STAR TREK: DISCOVERY Searches For Hope in the Future

 Article first published as TV Review: STAR TREK: DISCOVERY SEASON 3 on Seat42F.

WARNING: This review contains spoilers from the Season 3 premiere.

STAR TREK: DISCOVERY returned today on CBS All Access for a third round. Picking up right where the previous season ended, Michael Burnham (Sonequa Martin-Green) has successfully traveled 930 years into the future in her Red Angel suit. Unfortunately, the U.S.S. Discovery is not right behind her as she thought it would be. Now, she must travel an almost unrecognizable galaxy to find them again.

The episode, entitled “That Hope Is You, Part 1,” is essentially a two-person story. As Michael emerges from the wormhole, she smacks into a small spaceship owned by a man named Book (David Ajala, Supergirl), and they both crash on the planet below. Book is on a mission, which Michael has disrupted and does not figure into. She tries to endear herself to him so that he may help her, while he focuses on what he needs to get done. The story is of them coming to learn about and trust one another.

A lot of this STAR TREK: DISCOVERY premiere feels like Star Wars to me, and that’s not such a good thing. There are broad, alien landscapes (beautiful as they may be), strange creatures, lots of aliens, a vast, futuristic station that we only glimpse a small part of, and an extended chase-and-shoot season in which the bad guys can’t manage to seriously hit our heroes no matter how close they are and how many times they fire. Book is a trader who deals with shady people and seems pretty selfish himself. It’s much more action than most Trek, and appears to be lack the depth one expects from the scifi franchise.

But bit by bit, the Trek elements creep in. The aliens running things are Orions and Andorians, and we see Tellarites and Lurians in the background. These are familiar touch-points in a sea of less familiar races. We also begin to hear things about this future, mainly that a huge, catastrophic event called The Burn wiped out much of Starfleet and the Federation has largely disappeared. So we can start to see why the galaxy looks the way it does. Then, of course, there’s the big Book twist where we learn that he’s basically Newt Scarmander, and things immediately lighten up.

The pinnacle of the episode is when Michael and Book go to a Starfleet base where they meet Aditya Sahil (Adil Hussain, Life of Pi), a man glimpsed briefly at the start of the episode, who runs the empty station on behalf of Starfleet, but has never been commissioned an officer in the service. This man believes as deeply in the mission of the United Federation of Planets as Michael does, and he is the kindred beacon in the darkness. Never mind the lingering question as to why he has been left alone by the less savory aliens that are nearby. This scene is when the episode finally reveals itself to be fully Trek and gives viewers hope for the rest of the season.

There’s a lot about the STAR TREK: DISCOVERY premiere I didn’t like. The things I mention above, along with the total absence of the rest of the Discovery crew, whom I miss and desperately want to see again. Michael is not my favorite character on the show, and as soon as I realized this hour would be all about her, I groaned. Though, I admit, this was a solid episode for her and Martin-Green gave a great performance.

Yet, the genuine excitement sparked at the end almost made the whole thing worth it. There’s a cool mystery here, and a new mission. STAR TREK: DISCOVERY was a prequel to other Star Trek, and now with a goal of rebuilding the broken Federation, it’s almost a prequel set in the future as to how Starfleet came to be. This is a cool twist, maintaining a key element the show had before the jump, and I can’t wait to see how the rest of the season plays out. As long as the rest of the crew gets here soon.

STAR TREK: DISCOVERY releases new episodes every Thursday, only on CBS All Access.

It Has Likely Ended for The Neighbors

Article first published as It Has Likely Ended for The Neighbors on TheTVKing.

The freshman season finale of ABC's wacky sitcom The Neighbors aired this week. Entitled "It Has Begun...," the episode takes the surprising tack of setting up a cliffhanger and plot for next season. Surprising, because the ratings have never been stellar, and the chances for renewal aren't good. Though, TVLine.com has upgraded The Neighbors from "A long shot" to "Could go either way," so I guess it has a chance.

The Neighbors seems destined to become a forgotten footnote in the annals of television history. It has an interesting concept, a middle-class New Jersey family moves into a suburb populated by aliens, and after becoming friends, help the extra-terrestrials adapt to our planet. But it's utter oddness, including the childlike behavior of the adults in the situation, the way all of the aliens always dress the same, and that they are named after sports stars, is enough to turn many off.

I actually find the series charming, in a way. All of the performers in the show completely sell the concept. It may not be an example of the highest, smartest comedy writing, but it's a feel-good series that feels authentic for what it is. The Weaver family, the humans at the center, have bonded with the Bird-Kersees, the main aliens, and it's become a tale of two different groups finding commonality and friendship against all odds.

"It Has Begun..." does what The Neighbors so often do: it sends Marty (Lenny Venito) and Debbie (Jami Gertz) Weaver off to do a thing, this time visit Atlantic City, with Larry Bird (Simon Templeman) and his wife, Jackie Joyner-Kersee (Toks Olagundoye) in toe. Marty finds out Larry can see through cards and beat the casino at its own games, so they have fun. Jackie laments that she never got a traditional wedding, so Debbie helps her throw an impromptu one.

There are plenty of funny moments, such as when Jackie thinks the Maid of Honor should be dressed as an actual maid, or when Larry asks Marty "How poor are you?" after Marty gets upset at losing $5,000. But it's really a tale of four friends, at its heart, who help each other with life's experiences, and learn from one another.

This season finale decides to get a little meta in its humor, which seems a natural adaptation, given the silly tone. Larry and Jackie acknowledge the formula the show works on out loud at the beginning, Debbie expresses the opinion that they have the kinks worked out on how they should interact, and all four express the hope to spend more seasons, er, years together. If only more people would watch, they just might have the chance...

But besides the kookiness, which is entertaining, "It Has Begun..." lends a level of heart to the proceedings. The adults have it, when they bond and express their friendship. Reggie (Tim Jo) has it when, faced with leaving Earth behind, he chooses Amber (Clara Mamet) over his girlfriend, and they finally kiss. And Dick (Ian Patrick) shows a little when questioning where his loyalties lie, as do Max (Max Charles) and Abby (Isabella Cramp) in hoping their aliens friends will stay.

That's why I like The Neighbors. Not necessarily because of the aliens, but because of the two families. The rest of the neighborhood has taken a back seat to the two main clans, and should everyone else have gone home in "It Has Begun...," I would not have been disappointed. In fact, it might have really worked, as Larry and Jackie would need to depend on the Weavers even more.

I think the reason the show doesn't do that is because the characters are currently isolated in their gated community. It's hard enough not to be found out, as careless as they are, but for it to be believable that Earthlings move into the area and don't notice the alien behavior is just stretching the show too far, further than it has already stretched. Also, for the aliens to be publicly exposed would send the show in a darker direction, and take away the specialness it currently has.

Not that The Neighbors can't handle deep emotion. The bit this week where the Commander arrives, the aliens gather to leave, Reggie chooses Amber, and the adults flee the wedding to rush home is moving and powerful. It may be the single best sequence the show has done.

But it thrives on the comedy. The ending cap where the Commander (played by Star Trek's George Takei) banters with his subordinate (played by Star Wars' Mark Hamill), and they rip on the actors' respective franchises, is very funny and most welcome. And learning that Jackie's alien name is Debbie may not make sense, but elicits a chuckle.

The only real complaint I have about "It Has Begun" is the plot hole of what the Commander is up to. He supposedly tries to reach out to Larry through toast messages, then tells Dick not to tell Larry he's coming, then is annoyed when he shows up and has to wait for Larry. Does he want Larry to know he's coming or not? And why does he bring an army if he's not going to force Larry to leave? I feel like an artificial layer of suspense is added on top of the tale they are trying to tell, and it ends up confusing things.

I will be disappointed if we don't find out what the Commander is trying to warn Larry of. This opens the door to an interesting new direction in a possible second season. For that reason, and because I want to see the actors playing aliens continue their brilliant work, I hope The Neighbors gets renewed.

Trek Vs. Wars: A Conflict of Interest?

Article first published as Trek Vs. Wars: A Conflict of Interest? on Blogcritics.

The news came out recently that J.J. Abrams will be directing the next Star Wars film. Given the fact that he is already heading up the Star Trek franchise, the announcement sparked a negative emotional reaction in me. What if this becomes a conflict of interest?

J.J. Abrams is one of the most respected television producers around. Despite recent flops such as Undercovers and Alcatraz, he has a slew of great deeds to his name, including Lost, Alias, Felicity, and Fringe. Revolution has potential, even if it mostly remains untapped.

Thus, as a fan of J.J.'s work, I was excited to see him make the transition into film (as long as he doesn't leave television behind completely, which, so far, he hasn't). I was even more enthusiastic when he took over the Star Trek franchise, having been a big fan of the TV series and movies since childhood. I knew, based on his previous work,  J.J. could bring a level of complexity and excitement to the new reboot, and his casting would be impeccable.

Star Trek 2009 did almost everything I wanted it to. The new actors were almost all perfect matches for the original cast. The story honored everything that had come before it, but also began an entirely new, awesome adventure. While it did favor action a bit over message, the story was still pretty good. And while it is darker than most other Trek offerings, that trend had already become apparent for the franchise before the movie.

However, I do have some concerns now that J.J. has been will also be making the next Star Wars movie. Don't get me wrong; I enjoy the Star Wars movies. But I do think Star Wars is overrated, and I don't hold it up to same level of worship that many fans do. I have always believed that Star Trek has been far superior because of the depth of its stories; in my opinion, Star Wars movies have always been largely melodramatic, action-heavy fluff pieces.

If I have to be honest with myself, some of those complaints can also be made about the most recent Star Trek movie. It lacks the original's larger world-view of a better humanity, trading it off for lots of battles and effects, and even a love story for Spock and Uhura. It does stay pretty faithful to what had happened before in Star Trek, but it updates the whole thing into a modern blockbuster. On the other hand, it does extend the franchise reach to a new audience of potential fans. But, I worry that as it does so, future films might lose sight of what has always made Star Trek special.

The issue is, while Star Trek has always been good at wonderful special effects sequences, the series and movies have always been more about the its commentary on humanity and our society. In Star Trek's futuristic world, we have outgrown the petty squabbles of our present day, and have moved on to become an evolved and resilient race.

The 2009 movie satisfies with great character development, and because of the story it pursues, it doesn't necessarily need to go out of its way to emphasize the franchise's idealistic vision of humanity.  However, I would not like to see that integral part of that original vision diminish in favor of more action, adventure and special effects.

On the other hand, the Star Wars movies have always fit the standard blockbuster framework, so I'm sure that J.J. will do a great job with it. If nothing else, he will definitely put episodes I-III to shame. Of that, I am confident. But with both movie series under his direction, will the vision for the two series converge, making Star Wars and Star Trek feel too similar?

After all, 2009's Star Trek already began to lean towards that Star Wars formula. It was a lot of shoot-'em-up, and it had less complicated, more evil, villains. The pacing was faster than I'm used to from Star Trek, and it lacked much introspection.

I don't want Star Trek and Star Wars to be similar. I admit, I feel a certain superiority when arguing Trek's advanced plot points and messages. Were Star Wars to be that good, assuming J.J. could raise the quality of the new Star Wars to the middle ground that the 2009 Star Trek occupied, balanced between what the masses want and wonderful writing, it removes the advantage Trek has, and gives those smug Wars fans new fodder. If the opposite happens, and Star Trek is dumbed down to the level of Star Wars moving forward, continuing to push it away from its roots, the same thing will happen.

I am concerned that J.J. will, intentionally or not, keep nudging Star Trek from its original vision. Who's to say it won't go further once his time becomes divided between the two, with the worlds merging in his head?

They are both sci-fi adventures full of aliens. Even though one supposedly happened a long time ago in a galaxy far away, to paraphrase, it looks futuristic enough to be confused with our not-too-distant future to the untrained eye. It wouldn't be that hard to make a lot of the same choices when developing the projects, and end up with two very similar film series. I don't think he'll use the same actors or sets, but with the gleaming white new Enterprise reminding me of Star Wars spaceships, there could be a similar color scheme and visual component.

Maybe I'm being too hard on J.J. As I said, I am a fan of his work, and it's not like all of the television series he works on end up the same. He could find ways to differentiate the two, and take them in completely different directions. I am just concerned because of early signs of Star Trek's evolution, and because of his stated preferences, that it might happen in this case.

I also worry that his work on Wars will distract him from Trek. After all, Wars is bound to get more attention. Will that mean he won't give Trek 13 his full efforts, instead focusing on Wars 7? Also, J.J. is reportedly one of those people who favor Wars over Trek, which worries me.

Yes, it is possible to be a fan of both, but most people who are favor one over the other. I hope that J.J. keeps in mind the fundamental differences between both series, and doesn't make them interchangeable. The best way to do that is to deepen the next Star Trek story back to the levels of morality tale it once achieved. This spring, we'll find out if that has happened, as Star Trek Into Darkness is released. Based on what I've seen so far, I'm optimistic.

I guess what this argument boils down to is emotion. Both franchises evoke strong feelings from their fans, and since Star Wars already has the popularity, I want Star Trek to keep the quality superiority. It is a bit petty, to be sure, but I very much hope J.J. takes this into account, keeping in mind what has set the two series apart in the past, and maintaining that divide. Because he is a Wars devotee, I worry he doesn't have the same perspective on Star Trek that trekkies have, and thus won't protect the franchise with the same ferocity a real fan would.

To many, the premise of this entire column will seem ridiculous or trivial. But for those of us who have always kept a candle burning for Star Trek, please J.J., we beg of you: Keep Trek better. Its fate is in your hands.

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! 

Robot Chicken flies high

In the season six premiere of Adult Swim's Robot Chicken, the show honors the DC Comic Universe, much in the way it has previously done for Star Wars. It's an interesting choice, given how DC's competitor, Marvel, is dominating the theaters right now. Perhaps it was hard to get the rights to Marvel, or maybe the Robot Chicken guys just saw more potential in characters that haven't been played with on screen as much lately. Or perhaps they thought that honoring DC in this way might drum up more interest in DC movies. Whatever the reason, the result is a very funny half hour using many familiar heroes and villains from the comic book pages.

The main group parodied are the Justice League, including Batman, Superman, Wonder Woman, and their counterparts, The Legion of Doom, which is led by Lex Luthor. Neither side is presented as very intelligent or successful, in true Robot Chicken fashion. The good guys act like jerks, and the bad guys are sympathetic, more complex characters. They do battle with each other, but other than the big confrontation at the climax, the best parts are just when the characters hang out among their own, ripping on each other. It makes them relatable, like old friends.

Some of the chosen targets are pretty easy. Aquaman has long been lampooned, and rather than take a different approach, Robot Chicken goes after him with aplomb, making him central to the larger arc in the episode. However, they do it in a way that still feels fresh, rather than using the same stale stuff (mostly). Watching him jump onto an "invisible jet," only to realize he is being tricked by his friends, is very amusing.

Another running gag is Batman getting his back broken by Darkseid. Many might show the bit three times, following the general rule of humor. Robot Chicken takes it the unexpected step further and does it a fourth. What sells this rule breaking is then the characters acknowledge that they are straying from the accepted path. Somehow, that makes the fourth go-round even better than the first three!

Much of the DC episode has a central story, unlike most Robot Chicken episodes, which thrives in the small bits. This may provide less laughs overall, but when going for a full half hour, it seems necessary and right that scenes go on for more than twenty seconds. In this, the show makes the wise choice.

The stars turned up in spades to lend their voices to this episode. Many of them have guest starred on the series before, but it's cool to hear them all together, and many lend some geek cred. There's Nathan Fillion (Castle, Firefly), Alex Borstein (Family Guy), Neil Patrick Harris (How I Met Your Mother), Megan Fox (Transformers), Alfred Molina (Spiderman II), Aaron Paul (Breaking Bad), Paul Reubens (Pee-wee Herman himself), and Steven Tyler of Aerosmith lends some vocals.

But besides the big names and big characters the episode is playing off of, Robot Chicken also stays true to itself by tossing its own recurring characters into the mix, like the humping robot, and using may of the regular voice actors like Abraham Benrubi, Tom Root, Breckin Meyer (Franklin & Bash), and the creative team of Seth Green, Matthew Senreich, Zeb Wells, and Kevin Shinick. Green even tosses a bit to his wife, Clare Grant. This shows the heart and dedication of those making the show.

All in all, while maybe not as memorable as the Star Wars tributes, Robot Chicken does a good job with the DC universe. Who might they target next?

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

Futurama returns to The Matrix

Normally, I like the more emotional episodes of Comedy Central's Futurama better than the comedy-centered ones, though both have their merits. This week's entry, "Near-Death Wish," kind of balanced things out nicely, even if it stretched the believability of the universe a bit. There was some true character exploration, and throw backs to previous episodes, as well as good movie references.

Obviously, the title of the episode is a play off of the movie Death Wish, though instead of a vigilante seeking revenge, Fry (Billy West) just connects with some old relatives who may soon pass away. You see, Fry is desperate for approval from his great-great...-nephew, the Professor (also West), but the Professor isn't that interested in being a good family member. Discovering the Professor's parents are still alive, Fry finds them living in a virtual world, and builds the family connection he has longed for. This also exposes the Professor's past, and allows him to finally make peace with his mom and dad.

"Near-Death Wish" makes the Fry family connections make sense a little more. We know that the Professor is crazy, and now we see him in his early days, before he got locked up in the mental institution. (Yes, now we need a episode to figure out how he got from a 25 year lock up to working for Mom.) And with the personality that the Professor has, unable to relate even to the people who lovingly raised him, it's no wonder he has no strong connection to Fry, despite their shared DNA.

My only beef here is that the Professor is so often portrayed as close to death, himself, and to have his parents show up definitely pushes what can be accepted as reality, even in this cartoon world. The likely explanation is that the Matrix-esque Near-Death Star must be able to keep old people alive. And I wish we had seen the referenced Floyd and Bender (John DiMaggio) sequence a couple of weeks ago, like when the Nibbler plot seeds were planted early.

"Near-Death Star," besides that obvious Star Wars reference, also makes allusions to Star Trek, and goes on an extended tirade about The Matrix itself. But the best references are those to past Futurama episodes. The Near-Death Star was visited by the characters awhile ago, and even has the same robot guard arm. We get to see Fry playing his holophone again. Hermes (Phil LaMarr) and Zoidberg (also West) seem to have become friends, a toss back to earlier this season.

Also, the clout Fry gets after winning the Clippie Award is just plain hilarious, and who can pass up a guest star turn by Estelle Harris?

The gags, references, and a sweet ending on a farm all contribute to make "Near-Death Wish" a memorable Futurama episode. Watch new installments Wednesdays at 10 p.m. ET on Comedy Central.

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

Spaceballs invade your Blu-ray player

Spaceballs is not Mel Brooks' funniest movie, nor his most well made. Yet, it holds a special place in the hearts of many, many fans, a highly quotable (and enjoyable) film that can be watched over and over again. Primarily spoofing Star Wars, it's a comedy set in space, with plenty of references mixed in with the jokes. Now, it is available as a 25th Anniversary Edition Blu-ray.

The story of Spaceballs is familiar. That's not to say that it rips the plot directly from Star Wars, as it only loosely follows that story, leaving out the pathos and the Luke Skywalkers. But Star Wars didn't tell an original tale, either. Both are the hero's journey, rescuing a damsel in distress, and defeating a powerful villain to save the larger world, done in similar ways.

Lone Starr (Bill Pullman, Torchwood: Miracle Day) is that hero, though the damsel, Princess Vespa (Daphne Zuniga, One Tree Hill), as in many modern versions of the story, is anything but helpless. Because this is a comedy, they are joined by the half man, half dog, Barf (John Candy, Planes, Trains & Automobiles), and a sassy robot named Dot Matrix (voiced by comedian Joan Rivers). Together, this group consults the "wise" Yogurt (Mel Brooks), and battles the forces of darkness, led by the bumbling Dark Helmet (Rick Moranis, Ghost Busters) and President Skroob (also Brooks). The best part? No endless sequels!

It will come as no surprise when the good guys win the day, and the baddies get what they deserve. Yet, that isn't the point of the movie. The plot is secondary to the humor, which comes in many ways, some of them unexpected. Whether it's a giant vacuum cleaner in space, or something more clever, like the play on merchandising, and the bad guys being able to fast forward and rewind the movie to see where the protagonists have gone, Spaceballs delivers in spades. Perhaps the jokes aren't as good as in other movies, but they are memorable, and many fans quote them incessantly.

For this new edition, there has been an update in picture and sound quality. It still looks dated, especially in the special effects department, which admittedly doesn't matter all that much. But it isn't very grainy most of the time, and is certainly good enough to engross viewers without them being distracted by fuzz.

Most of the special features are from past editions, including audio commentary (available in English, Mawgese, and Dinkese), a documentary, conversations with Mel Brooks, a tribute to the late Candy, flubs, galleries, and trailers. Some of the previous extras have been left off, so this isn't a comprehensive release, either. But there is one new featurette, a little over fifteen minutes in length, that provides a bit of new insight into the film, with the benefit of additional hindsight.

The bottom line is, most fans of Spaceballs already own this movie. Should they buy it again? That depends. If one's copy is an old VHS or even an early DVD, lacking the remastered quality, and it is still pulled out to be watched at least occasionally, then yes, for a modest price, one should definitely upgrade to Blu-ray. However, if one already owns the previous Blu-ray release, purchasing this edition only nets one new feature, so it's probably worth it only for the most die-hard of fans. It's a great release, but it could be better with a few more treats tossed in for the fans.

Spaceballs The 25th Anniversary Edition is on sale now.

Family Guy Volume Nine funny, but has holes

     FOX's Family Guy has never been released on DVD by season, but rather, by volume. Thus, the latest release, Volume Nine, begins its run with an episode from December 2009, and goes up through October 2010. This mean this set has most of season eight, and just the first three episodes of season nine. However, it does not include the second Star Wars spoof, which aired during this time, nor does it have the banned episode, "Partial Terms of Endearment," which has yet to run in the U.S. Both missing episodes are available separately on their own DVDs, which means that the casual browser begins looking at Volume Nine with quite a bit of skepticism and disappointment.

     Family Guy has actually been less funny these past few years. Sure, they pull out some wonderful specials and events. But the week-in, week-out episodes are just not as soon as The Cleveland Show or especially American Dad!, which air in the same block. This means that Family Guy is past its prime, but usually still makes for an entertaining half an hour.

     That said, there are a few gems in Volume Nine, even as Family Guy has begun suffering creatively, over all. "Peter-assment" is about unwanted sexual attention. "Brian & Stewie," the special 150th episode, takes the two popular characters to a whole new level of familiarity in a weirdly dramatic installment, absent any of the series' trademark cut scenes. "Quagmire's Dad" is introduced, and gets a sex change. "Excellence in Broadcasting" sees Brian (Seth MacFarlane) give Rush Limbaugh (himself) a second look. "And Then There Were Fewer" reveals a recurring character to be an evil killer in an extended murder mystery, using many returning guest stars, meaning that Quahog won't ever quite be the same.

     The special features are a mixed bag. Deleted scenes are included on all three discs. FOX includes an episode of the spin-off, The Cleveland Show, with an introduction by star Mike Henry, which is nice for those who haven't checked out the funny series, though what Family Guy fan hasn't at this point? Side-by-side animatics are interesting, but don't really show anything that hasn't been seen before.

     One of the good bonuses is "Brian and Stewie: The Lost Phone Call," which is pretty much a deleted scene, but a specific and funny one, separated out from the others. There is also a Making Of special for "And Then There Were Fewer," a featurette called "The History of the World - According to Family Guy," which is exactly what you would expect, and a look at Family Guy at 2010's Comic Con. All of these are good additions. It's just a shame that there aren't more of them.

     The cover art for Volume Nine is kind of fun, if you liked "And Then There Were Fewer." It is designed completely around that episode, ignoring all others. One almost wishes that "And Then There Were Fewer" had its own release, using this packaging, and Volume Nine incorporated elements of many of the episodes included. But then again, who wants to spend the money on yet another DVD, when it's easier to package them in volumes?

     For viewers who are already fans of Family Guy, Volume Nine is a must have to complete the collection. Casual fans will be annoyed about the missing stuff, but it is possible to get it by shelling out a bit more money. The TV browser may not find Volume Nine a good entry point for the series, nor will it make any 'best of DVD' lists this year. So it's an OK release that has its niche, but not one opening any new doors.

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"Extraordinary Merry Christmas" no quite so on Glee

     FOX's Glee fall finale is also their Christmas special, "Extraordinary Merry Christmas." Artie (Kevin McHale) is asked to direct a televised holiday program featuring the New Directions. He decides to make it a cross between Star Wars' own special, and The Judy Garland Show Christmas episode. Unfortunately, the filming evening is the same as the one the kids promised to help now non-Grinchy Sue (Jane Lynch) feed the homeless. Rory the Elf (Damian McGinty) reminds everyone what is really important during the taping, and afterwards the glee club heads over to be with Sue.

     "Extraordinary Merry Christmas" is a mostly stand alone episode, which is disappointing and unexpected. Last year's Glee Christmas outing keeps the main plot points going, while sparkling them with holiday cheer. This year, there are really two separate episodes forced into one: couples (romantic and platonic) celebrating Christmas together, and the kids' black and white holiday special, which takes up two entire acts. Considering how good the latter part is, and how bad the former one comes across, it would have been better to ditch any framework events, and just fully commit to the bold experiment.

     From start to finish, the Glee Artie-directed (in the show; the actual episode is directed by Matthew Morrison, a.k.a. Will) piece is great. There is a certain cheesiness to it, but that fits the spirit of what is being accomplished. From dancing Santas, to a long camera shot through the window, to Kurt's (Chris Colfer) affectation, there are some very obvious throwbacks to The Judy Garland Show, which is really an early '60s classic. Even the tongue in cheek joke about Kurt and Blaine's (Darren Criss) relationship and addressing the camera are period appropriate. Thus, this comes off very well.
     The Star Wars influences are fewer but make the whole thing more than a straight Garland knockoff. Seeing Finn (Cory Monteith) and Puck (Mark Salling) dressed as Luke and Han Solo, and then denying it for copyright reasons, is funny. Also, the real Chewbacca (Peter Mayhew) does a cameo! The only complaint here is that the opening credits are arranged completely out of sync with what the Christmas special actually is. Furthermore, Rory's speech at the end is stiff, possibly exposing McGinty's limits as an actor. Or it's just bad writing.

     The musical performances during these two acts in "Extraordinary Merry Christmas" are also quite good. Blaine and Kurt's "Let It Snow" is sweet, with highly enjoyable dancing, and will delight all of the couple's fans, a large percentage of Glee viewers. Adding close friends Rachel (Lea Michele) and Mercedes (Amber Riley) for "My Favorite Things" is smart, because it feels comfortable, and the grouping is totally believable. Finn and Puck lead the others in a rousing rendition of "Santa Claus is Coming to Town." Finally, Brittany (Heather Morris), who rarely gets to sing lead, does a wonderful job with "Christmas Wrapping" in another delightful dance number. All in all, quite the success.

     Except, why does Artie so readily agree to direct, right after stating he will not do TV because he doesn't want to "sell out?" And why is their show called the "Glee" Christmas special, instead of the New Directions? The kids don't refer to themselves as "Glee," that's just the series title. Also, that set and production value are far greater than the $800 budget given. Did the New Directions score some more primo donations? Fat Breadsticks money, perhaps?

     As mentioned, the parts of "Extraordinary Merry Christmas" that are not in black and white are pretty bad. Granted, the episode begins well with Mercedes killing "All I Want for Christmas Is You," but where is her Shane (Lamarcus Tinker) vs. Sam (Chord Overstreet) build up to go with it? It goes downhill from there.

     Rachel complains that Rory's "Blue Christmas" is depressing, then answers it with her own weepy ballad, "River." So did the writers of these two scenes not talk? Or was it just more important to squeeze in the numbers already recorded, story be damned? Why not cut "River," and instead put in Santana's (Naya Rivera) "Santa Baby," which is cut from the episode? Terrible timing, considering that Entertainment Weekly just named Rivera "Sexiest Female."

     The couple stuff in this episode of Glee is weak, at best. Besides Mercedes being shoved aside, Finn and Rachel get really hokey. Rachel demands expensive gifts, and Finn can't afford it, so he gets her something meaningful. This isn't enough for her. But she learns her lesson, just after Finn does spend the dough, and they donate the money from their nice presents to charity. Even for Glee, this story crosses the line of fluff and ridiculousness.

     Also ending up on the cutting room floor for "Extraordinary Merry Christmas" is a scene shown in the preview, where Blaine gives Kurt a present. It's a promise ring! This would much better serve the episode than Finn and Rachel's stupid bits, or even the tiny subplot about Rory accompanying Sam back to Kentucky for the holiday, supposedly in the car that neither the poor kid nor the exchange student owns. Back to the point, this is a major development for Kurt and Blaine. Will Kurt be seen wearing it? Will the boys discuss their commitment? Or will it be ignored, since the minutes were deleted this week?

     Finally, two songs stand out as unacceptable in this music-packed Glee outing. "Extraordinary Merry Christmas," while rightly given to Rachel and Blaine, sounds like so many other songs they have already sung. The series deserves applause for taking another chance with an original song, but write something worth hearing, please, instead of just recycling the same old trope! And "Do They Know it's Christmas?" comes off as extremely condescending when sang to homeless people's faces. Why are the less fortunate enjoying this? They should be angry. They live in America! Of course they know it's Christmas!


     Big misstep Glee. Hopefully, the series will get back on track when it returns in January on FOX.

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Article first published as TV Review: Glee - "Extraordinary Merry Christmas" on Blogcritics.

Family Guy presents "Episode VI: It's a Trap"

     FOX's Family Guy parodies Star Wars and The Empire Strikes Back, so it is inevitable that a version of Return of the Jedi follows. Last night's ninth season finale brings "Episode VI: It's a Trap," the awaited Jedi knockoff, which is actually already out on DVD, and has been since December. If you've seen the original movie, the plot is familiar, if condensed to around forty-four minutes. Luke / Chris (Seth Green) rescues Leia / Lois (Alex Borstein) and Han / Peter (Seth MacFarlane) from Jabba the Hut / Joe (Patrick Warburton). From there, they travel to a planet near the still-under-construction new Death Star. Luke visits his father, Darth Vader / Stewie (MacFarlane), on the thing, and together they defeat the Emperor / Carter (MacFarlane). On the planet below, Han, Leia, Chewbacca / Brian (MacFarlane), and the other rebels take out a shield, so that Lando / Mort (John G. Brennan) can destroy the Death Star. The rebels party with the Ewoks.
 
     While the basic plot does follow the George Lucas movie, what makes Family Guy's version different, besides casting familiar characters in the roles, is all of the jokes sandwiched in. For instance, The Emperor and Darth Vader bait Luke by commenting how Seth Green is a terrible actor. For viewers in on the joke that Green voices Chris, it is highly amusing to watch the tension build in Luke / Chris until he erupts. To be fair, after the Jedi parody is complete, the Griffins do have a debate as to whether Seth Green or Family Guy creator Seth MacFarlane is a bigger douche. For fans of meta humor, this conversation may be the funniest thing in the entire hour.

     Another memorable joke in this episode is a live action sock puppet standing in for the additional creatures added to Jabba's palace in the special edition of the movie. The Rancor that Luke fights in Jabba's pit is replaced with conservative talk radio pundit Rush Limbaugh. Meg (Mila Kunis), who is often teased as the most ugly, disliked character on the show, is the Sarlacc monster. Above the Sarlacc pit, there is an extended sequence of characters glancing at each other. On Endor, the stormtroopers use actual bicycles, which upsets Pee Wee Herman when his is stolen.

     Apparently Family Guy, despite its extensive cast, has run out of characters to stand in for the Star Wars people, as MacFarlane draws upon his other TV shows in this special. Both Klaus (Dee Bradley Baker) and Roger (MacFarlane) from American Dad! are cast as Admiral Akbar and a Death Star officer, respectively, while Tim the Bear (MacFarlane) from The Cleveland Show is, appropriately, an Ewok, and Rallo (Mike Henry) is Wedge Antilles. It is lucky for MacFarlane that he has other TV shows to draw from, since the Star Wars franchise has so many characters.

     At the very end of this episode, the characters avow that they will not be doing the prequel Star Wars films, and Peter says that he thinks The Cleveland Show will be handling them. Is this a joke, or true? Three major characters from The Cleveland Show already appear in the Family Guy Star Wars parodies, but might they be recast for another trilogy of special episodes? It is hard to imagine how the spinoff cast would be appropriate for such a series, but MacFarlane may be daring enough to give it a try. Or it could just be an offhand comment, a slight insult to a sister series.

     "Episode VI: It's a Trap" lives up to the previous two installments. Whether MacFarlane does any more Star Wars parodies or not, he has finished a great feat with humor and excitement. Fans of both Family Guy and Star Wars should be left satisfied.

     Family Guy has been picked up for a tenth season, and will return to FOX next fall.

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Article first published as TV Review: Family Guy - "Episode VI: It's a Trap" on Blogcritics.

Family Guy something something Star Wars

     Fox's Family Guy ended their eighth season with the television premiere of a DVD they released late last year.  The episode was called "Something, Something, Something, Dark Side", and it was a spoof of the movie Star Wars: The Empire Strikes Back.  It was a follow up to their previous effort based on the first Star Wars movie, and there will surely by a third to complete the trilogy soon.

     Was it really a true Family Guy episode?  No.  I enjoy their Star Wars parodies, though I wish they would do the far superior Star Trek films instead.  Yes, I am definitely on the Star Trek side of the age-old debate, but I'm not a Star Wars hater, and did enjoy the movies, especially the original three.  Anyway, Seth MacFarlane, the creator of the show, does Star Wars pretty well.  There was enough of the original story to follow along, but it was much shorter, as was appropriate for a goof like this.  It was funny, and none of the jokes ran too long.  Fans of both franchises could enjoy the episode.

     Family Guy does three types of jokes particularly well: sight gags, racism, and references.  The best of the first category in this episode was probably Peter's (voiced by MacFarlane) nemesis, the Giant Chicken (Danny Smith) as Boba Fett.  It's always fun to see those to go after each other, and with Peter filling in for Han Solo, it made a good pairing.  The best racism gag was when Peter / Han commented that Lando was probably the only black guy in the universe, and Brian / Chewbacca (MacFarlane) said that he hoped so.  All of the other characters were appropriate offended, lest you think the series out to put down any minorities, which it doesn't do more than it puts down everyone else.  The last category was the best, though, as Peter and Chris (voiced by Seth Green) argued over whether Robot Chicken, a Cartoon Network series created by Seth Green, was still relevant.  Robot Chicken has also done Star Wars parodies lately, although theirs are short bits, rather than an entire plot.  Both series have been funny about it, but with two different approaches.

   So, the episode wasn't really an end to this past season of Family Guy.  If anything, that happened last week, although the show doesn't traditionally do big season-enders.  But it was a pleasant diversion for an hour.