THE CATCH Is Catchy

Article first published as THE CATCH Review on Seat42F.

SPOILER WARNING: It is impossible to talk about this program without revealing a “big twist” that occurs about a third of the way through the pilot (which is also on the show’s ‘about’ page at abc.com; I don’t watch commercials, so can’t speak to if it’s spoiled in the promos or not). I get to it about halfway down the page, so if you don’t know and don’t want to be spoiled, come back after watching the episode.

This week, ABC presents THE CATCH, which is sort of a Thomas Crown Affair-like series. A private investigator tangles with the con man that conned her, and because this is a weekly television show, lots of others in both of their orbits get drawn into the game. Who will come out on top, and could they ever be a real couple?

Produced under the Shondaland banner, THE CATCH feels like a good fit for ABC’s Thursday night lineup. It features a strong female protagonist, is fully of soapy drama and romance, and while it is hyper-realistic and not quite logical, it’s compelling when performed with a great cast.

Mireille Enos (The Killing) leads THE CATCH as Alice Vaughan, the P.I. She and her partner, Valerie Anderson (Rose Rollins, The L Word), run a very successful firm, which employs, among others, hacker Sophie (Elvy Yost, Bandslam) and the intelligent Danny Yoon (Jay Hayden, Battleground). Together, they accomplish great things professionally, building up an impressive client roster that they offer security to, but also are very close personally, and will support one another over doing their jobs. Think of them as sort of Olivia and her team from Scandal, but with the close bond of the docs in Grey’s Anatomy, hence why the show fits so well on this night and network.

Enter Christopher Hall (not his real name) played by Parenthood and Six Feet Under’s Peter Krause. Christopher is Alice’s fiancé, the perfect man, rich and loving. He’d do anything for her, and also to her as it turns out, considering he steals from Alice’s company and disappears from her life. Working with his lover, Margot Bishop (Sonya Walger, Lost, FlashForward), and friend, Reginald Lennox III (Alimi Ballard, Numb3rs), the trio prove a match for Alice’s group. Unless one of them defects.

Oh, and there’s also an F.B.I. agent (Jacky Ido, Taxi Brooklyn), whom I am highly suspicious of, given the twisty, turn-y nature of THE CATCH.

The reason I am OK with revealing Christopher’s true nature in this review is threefold. One, it’s on the show’s official website. Two, it’s obvious that he’s the villain right from the start to anyone who has watched at least a few examples of modern television, even if the show waits nearly twenty minutes to confirm it. Three, his betrayal is central to what THE CATCH is, at least for now.

The driving reason to watch THE CATCH is the relationship between Alice and “Christopher.” I think it’s clear there is real love there. Christopher has fallen for Alice authentically, and Alice’s passionate rage comes because she cares so deeply for him. I have to think the show is going to spend at least the first season keeping them apart, but they’ll have to be together again before we get too far in.

Now, I’m not saying there aren’t obstacles. But tell the truth: wouldn’t you watch any cat-and-mouse game starring the fantastic duo of Enos and Krause? THE CATCH may not be the best show on television, but it embraces what it is, and with those two leads doing what they do, I will gladly add it to my small list of guilty pleasure shows worth watching.

THE CATCH airs Thursdays at 10/9c on ABC.

"It Has to Be Now" for PARENTHOOD

Article first published as "It Has to Be Now" for PARENTHOOD on TheTVKing.

NBC's Parenthood has always been a critical darling that struggled in the ratings, leading to a number of truncated seasons with reduced episode counts. Finally, though, as season five premieres this week with "It Has to Be Now," fans have been promised a full fall-through-spring offering of the family drama that makes you feel good.

"It Has to Be Now" picks up many months after last January's finale, with Jasmine (Joy Bryant) quickly going into labor for the baby we just found out she was pregnant with in the previous installment. Setting aside the extreme oddity that overbearing grandmother Renee (Tina Lifford) is completely absent from the episode, it's a great moment for Parenthood, showing a happy, monumental moment in the clan's life.

Crosby (Dax Shepard) does not adjust well to the infant. He tries staying awake whenever Jasmine is, but that makes them both sleep-deprived and on edge. Jasmine admits this baby is far more work than Jabbar (Tyree Brown), whom Crosby missed out on, was, so we know it's not just the normal level of difficulty Crosby faces. It doesn't help that they haven't agreed on a baby name, or that Crosby's family invades their home for an extended period of time to meet their newest member.

Luckily, Crosby has Adam (Peter Krause) to talk to. The brothers have a very interesting, close relationship. They have plenty of differences, and certainly approach rearing children in varied ways, but their love is enough to give them the connection. Adam doesn't understand why Crosby doesn't feel connected to his baby, but he does offer words of encouragement. Crosby will get through this.

At first, I though Parenthood was setting up Crosby and Jasmine for more conflict, evidenced by their constant bickering throughout the hour, and we've had more than enough of that. Thankfully, it's only a realistic portrayal of frayed nerves parents would have in such a situation, and they are in a good place by the end of "It Has to Be Now." They can make it through, as long as they stick together.

Interestingly, this rocky couple is perhaps the most stable in "It Has to Be Now," in which two of Crosby's married siblings go through rough patches with their own spouses. Julia (Erika Christensen) can't find a job because of her vindictive ex-boss, meaning she has to stay home, something she isn't really glad to do, no matter how what she says. And Joel (Sam Jaeger) is working for a girl (Sonya Walger, Lost) who you can just tell will be bad news.

I know Parenthood is a drama, but does it have to threaten to destroy seemingly stable marriages? It wasn't enjoyable to watch Joel and Julia fight last season about a kid they took in, and it won't be fun to see them at odds again this year. Strife is one thing, but if Parenthood splits them up, that could be nearly unforgivable.

Eh, who am I kidding? Parenthood is so emotionally satisfying each and every week I'll keep watching no matter what they do, even hurt beloved characters. For every raw, angry scene, there are three that make viewers tear up a bit, in a good way. This is is the case with "It Has to Be Now," and nearly every episode that came before it, the show not having lost even an ounce of quality over the past few years.

The issues between Adam and Kristina (Monica Potter) seem less fundamental and more just that the two are out of sync with one another right now. Kristina wants to run for the office of mayor because her pal, Gwen (Rose Abdoo), reminds her that cancer survivors should not put things off. Adam is more cautious, worried Kristina will get sick again if she doesn't take it easy, which is the last thing she wants to do, grateful for every day, and wanting to get the most out of life while she still has it. They'll get on the same page eventually, once Adam sees she's OK and happy.

They also are a little upset over their son, Max (Max Burkholder) hanging out with Adam's sister's ex-boyfriend, Hank (Ray Romano). Adam is worried that Hank is trying to get back with Sarah (Lauren Graham) through Max, but when confronted, Hank insists the break up was mutual, and Max is seeking him out, not the other way around. Adam seems mollified.

I understand Adam's hesitation, but I'm glad that it's passing because Hank and Max really connect. I don't know if Hank shares some of Max's limitations, though if he does, Hank is a much more mild case on the autistic scale. But neither are particularly people persons, and they share an interest in photography they can bond over. Max could use a good mentor who doesn't mind his at-times grating personality, and Hank seems to fill those shoes perfectly.

Admittedly, when hearing Romano was returning to the show I assumed his reconciliation with Sarah was inevitable. But now, I couldn't care one way or the other if he gets back with Sarah (though I'll cheer for it if it happens). Hank's relationship with Max is great and extremely satisfying on its own. If that's the way Parenthood wants to keep Romano, who is absolutely wonderful on the show, around, I doubt they'll be many complaints.

Besides, Sarah has enough to worry about without Hank re-entering her life. She is the landlady of a building with some not-so-responsible tenants, one of whom will probably be a love interest, and she feels neglected by her college student son, Drew (Miles Heizer). Daughter Amber's (Mae Whitman) comments about Sarah to Drew are spot on and hilarious, the little dysfunctional family working just as well as any family can. But it's good Drew eases Sarah's tension before the end of the episode.

With all the drama unfolding at the start of the season, Parenthood needs something joyous to end the hour with, book-ending the birth at the beginning of "It Has to Be Now." This comes when Ryan (Matt Lauria) returns from war and proposes to Amber, who enthusiastically accepts. They are young, and just coming away from a bad place, Ryan may be acting a little irrationally. However, they have weathered a couple of storms already, and it would not be unwelcome for them to actually tie the knot.

Parenthood takes us up and down the roller coaster of family life, but it's always a fun ride that you're glad you went on. This season's premiere promises another great batch of Braverman stories.

Parenthood airs Thursdays at 10 p.m. ET on NBC.

Common Law brings a "Gun!" to the party

Freshman series Common Law brings its first season to an end with "Gun!" Travis (Michael Ealy) and Wes (Warren Kole) come to their senses, realizing that they need Dr. Ryan's (Sonya Walger) help after their new therapist (Ed Begley Jr.) has them going through his ex-wife's tax returns. To get back in her good graces, they finally open up about the events that led them to counseling, and with her guidance, they do something about the situation.

I stopped watching Common Law early in the season when I realized that, sadly, this series was destined to be more procedural than the direction most USA shows are moving towards. Every week, there's a case, and that's the main focus. And while the therapy aspect lends a certain original twist to the proceedings, there just isn't enough long-term story here to keep it interesting.

This is not the case with "Gun!" The last hour of the season is compelling and rich. Not only do we get flashbacks to where Travis and Wes were when they met, and what brought them to the point of Wes pulling a gun on Travis, but we also get to see them at their best. Whether in the past or present, these two have each other's backs, and are smarter than most everyone around them.

Unfortunately, this does not mean the show is improving upon my original assessment. An episode like "Gun!" can't be replicated week after week. Because of the conceit of the show, Common Law is destined to remain a case of the week affair. And while the guys will continue to grow with Dr. Ryan, especially now that they're voluntarily seeking her help and actively participating in their treatment, this does not lend itself to any big, sweeping arcs.

There is something to be said for character development. Many of the best shows on television concentrate on that. The problem isn't the therapy, which is actually quite illuminating, but that too much screen time is given over to Wes and Travis doing police work. Maybe they do it a little better than just about anyone else could, but that's just demonstrating skills, not revealing personality. So Common Law fails in this.

Even Mike (Jack McGee), who viewers learn something important about in this episode, gets the shaft because Common Law does not allow the characters to discuss his situation. Mike was kicked out of his house? Why? He did the therapy, and has become less angry. What's going on? I know it's a busy hour, but why tease this if it's not going to be expounded upon? This character deserves more.

Still, it's impossible not get a bit choked up when Wes and Travis do finally take down the group who killed their friend, Paek Man (Kelvin Yu). The music is pitch perfect, and the action is wonderfully orchestrated. As far as cop dramas go, this one is done right, and definitely is no less than deserving than others currently on the air. Dominic Purcell (Prison Break) makes a great villain. It all comes together just as it should, and there is a happy ending.

What if Wes and Travis hadn't solved the case so easily? At one point in "Gun!" it looks like Paek Man's killer will get away with it, and the partners will be separated. Why not pursue that for a few episodes next season, with the two working alone, investigating, then eventually teaming up again, off the job, to bring down their foe? Would that not make a far more interesting TV show than them saving the day in half an episode and restoring things to status quo?

Oh, well. Common Law isn't the first series, nor will it be the last, to squander potential in favor of formula. Let's just hope that they can figure out a way to do more episodes like "Gun!" and make stories last longer than forty-two minutes. Otherwise, thanks for this finale, but I've seen enough, and there's no reason to tune in very often in the future. Should there be a future.

Common Law has not yet been renewed for a second season.

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

Common Law commonplace

USA's Common Law premiered this past Friday night. As with many USA pilots, the first episode is super sized, to give the show time to introduce the characters and the story, as well as complete the expected, procedural case of the week. The "Pilot" of Common Law does both, and manages to live up to its network peers.

That's the problem. Just how many quirky twosomes can exist on the network, doing the same thing week after week, and still hold audience attention? Common Law draws comparisons to Psych, White Collar, and, to a slightly lesser extent, Royal Pains. But USA fans already have Psych, White Collar, and Royal Pains. Do they really need yet another hour of the same thing over and over again? With the huge variety or programming out there, why would anyone want to waste time watching clones of shows they already watch?

Now, fans of Common Law will strike back, complaining there are differences. And of course there are. Common Law embraces the notion of law enforcement partners having a similar relationship as a married couple more so than any other series before it, which is saying something. In fact, the two leads, Travis Marks (Michael Ealy, The Good Wife) and Wes Mitchell (Warren Kole, The Chicago Code) are in marriage counseling! They love each other, but bicker like a pair who have been together a long time, and enjoy pushing each others' buttons.

The counseling conceit is actually quite charming. Casting the lovely and talented Sonya Walger (Lost, FlashForward) as their therapist is fantastic, with the three providing a terrific dynamic. Any scene where the two cops are in treatment, especially in a group session with several other couples, really soars.

The problem is, like every other USA show, those moments cannot be the focus of the series. Instead, they bookend the episode, while the lead characters spend most of the hour solving yet another crime. One might begin to think that the number of fictional criminals caught on the dozens of similar shows is starting to exceed the number nabbed in reality!

Common Law also is funny. From the dialogue of the partners, to Travis shooting one of those silly air-tube-people, there are things to laugh at. Just like every other USA show. They never quite hit realism because they take the time to be entertaining, which is part of the draw. On every single one of the network's shows.

And there's the rub. We don't need Common Law because we already have too much in the same vein. As much as the three lead actors, as well as Jack McGee (Rescue Me) as the boss, Captain Sutton, get it right, there is just no room on the schedule for another variation on the rote theme. For that reason, and that reason alone, not because of a lack of quality, but because of a lack of originality, I cannot recommend watching Common Law.

However, if you'd like to anyway, Common Law airs on USA Fridays at 10 p.m. ET.

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

Article first published as Common Law commonplace on TheTVKing.

FlashForward fizzles out

     ABC tried a bold experiment this year with FlashForward, a show we were told would be wrapped up in one season, should it be canceled, though I am having trouble locating the interview where that was promised now, and I've wasted too much time already on the show to keep looking.  The season, and series, finale, "Future Shock", did anything but tie it all together.  Part of that could be because it was not known at the time to filming if the show would be coming to an end, or getting another season.  However, since the ratings weren't strong, it should have been assumed.  It would have been easy enough, with a few different scenes at the end, to finish it nicely, but the producers chose not to.  And so anyone that invested twenty-two hours into the show has had their time wasted.

     The entire season was uneven, walking a fine line between cheesy and brilliant, but frequently teetering onto the former side.  The cast was packed with wonderful actors - John Cho, Sonya Walger, Jack Davenport, Dominic Monaghan, Courtney B. Vance, Christine Woods.  It was almost worth watching the whole series to see Battlestar Galactica's James Callis deliver his newest crazy-man, and prove that he has even more range than has been known.  But the writing was frequently weak, and did not do justice to the talent involved.

     The the last episode, for instance.  Much of this season has been about choices, and if fate is more powerful than free will.  So far, every time, free will has won out.  And then, each character, one by one, made it to the place they saw in their vision way back at the beginning of the season.  Sure, there were differences.  Lloyd (Davenport) and Olivia (Walger) didn't sleep together.  Janis (Woods) was pregnant with a boy instead of a girl.  But the basics were all there.  The only one who seemed to have twarted fate, for now anyway, was Demetri (Cho), because he was alive at all.  But in the episodes leading up to the finale, it seems fairly likely that he will soon be shot to death anyway, as fate has a way of catching up.  It's like Final Destination the series.

     The ending of it all was the most disappointing.  First, it was established that December 2016 would be the end of the world.  Did a show that had such a hard time catching on really think it would get more seasons than the far more intelligent Lost that it was trying to replace?  The bad guys who caused the flash forwards were never caught, and so remain at large to stir up more trouble.  In this case, they caused another flash forward to end the series on.  This time, though, it appeared that different people flashed to different times, all between 2010 and 2016.  I say this because I freeze framed through the various images and caught at least three different dates.  What does it all mean?  We'll never know.

     I don't have a problem taking a chance on something complicated and involved.  I loved Lost.  But when the show promises not to leave you hanging if they're canceled, it looks likely they are going to be canceled, and yet, they film a cliffhanger anyway, I am not please.  Sadly, it will make me much less likely to trust ABC on the future.

Lost finale leaves many viewers elated, confused

     ABC's Lost, arguably a significant cultural phenomenon, came to an end last night after six seasons with the two and a half hour long episode, "The End".  The ending was cryptic, as much of the show had been, and today theories are debated back and forth around water coolers and over the web.  Was the island real?  Did any of it happen?  Was it purgatory?  Where did they go at the end?  Why wasn't Michael (Harold Perrineau) at the church?  Why was Penny (Sonya Walger) there?  No one knows the answers for sure, and with Damon Lindelof and Carlton Cuse, the show's creative force, taking a media break, no one is likely to know anytime soon.  But that doesn't stop anyone from trying to figure it out.

     The episode centered, as most of the series has, on Jack (Matthew Fox).  After taking up Jacob's (Mark Pellegrino) mantle as island protector, he gave up his life to save the island.  The series began with Jack's opening in the jungle, and ended with that same eye closing in death in the same spot.  Vincent the dog was there, too, making it a perfect bookend.

     I always thought Jack the too obvious choice for the job, and wanted to see Hurley (Jorge Garcia) get it.  I was not disappointed then when Jack handed the reigns to Hurley just before his sacrifice.  Even better, Ben (Michael Emerson) was chosen as Hurley's number two guy, giving him both a happy ending and a position he had always desired.  Though sadly we did not get to see how Hurley and Ben fared, it was revealed that they seemed to do a good job together.  Even more curious, what happened to the six survivors who left the island on the plane?

     In the alternate world, things ended in a much more satisfying way.  Each island dweller remembered their time during the series, though it seemed to have never happened in this reality.  It brought them together and reunited all the couples of the show, including ones separated by death.  Most notable was Sawyer (Josh Holloway) and Juliet (Elizabeth Mitchell), which left Kate (Evangeline Lilly) for Jack, and prevented anyone from losing love altogether.

     Many of the major recurring characters and dead main characters appeared, all of them with their names added to the opening credits under "Starring", making for a lengthy list, and hardly leaving anyone to be listed as "Guest starring".  It ended with almost everyone important gathered together in a church, a bright light taking them on the next place.  Each had great moments in the finale, but unfortunately, I do not have time to touch on everyone in this article.

     My theory is that they all died in the original plane crash, and that the island was a way for them to sort out their flaws and learn to rely on one another.  Most of the main characters that died over the run had a breakthrough shortly before they passed.  Also, Christian (John Terry) said that they had created this place, and though he may have meant the church they were gathering in, I took it to mean the island and that world.  What cemented the theory for me was the grim shots of the lifeless plane wreckage over the ending credits, showing no survivors.  But feel free to make your own theories and debate them.  Until CUse and Lindelof come forward, that's all we can hope to do.  The only real mystery left without any hint was, what ever happened to Walt (Malcolm David Kelley)?

FlashForward shows only flash of ingenuity

    ABC's new show Flash Forward, while starting with an exciting and interesting pilot, has become mostly dull.  Maybe that's why it's rumored to be one of the shows facing cancellation soon.  Don't get me wrong.  There are still moments of excitement.  The show just needs to step it up.

     First, let's look at the plots that are exciting.  Demetri's (John Cho, Star Trek, Harold & Kumar) murder coming up in March, which was starting to drag, got a shot of adrenaline in the fall finale when Nhadra (Shohreh Aghdashloo, 24, House of Sand and Fog) revealed that his would-be killer is best friend and fellow agent, Mark (Joseph Fiennes, Shakespeare in Love).  It was also kind of cool that Demetri's fiance, Zoey (Gabrielle Union), actually saw his funeral, not their wedding, in her flash forward.  The other neat twist was when Al (Lee Thompson Young) committed suicide, proving that what everyone saw was by no means set in stone and could, indeed, be changed.  It was unexpected, and gave a boost to an otherwise boring episode.

     The problem is that the rest of the cast aren't sparking the same interest that those couple of agents are.  For instance, despite their desire to avoid ending up in bed, Olivia (Sonya Walger, Lost) and Lloyd (Jack Davenport, Swingtown) can't seem to stay away from each other, and that was before the kidnapping at the end of the fall finale.  Aaron's (Brian F. O'Byrne) plot involving his daughter has unfolded so slowly that it is hard to keep interest.  Ditto pregnant lesbian Janis (Christine Woods).  Even the much-publicized arrival of Simon (Dominic Monaghan, Lost, The Lord of the Rings) failed to add to the intensity much.

     Flash Forward still has a chance.  Thus far it has allowed itself to get caught up in the too many characters with too much going on syndrome, but Lost escaped it, and so can this show.  If it gets it's act together quick.  It is probable that if it doesn't return from break strong right away, it will not live to see a second season.  More likely, flash forward to the handful of loyal viewers finishing the drama during a summer burn-off of the last few episodes.