CALIFORNICATION Doesn't Quite Land With "Grace"

Article first published as TV Review: 'Californication' - Series Finale on Blogcritics.

Showtime’s Californication completes a seven-season run this week with “Grace.” No matter how badly Hank (David Duchovny) screws things up (and he always screws things up) there have consistently been threads of love and hope sprinkled throughout the series. Thus, with the final episode, we knows there must be a happy ending, not just for Hank, but for all of those in his life, beloved family and misfit friends alike. That’s exactly what “Grace” delivers, if a tad too easily.

Hank must end up with Karen (Natascha McElhone); even the most casual viewer knows that. The problem is, “Grace” lets them work things out far too quickly. Halfway through the episode, Hank is pondering the idea of getting back together with Julia (Heather Graham), his other baby momma. Then, on a whim, he writes Karen a beautiful letter, runs to meet her on the plane she’s taking to their daughter’s wedding. But wait! They’re a couple again? Where is the lesson learned? Where is Hank’s self-examination of all his wrong-doing? Karen accepts him for who he is, and it’s just done?

Californication has spent much time on this pair, going back and forth with their love story. At times, they’ve been very, very close, and at other times, they couldn’t be further apart. Throughout this final season, it’s been the latter, with Hank trying to be a good dad to the son he only recently learns about, while Karen is off-stage. And when she does show up, she disapproves of Hank and his actions. The viewer sees Hank mature and learn from his past, finally being responsible. But Karen hasn’t witnessed the transformation. So why would she take him back?

I guess, as much as I approve of the emotional note on which “Grace” ends, complete with good callbacks, I’m just deeply disappointed that the Hank/Karen closer doesn’t seem earned. It could have been with a little more finesse, maybe even just another half hour of the story. Instead, it comes across as very tacked on, and not serving the two characters we’ve come to know over the years very authentically.

Is that intentional? Do the writers known that Hank will always mess up again if the camera lingers too long? After all, the opening scene is a dream sequence of Hank’s daughter Becca (Madeleine Martin) reminding him of his failings. That’s why I almost thought Californication might leave Hank single, knowing he can’t help himself with his vices. This would be very dark, darker than show’s usual tone, but it would be appropriate.

The rest of the half hour is quite sweet. Charlie (Evan Handler) and Marcie (Pamela Adlon) can’t bring themselves to sleep with other people, but they still get the million dollars from Stu (Stephen Tobolowsky), who is somewhat satisfied with his love doll. Levon (Oliver Cooper) has a moment with his dad, who helps him treat a woman decently, and Hank seems to set up Levon’s mother, Julia, with lonely Rick Rath (Michael Imperioli), who deserves a good woman. Even Krull (Steve Jones) gets a little Love, literally.

All of this is almost cartoonish in how it works out, but Californication does tend to give its recurring players such goodbyes on a regular basis. It’s a shame that Hank and Karen end up in the same category, as they had always been better than that, but for the rest of the characters, that’s what we expect to happen.

I guess the only regret I’m left with, besides the obvious, is the lack of Becca in “Grace.” Her heart-to-heart doesn’t seem real, and we don’t see Hank have one last conversation with her at her wedding. She deserves her own piece of the finale, one last bonding chance with her dad, and without it, the episode feels like it’s missing something. “Grace” really should have been a full hour, half spent tying up this year’s arcs, and the other half serving the long-time cast, as Californication does a solid job with the former, and falls short with the latter.

TOY STORY OF TERROR Scary For Its Weakness

 Article first published as TOY STORY OF TERROR Scary For Its Weakness on TheTVKing.

Toy Story is a classic, beloved film, which spawned two sequels, one decent, and one amazing. It's this high standard that any future spin-off or extension must love up to. (Yes, I'm ignoring early expansions, such as the Buzz-centric project, which I haven't seen, and seems already forgotten from the public consciousness.) Unfortunately, this week's ABC special, Toy Story of TERROR, falls very short.

Disney has a history of weak sequels and specials, but for some reason, I thought Toy Story would be immune. For one, it has the Pixar connection, and Pixar stuff generally rocks. For another, even though they have made a series of TS films, the third one was absolutely every bit as good as the first, providing serious emotional heft and development for the characters. Thus, I hoped the reputation would not be tarnished.

Right away, Toy Story of TERROR fails because it only follows a small group of characters from the movies, which seem put together randomly. Buzz (Tim Allen), Woody (Tom Hanks), Jessie (Joan Cusack), Mr. Potato Head (Don Rickles), and Rex (Wallace Shawn) are present, but absent are classic characters like Slinky Dog, Hamm, and Bullseye. And tossed in are two recent additions, Mr. Pricklepants (Timothy Dalton) and Trixie (Kristen Schaal).

Now, from a story standpoint, I can see why little Bonnie (Emily Hahn) would take a couple of her old favorite playthings with her, as well as some newbies, but it just seems so random in the episode, as if the producers locked down their main players, and then just kind of picked a few supporting ones based on actor availability or whose star is currently rising. And granted, in twenty minutes, there is not time to include everyone, with many of those who are present getting little to do. I just wish there had been more of a sense that this was planned out and each particular personality is included for a reason, as several seem to serve no purpose.


The main plot involves the group going to a motel. Mr. Potato Head is not content to sit in the luggage, and explores the room, looking for free amenities. The other toys venture forth to rescue him, are quickly separated, and fall into the hands of an evil desk clerk (Stephen Tobolowsky, Californication), who sells them on eBay. Jesse must overcome her fear of being in boxes to rescue them all before Bonnie leaves them behind.

The desk clerk arc definitely feels like a retread of Toy Story 2's toy man, and not in a good way, that being the worst of the three films. It's nice that this villain gets his comeuppance when one expects he won't. However the story would work with just an animal stealing toys, not needing this unnecessary man. Given the short running time, I wish he would have been cut.

The story involving Jesse's fear is OK, but a much lighter version of the drama present in the movies. And rather than being inspired by her friends to overcome her fears, she meets Combat Carl (Carl Weathers, Arrested Development), which feels unnecessary, especially when Carl and the other new toys introduced don't end up with Bonnie, doomed to be a forgotten footnote, even if the series continues past this. Given the very small role most of the main characters have in this installment, one of them should have stood in for Carl's part. Buzz seems a good choice.

Another main element of Toy Story of TERROR is that Mr. Pricklepants seems an expert on horror films, and in this spooky, Halloween-themed plot, he tells them what to look out for, sort of like a certain character in Scream. I guess this is in place for the kids watching, who wouldn't know many of the elements of a scary movie yet. But it does kind of drag down the proceedings.

There are some nice elements. I really liked the desk clerk's pet iguana, which hilariously acts like a dog. The shower curtain rip and Mr. Potato Head's arm hopping around on its own are a good play on the horror genre. It's not truly frightening, which is good for the little kids who will invariably watch. The original voice cast returns; I didn't pick up on any recastings, which always detract from the overall enjoyment.

Toy Story of TERROR is a misstep, though, and hopefully, if the Toy Story saga is going to continue, more thought and effort are put into the next installment. These toys deserve better.

Californication Can't Shake the "Monsters"

Article first published as Californication Can't Shake the "Monsters" on TheTVKing.

Showtime's sixth season finale of Californication, entitled "I'll Lay My Monsters Down," is a joyous celebration, as well as a time for introspection. Charlie (Evan Handler) and Marcy (Pamela Adlon) are getting remarried. Now Hank (David Duchovny) has to decide whether to hit the road with a rock tour, or try to win back the heart of his lady love once again.

The wedding is super sweet. Marcy and Charlie have been through many a rough patch, but they always belong together. The longer that they are apart, the harder it gets to watch them suffer. Once Marcy agrees to remarry Charlie, there is little doubt in my mind that, not only will she go through with it, but this time it's forever.

How can it not be? They've both had their chance to sow their wild oats, and find out what else is out there. Yet, they come back to each other. This is why Californication is the story of love, even if the characters must overcome the effects of the West Coast to find their true happiness.

Marcy's urging Hank and Karen (Natascha McElhone) to get back together can be chalked up to projecting her own feelings onto them. She has realized that she belongs back with her man, and so assumes the path to her best friends' happiness is the same as her own, even though this is not necessarily the case. Given it is her wedding day, she can be forgiven, and surely won't hold it against them if they ignore her.

Yet, Hank's story has always been about Karen. He may take detours along the way, most recently with Faith (Maggie Grace). But not matter who he shares his bed with, he always comes back to Karen. Even in his dreams, she's the one.

It's interesting that Hank's subconscious takes the form of Lew Ashby (Callum Keith Rennie) at this point. The departed musician was striving for love when he died, just as Hank always is. Is Hank worried that he will wait too long and die before he can get back with Karen? I think so, considering that Hank literally appears in Lew's position behind the bar in his second dream. Though, it really doesn't matter why Hank imagines Lew, so long as we get a glimpse of that great character again, highly appropriate in a season chock full of rock 'n' roll.

The question is, is Hank Karen's destiny? We don't see as much of her, so it's not always clear. She definitely cares about him, but she may not want to spend her life with him anymore. Shortly before "I'll Lay My Monsters Down," Karen ponders if they only remain in one another's lives at this point because of their shared daughter, Becca (Madeleine Martin). It's sad, but it could also be true, as much as Hank and his fans won't want to admit it.

Which is why it's probably good that Californication is pulling a fast one on the audience when Hank drops to bended knee on the stage at the rock concert. It is heart breaking to realize that Hank won't lie it all out on the line right then and there. But, Karen knows how he feels. He makes it clear constantly. And her words say that she's not ready to commit to him, so he is liable to be disappointed if he tries for this now. She must sort out her own feelings first.

On the other hand, she could be on the fence, and the things she says may be just to test him. After all, Hank may say one thing, but may not mean it, even if he wants to. Perhaps she needs the grand romantic gesture to make up her mind.

I truly love when Becca, high, calls her father and tells him she just wants him to be happy. At first, Hank thinks that may be traveling with Faith. Then, he realizes that it's being with Karen, of course. This is a moment where Hank is forced to consider what will make him happy, and it's fitting that his wise daughter comes through once more, even if she isn't as smart with her own decisions.

It's also great that the moment includes Hank asking Becca to text Marilyn Manson (himself) a lude picture. How very fitting for the tone of the show!

"I'll Lay My Monsters Down" bids a fond adieu to Faith and Atticus (Tim Minchin). I will greatly miss these characters, and am sad to see them go. They both truly connect with Hank in a way that only a handful do, they are two of his soul mates, and are worthy of being recurring characters along the lines of Stu (Stephen Tobolowsky) and Bates (Jason Beghe) because they just fit into Californication so well. I hope they return often, as they, far more than most recent guest stars, deserve to do so.

Also, Krull's (Steve Jones) goodbye to Hank is a wonderful moment in an episode packed with wonderful moments.

Californication will return for a seventh season next year on Showtime.

Please forgive Calfornication

Grade: 99%

Showtime’s CALIFORNICATION comes back to “The Unforgiven.” Hank (David Duchovny) wakes up after spending several days slipping in and out of consciousness. He learns that he is in the hospital because of Carrie’s (Natalie Zea) suicide-murder attempt, which only succeeds on one count.

This is Hank as we have never seen him before. He is self-loathing, yes, but now he has the guilt of Carrie’s death on his head. Or, assumed death, as she is on life support, and will likely die once the plug is pulled. Carrie is a crazy psycho, to be sure, but if it wasn’t for Hank, would she have been driven to take such extreme measures?

One would like to think that yes, whoever Carrie had been dating would be the victim, and Hank deserves none of the blame. This is not what Carrie’s friends and family believe, which is unfortunate, as they should know her better than anyone, but it is definitely the thought that Hank’s loved ones cling onto.

The problem is, Hank has never been big about listening to others. And despite his sins, he has a very strong moral compass as to how he treats women. He tries to never degrade them, or make them feel down on themselves. His whole schtick, which is what gets him laid so much, is building up a woman, making them very special, a skill that he excels at. Sadly, he fails to do that for Carrie, at least, fails to do it enough, and so he takes her actions very much to heart.

Viewers of CALIFORNICATION are treated to a look inside of Hank’s mind in “The Unforgiven.” In the hospital, and after, as he drinks himself into a stupor every night, we see Hank dream about his time with Karen (Natascha McElhone). But every time Hank is heading towards a happy place, Carrie invades the scenario, screwing things up, pulling Hank back towards the pain. Hank wants to be happy, but refuses to let himself, thinking he is not deserving.

As is typical for Hank, when he hates himself, he cares little about what happens to him, physically. The flaw in his attitude of caring for others is that he doesn’t consider the fact that hurting himself might hurt them, too. The incessant alcohol intake is ruining his physical and emotional state, but it’s also making Karen, Becca (Madeleine Martin), Marcy (Pamela Adlon), and Charlie (Evan Handler) miserable.

That is why they stage an intervention. It’s a crappy effort, because everyone in the group has plenty of their own issues that prevent them from being completely there for Hank. However, it’s the dysfunction that has brought them together as a group, and is the basis for their love for one another. Thus, their attempt is enough, in my book, and it does succeed in its drive.

I think, of all of Hank’s friends, Charlie is the one who takes the situation the least seriously. This may be because Charlie is used to Hank’s ups and downs, and looks up to him. Charlie assumes that Hank doesn’t need to give up alcohol completely, and should put himself back in the line of temptation if it means a good job. In this case, Charlie wants Hank to help rock star Atticus Fletcher (Tim Minchin) turn A Crazy Little Thing Called Love into a rock opera.

I feel like Charlie’s actions will jeopardize any healing that Hank may embark upon. We’ve seen before how Hank gets when living the rock star lifestyle, and while Hank was able to break away once, he’s far less strong, emotionally, than he was before. Charlie may have good intentions, but his efforts could be the thing that keeps Hank floundering all season.

And we need Hank to get better. Karen needs him, after this way-too-long, on-again-off-again thing between them, she is still in love with Hank. Becca needs him, as she is thinking of pursuing the writing career, following in her father’s footsteps, which may not be the best idea, especially if she shares his judgment. She’s also finally joined the adult cast, and this is a critical time in her development, moving into a new stage of life. Marcy needs Hank, to talk her up so that she doesn’t go back to the cheating Stu Beggs (Stephen Tobolowsky).

Bottom line, Hank has to get better, and as of “The Unforgiven,” it looks like he may need to ditch Charlie to do so, something Hank surely won’t do in his present state, especially after Charlie took a bullet for him in last year’s finale. Which means that we’re in for another glorious, rocky season of CALIFORNICATION, airing Sundays at 10:30 p.m. ET on Showtime.

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!

Article first posted on Seat42F

Keep working on The Mindy Project

Grade: 73%

I really wanted to like THE MINDY PROJECT. The star and creator, Mindy Kaling, has not only played Kelly Kapoor on The Office for all of these years, but has also written some of the funniest episodes of that show. It is time for her to get her own vehicle, and to let her voice be heard outside of the protective bubble of the long-running, popular sitcom.

Sadly, it’s really hard to be a fan of this new effort. At least, the “Pilot” isn’t very good. The jokes are predictable, the situations a little too “been-there, done-that,” and the characters don’t seem fresh. It may grow into something great, and I really hope it does. But it is not there yet, as of the first episode.

Kaling’s character, not coincidentally named Mindy, is a lot like Kelly, though toned down slightly to be more realistic. She is a relatable girl, smart and cute, even if she worries about her weight issues. She loves romantic comedies, and longs so much for her life to be one. But, like many girls who can relate to this attitude, her dreams will not come true. She struggles to find any guy who can live up to her ridiculous standards, but even those who fall far below that seem to be scarce. She doesn’t help herself by sleeping around, a habit hinted at, but not shown in the “Pilot.” All in all, the best adjective to describer this character, meant on a couple different levels, is sad.

The writing is as uneven as the character herself. There are lots of great pop culture references, which might date the show in the future, but seem timely enough for now. But the delivery of them isn’t goofy, like Kelly, or witty, as in other shows. Instead, it just adds to the mental delusions that keep Mindy out of touch with reality. Perhaps if she had a little more confidence, or didn’t sound like she believed them so sincerely, they would land better.

Much of the first episode is given over to Mindy’s romantic adventures. First, there is an oral surgeon (Saturday Night Live’s Bill Hader) who dumps her to marry a younger model. Then, there is the sane and handsome first date (Kaling’s former co-star, Ed Helms), who may be scared off by her crazy. The thing is, neither of these men feel like they have chemistry with Mindy, making the whole thing seem off.

Of course, the man Mindy is supposed to be with is right in front of her face and she is blind to it. His name is Danny (Chris Messina, Damages, The Newsroom), and he is a man’s man, as well as a co-worker. While Mindy is seeking romance, he tries to tell her to alter her expectations and look for a “real” guy. She ignores him, not willing to abandon her mission.

If THE MINDY PROJECT would allow Mindy to calm down and ditch her silly, unrealistic ideas, it would work much better. Danny isn’t just the opposite of what she thinks she wants, but really needs, he is also someone who will challenge her and help her to grow. An element that takes a back seat in the first episode is that Mindy is a doctor, and Danny is her competition. He is driven at work, and if she’d stop seeing Danny as an obstacle, but rather, someone she can have a friendly game with, things would change for her. This will probably happen. Eventually.

No one else really stands out in the “Pilot.” The cast is full of wonderful performers like Anna Camp (True Blood, The Good Wife), Stephen Tobolowsky (Californication, Glee), Richard Schiff (The West Wing), and Amanda Setton (Gossip Girl). But none of them are given much to work with, and if one wasn’t familiar with their other work, one probably wouldn’t notice them here. THE MINDY PROJECT is the type of show that screams for an ensemble, and has a very capable one. It just needs to figure out how to use it.

THE MINDY PROJECT premieres Tuesday, September 25th at 9:30 p.m. ET on FOX.

Californication goes to Hell and back

Showtime's Californication ends its fifth season with "Hell Ain't a Bad Place to Be." Hank (David Duchovny) envisions himself in Hell, which is a bar where his deceased pal, Lew Ashby (Callum Keith Rennie), is the bartender. Waking up, Hank spends his day fixing everyone's problems, as, for once, he is the one who has his life together. And by helping others, Hank begins to be right with them, these people he is preparing to leave in the previous episode. Unfortunately, before Hank can get to his happy ending with Karen (Natascha McElhone), Carrie (Natalie Zea) shows up and drugs him.

Why is Lew the bartender in Hank's vision of Hell? Does Hank really think he's destined to go to the place below, considering how good he's been lately? Or does Hank still see himself as that bad boy that hangs out with Lew, a time in his life where Hank is near rock bottom? It's an interesting and cryptic look inside of Hank's head.

Luckily, Hank's life is not so chaotic anymore. He is back together with Karen, the love of his life, now that she is splitting from her husband, Bates (Jason Beghe), who gives his blessing to the reunion. Hank's daughter, Becca (Madeleine Martin), no longer hates him. What's more, Hank might have even gotten through to Tyler (Scott Michael Foster), Becca's loser fiancé. And Charlie (Evan Handler), Hank's best friend, who is on the outs with Hank, takes a bullet for him. So it looks like life can't get any better for wayward protagonist.

The thing is, how will Carrie screw this up for him? For once, any trouble Hank is in is not his fault. Sure, one can argue that Hank shouldn't have hooked up with Carrie in the first place. But Hank has done more than enough to make up for that mistake. Any actions that Carrie takes now are her own fault, not to be blamed on Hank.

Will Karen forgive Hank for a drugged indiscretion with Carrie? It truly will not be Hank's decision to do anything. In fact, Hank sees Heaven in that moment, and his Heaven includes Karen. Surely Karen will understand this and view Hank as a victim. Right?

Things look good for Charlie in the end, too. His son is talking, and considering who the parents are, "blow job" is an acceptable first word. Marcy (Pamela Adlon) is leaving Stu (Stephen Tobolowsky), and is by Charlie's side at the end of "Hell Ain't a Bad Place to Be." So hopefully Hank and Karen won't be the only reunited couple.

Season five of Californication is depressing because things are so screwed up for all of the characters through most of the episodes, instead of just for Hank, the usual formula. In fact, Hank has his best year yet, in terms of staying on the right path. But with a sixth season ordered, and the finale ending in a bright place (save the Carrie drama), could next year finally bring a happy ending? Can't wait to find out!

Californication airs on Showtime.

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Californication takes "JFK to LAX"

     Roughly three years have passed in the world of Showtime's Californication as the series returns for a fifth season with "JFK to LAX." Hank (David Duchovny) breaks up with his girlfriend of a year, Carrie (Natalie Zea, Justified) when she wants to get serious. Then he flees on a plane to LA, meeting a charming young lady named Kali (Meagan Good) along the way. What Hank doesn't realize until later is that Kali is already spoken for by the rapper Samurai Apocalypse (RZA, Blade: Trinity) who'd like to hire Hank to write a movie.

     Isn't this always the way of Californication? Hank doesn't intend to get into trouble, but it just happens. And he doesn't set out to hook up with non-single girls, but they are attracted to him like teen girls to cell phones. Or to Hank, for that matter. Thirty minutes into the new season, with everyone else starting fresh, Hank is right back as he started, in the same types of situations, which will surely end badly, as they always do.

     It's a good thing others have moved on in "JFK to LAX." Charlie Runkle (Evan Handler) seems at peace with ex-wife Marcy (Pamela Adlon), who is experiencing a sexual renaissance with Stu Baggs (Stephen Tobolowsky). It might help that she gave Charlie a son, Stuart (Quin and Reed Baron), though at two and a half, the son isn't talking yet. It also might help that Charlie finally brings is 100th girl! Both Charlie and Marcy have no shame in flaunting their sexual activities in front of Hank, a sign that they are in a good place.

     Karen (Natascha McElhone), too, has moved on, remarried and living happily with Richard (Jason Beghe). Hank seems happy enough for them, considering he likes how Richard treats Hank's daughter, Becca (Madeleine Martin), though Karen being married hasn't stopped Hank in the past from going after her. The difference here, though, from season one is that Karen doesn't appear to want Hank to continue to pursue her. So she has moved on without Hank, and that is, indeed, a big shake up in the ways of Californication.

     Speaking of Becca, she is on a path one might never think to see her on in "JFK to LAX:" she is dating an older boy named Tyler (Scott Michael Foster, Greek) who is just like her father. Shouldn't Becca have learned her lesson after watching all of the bad things that happen to Hank? True, girls to often idolize their dads, and look for someone like them. But in this case, it's a shame that Becca falls into that trap. Hank is essentially a good man, but he is wrong for any girl. And because viewers aren't familiar with and charmed by Tyler, this outsider view does not look good for poor Becca.

     In short, the hook of season five will be how does Hank cope with everyone he loves having moved on and found their happiness? Where does he go when he is no longer surrounded by tortured souls? Considering he spends the past three years in New York, away from these people, perhaps it's his fault that they were in bad places originally, and without him, they are better off. Except for Becca. Hank really must find a way to give his daughter a wake up call.

     Watch Californication Sundays at 10:30 p.m. ET on Showtime.

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Glee goes into a "Funk"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     There's a reason FOX's Glee stays away from funk music most of the time. It doesn't go very well with the characters or tone of the series. Yet, in "Funk," the penultimate episode of the first season, funk music is smashed into Glee throughout the episode, regardless of the low quality of much of the resulting material. There's a reason the "Funk" numbers do not end the Volume 3 soundtrack, despite airing last. And that's only part of the problem with a mostly lackluster episode.

     Perhaps the best, most interesting story happening in "Funk" is that Jesse (Jonathan Groff) returns to Vocal Adrenaline. His mission over, he must reintegrate back into his group. But the other members are suspicious, and test his loyalty, even making him crack an egg on Rachel (Lea Michele) to prove it. Given that Jesse undertakes the assignment to go to McKinley in the first place shows his level of support for his director and the group. So it is no surprise that, despite his feelings for Rachel still being present, given the expressions on his face, he does what he needs to to re-win the trust of his classmates.

     This is cool, because it gives some depth to Jesse. The face of the villain, Glee fans have gotten to know him these past months during his tenure at McKinley. As such, it's easy to care about him and his feelings. The test of Jesse's character comes in returning to Vocal Adrenaline at all, considering that buzz is the New Directions are poised to topple their reign. If Jesse were just a selfish jerk, he would stay at McKinley and take the win, with no regard for where he comes from. That he goes to such lengths to go back, and to prove that he's one of them, shows that Jesse is someone who has character, and who cares about his glee club.

     Though, it is hilarious to see his dispassionate "I'm so depressed" following his teammate's declaration that they are "soulless automatons" at the end of the episode!

     Rachel is upset, of course, not seeing why Jesse is doing what he's doing. If she were privy to his motivations, she'd probably forgive him, and help him do what he needs to do. Instead, she talks of feeling betrayed. This reveals that Rachel doesn't care as much about Jesse as he does for her. While he does choose his group over Rachel, were their positions reversed, he would probably stand by Rachel as she humiliates him for the sake of her group. Instead, she abandons Jesse, not even giving him the chance to explain himself. So Rachel is as selfish as she is so often accused of being.

     Will (Matthew Morrison) and Terri's (Jessalyn Gilsig) signing their divorce papers is also an effective moment. It's an end of an era, and one that both look like they regret to some extent, even if the union does need to be dissolved.

     As far as musical numbers go, there are two good ones. Vocal Adrenaline rocks "Another One Bites the Dust," and with the emotional investment established for Jesse, viewers will actually care when this other group does well. "Loser" is also a fun performance, not least of which because Terri, Howard Bamboo (Kent Avenido), and Sandy (Stephen Tobolowsky) get to perform along with Puck (Mark Salling) and Finn (Cory Monteith). Unfortunately, just as fans are enjoying the shot of the characters looking like robots, the song is cut short.


      And that's it for positive parts of "Funk." Pretty much everything else in the episode is terrible. From Will seducing Sue (Jane Lynch) just to prove a cruel point, to Finn and Puck slashing tires, to various songs and one-liners, nothing else really works in the episode.

     For example, let's examine Puck and Finn's story line. Setting aside that Finn likely would never do something illegal like slashing a bunch of tires, they come off pretty well, since they offer to pay back the damage they've done. And that's not even nitpicking about why a local glee club in Ohio would buy all of their members SUVs! Is that legal? Not even the popular college football players get those! But I digress.

     Were the guys actually loyal to Mr. Schue, as they are in other episodes, they'd never go to work for Terri. There must be plenty of other jobs they could be doing! Why work there? Simply so Glee doesn't have to build new sets?

     Now, if one can set aside the circumstances that lead to this job, logistics enter the picture. Shelby (Idina Menzel) claims that the tires Puck and Finn ruin cost $200 each. Doing the math of $200 times 4 tires times twenty-six vehicles, the total the boys must pay back is over $20,000! Finn thinks they will have it paid back in a month. Given their age and experience, and the place of employment, Finn and Puck likely make $7.40 per hour, minimum wage, a fact backed up by Terri talking about how little they are being paid. Even if the two work forty hours a week, unlikely because of their extracurricular activities, they could only make about $2,400 in a month, before taxes. As such, they are looking at a very long road to paying things off.

     Plus, this is supposedly a legal issue. Shelby mentions choosing to not press charges, something she very well could do. Why isn't there a police officer present in the meeting between Shelby and the McKinley people? None of it makes sense.

     Glee is a musical series, so perhaps some people may not care about the factual matters facing the characters. But the songs in "Funk" are no better. Will's "Tell Me Something Good" is anything but seductive. There's no chance Sue would fall for his games, even if she were inclined. Which she isn't, and she's too smart to be tricked so quickly. "Good Vibrations" rings hollow, even with Mercedes's (Amber Riley) fantastic runs, mostly because it's a song that just doesn't fit the series. The same can be said for "Give Up the Funk," despite the dedication that each of the cast members use to sell the performance.

      Worst of all is "It's a Man's Man's Man's World." For one thing, Dianna Agron does not have the right vocal quality to convincingly pull off the number. For another, it's distracting that she is suddenly visibly pregnant after barely showing a bump all these months. And now she'll be giving birth in a week? And how bad a town is Lima that there are half a dozen other teenage mothers, coincidentally at the same stage of their pregnancy, and who can sing, available to back her up?

      Overall, "Funk" is a failure. Glee can, and usually does, do much better.


Random Bits:

• The New Directions talk about the buzz in the Ohio show choir chat rooms. Who still uses chat rooms? Especially among teenagers? And even if anyone does, would there really be multiple ones dedicated to such a narrow concept?
   
• Sue cites betting odds in Las Vegas for the New Directions' Regionals chances. Las Vegas does not care about high school show choir, and certainly not a little Regional competition. Again, a load of baloney.
   
• Mercedes asks Quinn to move in with her. Just how many of her fellow glee club members' houses will Quinn be staying at during her pregnancy? This marks the fourth, starting with her own, in about as many months.
   
• Why is Artie wearing a medical mask when the group cleans up the toilet paper job Vocal Adrenaline does to the choir room? No one else is, and there's really not a point to it. Did someone just think it was visually funny? They were wrong.
   
• Will suggests to his kids that they steal a rival school's statue. Besides being illegal, he usually tries to talk them out of escalating things. Not cool. Why aren't any of the kids shocked by the suggestion? This would probably cost him his job.
   
• Kurt (Chris Colfer) says he is so depressed that he wore the same outfit to school twice this week. In the previous episode, he wears the same Lady Gaga costume all week, and it doesn't appear that he is doing it because of depression. Why is this week so different? If he cared so much, wouldn't have have made multiple Gaga costumes the previous week?
   
• Sue wins the cheerleading Nationals after not practicing the entire week before? And with a fourteen minute Celine Dion medley in French? They expect us to buy this?
   
• How is Sue able to get a display case built for her trophy right in the choir room without disrupting the New Directions' practices? Not to mention, who paid for it, and why would the school allow such a thing?

      Check back for the last Glee season one review later today! And don't miss the Glee season three premiere this coming Tuesday at 8 p.m. ET on FOX.

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

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

Article first published as TV Review: Glee - "Funk" on Blogcritics.

Glee explores "The Rhodes Not Taken"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.


     "The Rhodes Not Taken" introduces recurring character April Rhodes (Kristin Chenoweth, The West Wing, Pushing Daisies). April was a senior when Will (Matthew Morrison) was a freshman in glee club, and he always admired her. After Rachel (Lea Michele) quits the New Directions, Will discovers April never officially graduated, and convinces her to take Rachel's place. April jumps at the chance, having been squatting in an empty house, imbibing heavily, and presumably sleeping with many men. April has a fantastic voice, but she's an irresponsible alcoholic, and that does not mesh well with the high school kids. Finn (Cory Monteith) sways Rachel into returning, and April heads off to try to fix her life.
     Chenoweth is amazing, of course, both musically, and with comedy chops. She is the perfect actress for Glee, so it's no wonder she's been asked back twice more since "The Rhodes Not Taken." I would never say a word against Chenoweth's personal contributions to the series, or the talent she wields with such grace and charisma. Chenoweth's presence will always be welcome, and something to look forward to, and I hope she returns to the halls of McKinley many, many more times. In fact, should Morrison ever decide to leave the series, she would make a perfect glee club director.

     That being said, the character of April is far from appropriate in a school setting. In a twisted variation on Never Been Kissed, April recaptures her high school glory by giving Kurt (Chris Colfer) alcohol and showering, and likely sleeping, with the football players, including Puck (Mark Salling). Emma (Jayma Mays) comments on the bad behavior to Will, disapprovingly telling him that April's backpack is always "clinking with empties." If Emma notices, surely other teachers do, too, and they do not share Emma's loyalty to Will. Glee sometimes goes down outlandish paths, but this is one of the most unrealistic. April would never get away with acting like this in high school, especially with the extra scrutiny that she surely faces, being an adult in a typical childish setting.

     But the inappropriateness does not end with April. I remember being shocked that a high school would allow Will to stage a production of The Rocky Horror Show in season two. Not only is Sandy (Stephen Tobolowsky) doing Cabaret, which has at least as much adult content as Rocky Horror, but he speaks of putting on Equus, including the full nudity aspect. Even if Principal Figgins (Iqbal Theba) gives his staff a very loose leash, none of this would ever happen. Figgins would likely lose his job, and so would all of the teachers that went along with the schemes. Suspending disbelief only goes so far.

     "The Rhodes Not Taken," like a handful of other episodes of Glee, is particularly sex obsessed. Besides April sleeping with students, Jacob Ben Israel (Josh Sussman) tries to trade a good review in return for seeing Rachel without her shirt on, and Finn plays on Rachel's sexual attraction to him to get her to rejoin the New Directions. This is not a complaint. At times, Glee can actually seem a little chaste, since it follows the "good" kids at McKinley High, and has an innocent, crackerjack quality to many of its musical numbers. I applaud the inclusion of an adult topic, when kept between students, as sex truly does rule many high school minds and bodies.

     Well, that, and gossip. At this point, none of the non-jocks are friends with Quinn, or very close to Finn, so it's forgivable that they take such delight in the pregnancy scandal. Luckily Glee will soon correct that, and many students will face the realities of such an occurrence, not just scoff about it.

     Unfortunately, it's really unfair of Finn to play on Rachel's attraction. Finn is many things, but his devious side is not one that comes out all that often, and hurts his character when it does. He was not raised to act like this, and even though it's in service of the glee club, it's hard to forgive Finn for hurting Rachel in this way. Rachel is willing to set aside a lot of her own interests for Finn, and if he cares about her at all, he shouldn't ask her to, let alone trick her.

     Rachel angrily tells Finn, after being hurt, "My dreams are bigger than that... They're bigger than you." I'm not convinced this is strictly true. The same issue crops up at the end of season two. Rachel is torn between singing on a Broadway stage and her desire to be with Finn. Even though her words say that her professional goals come first, her actions often make Finn more important. It will be interesting to see how she eventually chooses. If she, and fans, are lucky, she will not have to pick. Finn should allow her to be a star, and stand by her as she is.

     Rachel isn't all selfish. She claims friendship is the reason she returns to the New Directions. This is debatable, but I'm willing to give her the benefit of the doubt. She is still new to having peers care about her, but as the series goes on, Rachel will form close bonds with several of the others.

     It doesn't seem like there is a ton of music in "The Rhodes Not Taken," yet the songs that are performed are above average, if not including a couple of the best numbers in all of Glee. Interestingly, this episode also contains some actual songs used as background music, sung by their original artists, not the cast. Other shows do this all of the time, of course, but Glee rarely does so.

     The beginning of the episode has yet another rendition of "Don't Stop Believin'," with Quinn (Dianna Agron) standing in for Rachel. It sounds good, though it is cut very short by Quinn's morning sickness. As such, it's hard to tell if Quinn is up to the task. Her fellow students certainly don't think so.

     The New Directions later perform "Last Name" with April, which is good, but not great. Country music is fine for Chenoweth, but it's not exactly in the wheelhouse of the cast. They do a serviceable job, but it's quickly forgotten. This is probably because the number that follows, "Somebody to Love," is downright amazing. The power and vocal talent showcased among several of the group shakes the rafters, and is a top notch example of what the kids can do.

 
     Will and April sing "Alone" in the bowling alley, and much like "Last Name," it's good, but not particularly memorable. The pair need a sweet moment to show how they have bonded this week, and Will finally gets to sing with his former idol, something that is expected in such an episode. There's not really anything specific to complain about, but not much justifiable praise to heap, either.
     Rachel also performs part of "Cabaret," which is hard to enjoy because of Sandy's incessant interruptions. Rachel and April do "Maybe This Time" from separate rooms, and that, along with "Somebody to Love," is the highlight of the episode. Both women have very strong belting voices, and kill a song meant for a diva, which they arguably are. Chenoweth has plenty of experience on the Broadway stage, but Michele holds her own, and proves that she has a future in this field. Wonderful job!

My Weekly Random Bits:

     Jacob Ben Israel is slightly stalking Rachel throughout season one. It's too bad he's reduced to a very occasional cameo in season two. Sussman is very funny.

     I understand Puck and Matt (Dijon Talton), whom we never find very much out about, sleeping with April, but Mike Chang (Harry Shum Jr.), too? Even though Mike is on the football team, he always comes across as a very unusual type of athlete, and certainly not just a boy who would chase anything in a skirt, like his teammates. Chalk this one up to the creative team not yet knowing who Mike is, or his place in the show, yet.

     Emma tells Finn that there are far more music scholarships available than athletic ones. While much google searching has not given me exact numbers, this statement seems circumspect. Wwhen broken down to Divison I football scholarships versus number of kids competing for them, as compared to overall music scholarships at every college, the figure is definitely correct. However, many music scholarships only give a little bit of money, far from a full ride. And both represent very different levels of success for the future. Basically, what Emma says is incomplete, at best, and irresponsible, at worst.

     Glee has a love affair with Wicked. There is nothing wrong with that, as it is a fantastic show, and still relatively new, as compared to many other musicals. Both stars of the original Broadway version, Kristin Chenoweth and Idina Menzel, play recurring roles on Glee beginning in season one. Some of the most memorable Rachel and Kurt songs from the first two years are from Wicked. Rachel and Kurt even get on the Wicked stage during the New York-set season two finale. "The Rhodes Not Taken" begins that love affair, which shows no signs of abating. Is it too much to hope for a Joel Grey guest spot next year?

     Look for another season one review soon!

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

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

Article first published as TV Review: Glee - "The Rhodes Not Taken" on Blogcritics.

Glee introduces the "Acafellas"

      This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     FOX's Glee's third episode is "Acafellas." In it, Rachel (Lea Michele) insults Will's (Matthew Morrison) choreography skills, so he turns his attentions to forming a boy band called Acafellas. The New Directions set out to hire a new dance teacher, except Finn (Cory Monteith), who understands that Will just has bruised feelings, and they should fix things with him. Mercedes (Amber Riley) is depressed about being single, and is encouraged to seek out Kurt (Chris Colfer) as a potential boyfriend. Needless to say, this does not end well. At the same time, Sue (Jane Lynch) has her Cheerio spies pulling the strings to divide the glee club, and their actions are related to the unfortunate events above.


     The main theme of this episode is confidence. Those that have it will achieve their dreams and be happy. Those that do not will fail. Many of the characters face various dilemmas of confidence.

     Quinn (Dianna Agron) perhaps figures it out best, telling Sue that the cheerleading coach teaches her a valuable lesson. If one is confident, they do not need to bring other people down. Does this mean Sue is deeply not at peace with herself? There's not much to indicate that that's true, however Quinn has an excellent point. It's why the Cheerios will soon stop trying to destroy the New Directions. It may also be why Sue will not be happy anytime soon. Luckily, things in the late season two episode "Funeral" hint at another path for Sue to find fulfillment.

     Finn is confident that the New Directions can succeed, while Rachel is not. This leads Rachel, and the others, to seek out legendary choreographer Dakota Stanley (Whit Hertford). But despite all the effort it takes to land Dakota, Rachel eventually realizes Finn is right, after all, and Dakota just wants to change the club. He is an angry, little man, not at all happy. Whereas the New Directions are better off without him trying to change them. Thankfully, Rachel comes to her senses, and fires Dakota, finally listening to Finn.

     Kurt is facing a serious lack of confidence, in that he can't bring himself to come out of the closet. The fact that he has no trouble airing his flamboyant tastes and wearing "fashionable" clothes, but can't bring himself to tell people that he's gay, should help the straight viewers understand just how big a deal it is to admit one is homosexual. Or so I imagine, finding myself in the straight viewer category. This is a boy who shows tremendous courage every day in being himself, but has one big "secret" he cannot find the strength to admit. There's hope, as he does come out to one person, Mercedes, in an incredibly sweet scene. The first of many for breakout star Colfer.

     Mercedes is still struggling with being confident in herself two years later. She is just finding her first boyfriend as season two ends. This is sad, because she is extremely talented, compassionate, and has a lot of offer. She proves her brass with the only solo performance in the episode, "Bust Your Windows," a fantastic demonstration of her sassy attitude. She is confident in her voice, but not with her body. Sadly, this is not an unusual problem. Having confidence in something about yourself does not automatically cover everything

     "Acafellas" is brimming with wonderful guest stars. Among the top talent are Victor Garber (Eli Stone, Alias) and Debra Monk (Damages, Grey's Anatomy) as Will's parents. Both of these two are fabulous singers, yet neither get the chance to croon on Glee. They just show up as supportive parents. While they are great in those roles, it's a little sad they never showcase their singing abilities. Will's father's decision to return to night school to become a lawyer is a decent explanation for why they have never returned, since that would keep him very busy. Yet they are now overdue for a comeback, with a song this time.

     Also appearing is Josh Groban as himself, which he later does again in this first season of Glee. The conceit to get him there in "Acafellas," with him showing up to watch the Acafellas because Sandy (Stephen Tobolowsky) invites him, but he really comes to deliver a restraining order, is thin, at best. Surely, restraining orders are not usually delivered personally. And on that errand, the victim doesn't stick around to watch a musical group perform for the PTA. It's gratuitous. But one hilarious line he utters, "Josh Groban loves a blousy alcoholic," makes it worth it, even though it adds nothing to the plot.

     Musically, this episode doesn't give anything to the New Directions, which is pretty unusual. Mercedes gets the aforementioned number, which strangely enough, she does with Cheerio backing, even though her fellow glee club members are nearby. Granted, the entire thing is in her head, but still... Why would she choose the popular kids that don't like her rather than her supportive friends?

     Vocal Adrenaline also returns with "Mercy," apparently a piece just meant to show that Dakota is a ruthless dictator with his choreography. It looks impressive, but without any characters to care about in the group, that's all it is.

     The rest of the numbers are performed by Acafellas, which originally consists of Will, Ken (Patrick Gallagher), Howard (Kent Avenido), and Henri (Tony Award Winning Broadway star John Lloyd Young). Strangely, and regrettably, Henri is only in this one episode, and does not get to be featured heavily singing. Another missed opportunity, like Garber and Monk. This first group sings "This Is How We Do It" and "Poison," as well as "For He's a Jolly Good Fellow" with Sandy.

     Then Howard and Henri quit, and Finn and Puck (Mark Salling) join, as does Sandy, and the group does "I Wanna Sex You Up." All the Acafellas songs sound great, but they are only there to let Will taste a bit of his dream, not for any larger plot point. As such, the music in this episode, while well done, is less moving than in most episodes. After all, none of these pieces even make the Volume One soundtrack, save Mercedes's number.

     In what has become a regular part of these season one reviews, random continuity notes:

     Brittany (Heather Morris) is sometimes shown hanging out with Quinn and Santana (Naya Rivera), but mostly is left out, and it even missing from at least one New Directions group scene. Funnily enough, Morris is paired with Rivera in the opening credits. At least Brittany is featured dancing in "Bust Your Windows."

     Windshields do not bust in the manner in which Kurt's does. They are comprised of two sheets of glass with an adhesive bit in the middle. It takes a lot to put a hole in it, and it would develop long cracks, too. It appears to be tempered glass, which is generally used in the side windows. I actually found usefull, applicable knowledge from my sixteen months of handling auto insurance glass claims!

     Also, how does Kurt's father afford that vehicle? He is a mechanic, and is never shown as rich. It seems extravagant for effect, not realism.

     A school car wash made $8,000? Seriously? Has any school car wash ever made that much? That's a heck of a lot of clean cars. They should just do another one in season two when they need to raise money to get to New York City.

     Emma (Jayma Mays) slams John Stamos (Full House, ER) by saying "It takes more certainity than talent to be a star; look at John Stamos." A joke? Stamos will later play Emma's husband Carl in season two. Surely the people behind the series don't think badly of him, or he would never have been cast.

     This is the first episode Will is seen longing for a performing career. He gives it up because he finds teaching is his true calling. Watching this episode, his decision in the season two finale, "New York," should be predictable.

     Dakota Stanley calls Finn "Frankenteen." This will not be the last time Finn is called that. Actor Cory Monteith must enjoy it, because it's his twitter name.

     Puck says he has a thing for moms. While his attraction is about maturity, it could possibly have something to do with having kids, or Puck wanting to have kids. Perhaps this is foreshadowing, as once Quinn reveals she is pregnant with his baby, he tries to get with her.


     I welcome all of your musings and insights in the comments section below. Join me next week as I review the fourth episode of Glee season one, and also the fifth, if I have time.

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

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

Article first published as TV Review: Glee - "Acafellas" on Blogcritics.