Not Yet TOMORROW, PEOPLE

Article first published as THE TOMORROW PEOPLE Review on Seat42F.

The CW doubles down on the Amell family this fall by launching THE TOMORROW PEOPLE, starring Robbie Amell (1600 Penn), airing on the same night as Arrow, which is fronted by Robbie’s cousin Stephen. To make things more confusing, Robbie’s character is named Stephen. Both shows are action-packed and dabble in abilities not normally attributed to human beings, but both are grounded in the real world, as well.

THE TOMORROW PEOPLE introduces us to the next stage of mankind’s evolution in the “Pilot.” Genetic mutations are creating a new form of the species with three abilities: telekinesis, telepathy, and teleportation. Stephen Jameson is one such person, though he doesn’t understand that as the show begins, accidentally teleporting in his sleep to end up in bed with the neighbors, even when he straps himself down. This is causing no end to the stress and frustration of his mother, Marla (Sarah Clarke, Covert Affairs, 24), and Stephen’s own bad attitude about his situation has driven away all of his friends, save Astrid (Madeleine Mantock, Casualty).

Is Stephen’s tale a metaphor for adolescence, hit a little too squarely on the nose? Well, yes, but then again, so are a myriad of other shows and books involving super humans and supernatural types. THE TOMORROW PEOPLE is a superhero tale, though one more firmly rooted in science than most, and set during the present day as homo sapiens boldly move into the future and the next stage of life as we know it. And while Stephen is a familiar “savior” type, I still find him interesting.

It may be a stretch to define THE TOMORROW PEOPLE as realistic. After all, for decades much the same developments have been predicted by the more fanciful dreamers among us. But there’s just enough authenticity and earnestness present to make for a convincing plot, dare I say a step higher in ambition than the fare the CW is mostly known for? I’m not saying THE TOMORROW PEOPLE quite hits that upper level, but at least it’s trying.

Stephen isn’t left to fend for himself in the “Pilot,” soon introduced to two distinct groups, each offering a choice. The first is made up of other teenagers, instantly recognizable to viewers as the “good guys.” The faces THE TOMORROW PEOPLE focuses on in this gang are Cara (Peyton List, Mad Men), Josh, (Luke Mitchell, Home and Away), and Russell (Aaron Yoo, 21). They have a secret base in the subway tunnels, complete with other fellows, whom are just extras thus far, and a super-computer named Tim. They want Stephen to live with them.

What’s interesting to me is how underdeveloped these characters are, and that’s the “Pilot”’s biggest weakness. Yes, the trio who are main characters have their own personalities, but they don’t have a clearly defined mission, other than just to try to find others like themselves. They need Stephen because of who his father is, but don’t have a cohesive plan on how to recruit him and get him to help them. They just expect Stephen to go along with whatever they say. And they seem to have no lives or relations outside of this group.

Stephen has a second option in Dr. Jedikiah Price (Mark Pellegrino, Being Human), the man at the head of Ultra. Ultra wants to protect mankind by neutralizing the powers of THE TOMORROW PEOPLE, and uses some of those abilities for its own purpose. It’s shady, both in description and action, and so we immediately know these are the villains.

Stephen doesn’t immediately recognize that, though, even when Jedikiah’s claims seem suspect. Considering himself a member of the human race, although many on both sides insist that he’s not, Stephen is sympathetic to Jedikiah’s mission statement, even after he is mistreated by Ultra.

Now, there is a perfectly reasonable explanation as to why Stephen would work for the bad guys, secretly staying friends with John, Cara, and Russell: Jedikiah can hurt Stephen’s family and friend. With something to lose, Stephen is vulnerable to manipulation. The “Pilot” makes it seem like Stephen realizes this, and may decide to cooperate with Jerikiah as a ruse, to protect those he cares about. Yet, the story is murky on this, making it feel like Stephen betrays those we want him to work with, even as the show doesn’t quite lay all this out.

It’s this lack of definition that seems the most obvious failure of THE TOMORROW PEOPLE. A few extra scenes, some more dialogue, and the vulnerabilities in the “Pilot” can be patched up. Which is why I think this will probably be a pretty good show, even if the first episode is only good, not great. That, and Jedikiah is a little too evil for my taste, leaving me wishing the complexity he exudes could be taken further, but there is wiggle room to grow.

THE TOMORROW PEOPLE premieres Wednesday at 9 p.m. ET on the CW.

Rockin' some more Covert Affairs

USA's Covert Affairs returns this week with "Rock 'n' Roll Suicide" after a mercifully brief hiatus. Merciful because of the heck of a cliffhanger, with Annie (Piper Perabo) trapped in Russia, having just murdered Lena (Sarah Clarke). As season two picks up, it takes very little time for Annie to be caught and tossed into an underground secret prison.

Annie's torture scenes are light, this being basic cable, sticking mainly to psychological discomfort. I think that USA does a pretty fair job of making the threat seem real, though, even while shying away from gratuitous violence. Perabo's handling of an Annie on the edge, slowly losing her sanity over a period of weeks, changing into a much more hardened person, is extremely well played, and nuanced. There is a point where one wonders if she will ever escape, even while knowing at the same she will.

And then Eyal (Oded Fehr), with some remote help from Auggie (Christopher Gorham), comes to the rescue! It's a smart move, illustrating the realities of the CIA not being able to actually get to Annie, but bringing back a beloved recurring character who has a reason to want to protect our protagonist. His jailbreak of her comes a little too easy, and the two taking a sweet moment in the street right outside the building doesn't seem all that smart, but overall, it works, making for very intelligent storytelling.

Annie is Annie, though, and she can never do things the easy way. She gives away her passport to help someone else, making Eyal's job of getting her home all that much harder. Many men might give up from frustration, and it's telling that Eyal doesn't, hinting at some stronger connection that could easily turn into a full blown romance in the near future. Instead, he sticks by her, and through a series of action packed scenes, they finally manage to escape.

Why does Annie throw away such a helpful item to save another? No one would have blamed her if she had just gotten on the train with Eyal, and maybe they would have been able to do so before the military swarmed the station. Yet, this is what makes Annie a Hero with a capital H, setting her above everyone else. No matter what the circumstances, she is the best.

It's interesting that Covert Affairs makes the actual twist that gets Eyal and Annie out of the country blackmail, rather than guns blazing. A lot of "Rock 'n' Roll Suicide" is running around, but in the end, it's brains, not brawn, that saves the day. This episode, more than any before it, proves just how smart and tough Annie is, taking her to the extremes in both arenas.

My only complaint with this part of the episode is, how come Annie's main captor (Goran Kostic, Grease Monkeys) shows up wherever she flees? He can only be so many places at once. Maybe he's just that good, but to guess correctly where Annie is going to go next over and over again? Come on! Why not have someone else catch her and hold her until he gets there. His omnipotence is completely unnecessary.

Back at Langley, the others are going crazy, not being able to reach Annie. While it is debatable whether a single operative would be worth so much hand wringing and planning sessions, there is no denying that Auggie, Joan (Kari Matchett), and even Arthur (Peter Gallagher) are taking her absence hard. They feel like they've lost a friend, and they all handle things differently. Arthur sticks to procedure, Auggie discretely, and without permission, goes through back channels to a foreign connection, and Joan pops pills.

It's a little sad to see Joan go down this path. Covert Affairs is a drama, and the characters are all going to go through challenges in their personal and professional lives. But she seems like such a strong female role model, and to see her reduced to something like this sucks. Of course, she'll kick the habit, showing her inner strength. Of anyone they could have given this plot to, however, it's too bad that it's Joan.

One thing that is said, and really sinks in, is that operatives cannot possibly understand what it means to be disavowed and on their own until it really happens. This is somewhat belied by Auggie's actions and Eyal's rescue attempt. But Arthur sticks to the rules and sits on his hands, not being able to come up with a "feasible" option, and if Annie's friends didn't have such fierce loyalty, they would have to let her go, too. Any normal operative, that's would have occurred. This is something way too close to happening in "Rock 'n' Roll Suicide," heightening the tension.

In summary, this mid-season premiere is a fantastic installment, with lots of danger, intrigue, and scary moments. It takes the characters to the brink of utter disaster, and almost makes one forget that, because it is a USA show, there's going to be a happy ending. Great acting, superb writing.

Covert Affairs airs Tuesdays at 10 p.m. ET on USA.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted on TheTVKing

"Let's Dance" with Covert Affairs

USA's Covert Affairs sort of reaches their mid-season finale this week, with three weeks off before returning to finish up the third year. The episode is called "Let's Dance," and takes place a significant amount of time after the previous installment, with Annie (Piper Perabo) somewhat healed from her gunshot wounds. Filled with rage at Nina Lena (Sarah Clarke) because Lena not only shot Annie, but killed Jack's Annie's love, Terri Simon (Richard Coyle), Annie takes off for Russia, where Lena is holed up.

I almost wish the previous week had been the mid-season finale. It would have been a neat ending, with Annie unconscious, dream-like sequences, and Auggie (Christopher Gorham) wrestling with his feelings by her bedside, while the CIA hunted an elusive Lena. Instead, "Let's Dance," which feels like a premiere, adds a coda with a different tone.

"Let's Dance" is a revenge story, pure and simple. Annie is filled with some dark emotions, and wants to make the woman who caused them pay dearly. This isn't a good idea, as is obvious to viewers. Auggie and Joan (Kari Matchett) tell her so. Heck, even the Russian named Dmitri, who she asks for help, tries to talk Annie out of her mission when he realizes how much hate she has flowing through her. Bottom line, if you can't turn off your emotions enough to keep a cool head, you will make a mistake that will likely cost you your life.

But Annie doesn't make a mistake. Our super hero spy not only finds Lena, despite Dmitri's betrayal (he falls in love with Lena... again), but shoots her dead. This is only slightly disappointing. After all, it feels good to watch Nina Lena be killed again. No one can argue that she didn't deserve it.

The lingering thought remains, though. What kind of episode would this be if it stayed more realistic, and Annie had screwed up? Not that Annie could be killed off; she's the main character. But there are other ways to show how everyone else is right in this situation, and Annie is wrong. Not only would that reveal a vulnerability that I'd really like to see in Annie, it could also keep Lena as a foe for, say, two more seasons (OK, I'm done with the 24 references)?

We also see that Annie can play the piano in "Let's Dance." This seems to stretch believability just a little too far. Annie has never been seen playing an instrument before, and she is supposed to be good enough to convince Dmitri to help her? Maybe she studied just for this trip, but come on! Even Annie can't learn that fast. It doesn't gel with what we know about the character.

That being said, despite a few things I would have liked to see changed, "Let's Dance" is a great episode. It's exciting, there are a couple of twists, plenty of action, some tender moments between Annie and Simon's old flame, and we get to see Annie being totally bad ass, which is never completely a bad thing.

At first, it seems odd that Auggie would choose now to try to tell Annie about his feelings for her, which he seems ready to do in this episode. However, upon reflection, this might be an OK time. True, both are still smarting over losing someone they loved, which might not leave them ready to start a new relationship. However, this is also the type of thing that can bond them, as they each understand how the other one is feeling. And fans are ready for Auggie and Annie as a couple to happen.

Joan has great moments, too. Even though Annie has requested a transfer from her department, and things have been strained between them lately, Joan sticks her neck out for Annie. She can't allow official CIA assistance to Annie's mission, of course, but she does offer some help and tries to convince Annie only to take a picture (which, admit it, is never going to happen), rather than risk her life. Joan is accused of favoritism for this, and the charge is probably accurate. That doesn't stop me from rooting for Joan anyway.

Covert Affairs will return in four weeks to USA.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Firts posted on TheTVKing

"Hang On" for Covert Affairs!

Grade: 92%

USA’s COVERT AFFAIRS begins season three with a boom… literally. In “Hang On to Yourself,” Jai (Sendhil Ramamurthy) comes to Annie (Piper Perabo) with a secret, but before he can tell her what it is, Jai is blown up in his car. Annie and the others are shaken to their cores, but life and work goes on, and the mystery of who killed Jai will not be one easily or quickly uncovered.

Should Jai have been killed off? Obviously he is one of the most expendable members of the cast, and his departure paves the way to move other characters around into new positions. There has been a struggle for most of the series thus far to keep him relevant and involved in the plots. Plus, spy work is dangerous, and Jai does have a tendency to pursue things he shouldn’t. Yet, his death comes so unexpectedly, and leaves such a void for the other characters, that it seems very tragic.

Unless he’s really alive, and this whole plot is cheapened in a couple of weeks. After all, Jai remains in the theme song, which unfolds just after his offing. We also don’t actually see him in the exploding car, and a man in a suit follows Jai out of the restaurant, so it wouldn’t be too hard for Jai to be kidnapped, and his death faked. Hopefully, as much as he may be missed, this is not the case.

The biggest development of Jai’s passing could be Auggie’s (Christopher Gorham) promotion into Jai’s job. It’s a logical step for Auggie, and one that he will surely excel at. Given what Jai did last year, Auggie could be forgiven for holding onto a little animosity, even after Jai’s murder, making the job just a little sweeter. But primarily, this removes Auggie from the other main characters, and allows him larger plots with more focus, a welcome development.

How will Auggie’s moving on affect his co-workers? Obviously, this movies him away from Annie, which is a shame, given their remarkable chemistry and fantastic working relationship. COVERT AFFAIRS has promised more Annie / Auggie stuff in season three, so while “Hang On to Yourself” does separate them into different departments, their story isn’t over. Plus, without working so closely, perhaps they could finally be a couple. That would delight many a shipper fan.

Joan (Kari Matchett) has it even worse, losing both Auggie and Annie. Joan still has a whole department of other employees, to be sure, but these are her stars, the ones she utilizes quite often. Most of all, she is furious at Arthur (Peter Gallagher) for making these decisions without her, thus reigniting their marital woes. Sure, Arthur has the authority to move around Joan’s people without her permission, but a loving husband would at least consult her first, no matter how the chain of command may stand. Will this destroy the union they have rebuilt?

Annie, as mentioned, is no longer in Joan’s department. Her new boss is Lena Smith (Sarah Clarke, Twilight, Men of a Certain Age), who gives Annie a heck of a lot more freedom than Joan did. Annie is now encouraged to sleep with people in the field for intel, and not to check in every few minutes, or even hours.

This may make Annie a little more effective, but it also makes the job more dangerous. Without Auggie, Joan, or anyone else keeping tabs on her, how will anyone know if something happens to Annie? How will she get the things that she needs in the field? It doesn’t seem a very wise way to structure her missions.

To make matters worse, while Lena may seem nice enough, she has got to be evil. Her name rhymes with Nina, the villainous character Sarah Clarke played on 24. Lena’s department looks like CTU on 24, and the phones even ring with the same tones that they did on 24. Perhaps Lena is good, and someone is deliberately mucking with TV fans’ heads. But the parallels are uncanny, which seems to foreshadow a dark reveal for her character.

Luckily, Annie does have her mother sister, Danielle (Anne Dudek), looking out for her. It’s Danielle’s insistence that Annie take an umbrella with her in “Hang On to Yourself,” which Annie almost forgets in a booth, that keeps her out of harm’s way when Jai’s car explodes. Danielle also makes sure that Annie has a roof over her head and food in her belly. It’s extremely unlikely that Danielle is a sleeper agent, so her caring touches are for all of the right reasons. If Annie goes missing, Danielle will not sit quietly by. She will do something about it.

What a great opening for the new season, COVERT AFFAIRS! Watch more installments Tuesdays at 10 p.m. ET on USA.

"Hold Your Finish" Men of a Certain Age

     TNT's Men of a Certain Age brings its second, far too short, season to a close with "Hold Your Finish." The men all face new challenges. Joe (Ray Romano) competes in the Senior Golf Tour, and after a bit of luck, makes it to the next round. Terry (Scott Bakula) quits his job as a car salesmen to pursue directing as a new career path. Owen (Andre Braugher) is disturbed to learn Owen Sr. (Richard Gant) has decided to sell the dealership, after Owen has been working so hard to dig it out of the debt his father left it in. What is next for these guys?


     Poor Owen keeps getting set back over and over again. He tries to do things his own way when taking over the business, but the nasty surprise of deep debt that his father leaves him prevents him from doing much. Then Owen embarks on a new marketing strategy of cheesy commercials and free car washes to lure potential customers onto the lot. He even comes clean with the staff, letting them know exactly what is going on with the company. Owen Sr. doesn't approve, but Owen knows he has to be his own man and do something, or it's not likely Thoreau will survive. It is too early to tell if it's working from a business stand point, but Owen has certainly made a positive difference to the people working for him.

     Then Owen Sr. decides to sell to their biggest competitors. It's a huge blow. A personal insult to Owen, a sign that his father does not approve of what his son is doing, and wants to protect his name from any further mistakes. It's a vote of no confidence against Owen's business strategies. It ignores how hard Owen is trying; the long hours put in apart from his family. It's a genuine slap in the face, pulling the rug out from under Owen's career. And Owen Sr. telling his son he will make sure he is taken care of financially is even worse, an extra insult implying that Owen cannot provide for his wife and children. Owen may choose a different path than his dad, but his decisions are just as valid.

     It's not fair. The growth Owen has shown as a man and a professional over the two seasons of Men of a Certain Age is phenomenal. Owen once didn't care about selling cars, but now he does. He proves to his father that he is worthy of taking over the business, and now that he has, he gives his all to keep it going. Even the final confrontation of "Hold Your Finish," when Owen calmly goes to his father and lets him know how much he wants to keep working on the business is an improvement over the earlier, hot tempered fights the duo enganged in. Owen has matured, even if Owen Sr. has not. It's unclear whether it's enough for Owen Sr. to allow his son to keep the business, but signs are hopeful as the episode comes to an end.

     There is Emmy talk for Braugher, and how can there not be? His performance is nuanced, with much depth, and plenty of growth over the series. It isn't a showy part, but it does allow for some heavy drama and deep pathos. It's easy to forget that Owen is not a real person, with the level of art and realism Braugher commits to him. It's worthy of any awards anyone would like to give. There are others doing as well on television today, but few, if any, who are better.

     Terry has undergone just as dramatic a shift, himself. When introduced, Terry is lazy and has trouble holding a job. He says he is an actor, but he rarely gets any work in that field. He sleeps with a variety of women, mostly far too young for him, but that works, because he's looking for sex, not love. This season, that all changes.

     Terry reconnects with Erin (Melinda McGraw), a woman he did a series of commercials with many years ago, who is now a school teacher. Terry feels all kinds of feelings for a girl that he never has allowed himself to have before. It's a bit of a rocky adjustment, and they take a break, but soon enough Terry is asking her to move in, and she accepts. They have a really nice emotional bond, and she makes Terry want to be a better person. Suddenly he sees the value of hard work, and what pay offs it can bring. He fully, sincerely commits to her.

     This change in Terry extends to his professional life, as well. He works very hard for Owen, and becomes a top car salesman. He is the one that suggests that cheesy commercials that are soon bringing people to the lot. Which is why when Terry suddenly quits to become a director, it is possible to believe him when, as he tells Erin, this time it's different. He wants to be a director, something he finds himself good at while doing the commercials. It's a creative outlet that actually has paying work he may be able to get, and uses his talents. It's something he really wants to do, instead of just bring home a pay check.

     Erin is hesitant, as she should be, to believe Terry. But Terry says he will only give it a year, and he has also begged for his landlord job back to help support the couple financially. These are things the old Terry would never do when chasing a dream, and show that the maturity he is gaining is sticking. He wants to do something he loves, but he is also willing to sacrifice to get it. It's a new leaf, and one welcome.

     Of course, Bakula, a veteran of screen, knocks the part out of the water. It's funny to see him play an out of work actor, when Bakula himself has had a pretty good career. Yet, he is able to play the cheesiness and sincerity in unexpected ways that really sell the part. This is a series he will be remembered for, with good reason.

     Finally, there's Joe. He has some struggles in season two, as his attempts to be a good friend to Manfo (Jon Manfrellotti), who is dealing with cancer. But that connection drags Joe back into the world of gambling. Joe successfully pulls himself out once more, but not before angering Manfro, and losing his friendship. Overcoming that particular obstacle, again, is good, because it clears Joe's head up to do what he really wants to do: golf.

     As Joe begins the Senior Tournament qualifier, the focus is on the game itself. He has an early stumble with a penalty, which shakes him. But then he comes back in spectacular fashion, and only falters again on the final hole. Luckily, a well timed rain shower causes others to screw up more, and Joe ends up, albeit backwardly, making it through to the next round.

     And that's when it's clear that Joe's golf story is no longer about golf. Not only does Terry show up to offer his support, but both of Joe's children, Albert (Braeden Lemasters) serving as caddy, and Lucy (Brittany Curran), following as a spectator, are ecstatic to see their father do well. The plot is really about how Joe realizes his kids still love him, and what that does for his self image, which desperately needs help at this point. The sweet victory as the kids cheer as another man misses a hole, and dance around Joe with excitement, is worth for more to him than any trophy or big finish. Joe is a family man, which he sometimes finds difficult to perform as, but his kids mean the world to him. Seeing they care about him the same is the real victory.

     This is why, at the end of the episode, Joe is able to bring himself to call Dory (Sarah Clarke). Despite messing up his relationship with her, Joe is ready to try for another chance. He may deserve it, considering how far he has come, and the correct choices he keeps making, and she seems to see that. Joe is proving he is not a bad guy, but like everyone, has some things he must overcome. It will be a constant battle throughout the rest of his life to stay on the straight and narrow, but as "Hold Your Finish" ends, Joe is doing well.

     Who would have thought that sitcom star Romano had such gravitas in his repertoire? Yet, after a mere two years, Romano has permanently destroyed any pigeon hole the comedian may have been stuck in. He holds his own against two dramatic heavyweights, and makes it look easy. It's enough to spark regret for ever doubting him. With creator credit to his name, too, Romano has made something wonderful in Men of a Certain Age. Hopefully, it will run for years to come.


     Men of a Certain Age has not yet been ordered for a third season, but if the universe is fair at all, it will get one.

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

     To order Men of a Certain Age on DVD, please click here.

Article first published as TV Review: Men of a Certain Age - "Hold Your Finish" on Blogcritics.

Men of a Certain Age finishes strong

     Men of a Certain Age finished it's first season Monday night on TNT, though it has already been picked up for a second, so it shouldn't be gone too long.  The drama was pretty good, so far.  At first, I was a little turned off by the fact that the plot was so slow moving in some episodes, but it really found it's place and it's voice by the end of the ten episodes.      I like the realism, that they're good friends, but they don't hang out every day, unlike most other buddy shows on television.  They each have their own lives and own things going on, and their main plot points rarely cross.  Of course, since the season ended with Terry (Scott Bakula, Quantum Leap, Star Trek: Enterprise) deciding to go work for Owen (Andre Braugher, Homicide: Life on the Street), that may change a bit.  But it came about naturally in a progression that made sense.  It might be interesting to see how Joe (Ray Romano, Everybody Loves Raymond) reacts being left out of that equation.
     I am disappointed by the quick dissolution of both Joe and Terry's relationships.  I guess I get Dory (Sarah Clarke, 24) leaving Joe, as he did confess to making a huge gamble, but Terry's girlfriend, Annie (Carla Gallo, Carnivale) encouraged him to get back in the movie business.  She practically forced him into the job that took him out of town.  And despite his promise to teach her surfing, him taking the job appeared to be what she wanted.  Also, perhaps the time line wasn't real clear, but it seemed to me that Terry was only gone for a week or so.  Two max.  Why would she give up on him so easily?  And then be so vindictive at the coffee shop after?  Let's hope it was only done so that she can appear more frequently on Bones.
     All in all, the show had a good first year out.  Be sure to watch for the second season to premiere on TNT, and if you missed the first, surely reruns will be showing, though only one is showing up in the listings at this time, so keep an eye out for that.

Men certainly age

     TNT will present a new drama created by Ray Romano and Mike Royce (Everybody Loves Raymond) this coming Monday, December 7th called Men of a Certain Age.  It stars Romano, Scott Bakula (Star Trek: Enterprise, Quantum Leap), and Andre Braugher (Homicide: Life on the Street) as three best friends facing different challenges as they get older.  Joe (Romano) is a recently divorced man with two kids who runs his own business and fights a gambling addiction.  Owen (Braugher) is a happily married man who hates his job working at a car dealership his father owns, competing with a young salesman for leadership of the company.  Terry (Bakula) is an out of work actor, temping, and bedding as many women as possible.  But is it any good?

     TNT has failed to catch me with a good series yet.  They have some critically acclaimed shows (The Closer, Saving Grace), and a number of new shows that are doing pretty well (Dark Blue, Raising the Bar, Leverage).  My favorite show that they've done recently was Trust Me, but sadly it was canned after only one season.  This one wasn't instant attraction, but it has potential.

     Honestly, I was a bit bored by the first two episodes.  My mother, however, who only likes sitcoms and was a big fan of Everybody Loves Raymond, was delighted by it.  To me, it was interesting and well acted, but it just didn't go anywhere.  She prefers those types of shows.  I was, however, sent five episodes, and I can tell you, it does get much better.  Plus, the interaction between Owen and his wife, played by the fantastic Lisa Gay Hamilton (The Practice) is enough to keep you watching.  Here are the two upcoming episodes that you shouldn't miss (after you watch the pilot to find out what's going on, of course):

     "Mind's Eye" gave Bakula and Braugher their best plots yet.  Braugher attempted to enjoy his job, but discovered that happiness came with a steep cost.  How he will cope with his career, and the problems he currently has with it, should prove compelling.  Even better is Bakula's story, where he is suddenly confronted with the fact that he is missing out on a family, and how it affects him.  Those ramifications carry into other episodes, and really gave him a meaty arc that will hopefully pay off in the end.

     "Go With the Flow" was Romano's best.  The entire thing was told in flashback and centered on his first date in two decades.  The girl was played by Sarah Clarke (Trust Me, 24), and the chemistry was wonderful.  We got to see vulnerability and real emotion from them both, and I hope she sticks around for the rest of the season.

     Give the show a chance.  I am certainly interested in seeing how it ages.