BRIDGERTON's History That Never Was

 Article first published as TV Review: BRIDGERTON on Seat42F.

On Christmas day, Netflix dropped the eight-episode first season of BRIDGERTON, a gift to many viewers. Created by Grey’s Anatomy’s Shonda Rhimes, this period piece is soapy drama from the Regency era of English history beginning around 1813. Part Pride and Prejudice, part Gossip Girl, the costumes and performances (not to mention narration by Dame Julie Andrews as Lady Whistledown) make it seem classy, even as its modern pacing will help it appeal to more modern audiences.

The story of BRIDGERTON begins as the local young ladies are introduced for courting season, essentially a period of open dating and marriage proposals. The Bridgerton family is one of the most powerful in town, and daughter Daphne (Phoebe Dynevor, Dickensian) even catches the eye of Queen Charlotte (Golda Rosheuvel, Lady Macbeth), making her pairing most promising. That is until her older brother, Anthony (Jonathan Bailey, Broadchurch), now head of the household, sabotages her prospects, leaving her with a single, unattractive suitor. Luckily, Daphne’s mother, Lady Violet (Ruth Gemmell, Deep State), plots with her friend, Lady Danbury (Adjoa Andoh, Fractured), to pair Daphne with Simon, the Duke of Hastings (Rege-Jean Page, For the People), who is refusing the marry, and just happens to be Anthony’s best friend. Simon and Daphne see right through the matchmaking, but decide that a fake relationship would serve them both.

Nearby family, the Featheringtons, is headed by Baroness Portia (Polly Walker, Rome), who has three daughters she’d like to see married off. This includes young Penelope (Nicola Coughlan, Derry Girls), who isn’t even interested in boys yet, and wishes she could delay a year like her bestie, Eloise Bridgerton (Claudia Jessie, Dixi). The girls would rather look at books, and are terrified when Portia’s new charge, Marina Thompson (Ruby Barker, Wolfblood), is revealed to be pregnant, wondering how that could happen outside of marriage so they can avoid it themselves.

And all of this drama is captured by Lady Whistledown, who distributes gossip pamphlets that the upper crust devour, all the while wondering at her identity.

These details are merely scratching the surface of BRIDGERTON, which is very involved and has a lot of characters. However, it doesn’t get bogged down by this, keeping its focus on a few, and using the supporting players appropriately where needed. The pacing isn’t too fast, but it isn’t slow, either, an enjoyable romp that should expand beyond the appeal of most shows set in this era.

One glaring question I had going into BRIDGERTON is how the series would deal with race, seeing as how I couldn’t imagine Shonda putting forth an all-white cast, as one might expect for a program set in this era, other than seeing a minority as a maid or other ancillary role. The answer is, the show doesn’t deal with it. Certain families in the series, including the Queen and the Duke himself, are just Black and there’s no comment one way or the other. Ethnicity doesn’t seem to play into the attraction of one character to another, nor does it influence the social structure displayed. Basically, it’s a reimagining of history that allows performers or all colors to participate and ignores what actually was, to its credit. I hope more shows follow suit.

I loved Downtown Abbey, but am not a fan of P&P nor most other shows like this. Yet, I do love Shonda, and I found this cast of mostly-unknowns (to me) to be charming and compelling. At eight episodes, it’s an easy season to swallow, and I can easily see myself finishing it, even as I had no plans to before watching. I wouldn’t call it must-see, but it is good, and if you like some soapy historical stuff, BRIDGERTON has you covered.

BRIDGERTON is available now on Netflix.

How to Get Away With HOW TO GET AWAY WITH MURDER

Article first published as HOW TO GET AWAY WITH MURDER Review on Seat42F.

The latest program from Grey’s Anatomy and Scandal creator Shonda Rhimes, premiering this fall, is called HOW TO GET AWAY WITH MURDER. Set at the University of Michigan (which makes for an opening scene sure to upset Buckeyes in my locale of Columbus, Ohio), it follows Professor Annalise Keating (Viola Davis, The Help) and her employees and students as she conducts lessons both in and out of the classroom, as besides being a teacher, she’s also an active, successful lawyer. There’s also a dark, serial mystery wound through the more typical events.

HOW TO GET AWAY WITH MURDER is pretty much a hybrid of what makes Shonda’s other two hits so well-received. It begins with a group of five, inexperienced, competitive hopefuls, just as Grey’s did, working in a power structure headed by Keating, but with a couple of her colleagues in between. There will definitely be sexual relations had between tiers. It also has the fast cuts and serious tone of Scandal, with a long-running story that will not be quickly tied up. This is a pretty solid formula, and one that serves the show well, at least in the pilot, familiar enough to feel comfortable, but definitely different in plot than its peers.

Davis is terrific, of course, showing both Keating’s toughness and her vulnerability, which may or may not be faked, as HOW TO GET AWAY WITH MURDER doesn’t hold one’s hand in explaining itself. She isn’t really likeable, at least not initially. After all, she defends people who are probably guilty of murder, and she has little emotional warmth or compassion for her fellow men. She’s also not exactly monogamous, though her partners may believe otherwise, especially the one she’s married to.

But it’s not all Davis’ show. Equal time is given to the youngsters, making for a very balanced ensemble. Wes Gibbins (Alfred Enoch, the Harry Potter films) stands out as the naïve, ‘good’ guy whom viewers will root for. He is joined by bitchy Michaela Pratt (Aja Naomi King, Emily Owens M.D.), sleazy player Connor Walsh (Jack Falahee, Twisted), snobby Asher Millstone (Matt McGorry, Orange Is the New Black), and quiet Laurel Castillo (Karla Souza, Verano de amor). Besides Wes, only Laurel is sympathetic right off the bat, but it’s an interesting, drama-filled group dynamic that will keep audiences watching, whether or not they respect the characters.

Four of these five get a lot of screen time in a second setting, four months after the events of the rest of the pilot. HOW TO GET AWAY WITH MURDER doesn’t do the lame, over-used thing a lot of series are doing these days of showing the climax of an arc first, then working up to it. Instead, it frequently jumps between the present and the future, with most of the hour in the former, but the latter picked up on consistently throughout. I do wish it had skipped this device, but it does provide a hook for viewers to keep tuning in, and isn’t as annoying as usual.

The pilot ‘present’ also divides its time between introductions of the cast, a case-of-the-week, and a missing girl, whom threads through several people’s scenes, including those of Wes’ new neighbor, Rebecca Sutter (Katie Findlay, The Killing). The last of these is likely going to be the driving force in the initial run, and, I hope, even tie into the future scenes, though the connection is not obvious at the onset. This provides a true entrée for the series, ensuring it’ll go somewhere.

If I have one complaint about this first episode is that does not feature Bonnie Winterbottom (Liza Weil, Gilmore Girls) enough. As a fan of the actress, still sad about her relatively quick death on Scandal, I want to see more from her, and she’s probably the character with the least to do in this installment. Being among the principal cast, I’m sure that will change, as she and co-worker Frank Delfino (Charlie Weber, Buffy the Vampire Slayers) are the obvious bridge between the kids and their boss.

HOW TO GET AWAY WITH MURDER isn’t perfect, but it’s enticing and seems to be heading in the right direction. Both of Rhimes’ previous series took some time to find their legs, and this one doesn’t score high right out of the park, either. However, the elements to make it a great show are all there, and I think it’s more about getting into the meat of the tale, rather than changing anything, that will kick it up a notch.

HOW TO GET AWAY WITH MURDER premieres Thursday, September 25^th at 10 p.m. ET.

Private Practices shuts its doors

Article first published as Private Practice shuts its doors on TheTVKing

ABC's Private Practice came to an end this week after six seasons on the air. Some of the plot arcs over the years were fantastic, others not so much. But there are some wonderful characters here, and some memorable stories, and thus, it's sad that it's over. Especially since it ran much shorter than the series it spun off from, Grey's Anatomy, still going strong nine seasons in.

The main character of Private Practice has always been Addison Forbes Montgomery (Kate Walsh). Viewers meet her in Grey's Anatomy, the cheater in a bad marriage, and we watch her pull herself together, mostly after moving away to sunny California. Addison searches for love, both romantic and as a parent, and this all finally comes together for her in "In Which We Say Goodbye."

I don't know that the show has really demonstrated that Jake (Benjamin Bratt) is a better match for Addison than anyone else. To keep the drama going up until the end, they have their rocky moments in the final season. Still, it's thrilling to see Addison get her happy wedding day, and as long as she believes that Jake is the man she is meant to be with, who are we to complain?

Besides, we know that Jake is a good man. We've seen how he treats his daughter (Emily Rios), and what he does to make sure that Addison can keep baby Henry, whom she wants more than anything. He is the type of guy that will sacrifice his own desires so that the ones he cares about get what they need. I don't know that Addison deserves someone quite so good, considering all of her faults, but it's gratifying to see her happy.

The big surprise in "In Which We Say Goodbye" comes when Sam (Taye Diggs) and Naomi (Audra McDonald) hook up, and then she gets pregnant. This, alone, would be enough, and yet, Private Practice takes it a step further. Months pass, Sam goes after Naomi, oblivious about the baby, and the episode ends with their second wedding, Naomi having returned to the practice and her friends.

Is this the ending the makes sense for the characters? After all, when last we saw Naomi, she was happily engaged. Sam is in a relationship with a wonderful woman, Stephanie (Justina Machado, Six Feet Under) throughout the past few installments. Why break up these pairings at the last minute?

That's the thing about the Private Practice finale. It gives the perfect resolution for each character, one that will pull the heart strings of the viewer, even if it doesn't quite fit with where the plot was going. The emphasis is placed on giving us the sappy. I don't know if that's the goal of every show as it goes off the air, but because of the way this show has played out, it works here.

Other stories are more mundane, but still sweet. Amelia (Caterina Scorsone) probably has the least to do, but we see things are going well with her and James (Matt Long, Mad Men), and that's enough. Cooper (Paul Adelstein), Charlotte (KaDee Strickland), Mason (Griffin Gluck), and the triplets find their balance as a terrific family. I loved this most of all, Cooper and Charlotte being my favorite people on the show. Sheldon (Brian Benben) gets to be with the woman he loves, even though she is dying.

Sheldon's plot is the only one I complain a bit about in this group. I know that there is no way to avoid his love interest kicking the bucket, and thus, he will be sad, while the others are smiling. But this would have been OK if he had returned to his job, months later, and we could see him laughing with everyone else in that final scene. Instead, he is the sole one missing, and it casts a slight pallor, knowing that where he is cannot be nearly as joyous at the practice.

Is this woman even who Sheldon is meant to be with? He has a tendency to jump into a relationship full force, and it is easily conceivable that she is just the latest in the line. "In Which We Say Goodbye" would have us believe otherwise, that she is Sheldon's soul mate, but like Jake with Addison, we don't really see what sets her apart from the other women Sheldon has loved. Thus, I'm a little bit depressed that he leaves everything else that is good in his world to care for her. He should have kept his job, and with it, the network of support at work.

Finally, we get to Violet (Amy Brenneman). She goes stag to the wedding, a sign that she is moving on from Pete and finding herself, something the character has always struggled with. This is a fitting ending for her, as Violet's plots have always been more about self-discovery and triumph, rather than depending on a love interest, the way other characters have. We get to see her doing well, probably temporarily, until the next tragedy comes along, but at least she'll have this moment in time.

It's a little too on the nose that Violet's second book about "joy" is called Private Practice. Are we supposed to think that everything we've seen over the last six years came from her book? I wouldn't think so, considering the early days were so Addison-driven. I enjoyed the characters debating whether it was a good title or not, but it does take one out of the story a bit in that moment, sacrificing the believable world the characters inhabit for a joke.

Violet also treats a patient (Sarah Ramos, Parenthood) in the finale that doesn't want to leave her. Series creator Shonda Rhimes has stated that the patient's words are her message to the fans. So Shonda doesn't want the show to be canceled, but realizes it's for the best? I'm not sure I quite understand. However, it's her show, so she can say whatever she wants. I just thank her for making it.

That's kind of my overall impression of Private Practice at this moment. I didn't always agree with the direction, and sometimes it frustrated the hell out of me. But it was definitely Shonda's vision, and at the end of the day, she knows how to jerk a tear, or help an actor develop a fully realized person. As I watched the last hour, I couldn't help but thinking, despite my periodic disappointments, it was a pretty darn good show, overall, and I wasn't ready for it to end.

At least it went out with a great last season. Private Practice will be missed.

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!

ABC has a genuine 'Scandal' on its hands

ABC's Scandal, a new drama by Shonda Rhimes (Grey's Anatomy, Private Practice) premiered this week with "Sweet Baby." Quinn Perkins (Katie Lowes, Easy Money, Super 8) gets a job working for her hero, Olivia Pope (Kerry Washington, Boston Legal, Ray), and has to jump right in. That's because Olivia is currently jugging two cases. In the first, the firm defends an American military hero, Sully St. James (Wes Brown, Heart of Dixie, True Blood), who looks guilty of murdering his gal. Secondly, U.S. President Fitzgerald Grant (Tony Goldwyn, Ghost, Law & Order: Criminal Intent) asks Olivia to make Julia Tannen (Lisa Weil, Gilmore Girls), who claims she is having an affair with Grant, go away.

This is not Grey's Anatomy all over again. For those who claim Private Practice and, especially, Off the Map are just retreads of Rhimes's popular series, Scandal is something completely different. For one thing, there's only one new kid on the block. For another, it's in crisis management, not medicine, so the setting will involve more than just one building. There are antagonists, not diseases. It is doubtful everyone in this office will hook up. And there are clear political views trumpeted, such as that homosexuality should be accepted. Not that that should be political, but currently, it is.

That isn't to say that there aren't some similarities. Grey's Anatomy and Scandal both boast career-driven, strong personalities willing to go above and beyond the demands of a normal job. The characters in both shows live and breathe their work, and are very good at what they do. Both examine an elite group of professionals who are tasked with being above their peers, the heads of their fields. And both are highly entertaining pieces of drama.

Olivia Pope does not run a law firm. Yes, lawyers work there, but they are in the game of crisis management, which means that they are only concerned about their clients. They don't go to trials, though one supposes that they might, at some point, since that option is available. But for now, all their work and research is put into just making a problem go away, which viewers quickly learn, they are extremely good at doing.

Their focus on the client also means that crimes don't necessarily get solved. They clear St. James, but don't concern themselves with finding the real killer. As such, Scandal does not even come close to copying the various other dramas currently airing on television. Loose threads may sit a little uneasily with some fans, who would like to know what really happened. But that's hardly the point of "Sweet Baby," which concerns itself more with human drama than crime solving, so nothing feels missing at the end of the episode, even though the killer isn't caught.

Scandal inhabits a specific world. As "Sweet Baby" shows, the series takes place in Washington D.C., which many regard as a hub of sin and secrets. With all of the nasty stories about politicians that come out in the news on a regular basis, there should be no shortage of material that Pope and company can deal with. It's the perfect town for this series to take place in.

At first, the central character, Olivia Pope, may seem infallible. She goes with her gut, which we are told is always right. But in "Sweet Baby," she allows her heart, or something lower, to overpower her instincts. Turns out, Julia is not lying, and Grant is sleeping with her, just as Grant once did with Julia. Showing this opens up a vulnerability within Olivia, and makes her character at once relatable and human.

This will clearly be the start of an arc for Olivia, with Grant and Julia, as well as Grant's right-hand-man, Cyrus (Jeff Perry, Grey's Anatomy, Nash Bridges), appearing in next week's preview. Adding a serial plot to Scandal not only allows for further character exploration, but provides a reason to tune in week after week. Especially when the tale is only just beginning, and much of the back story remains to be filled in.

As the window in for viewers, Quinn is initially overwhelmed by the firm's staff, and has to adjust to their tactics. There's Harrison (Columbus Short, Studio 60 On the Sunset Strip), her assigned mentor. Huck (Guillermo Diaz, Weeds, Mercy) is the tech whiz. Abby (Darby Stanchfield) is a hot mess, and lusts after co-worker Stephen (Henry Ian Cusick, Lost), who is spoken for.

A theme made clear in "Sweet Baby" is that each member of Pope's team, including Pope herself, is damaged and needs fixed. This group of people is terrific at solving other people's problems, just not their own. Olivia does her best to seem like the one who has it together, assisting Stephen in his proposal. But she, of course, is in need of work, too. Which makes Scandal's main characters and their chosen career ironic and interesting.

Outside of this group resides prosecutor David Rosen (Joshua Malina, The West Wing, In Plain Sight). He cooperates with Olivia to some extent, apparently because she gets results. She doesn't necessarily make his job easier, but at least she finds the truth. Will David grow tired of the hindrance Olivia and her team are to his job, or will he become a trusted ally who can help guide them on their mission? Only time will tell, but seeing as how conflict builds intrigue, it will likely be the former.

Scandal may spend a bit too much time in "Sweet Baby" hand holding Quinn (and the audience) through what is going on, instead of dropping right into the world, like high quality cable shows do. However, it is probably the best network pilot that has aired this season, full of fantastic actors and enticing plots. Watch Scandal Thursdays at 10 p.m. ET on ABC.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Scandal - "Sweet Baby" on Blogcritics.

Off the Map: The Complete Series now on DVD!

     ABC's Off the Map had a lot going for it when it premiered in January. For one thing, Jenna Bans, who worked on Grey's Anatomy and Desperate Housewives, created it. Shonda Rhimes, the brain trust behind Grey's, produced it. The cast was excellent. Set in a South American jungle, it was a unique medical show about some very strange cases, and American doctors trying to escape their past having, while to adapt to the local culture. Think Grey's meets Star Trek: Deep Space 9 in a setting that looks like Lost. Yes, those are all intended to be serious compliments.

     The series begins as Lily Brenner (Caroline Dhavernas, Wonderfalls) comes to the clinic, haunted by the memory of her dead fiance. She is accompanied by two other new, young doctors, Tommy Fuller (Zach Gilford, Friday Night Lights) and Mina Minard (Mamie Gummer, The Good Wife). Fuller is a plastic surgeon who has a family who doesn't like or respect him, as he spent his college days drinking. Minard let a patient die while exhausted, thinking he simply had a case of the flu, instead of the zebra of a case that it actually was. So she was kicked out of her residency program. All three hope this will be a nice change of pace, allowing them to re-evaluate their lives. Of course, they soon realize they are biting off more than they can chew.

     Then there's the older doctors, who have been there long enough to know the lay of the land. Dr. Ben Keeton (Martin Henderson, Big Sky) is the strong, male lead. Mentor to all, he is the subject of Lily's initial crush, but he already has someone. Kind of. That's Ryan Clark (Rachelle Lefevre, Twilight), who is struggling with her own severe medical problems. Otis Cole (Jason George, Grey's Anatomy) is said to be a jerk, but he's pretty likeable, and has a thing for Zita Alvarez (Valerie Cruz, True Blood). Zita is actually from the region, so unlike the others, she isn't trying to forget anything.

     It's a motley crew, to be sure, but one that's good in a crisis, and can get things done effectively. Which they do, over and over again, for the thirteen episodes of Off the Map's too-short run. Each character actually shows not only some depth in personality and back story, but growth. For instance, Lily only really drools over Keeton for a short time before switching to a guy that is actually available. Otis figures out his feelings for Zita, instead of continuing to stew over them. New relationships bloom where they may not be exactly expected. And there isn't a weak actor in the cast.

     There are such drastic improvements on most of the characters' outlooks, it's with bittersweetness that one begins to wonder where the series would have gone, had it continued. Surely, new, fresh faces would have joined the ranks, and life would have gone on. Not everyone can stay in the jungle long-term, but Off the Map already established a core group that could brave the dangers of the jungle and come through with flying colors.

     The principal cast is not the only reason to watch. A slew of fantastic guest stars, from Michael McKean to Aimee Garcia to Cheech Marin to Judy Reyes cross the threshold of the small, poor clinic. Each brings their own intriguing twist with them. Plus, the staff often deals with strange medical conditions and has to rescue patients from dangerous conditions. Tourists aren't easily prepared for such a risky environment, and many end up in the make shift hospital. As such, there is a lot going on in each and every episode. Plus, no subtitles for when the locals speak Spanish, making viewers feel as lost as the doctors!

     The DVD release's special features reflect the strange setting in which the story takes place. Clocking in at around five minutes, "Jungle Medicine" examines some of the strange medical mysteries the characters encounter, and promises that each is based on a real-life story. The eight-minute "On Set At Off the Map" interviews cast members and producers about what it was like to film in Hawaii, as well as how they made things look like South America. There are also eleven deleted scenes and a standard two-minute blooper reel. Not too shabby for a series that only last thirteen episodes!

     In short, it's a real shame Off the Map won't be back this fall, and despite the cliffhanger of an ending, I do recommend purchasing this three disc set. It's a wonderful adventure with rich characters in interesting scenarios, and not at all a waste of time to watch. It's a unique show with some brave choices that set it apart from standard fare.

     Off the Map: The Complete Series boasts Dolby Digital 5.1 surround sound, Spanish and French subtitles, and 1.78:1 Widescreen picture. Which means it looks and sounds fantastic.

     Buy Off the Map: The Complete Series today.

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Article first published as DVD Review: Off the Map: The Complete Series on Blogcritics.

Grey's Anatomy finds an "Unaccompanied Minor"

     Creator Shonda Rhimes likens this year's season finale of ABC's Grey's Anatomy, "Unaccompanied Minor," to last year's shooting massacre finale. However, this time around, the bullets are metaphorical instead of physical. It's an apt analogy, as many of the main characters suffer serious emotional pain in the episode. Derek (Patrick Dempsey) is disgusted to learn that his wife, Meredith (Ellen Pompeo), tampered with his Alzheimer's trial. Chief Webber (James Pickens Jr.) goes easy on Meredith once he realizes Meredith has acted to help his wife, but Derek can't bring himself to forgive her. Owen (Kevin McKidd) begs Cristina (Sandra Oh) to consider having a baby once he learns she's pregnant. She makes an appointment for an abortion, and he kicks her out of their house. Alex (Justin Chambers) betrays Meredith, despite the fact that she is the one person who has always been nice to him, and the rest of the staff loves her. It costs him his chance to be Chief Resident, and everyone's respect.


     Rhimes has said that Meredith and Derek are in it for the long haul, and confirms that this latest fight is merely a set back, not a permanent split. However, it does expose a fundamental difference in the outlooks of both characters. Meredith sees the world in shades of grey, and has been willing to cross lines if she believes she is helping someone. Derek believes in black and white; right and wrong. He has strong convictions, and is not easily swayed to bend those beliefs. In fact, Derek is likely the only character that will not see Meredith's actions as justifiable, considering she acts to help a dear friend's ill spouse.

     The question is, how long will it take Derek to cool off? Meredith gets to bring home their new baby in "Unaccompanied Minor," adoption pending, and Derek doesn't know that yet. Will a child be enough motivation to draw him back to her, considering how much he wants to be a father? It's hard to say, because he is a very stubborn man. Certainly he will immediately want to be involved in the kid's life, but that doesn't mean he'll be moving back into the house. Unless that is a requirement to finalize the adoption, and then who knows what he'll be willing to do. He's likely to reconcile for the baby long before he actually forgives Meredith.

     Alex has always been a complicated character. At his core, he is a good person with a compassionate heart. But he has been hurt so many times that he tends to act like a total jerk, a fact that turns many people off. Because Meredith deals with the layers and murkiness in all things, she finds it easiest to embrace Alex. He betrays her very deeply by outing her trial tampering to Owen, who in turn is forced to tell Derek and Webber. But although Meredith lashes out at Alex and tells him to move out of her house, which he does, she is already looking for him at the end of the episode. She is angry, but she still wants him in her life. He is very lucky to have her.

     Unfortunately for Alex, not everyone is as forgiving as Meredith. Owen tells Alex that he would be Chief Resident if not for his ratting out Meredith. This not only demonstrates that Owen understands Meredith's actions, but that sometimes it is right to do the wrong thing. Alex only told on her to win Chief Resident, and by telling on her, he costs himself the job. What's more, in his cloud of rage over losing the position, he tells Lucy (Rachael Taylor) to go to hell. He will probably never see her again, and that is sure to be something he comes to regret.

     Rhimes confirms she wants Alex to be happy, so there is still hope for his character. In fact, had Taylor not been cast to star in Charlie's Angels next season, and had the series not been picked up, it is likely the writers would never have had Alex burned that particular bridge. In this case, real life gets in the way of a really nice romance.

     Extremely uncertain is the future of Owen and Cristina, whom Rhimes says she hasn't decided whether to break up or not. They rush into marriage in the wake of tragedy, and Cristina is still not used to relying on another person. She makes the decision in "Unaccompanied Minor" to have an abortion unilaterally in spite of Owen's pleas. She does not get the concept of a couple, or making decisions together. While it is completely within character for Cristina to not want to be a mother, it is a big step backwards for her to not even consider Owen's feelings.

     Or does she? Cristina has shown a willingness to think of Owen, especially this past year. It is very possible that she takes Owen's wants into account, and decides against him anyway. In which case, the failure is in communication. As an anti-people person, Cristina never develops the skills to adequately relate to others, and as close as Owen is to her, and as much as he understands her, it is easy to see how he could mistakenly think she is being uncaring when she's not.

     Bottom line, it's never a good idea to bring a child into the world that is unwanted. Owen may be willing to do the lion's share of the work in raising a child, but once the baby is born, there is no way Cristina can turn her back on the tyke to concentrate on her career. She is a human with real emotions, and a child would force her to be more nurturing. That is what she is rebelling against more than Owen. She has no desire to be put in that position. Were she to go through with having the baby, she would do the right thing by the child. Which makes the decision even more complex.

     Will Meredith's decision to cheat on the Alzheimer's trial have any lasting effects on Seattle Grace / Mercy West or Chief Webber? Webber does suspend Meredith, but if she had acted for any reason other than to save his wife, she would be fired. There will be an investigation from outside the hospital, and while Webber has a lot of leeway as Chief, it's certainly possible he will be found to be going too easy on Meredith. She is not out of the woods in losing her job, nor is the Chief safe in his.

     The hospital at large can still be negatively impacted, too. With Meredith's actions, the FDA may decide SG/MW is not a secure place to do research. They could lose credentials. Webber has worked very hard to increase the positive reputation of the hospital recently, and Meredith's actions may lead to a backslide in those efforts. While Weber will feel it is worth it, the rest of the staff won't be so forgiving. Meredith is arguably the most beloved doctor on staff right now. That will not last.

     Is this the end of Mark (Eric Dane) and Lexie (Chyler Leigh)? After seeing what a stand up guy Avery (Jesse Williams) is, Mark voluntarily backs off from his pursuit of the younger Grey. But Lexie admits that if Mark keeps pushing, she will go back to him. Though she says she is happier with Avery, is it possible for Lexie to put aside her still very strong feelings for Mark and truly move on? Avery is a great character, but he just doesn't feel quite right with Lexie. Hopefully this triangle is due for a shake up early next season.

     Teddy (Kim Raver) has a decision to make in "Unaccompanied Minor," and it's not an easy one. She is reunited with Dr. Andrew Perkins (James Tupper), and falls right back into bed with him. But she is now married to Henry (Scott Foley). Their marriage is one of convenience, done for insurance purposes, but there is undeniable chemistry growing between them. She stops by to visit Henry during dates! Both Foley and Tupper are fantastic actors who would be a good thing for the series, long-term. Henry ultimately makes a move for her, and she chooses him, so Foley will be returning next season, while Tupper likely won't.

     Less noticeably, Bailey (Chandra Wilson) takes a big step in her relationship in the finale. She has been dating Eli (Daniel Sunjata) all season, and she allows him to come over to her place, even though Bailey has her son. This is a big step, showing that the two have moved well beyond a casual, sexual relationship and into more serious territory. Poor Bailey didn't deserve her divorce, and it's heartwarming that she has some happiness on the horizon.

     April (Sarah Drew) is promoted to Chief Resident. Though she is a dark horse in the race, her efforts in developing a vital checklist, as well as consistent hard work, mean that she deserves the honor. Her attention to details and rules likely point to the fact that she will be a good Chief Resident. What is worrisome is her personal skills. She is only just starting to be liked by the other doctors. While there is little doubt April will stand up for herself, there is a worry she will make unnecessary unpopular decisions, alienating her co-workers once again. In a perfect world, April will be excellent, as there is no need to revisit a lonely April.

     Finally, with all of the character development going on, Grey's Anatomy finds time to sneak in a truly
moving patient story in "Unaccompanied Minor." A plane goes down, and there is only one survivor, a young girl. As the child's mother is not at the hospital, a number of families who have lost their loved ones, spurred by one mother, decide to wait at the hospital and get updates on the girl. When the mother does arrive, they offer her comfort, and don't go home until everything is all right. It's a truly inspiring story of strangers coming together totally unselfishly, and a credit to the writers to fit it in with all of the various plots that need addressed in a season finale.


     Grey's Anatomy will return next fall to ABC for an eighth season, the last the original cast in contracted to do. Which means it could be Derek, Meredith, Alex, Cristina, Bailey, and / or Webber's last season, depending on what the actors decide. You will not want to miss it.

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

     To buy Grey's Anatomy DVDs and streaming episodes, please click here.

Article first published as TV Review: Grey's Anatomy - "Unaccompanied Minor" on Blogcritics.

Off the Map - "Saved By the Great White Hope"

Click here for all of Jerome's Current Season Reviews.

     With Shonda Rhimes on board as producer, and the main characters mostly doctors by profession, you can be forgiven for thinking that ABC's new Off the Map is just another Grey's Anatomy clone. Forgiven, because it sounds likely, but you would be mistaken. The show is not created by Rhimes, but rather by Jenna Bans. Bans has worked on Grey's and Desperate Housewives, so she's part of the ABC family, but also brings something slightly different to the table. That's what Off the Map is: different, but not so much so that it feels out of place among the network's popular series.

     When Lily Brenner (Caroline Dhavernas, Wonderfalls) first appeared on screen, I immediately pegged her as Meredith Grey type. Then I started thinking Christina Yang. Soon, it became apparent that she was neither, and both, with a dose of House's Cameron mixed in, as she did lose her fiance. But Brenner is more than that. She's that idealistic hero, brave and smart, that can rise to the circumstance, that every great show needs. After saving a man (the great Michael McKean guest starring) who trapped his arm in a zip line, and then making sure he got to dump his wife's ashes before he took off in a helicopter, Brenner has already made herself TV's newest leading lady. She owned the show.

      Brenner may have stood out to me, but she is not alone. Two other young docs arrived with her in the form of Tommy Fuller (Zach Gilford, Friday Night Lights) and Mina Minard (Mamie Gummer, The Good Wife). Each of the three has something in their past that has driven them far away into the wilderness, as we're told each person that comes to the clinic from the U.S. has. Brenner's is the dead fiance, which caused her to take an extended leave of absence. Fuller has a family who doesn't like or respect him, as he spent his college days drinking. He has already earned the nickname 'Plastics' because his idea of a great surgery is implanting fake breasts. Minard let a patient die while exhausted, thinking he simply had a case of the flu, instead of the zebra of a case that it actually was. You know, when you hear hoof beats, think horses, not zebras? We're told she was kicked out of her residency program for the mistake, though that seems a little harsh to me. Perhaps there is more to the story?

     Not only the young ones, but the elder doctors must have issues, too. Something has to make Otis Cole (Jason George, Grey's Anatomy, Eli Stone) the jerk that he is. At least, he's called a jerk. I found him very likable, as George's characters always are. In fact, I liked him best of the elder docs on staff. He has spirit, a sense of fun, and he doesn't put up with anything that he shouldn't, especially from snotty new arrivals.

 

     Cole isn't the only one displeased with the newbies before he even gets to know them. Zita Alvarez (Valerie Cruz, True Blood, Dexter) had an even better reaction. The barb she gave that stuck with me was about the new doctors not even bothering to learn Spanish, though clearly that's what most of the locals speak. I like this, because it reinforces the idea that this clinic is someplace to run to, not someplace anyone really wants to be. As such, it sets a different tone from other medical dramas immediately, and tells us something vital about each of the characters, even though its not an obvious characteristic of everyone... yet. Not only that, the culture barrier is emphasized nicely to the audience by not subtitling the Spanish speak. I'm as clueless as those new doctors as to what the residents are saying. Very neat.

 

     Though George is certainly a hunk to many, as a show with Rhimes involved, there has to be a Mc-someone, and he is there in the form of Dr. Ben Keeton (Martin Henderson, Big Sky. From the moment Brenner and Minard ogle his abs as he takes off his shirt, you know he's going to have a Mc-nickname soon. Plus, he has an accent, so double points. Honestly, I found Keeton a little bland, the only character I thought that of. I'm sure it's simply because he didn't get enough development. We got only the barest glimpse into his issues at the end of the episode, and there will surely be more to come.

     Speaking of the end of the episode, I was incredibly disappointed that Ryan Clark (Rachelle Lefevre, Twilight, What About Brian?) had so little screen time in the pilot. She is one of my favorite TV actresses, and we still know nothing about her character. As she is listed as a principal cast member, it can't be long before more of her is revealed, but I'm impatient in that regard.

     I won't say that this show changed my world, or that it belongs at the top of the ratings. But I will say there's something pretty cool here, and it's not just another procedural clone. As such, I urge you to check out Off the Map, which airs Wednesday nights at 10 p.m. on ABC.

Article first published as TV Review: Off the Map - "Saved By the Great White Hope" on Blogcritics.

 

Grey's goes to the green zone

      This week, ABC's Grey's Anatomy decided to show viewers what Dr. Hunt's (Kevin McKidd) experience in Iraq was like, or at least a small part of it.  Though it tied fairly well into a current situation at the hospital, I found myself a little disappointed with the result.  We already knew how scarred Owen was from what he saw, and seeing him let a man die who could have survived didn't really add to the depth.  What I would have liked to seen more of, but was only touched on, was his relationship with Teddy (Kim Raver).  Since it seems like Teddy is sticking around on the show, it would be nice if they showed us that instead.

        That being said, it was not a bad episode.  Dr. Hunt is one of the most interesting characters to be added to the cast in a long time, and his relationship with Christina (Sandra Oh) is certainly not going to get easy very fast.  It's nice to see their interaction, and how he has helped her to grow.


     In fact, all of the original interns, well, the three left, seem to finally be adults.  Alex Karev (Justin Chambers) didn't handle losing his wife very well, but he has come a long way from the man slut  jerk he started out as.  Similarly, Meredith Grey (Ellen Pompeo) has changed into someone not so afraid of commitment, and a damn good wife as Mrs. Dr. Shepherd.  It will be good to see the three residents finally become attendings someday, and they are well on their way.

     I'd also like to note, Callie (Sara Ramirez) and Arizona (Jessica Capshaw) are NOT an expendable couple.  If Shonda (Rhimes, the showrunner) wants to put them through a little bit of drama with the disagreement about kids, that's fine, but it took a leap for many fans to see Callie as a lesbian, and she already had one woman ripped away from her, not to mention a husband.  She cannot be made to suffer another romantic loss.  It isn't fair.

     Also, Richard's (James Pickens Jr.) demotion and Derek's (Patrick Dempsey) rocky time settling into the job has been very well handled.  Please keep it up.

     Grey's Anatomy airs Thursday nights at 9pm on ABC.