GRAVES Humor

Article first published as GRAVES Review on Seat42F.

Premium movie service Epix joins the original scripted world this weekend with two new shows. One, a comedy, is called GRAVES, and is about a fictional former Republican president named Richard Graves. Twenty-five years after he served as the leader of the free world, Graves’ policies and decisions from the Oval Office come back to haunt him. Realizing he has let his country down, and facing a legacy as the possible worst president ever, Graves wakes up and decides to start fighting for the American people once more.

President Richard Graves is a conglomeration of a number of different Republican presidents. He held office around the same time as George H.W. Bush, considered failed at the time, though Bush’s reputation has improved in the interim, while Graves has gone down. He is a gold standard for certain members of his party, like H.W. has become, and like Reagan always has been. He also shares the failed assassination attempt backstory with Reagan. President Graves had the disastrous polices of George W. Bush, getting us into unpopular wars and slashing spending on important research, while ridiculously beefing up the military and tanking the economy. So he isn’t any one of these real POTUSes (POTUSi?), but rather, a bunch of them put together.

This is probably a wise move. It allows Graves to be fictional and make decisions without worrying about what the real men are and did, and also takes a realistic look at both the positives and negatives of GOP administrations over the past few decades. It’s an intriguing concept, especially when coupled with the desire to make up for past mistakes that Graves now exhibits, and I think Graves probably ends up being the ideal representative of the traditional Grand Old Party by the end of episode one.

The title role is wonderfully portrayed by Nick Nolte (Warrior, Luck, Gracepoint), who captures a layered, authentic man. Graves is a total asshole to those around him, hazing his new assistant, Isaiah Miller (Skylar Astin, Pitch Perfect, Ground Floor), ignoring the political aspirations of his wife, Margaret (Sela Ward, CSI: NY, Gone Girl), and destroying property that is only sort of his. But even in the pilot, Nolte is allowed a few moments to show the raw vulnerability, the compassionate side of the man, and exhibit that he does care about more than just himself, even when he lets down his loved ones. It’s a very interesting performance, and I liked it a lot.

To more fully flesh out the story, and also likely to add subplot drama, we are introduced to Graves’ daughter, Olivia (Helene Yorke, Masters of Sex), who shares many of her father’s negative qualities, and is going through something devastating herself. I really don’t know how Margaret will balance two break-downs at once while furthering her own agenda, but Olivia is more an obstacle than anything else right now.

Also in the cast are a number of enjoyable actors like Roger Bart (Episodes, The Producers), Ernie Hudson (Ghostbusters), Nia Vardalos (My Big Fat Greek Wedding), Tania Gunadi (Enlisted), Khotan Fernandez (Royal Pains, El Sexo Debil), Angelica Maria (Que bonito amor), Callie Hernandez (Alien: Covenant), and Chris Lowell (Veronica Mars) as the as-of-yet-unseen son of President Graves.

All of these actors and the promising story are enough to get past my early distaste. GRAVES makes the grave (pun intended) error of beginning with some real political cameos, chief among them that of Rudy Giuliani. True, Graves isn’t thrilled with these guys, but he treats Giuliani nicer than most, and after recent polarizing press appearances, seeing Giuliani in this comedy context is likely to turn off many potential viewers. Hopefully, most will chalk it up to a decision made some time ago and look past it, because the rest of the pilot was worth watching. There are others that appear, but none nearly as offensive as the former mayor.

GRAVES premieres tonight on Epix, and viewers can check out the first two episodes free now on Epix’s website.

HOW I MET YOUR MOTHER "Coming Back" In the End

Article first published as HOW I MET YOUR MOTHER "Coming Back" In the End on TheTVKing.

CBS's How I Met Your Mother started as a fantastic, hilarious comedy, then devolved into dumb repetition, before bouncing somewhat back by adding a thick emotional layer over the handful of laughs. With the show's ninth and final season upon us, all designated to take place over a single weekend, it seems a big risk that could go either way. Given the track record, despite the past few year's decent delivery, confidence is not high such a move can be pulled off.

However, with last night's two installments, "The Locket" and "Coming Back," it's sure off to a great start.

These episodes are not exactly designed as a two-parter, but don't really stand-alone, either. As the long tale begins to wind up, it seems How I Met Your Mother gets more meandering and less linear, which is actually perfectly fine. We know Ted (Josh Radnor) is at the place where he meets The Mother (Cristin Milioti); the end is in sight. Now, tone is more important than definition.

Thank goodness How I Met Your Mother doesn't make us wait the entire year in order to see Ted and The Mother together. Having them this close, already in the same place, it would be annoying to have them continuously narrowly miss one another. Yet, we also know they can't actually meet until the end of the weekend, most likely the series finale. The show solves this frustration by giving us a glimpse of the two of them one year later in "Coming Back."

Their first scene is positively electric. For anyone who wondered what kind of girl would finally satisfy Ted and still be likable to the viewer, The Mother is it. Perfect casting and writing come together and suddenly the whole effort seems worth it. One small moment glimpsed, and Ted and The Mother seem like they've been destined to be together their entire life. Knowing this, and getting the reward of witnessing it, makes the waiting not hurt so much.

I'm getting ahead of myself, though, because that is the at the end of the hour. First, Lily (Alyson Hannigan) meets The Mother. One thing I've wondered is how this stranger will fit in with the so-well-established gang that makes up the principal cast. The show solves this, too, by first having her meet and befriend Lily. They aren't quite perfectly matched as pals, but they are good enough, The Mother managing to calm Lily down, giving her a valuable skill set to be included in the cast.

Lily needs calmed for two reasons. One, Ted has played her so he can get to Farhampton alone. This is a tricky bit of twist that feels totally in character with Ted, since Lily assumes Ted will try giving Robin (Cobie Smulders) "The Locket," which could reawaken old feelings. We do get a glimpse of Ted crazily flying to L.A. to find it, but don't actually see if he did or not. Hopefully, this will be covered in a later episode, perhaps with return guest appearances by Sarah Chalke and Jason Jones. But it's likely Ted has it.

What may be slightly confusing is that Ted doesn't given Robin "The Locket" yet, instead presenting her with a picture of their group from season one (the one at the end of the show's theme song). Why does Ted need to ditch Lily if that's all he's giving Robin? Logic says he has "The Locket" and has not made up his mind, possibly intending to give it to Robin, then thinking better of it. His "of course"s are not sincere, and there's more to this coming. I'm glad it's being held for now, though, as we need something hanging over the next few weeks, and this does that well.

The second reason for Lily's distress is that she misses her family, but we'll get to that story in a minute.

Barney (Neil Patrick Harris) and Robin's thread starts out less than equal to those of Lily and Ted, beginning with an unnecessary incest scare in Ranjit's (Marshall Manesh) limo in "The Locket." I mean, Ranjit isn't unnecessary, but finding out that the bride and groom share a cousin is. However, it's made up for when Barney drops the "wait for it" from the word "legendary," culminating an arc nine years in the making for him.

Thankfully, "Coming Back" gives the pair something better, having to deal with James' (Wayne Brady) divorce. See, there's a Stinson curse, which we amusingly see cast on Brady and Harris in period-ish costumes back in 1807 Russia, and James' marriage is the only thing that makes Barney believe in lasting love. Robin doesn't want Barney to find out about the split, afraid he may break off their own ceremony, but when a drunk Lily does spill the beans, Barney remains calm, telling Robin she is now why he believes, and doesn't need anyone else.

While Robin and Barney have always possessed a strong chemistry, it isn't until last year, continued in these two episodes, that we see what really makes them work as a couple. They have changed one another in a very profound way, and the depth of their love is incredibly touching. "Coming Back" proves once and for all that this wedding should happen, which makes the anticipation of the impending nuptials all the sweeter.

Finally, we have Marshall (Jason Segel) running into all sorts of obstacles trying to get back to New York before Lily finds out he has been offered a judgeship, wanting to tell her himself. Most of his problems involve a fellow traveler (Sherri Shepherd, 30 Rock). This subplot is the one that works least of all, despite Shepherd being funny, because it wraps up too easily, sort of ruining the rivalry that has been building for an hour. Marshall puts his faith in the woman and she comes through for him, contrary to everything we've seen from her up to this point. It would have been preferable for Marshall to find a different mode of transportation and run into her again along the way. But honestly, as disappointing as the climax is, it doesn't detract too much from the overall enjoyment of the episodes, which are mostly quite good.

Other highlights of "The Locket" and "Coming Back" include: a wonderful turn by Roger Bart (Revenge) as a desk clerk; Ted saying to The Mother "Hey Beautiful," which is the name of the show's theme song; The Mother's cookies' moniker being Lily's catchphrase; and Barney's anniversary gift for James. All of these combine to make the first two episodes special, promising more goodness to come over the rest of the season. These little things are part of what made the show so good in the first place, and it's nice to see them well served now.

How I Met Your Mother's final season airs Mondays at 8 p.m. ET on CBS.

DVD Review: ‘Revenge – The Complete Second Season’

Article first published as DVD Review: ‘Revenge – The Complete Second Season’ on Blogcritics.

ABC’s Revenge continues its sweeping tale of a young woman determined to even the score with the people that destroyed her father in The Complete Second Season, now available on DVD. In these 22 episodes, the protagonist’s own past catches up with her, complicating her mission.

The Complete Second Season begins with the remains of a boat wreck, and then jumps backwards in time several months, slowly allowing the action to catch up to this devastating scene over the course of many installments. This is the same formula used in the freshman year, and unfortunately becomes less effective each time it is pulled out, an unwelcome trope at this point. Thankfully, it is only a small part of the larger story.

Season one ends with Victoria Grayson (Madeleine Stowe), the series’ main villain, dead in a plane crash. Fans of the show could not stand for the wicked witch to be taken out so easily, and neither could the writers, so it will surprise no one when she rears her head again early in this run, alive and mostly well.

Victoria isn’t the only obstacle for Emily Thorne (Emily VanCamp), the aforementioned leading lady, this season. There’s: the White Haired Man (James Morrison), a member of the Grayson’s social circle; Takeda (unfortunately recast, as Cary-Hiroyuki Tagawa doesn’t look much like the original actor, Hiroyuki Sanada), Emily’s mentor who sends his pupil, Aiden (Barry Sloane, Hollyoaks), to keep Emily in line; Emily’s messed-up mother (Jennifer Jason Leigh) resurfaces; and a variety of smaller players stand in Emily’s way.

Some have criticized Revenge for getting too complicated in the second season, adding in too many characters and subplots, distracting from the central arc. I disagree. Life is messy, and in a situation like this, there would be many moving parts, some unpredictable and coming in at inconvenient times. This makes sense.

However, Revenge isn’t as sophisticated or adept at juggling the balls as many other current series, especially those on cable. It’s bread and butter is gossipy, drama-infused, soapy interplay, which is does an adequate job at. When it tries to build a larger mythology, which goes perfectly well with the plot in theory, Revenge is lacking and isn’t quite up to the task. When it sticks to shifting loyalties, bed hopping, backstabbing, complicated romance, family secrets, and twisted friendships, it does quite a good job, most of the time.

Revenge is enjoyable, popcorn entertainment. Overall, the flow is fine, and there are some terrific, juicy moments, especially involving Charlotte (Christa B. Allen) and her parentage, and anytime Mason Treadwell (Roger Bart) shows up. Revenge may not be the highest quality show out there, but it mostly knows its own identity and can serve it well.

All of this builds into a startling climax in a two-part season finale that not only results in the tragic, regrettable death of at least one main player, but brings to a close a number of the year’s stories. It also allows Emily to refocus and decide what she wants. There is a cliffhanger, of course, but viewers should be left satisfied with this part of the tale, and be ready for the next bit when it premieres in September.

The bonus features in this DVD release are not as good as the first season’s. As usual, there are audio commentaries, deleted scenes, and bloopers. What the set lacks are any strong featurettes. There’s a bit on the score, which is interesting, but won’t interest a broad audience. The bonus about Ashley Davenport’s style will probably appeal more to the core fan base of Revenge, though wasn’t my cup of tea. Lastly, the book feature seems like an advertisement more than an extra to reward buyers.

In short, I’d say check out Revenge The Complete Second Season for the episodes themselves, not so much that bonuses, though there may be a piece here or there that you’ll enjoy.

Political Animals need not be caged

The season finale of USA's limited series event, Political Animals, aired this week. The title of the episode is "Resignation Day." But to whom does this refer? Is it Elaine's (Sigourney Weaver) last day as Secretary of State, having promised President Garcetti (Adrian Pasdar) that she would step down? Or will Douglas (James Wolk) be the one quitting, having leaked sensitive information that will make him untrustworthy, and thus unemployable, in his chosen field? Or perhaps Susan (Carla Gugino) will be forced to leave the paper, having crossed more than one line in the pursuit of a story?

Thankfully, although a second season had yet to be ordered, none of these come to pass, so all of the characters can stay around and relevant. A shocking tragedy resets everyone's priorities, ending several arcs succinctly, and kicking off a couple of new possibilities for the future. Should another go-round be ordered, there is plenty more story to ell, and given the tease at the end, with Elaine smiling at Bud's (Ciarán Hinds) insistence she run for president herself, the writers already have some ideas mapped out.

Let's back up a second. As Political Animals' freshman run plays out, Elaine considers taking on Garcetti, worried he isn't sticking to his guns the way he should be. But Garcetti comes 'round when Elaine calls him on the carpet, and ends up offering her the Vice President position in his challenge for a second term. However, before she can make the decision about whether to accept, Garcetti is seemingly killed in a plane crash, and sleazy V.P. Fred Collier (Dylan Baker) is put in charge instead, necessitating Elaine's own run, rather than leave a cad like Collier in power.

Had Garcetti survived, and as his body had not been found yet, he still could be alive, Elaine would surely have stood by him. Political Animals has done a good job making politics neither black nor white, and at the end of the day, Garcetti was the man Elaine hoped he would be. Yet, Collier is much more a villain, providing a delicious antagonist for season two, which points to Garcetti most likely being deceased. After all, the more drama a series can muster up, the better, right? Though a last minute reveal of finding Garcetti alive after Elaine and Collier battle it out, while stretching reality to the breaking point, could be even juicier.

Thankfully, Political Animals does not thrive on unnecessary drama, delivering a good story without venturing too far into that television trope of forcing antagonism. Yes, Douglas does cheat on Anne (Brittany Ishibashi) with Susan, but that's the only real misstep I can find in this first batch of episodes. There is upheaval and scandal, to be sure, but it almost always stops before going too far, keeping true to the characters, as they have been established.

One moment from "Resignation Day" really stands out, and crystallizes something this show does very well. Susan tells Douglas that, despite cheating on his fiance and betraying his mother, he is still a good guy. And somehow, as hard as it is to accept on paper, she's right! Not only that, but after writing Bud off as a womanizer who can't keep his mouth shut, Political Animals goes out of its way to prove he also loves his (ex-, for now) wife, and has willingly sacrificed himself for her career. This is the mark of a compelling character, who, likes the others on this show, lives in the fuzzy gray world of reality, rather than being shelved as either hero or villain. Very cool.

Another sweet point in "Resignation Day" is when Elaine tells Susan the truth of the whole power struggle. The friendship between these women is a real highlight of Political Animals, and what keeps the political world from coming across as too slimy. Providing a relationship both hang on tight to amidst the turmoil givens each a strong foundation they can stand on, and provides viewers with ways to root for them. Who needs mean girls when nice works so much better?

I would be remiss if I didn't praise the fantastic Ellen Burstyn, who plays Elaine's mother, Margaret. Whether making her daughter consider what her decisions do to the family, or confronting Anne and T.J. (Sebastian Stan) about their demons without judgment while struggling with her own, she is a powerful force on the series, and one that drives along a number of stories that could stall out without her assistance. She is doing some seriously brilliant work here.

Then there's the scene where Barry (Roger Bart) comes to make up with Elaine, his priorities put in order by what happens to Garcetti. These kind of pathos help the show thrive, and thrive it does. The cast has been signed for multiple seasons. Let's hope Political Animals gets that chance.

First posted on TheTVKing

Perception hears the message

This week, TNT's Perception deals with the controversial topic of religion in "The Messenger." A dead body leads Daniel (Eric McCormack) and Kate (Rachel Leigh Cook) to the house of a deeply religious boy named Kyle, who thinks he talks to God. Daniel assumes the whole thing is a cult, as others show up and give all their money to Kyle. And, as the detectives learn, there is a scam going on here, but its not perpetuated by Kyle.

No, good old fashioned greed isn't tainting the actual faithful. Instead, an IRS agent (Roger Bart, Political Animals, The Producers) has teamed up with a gal on the inside (Jaimie Alexander, Thor, Kyle XY), and they are funneling money into a false charity, which they intend to run away with. Of course, with Daniel and Kate investigating, the two are caught, and those plans are scrapped.

"The Messenger" is interesting because, despite yet another pair of fantastic guest stars for the freshman series, the episode still doesn't flow quite right. The main problem is the way religion is handled. Daniel scoffs immediately when the subject is brought up, and Kate claims to be religious. Yet, she barely is involved in the spiritual parts of the episode, and offers no defense. And skeptic Daniel doesn't try to convince anyone that he's right, instead telling Kyle that he believes in him, and donating $50,000 to the cause.

Do the Perception writers hate religion or love it? The hate is there at the beginning, when Daniel says the idea is ridiculous. It's also present in the reveal that Kyle isn't really speaking to God, but actually has a brain tumor, a twist that does not really further the main plot. But there's the love when Daniel realizes Kyle is a good person, and Kyle keeps his faith after the surgery, still devoting his life to God's work. So the staff is made up of atheists and believers, and neither was able to take control here?

The complaint isn't that the are two sides to the religious issue in "The Messenger;" it's that both sides of the debate are down half-heartedly. Neither is committed to in any real way, making several characters, especially Daniel and Kate, appear silly. Daniel could be forgiven for coming around, challenging his own beliefs, if it had been done better. Kate should have stuck up for Kyle, and had more focus in this episode. The religious theme is very central to "The Messenger," but isn't developed enough in any specific element.

Daniel's hallucination this week is Joan of Arc (Melissa Farman, Lost, Game Change). Joan is just as flimsy as the rest of the religious stuff, never really settling into her character, seemingly not having the very strong faith she is known for. She is a figment of Daniel's imagination, though, so I guess if he's going to be so obtuse and contradictory on the subject, it makes sense for her to be, too, so at least that's consistent.

Other than that, Perception remains an enjoyable series. "The Messenger" is a comparably weak entry, but the actors make it watchable, despite the plot holes. The series is, overall, a little too much of a procedural for my taste. But the performers are great, and the stories usually make you think. It's fun to question what is reality and what isn't in each episode. Sometimes it is obvious, but other times, it is not, and there's almost always a doubt lingering. The show could be a bit better, but it's more entertaining than most, and worth the hour a week it asks for.

Watch Perception Mondays at 10 p.m. ET on TNT. First posted at TheTVKing

You can't cage these Political Animals

Grade: 86%

USA decided to take a risk with its new show, POLITICAL ANIMALS. The network has actually taken several risks in the last few years, each progressively braver than the one before it. There’s nothing wrong with how the network made its name, with a number of similar shows, each using the trademark formula. Still, it’s nice to see something new, and this show resembles its peers not at all.

POLITICAL ANIMALS is easily the biggest departure from USA’s tried and true formula yet, and it’s a big success, at least creatively. The writing is very smart, the acting is fantastic, and the scope is much broader than the average basic cable drama. The “Pilot,” which aired last night, is a superb story, wonderfully setting up each character, as well as telling a tale or two or three.

Created by Greg Berlanti (Brothers & Sisters, Everwood), many will immediately assume he is a fan of Hilary Clinton. That’s because the central character of POLITICAL ANIMALS, Elaine Barrish (Sigourney Weaver, Alien, Avatar), is a former first lady of the popular, two-term 42nd president, who, after losing a presidential race to a charismatic newcomer (Adrian Pasdar, Heroes, The Lying Game), accepts the position of Secretary of State. Elaine is bold, principled, and suddenly more popular than ever, hugely successful as the nation’s top diplomat.

But as the “Pilot” unfolds, it is clear that Hilary may just have been a starting point. There are definite differences. Some are cosmetic, such as the fact that Elaine has twin sons instead of a daughter, while others, including divorcing her husband, Bud (Ciaran Hinds, Rome, Munich), are perhaps wishful thinking. But what it really boils down to is that Hilary is a public figure, and none of us will ever know what goes inside of her head. Ellen is a television character, who will do things to keep the show interesting, such as sleeping with her ex-spouse. Not only that, but Elaine must be fully fleshed out, filling in those details missing from the general consciousness about Hilary. As such, a lot of creative license is taken, and the character will quickly stand apart from her inspiration.

A number of things happen in the “Pilot.” Firstly, the family celebrates the engagement of Elaine’s son, who happens to also be her chief of staff, Douglas (James Wolk, Happy Endings, You Again), to Anne Ogami (Brittany Ishibashi, Ghostfacers, Eagle Eye). It looks like the perfect pairing, and they do seem to get along pretty well, despite the family tensions. But Anne is secretly bulimic. Is this condition a result of the pressures of marrying into such a powerful family? What kind of girl chooses this kind of life? These are questions only barely begun to be explored.

Other son, Thomas James, or TJ (Sebastian Stan, Gossip Girl, Kings), is a homosexual with a drug problem. Having previously attempted suicide, he is not well suited to this particular family, finding the spotlight painful and grating. He is still loved, at least by his mother, but that isn’t enough to keep him in line. What kind of trouble will he cause her and the others?

In fact, TJ sets up the other major thread of POLITICAL ANIMALS. In the “Pilot,” Elaine is being followed around by a reporter named Susan Berg (Carla Gugino, Watchmen, Californication, Entourage) who made her name by exposing Bud’s cheating ways, and is now using the story of TJ’s screw up to blackmail her way into an interview. Of course, this being TV, Susan’s life is just as messed up, as her boyfriend / boss betrays her in more ways than one, and she begins to feel Elaine’s pain.

There is a very nice parallel between Elaine and Susan. They are similar types of women, to paraphrase the episodes, bitches who don’t like being called bitches. They are driven, intelligent, sexy, and get what they want through hard work and tenacity. Sometimes they may be shamed by others, but there is a lot to be admired in both women. And by the end of the “Pilot,” they begin to see that in each other, too.

In the first episode, amid all of this other stuff, there is also a hostage crisis in Iran, a great example of how POLITICAL ANIMALS mixes the big picture and the intimate family moments. This is a winning formula, showing how the people in charge cope with everything thrust upon them, a look that most people don’t generally get into their lives. Sure, the episodes will be trumped up for dramatic effect, but they also feel fairly real because the series gets the details right.

There are lots of things going on, but none of it feels rushed, especially in the hands of a terrific cast. These include supporting actors like Ellen Burstyn (Big Love, The Exorcist) as Elaine’s drunken mother, Dylan Baker (Damages, The Good Wife) as the Vice President, and Roger Bart (Desperate Housewives, The Producers) as the president’s chief of staff. All of this combines to make a fantastic show.

This is definitely a can’t-miss series of the summer, and presented as a limited run, it won’t be a major time commitment to check it out. POLITICAL ANIMALS airs Sundays at 10 p.m. ET on USA.

Medium ends series strangely

***This article contains spoilers. If you have not watched "Me Without You" yet, I strongly recommend you do not read it, as there were some pretty neat twists.***

     Last night was the series finale of CBS's Medium. I used to watch the show religiously when it ran on NBC, but after the move to CBS last year, I thought quality went down. NBC wasn't afraid to shake up the series and make major changes. CBS, on the other hand, toned it down to a common procedural, something very successful on their network, because their viewers don't like to pay much attention apparently, but the reason I don't bother with much of their programming. Boring! However, having viewed a handful of episodes this year, and they were better, with more focus Dubois family, the true heart of the show.

     Last night's series ender pretty much dispatched with the children all together. It was the love story of Allison (Patricia Arquette) and Joe (Jake Weber). In the first moments, Joe is killed in a plane crash. Flash forward seven years later, and Allison is working with the district attorney (Roger Bart, Desperate Housewives, The Producers) to bring down a major Mexican drug cartel. The DA is killed and Mayor Devalos (Miguel Sandoval) tasks Allison with finishing the case. But then Allison begins dreaming about Joe, convinced the accused has her husband stashed away down in Mexico. Joe has suffered from amnesia, and doesn't remember her.

     I thought that the plot up to that point was unrealistic, and it was stretching my enjoyment. I like the series, and sometimes there are some fantastical things that happen, but even so, it was going a little too far. Amnesia? Come on. Been done before. Don't do such a hokey plot for your final episode! I kept trying to talk myself out of the disappointment and just enjoy the love story, but I was having a difficult time. When Allison blew the case on purpose to find Joe, it was really bothering me. Yes, she loves him, but she also cares about her job, and about putting away bad guys. Plus, I wasn't crazy about the new, older Marie. And, let's be honest, Arquette isn't the most talented actress in the world.

     And then came the big twist: Joe had died in the wreck, and sent her the dream of seven years later to show Allison that she would be fine without him. Allison's only brain forced the Joe survived subplot into the story, and she took over the dream. Now we're back to the night Joe died, and he's telling her that he's really gone.

     I was on board, now. Cool idea, executed wonderfully. Unlike Arquette, Weber is a hell of an actor, and he sold the whole thing brilliantly. I didn't see it coming, but it validated my doubts about the episode up until this point. Of course it seemed off, because it was! The whole Mexican case and amnesic Joe never happened! But with about ten minutes left in the show, I wondered what could possibly be done to top what the writers had just pulled off.

     Sadly, instead of using that ten minutes, the series chose to only use a few of them, and then do another few minutes of goodbye montage to the main actors in the show. The music was a little hokey, but I can appreciate that after seven years, the series wanted to give credit to the people who brought the characters to life. The words revealing that the real Allison and Joe are still living happily together was nice, and surely appreciated by some viewers who had remained heavily invested straight through to the end.

     Now, the last scene after Joe's reveal and before the tribute may have been the most interesting. It was set forty-one years after Joe's death, with Allison slipping quietly into, surrounded by pictures and memories of her family. Their three daughters were adults with children, and at least one great grandchild for Allison. Although she was alone at the time, it was clear that she was still loved by her family. And the aloneness worked out better, as just after Allison died, Joe appeared to take her into the after life.

    My question is, did this scene happen? Or was it another dream sent by Joe to comfort her, and Allison didn't take it over this time because she had her happy ending? Or Joe knew she'd take it over, but also knew that it would work anyway? Or did Allison make it up herself? It was a beautiful demonstration of their commitment together. Their marriage has always been a major cornerstone to the series, and I loved that the final moments of footage were an affirmation of their bond.

     Thank you, Medium, for an uneven, but mostly interesting story of a fascinating and relatable family. Besides those mentioned above, Medium also starred David Cubitt as Lee, Sofia Vassilieva as Ariel, Maria Lark as Bridgette, and Madison and Miranda Carabello as Marie.

Article first published as TV Review: Medium Ends Series Strangely on Blogcritics.

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