psych), is disowned by his company as he becomes unstable after his wife leaves him. Zach (James Wolk), Andrew (Hamish Linklater), and Lauren (Amanda Setton) feel obligated to set Mitchell right again, not to just turn him out on the street. Their sympathy continues even after he strips naked in their lobby.

The Mitchell thread weaves seamlessly into the A story, ending with Mitchell looking satisfied at the funeral, and doesn't even feel like a segregated tale. This cohesion is a strong selling factor for The Crazy Ones. Though it's an ensemble cast and each individual does have their own motivations and side stuff, the characters are very much part of a team, and it always feels like that. Simon and Syndey have moments with Mitchell, and Zach, Andrew, and Lauren are involved with Melora and the funeral. It's all inter-connected, and they all help one another out.

I also like how The Crazy Ones ties in enough reality so that it doesn't just feel like a cartoonish parody of the world. The excellent rendering of the Rice Krispie theme song at the beginning and Mitchell working for Charmin, with a bit of a real Charmin commercial played in the episode, really make the firm feel authentic. Not to mention, voice actor Fred Melamed gamely recurs as himself, including a couple of scenes in "Dead and Improved."

Most of this year's batch of new comedies has failed to resonate with viewers. While The Crazy Ones' ratings are modest, there is a special spark present that is lacking in most of its peers. The relationship between Simon and Sydney alone is worth watching for, and if you haven't had the opportunity to check this show out yet, please do, in case it soon becomes too late to do so.

The Crazy Ones airs Thursdays at 9 p.m. ET on CBS.

Crazy for THE CRAZY ONES

Article first published as THE CRAZY ONES Review on Seat42F.

THE CRAZY ONES is the new CBS sitcom starring Robin Williams and Sarah Michelle Gellar. Given the caliber of talent on the project, as well as the fact that Williams tends to go big or go home, it seems like the project will either be absolutely terrible, or terribly terrific. After viewing the “Pilot,” I am leaning towards the latter.

Williams (Good Will Hunting, Night at the Museum) plays Simon Roberts, an advertising executive who runs his own firm along with his daughter, Sydney Roberts (Gellar, Buffy the Vampire Slayer). He is going off the rails, losing his edge, but still prone to jumping off a cliff without a net, taking the big risks that made him successful. She, on the other hand, is sensible, and often able to clean up her father’s messes, but soon sees that sometimes his method is the one that’s needed.

The characters kind of are THE CRAZY ONES compared to everyone else, but that doesn’t make this show just a zany version of Mad Men. Instead, the title refers to an old Apple commercial, in which brilliant minds are highlighted as having been considered crazy by their peers. Are Simon and Sydney creative and smart enough to be included in this group? Perhaps not, but it’s who they aspire to be, and influences their attitudes towards work and life, informing on their personalities.

Williams is allowed to do what he does best, launching from manic bit to manic bit, swiftly rolling through his impression index. However, he isn’t doing it only to be silly. It’s a symptom of the insecurity he feels and the control he is losing. It actually exposes a layer of vulnerability that nicely shows through, and makes the character not only funny, but highly sympathetic.

We do feel Sydney’s frustration with her father, worrying he is losing his marbles or his touch almost as much as he is, but also putting on a brave face. She covers for him when she has to, speaks her mind in private when she can, and basically tries to roll with his punches, respecting who he is and what he has accomplished, while still supporting him in her own way. It’s a great complement to the other role.

Gellar and Williams have an unexpectedly natural chemistry. Their every line radiates a shared history, both loving and bumpy. They seem very familiar with one another, and while they are quite a bit different in temperament, there is still a family resemblance that bleeds through in the best, subtle ways.

Interestingly, THE CRAZY ONES feels more like a drama or cable half hour than your typical network sitcom. This may be the darker style, largely avoiding the slapstick except when it’s couched in deep feeling. There’s a serious undercurrent. Unfortunately, this may make it a little less accessible to some viewers, though this makes it a better series.

Williams and Gellar are buoyed by a strong supporting cast. James Wolk (Mad Men) stands out as Zach Cropper, a buddy to Simon, perhaps being similar to Simon in his heyday. Zach is smooth and magnetic, something needed in the world of advertising, charming most and actually backing that up with a good work ethic. Wolk is sure to become a fan-favorite here, the way he has in other efforts. There’s also Hamish Linklater (The Newsroom) as a grumpy guy who works closely with Sydney and Amanda Setton (The Mindy Project) as an enthusiastic, though perhaps not overly bright, assistant.

Were the “Pilot” left up to only this ensemble, I think I would have found it even more enjoyable than I did. Unfortunately, the story soon veers into wooing Kelly Clarkson (herself) for a McDonald’s commercial. This is where things falter, as Kelly does not come across as a likable individual and engages in odd activities that don’t quite match the other scenes. I’m not sure it’s Kelly fault, but her part of the half hour just doesn’t rise up to the rest of it, and isn’t in sync.

Of course, this is only a “Pilot.” If THE CRAZY ONES can build upon its positive elements, which are definitely plenty, it could end up being a serious contender on the fall schedule. Hopefully, that’s what will happen.

THE CRAZY ONES premieres Thursday, September 26^th and 9 p.m. ET.

Louie goes dark, stays funny

FX's Louie is a strange show. It is consistently funny, but not consistent in just about anything else. There's isn't much continuity, each episode has different themes and goes down its own path. It would be nearly impossible to describe what the show is about in a single sentence or even a paragraph. But that doesn't take anything away from the wonderful, unique show.

This week's episode is called "Barney/Never," and is actually two distinct stories. The first is done artistically, ditching the traditional theme song and replacing it with a solemn, black and white opening. Louie (Louis C.K.) stands by a graveside. An unknown man approaches and they stare at each other.

Then colors are added, and the two sit across from each other in a diner. The man's name is Robbie (Robin Williams), and they talk of the deceased guy, Barney, that was just put in the ground. Neither liked Barney, who was a jerk, but they couldn't stand the thought of no one being at his burial, so they showed up. Talking, they remember a strip club that Barney frequented, and they go to the place. Upon learning of Barney's passing, the patrons of the strip club mourn Barney, whom they loved.

This is a very short piece, but like many great short films, tells a complete story, and leaves a lot to ponder. Everyone has different sides of themselves, and as much as Barney was an ass towards many, there were still people that cared. People are afraid of not being remembered or mourned. One can find comfort and solace with a stranger. There is good in people.

Bringing in the legendary Robin Williams really gives "Barney/Never" weight. This is a man who has won an Oscar and many other awards, and whom everyone knows. But Louie holds his own, and there is definitely a kindred spirit feeling in the room. While C.K. doesn't have the movie career Williams has had, that doesn't matter. These men are peers, and with some incredibly skillful, detailed performances, they deliver one of the best Louie stories to date.

The second half of the episode deals with a kid name Never whom is thrust upon Louie, much to his daughter's chagrin, while Never's mother has a consultation for getting her vagina removed. Never's mother doesn't allow him to eat anything with carbon, and yet she doesn't tell him no. This paradox confuses Louie, who ends up allowing Never to eat a bowl of raw hamburger meat. Never, for his part, causes a multi-car crash, throws Louie's rug out the window, and has diarrhea in the bathtub.

This plot is very strange, and yet somehow, still humorous. It takes the relaxed and neurotic parenting styles of the modern era, and raises them to the extreme, showcasing what kind of child this situations turns out. And yet, Louie has nothing but sympathy for Never, even letting the kid know he can always talk to Louie. This, despite the havoc and mess Never causes while Louie is trying to do a dreaded phone interview.

Don't blame the child, blame the parent. That is sentiment Louie is telling. The kid, at this point, can't help what his mother does. But with supportive adults like Louie around, Never could still come out of this OK. It's great when Louie tells Never bluntly that his mother is wrong. This is something most people will never tell parents, but sometimes, it needs to be said. Louie is the type of guy to do it.

There is a lot going on in this story, and yet, it all feels real, never rushed. Louis captures subtleties and authentic premises that other shows routinely miss. It's relatable even without being something most of us will ever confront. Louie C.K. is a genius, and this series proves that over and over again, especially this week.

Plus, there are tiny bits by J.B. Smoove and Artie Lange stuck in "Barney/Never" just for the hell of it. Louie is so popular among his peers, that respected comedians will accept almost nothing roles just to appear on the show. That, in of itself, is telling.

Watch Louie Thursdays at 10:30 p.m. ET on FX.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published on TheTVKing

Wilfred makes "Progress"

FX's Wilfred returns next Thursday to officially begin its second season. It's odd, then, that a brand new "preview" episode aired last night. Entitled "Progress," this latest installment finds Ryan (Elijah Wood) in a mental hospital, where he has been getting better under the care of Dr. Eddy (Robin Williams) while waiting for Wilfred (Jason Gann) to recover from his car accident. Ryan is shaken when Jenna (Fiona Gubelmann) brings Wilfred to visit, and Ryan still sees Wilfred as a man in a dog suit, believing that his treatment isn't working. It takes no time at all for Ryan to get caught up in Wilfred's mental games, which disrupts his own path to healing.

There are signs that Ryan isn't mentally stable before Wilfred arrives, though. While in the hospital, Ryan has strange dreams where he is sitting at a conference table with some odd people named Amanda (Allison Mack, Smallville), Kevin (Rob Riggle, NTSF:SD:SUV), and Jeremy (Steven Weber, Wings, Studio 60 On the Sunset Strip), among others. What is going on? Why does Ryan keep dreaming them?

This experience of being a patient seems real enough for Ryan. In fact, it seems a lot like the reality he's been living in. The dreams are kind of new, but the rest of it is natural progress for the characters, considering four months have passed. Jenna has realized she is not pregnant and dumped her boyfriend. Ryan is working on the issues he knows that he has. Wilfred is his same manipulative, sneaky, morality challenged self.

And then, everything shatters. Ryan suddenly sees, in a meta moment, that he is being treated by the Robin Williams character from Good Will Hunting. An orderly (Brian Baumgartner, The Office) helps Ryan escape, only to reveal that he's actually Wilfred, and Bear is driving the getaway car! This makes the mental hospital world fall apart for Ryan as he tries to wake up.

Or does it? Maybe Ryan is in this mental hospital, and by not taking the pills that Dr. Eddy gives him, he loses his grip on what is real and what is not. This is certainly a possibility, and one supported by the notion that Ryan is completely crazy. Though, even before the pills are taken, it seems a given that Ryan is not at the hospital during the events of season one, so not everything can be explained away in this manner. Probably. Who knows? Wilfred is a truly odd show that defies clear definition. Which is what makes it so intriguing.

Ryan does "wake up," we assume, in the conference room with Amanda, Kevin, Jeremy, and the others. He's serving as a lawyer for them as they work on curing cancer. Is this any more realistic than the mental hospital illusion? Maybe Ryan's sister, unseen in this episode, got him this gig in the medical field. But that seems unlikely, given the way that Wilfred leaves things between the siblings at the end of season one. Thus, because of the events of "Progress," there will continue to be a nagging doubt about whether what is shown is real at any given time.

Ryan then goes home to confront the basement. At the end of season one, Ryan discovers a coat closet where he believes a basement door should be. His house certainly looks like it has a basement. Ryan busts through the wall of the closet, and low and behold, stairs to a basement! But the question is, did someone board up the stairs to trick him? Did Ryan himself do it in one of his weird states and just not remember? Is busting through the wall a sign of "Progress," or is it Ryan backsliding? These are questions not answered in "Progress," nor will they likely be with any certainty in season two.

Wilfred is a unique show that makes viewers think. The fact that it is well acted and funny are just frosting on the cake. Not to mention, the quality of guest stars that appear, in this episode alone, should entice you to tune in. If you are missing out on this weird television experience, it's time to correct that. Watch Wilfred Thursdays at 10 PM ET on FX.

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