THE COMEDIANS Funny, Not Fresh

Article originally published as THE COMEDIANS Review on Seat42F.

FX’s new series THE COMEDIANS stars comedy veterans Billy Crystal (When Harry Met Sally) and Josh Gad (Book of Mormon) as themselves. Or, rather, they play versions of themselves that are hired to do a sketch show for FX called The Billy and Josh Show. There is not actually a Billy and Josh Show; THE COMEDIANS is a fake documentary about two people who have the same backstory as the actors who play them, but with (presumably) more antagonistic personalities.

My first thought upon watching THE COMEDIANS is that it is not in the slightest bit original. The mockumentary style has certainly been done many times before, from The Office to Modern Family to Christopher Guest films. The person-playing-themselves hook has also been used a lot lately, some examples being James Van Der Beek in Don’t Trust the B- in Apartment 23 and (the gold standard) Larry David in Curb Your Enthusiasm. The format here is most like Showtime’s Episodes, which stars Matt Leblanc as Matt Leblanc, in that Josh and Billy are like the writers of Pucks who are forced to work with the former Friends star against their will. They clash and bicker, and yet they are stuck together by circumstance, to keep careers alive, and because of financial need.

The Comedians is funny, though. In the pilot, we see a couple of their sketches, or aftermaths of the sketches, and they work. The story provides ample opportunity for humor both big and small, with some physicality used sparingly, yet well. I don’t know how much of the sketch show-within-a-show we’ll end up seeing, and honestly, I hope it’s not a lot, but what we do see if terrific.

Josh and Billy themselves are great. Both can make the room uncomfortable very well. Crystal is the more established, and so his actions are more predictable. Josh plays expertly off of him, presenting someone that both represents a generation and who can also be quite his own person. Both have undeniable talent with differing sensibilities, and the others in the cast realize that, but Billy’s long resume gives him the upper hand in most situations, at least for now.

More so than Episodes, though, which has a strong ensemble, The Comedians is going to need to rely on its guest stars. Billy and Josh are great, but they can’t just interact with one another all the time. Their go-between, Kristen (Stephnie Weir, MADtv), is not a likeable, relatable character, and while playing to Weir’s strengths, is just not that essential a part. The other two main cast members, Mitch (Matt Oberg, Hart of Dixie) and Esme (Megan Ferguson, also Hart of Dixie), don’t make much of an impression, though whether that’s because of the actors or because they haven’t been given meaty material yet remains to be seen.

Because of who Billy and Josh are, it will take some very strong players to rise to their level. Luckily, THE COMEDIANS, while failing to stock their home team, has a strong roster of visitors in both recurring and guest capacities. I won’t spoil who all of those are, but two of note are Dana Delany (Desperate Housewives, Body of Proof), who plays Billy’s wife, and Steven Weber (Wings, Helix, Studio 60), as a director hired for The Billy and Josh Show. The former, we only hear, not see, in the pilot, and latter doesn’t show up until the end of the first half hour. Weber’s presence, though, and the part he’s playing are the main reason I’m excited to watch episode two as soon as possible.

I’m cautiously optimistic about THE COMEDIANS. I wish it had taken more chances and gone in a bolder, fresher direction. But what is present is entertaining, and it definitely feels like a show that can grow into something really cool given time. Or not. We’ll see.

THE COMEDIANS premieres Thursday at 10 p.m. ET on FX.

COMMUNITY Climbs "Ladders" on Yahoo Screen

Article originally published as TV Review: 'Community' - Season Six Premiere 'Ladders' and "Lawnmower Maintenance and Postnatal Care' on Blogcritics.

Community is back! NBC tried to kill it after a mere five seasons, prior to its prophetic fulfillment of the hashtag #sixseasonsandamovie, but Yahoo Screen has revived the odd comedy about the teachers and students at Greendale Community College, and the first two half-hour episodes are live on their website today. The show’s budget seems to have increased a bit, with more exterior shots than I remember seeing in awhile! Plus, the episodes are no longer confined to a strict twenty-two minutes, which gives them room to breathe, and the writers are using those additional moments wisely.

Some significant things have changed when the first episode “Ladders” begins. Shirley (Yvette Nicole Brown) has moved away to take care of her father (like the real Yvette, who is now starring in the less time-intensive The Odd Couple), and then got herself wrapped up in solving crimes with a man in a wheelchair (unlike the real Yvette, presumably). The idea that Shirley is starring in a spinoff makes sense for the universe as it exists in Abed’s (Danny Pudi) head, and even provides a fun little tag with Steven Weber (Wings, Helix) so fans can see her one last time. But her presence is deeply missed. The group protecting her seat in the library and running her sandwich shop in her absence illustrates that, and makes one hope her absence is temporary. There is, after all, still a movie needed to finish the hashtag, and if she, Troy, and Pierce don’t return, along with the large recurring cast, it will be most regrettable.

Hickey (Jonathan Banks) and Duncan (John Oliver) are nowhere to be seen because Banks is starring in Better Call Saul on AMC and Oliver has Last Week Tonight on HBO, though neither really feel like a part of the main ensemble, anyway.We do see Abed polish Duncan’s nameplate, so presumably he is still around. Still, because they are essential in founding the Save Greendale Committee, and Duncan has been on the show off and on since season one, I miss them.

They are replaced by Frankie Dart (Paget Brewster, Criminal Minds), who is said to be ‘white Shirley’ when the minority members of the group feel their numbers slipping, but is more like ‘grown up Annie,’ an administrator who likes the weird people, and seeks to keep things running smoothly. Frankie is completely unlike any other character on Community, including Brewster’s previous role on the show, in that she likes being boring. This completely shifts the dynamic of the ensemble, since it seems Frankie will be a central player in season six.

The first thing Frankie does is eliminate some of the kooky, wasteful things at Greendale. For instance, there’s a class called “Ladders,” the episode’s namesake, that she feels is a waste of time. In order to push her agenda, she latches onto Abed, who likes the idea of her grounding the school in reality, something he sometimes seeks to do to himself.

Is this the end of Abed as we know him? For five seasons, Abed struggles with the fourth wall, a character seemingly self-aware that he’s on television, even as his friends just see him as weird, which is saying something when he is compared to the other bozos around. While Frankie does try to break him of making montages, though, she does seem to stop short of ruining Abed, so that alone makes me think she’ll be a good addition to Community, rather than a villain.

Jeff (Joel McHale), Annie (Alison Brie), and Britta (Gillian Jacobs) don’t welcome Frankie as easily as Abed does, opening a speak-easy underneath Shirley’s when Frankie bans alcohol on campus. When Frankie eventually breaks them up, though, it’s not because she’s just found out about the project. This is another reason I’m not afraid Frankie will screw up Community, as Jeff and Abed end up wooing her back to campus after she quits. She may seem normal, but is weird in her own ways and is just trying to help. Thankfully that is realized in time to keep her.

There is a small part of “Ladders” that makes me wonder what the series is planning for the rest of the season. Garrett (Erik Charles Nielsen) is glimpsed glaring at Frankie and the group, as if he has some big beef with them. Maybe he’s mad about the Frisbee tidal wave that swept him away after the Save Greendale Committee failed to clear the roof of the plastic toys, their single failure since inception? But Leonard (Richard Erdman) scares him off and offers a thumbs up to the camera. Is Community‘s most frequent recurring player protecting out heroes? I want to know more about this interaction.
The second half hour, “Lawnmower Maintenance and Postnatal Care,” does not go back to things as usual, though I’m not sure Community ever really has a definable status quo. Instead, it has two main stories, one of which uncovers a long-secret conspiracy, and introduces viewers to the second major character to join the cast this year, alongside Frankie.

The conspiracy story involves Britta’s parents (Clue‘s Martin Mull and Lesley Ann Warren), who have been secretly funding Britta’s life through her friends. Apparently, throughout the run of the entire series, anytime Britta has been borrowing money from the rest of the group, she’s really been taking it from mom and dad, whom everyone else is familiar with. They know Britta needs to rebel, but they have found a way to support her anyway. The secret comes out when Britta moves in with Annie and Abed and is presented with a brand-new sleeper sofa.

I love the idea that there’s been something happening all this time on Community that has never been mentioned. I don’t know if anyone could ever go back and pick up any dropped clues that this is going on, but it seems perfectly in keeping with the show’s tenor to find this out now, as well as to have everyone except Britta treat it like it’s no big deal. Plus, “Lawnmower Maintenance and Postnatal Care” has great actors playing Britta’s parents, so there’s little reason to complain about the story.

In the second major plot, The Dean (Jim Rash) buys a virtual reality system that the school can’t afford. Jeff and Frankie try to return it, but The Dean won’t come out of his fantasy world. Finally, Jeff tracks down the inventor and seller of the unit, Elroy Patashnik (Keith David, The Cape, Platoon), who not only refunds Greendale, but decides to enroll as a student since he’s not doing anything better with his life.

The Dean is always getting into ridiculous situations, and this is just the latest one. I do think “Lawnmower Maintenance and Postnatal Care” wastes an opportunity to show all of the characters in a new format, as they have done with clay-mation and 8-bit-animation, among other styles, in the past, but it’s still a fun little bit that is consistent with Community in general.

I also like Elroy. We haven’t yet seen him in the Save Greendale Committee, which he will surely join, but he already seems quite intriguing. Here, we have someone with world experience and supreme intelligence who has wasted his life, which makes the college seem like the perfect place for him. He’s not mean and rich, like Pierce. Instead, he’s worked hard and just not made it. That’s a story many of the main cast members can relate to, and Elroy comes at it from a fresh angle.

Besides the obvious stuff, Community drops what feels like a hundred little gags and one-liners into “Ladders” and “Lawnmower Maintenance and Postnatal Care,” often referencing past events on the show, and just delivering its trademark humor in general (not to mention a great cameo from Nathan Fillion). The series remains darker than it used to be, creator Dan Harmon having returned after being fired for season four with a more somber atmosphere, which he’s translated into the natural aging process for the characters. I think these new installments are close enough to what’s come before them to satisfy fans, while still allowing forward movement to keep the show from growing stagnant. Two episodes into season six, Community feels very alive, if possibly building towards an ending.

The first two episodes of Community are available now on Yahoo Screen, with a new half-hour dropping every Tuesday. Check back on Blogcritics for my weekly coverage of future installments.

"Beneath" SLEEPY HOLLOW

Article originally written for Seat42F.

SLEEPY HOLLOW giveth, SLEEPY HOLLOW taketh away. In this week’s episode on FOX, “What Lies Beneath,” Abby (Nicole Beharie) and Ichabod (Tom Milson) venture underground to save some trapped workers and stumble upon secrets buried for hundreds of years. Before they can explore the treasure trove too far, though, they are forced to blow it up to protect others from the monsters guarding it.

“What Lies Beneath” is hella frustrating. First, Ichabod and Abbie find a mystical hologram of Thomas Jefferson (Steven Weber, Wings, Helix, many other things), who tells them that not only did the Founding Fathers know Ichabod was a witness, but their journey has been guided by protectors. There are also unresolved personal issues between Ichabod and Tommy J. But before any of this can be explored, SLEEPY HOLLOW destroys it all, burning interesting plot lines in the process.

Why is it necessary to destroy the lair? Given the choice between human lives and some information, of course Abbie and Ichabod are going to choose lives; it’s a no-stakes, stupid game. But this trove is extremely valuable. This is everything needed to save the world, compiled by what is apparently a well-funded, large organization. There’s no exploration of other ways to protect people from the reavers? Our heroes just give up? Really?

Look, I know it would be hard to realistically keep this library safe and secret. Even if the witnesses and company slayed all of the undead soldiers guarding it, workers have been down in the tunnel, and presumably would need to be down there again since their job is not complete. Someone else would want to know why Ichabod and Abbie are keeping people out, and the duo don’t have the authority to set up road blocks. Were Captain Irving (Orlando Jones) still in charge of the police force, things would be different, but he’s not.

That being said, surely they could figure something out. They could seal the entrance temporarily until they do. They could let their current chief in on their secrets and prove things to her. They could have Katrina (Katia Winter) cast some witchy spell that keeps people away. There are options, people, and blowing everything up is not only inconsistent with the characters, but damn lazy storytelling.

I think part of the reason “What Lies Beneath” rains down such fire is because the writing staff don’t know what to do with all the revelations they toss out this week. How can one adequately explain what the Founding Fathers were thinking and how they kept things secret for multiple centuries. Is the group they created still around? If not, how did they set everything up to unfold so long after their demise? If so, who belongs to it and where have they been this season? What is in the room, exactly, that would benefit them? These are all questions that don’t have clear answers, nor seem poised to get them, and so the show instead looks for an easy out.

This is part of a larger trend SLEEPY HOLLOW is succumbing to. Weak stories that are glossed over in favor of quick narratives that can be wrapped up in an hour constantly drag down what used to be a quality series. I can’t express enough how disappointed I am in this episode and the season in general.

There are some mythology-type events in “What Lies Beneath.” We get a little bit of a peek into how Irving keeps switching sides, though this isn’t really explained in a satisfactory way, to neither Jenny (Lyndie Greenwood) nor the audience. Katrina seems to be going to the dark side, having creepy semi-dreams about Henry (John Noble) and it looks like she may switch to her son’s side, which doesn’t exactly line up with everything she’s done before. So these larger arcs are there, but not well developed.

“What Lies Beneath” also introduces us to Calvin Riggs (Sharif Atkins, White Collar), a journalist who is concerned about his brother, one of the men trapped below ground. For some reason, Abbie decides freedom of the press must be upheld, even as she continues to ignore many laws, so he gets involved. But beside that point, Calvin is also under-developed, virtually ignored most of the episode instead of being made part of the hour.

SLEEPY HOLLOW, please get yourself back on track. You’re in danger of cancellation. I hate to see you go out on such a sour note.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

MURDER IN THE FIRST Running Last in My Book

Article first published as TV Review: 'Murder in the First' - 'Pilot' on Blogcritics.

Murder in the First is a new crime drama that premiered on TNT this week. It follows Detectives Terry English (Taye Diggs, Private Practice) and Hildy Mulligan (Kathleen Robertson, Boss) as they investigate a couple of murders that seem to both be connected to young, rich tech genius, Erich Blunt (Tom Felton, the Harry Potter films). Can they find the truth and bring the murder or murderers to justice?

I have to give TNT credit for trying to tackle a higher-concept series. On a channel that has plenty of case-of-the-week procedurals, including Rizzoli & Isles, Franklin & Bash, Perception, and Major Crimes, it’s refreshing to see a series that is actually going to have the story running for multiple weeks, not a quickly tie up at the end of the hour. Admittedly, TNT has done serials before, such as Falling Skies and Dallas, but this is the first time I can think of them doing a show like this in the crime genre. Are they finally ready to enter the fray of high-concept investigation programs, competing against True Detective and its ilk?

Murder in the First reminds me of The Killing, in that it sets up a complicated case with many different players and moving parts. There’s definitely an effort made to build something complex and engaging, with a number of different personalities in different roles participating, including lawyers and a judge, as well as the cops and those connected with the central tycoon. The case will be carried out over the course of a season, at least, to allow greater depth in the story. We will get snippets of the larger picture, which will only culminate after much time is spent following the clues.

The problem is, Murder in the First immediately establishes itself as far less interesting than those shows it directly competes with. The characters are mostly from stock, with children and a dying wife thrust upon the lead detectives, scenarios that are designed purely to create more drama, not because it furthers the story or enriches the roles, at least, that’s how it comes across in the “Pilot,” given the predictable way in which they’re handled. While there may be ‘twists’ coming up, there is no shades of grey in the way Blunt is introduced, very clearly telegraphing himself as a person of interest. And the pacing is far more concerned with action and developments than allowing the actors to dwell on their emotions.

This is a shame because Murder in the First has lined up an excellent roster. Besides Diggs, Robertson, and Felton, the cast is loaded with James Cromwell (American Horror Story: Asylum), Steven Weber (Wings), Richard Schiff (The West Wing), Raphael Sbarge (Once Upon a Time), Ian Anthony Dale (Hawaii Five-O), Nicole Ari Parker (Revolution), Currie Graham (Raising the Bar), and others. This is great ensemble and they could handle much more advanced material than they are being given. It seems downright cruel to tease them with a show that should be good, and then deliver another mediocre installment.

Can Murder in the First rise above these weak roots and grow into a strong tree, an oak anchoring the network? Probably not. In a world where AMC, HBO, FX, Netflix, and so many other strong competitors are breaking fresh ground, really stretching the art of storytelling and exploring new corners of familiar worlds, Murder in the First is too little, too late, a pale copy of other series. I suggest if TNT wants to play with the big boys it return to the drawing board and come up with something totally original, rather than copying other works. It shouldn’t compete in a formula that it cannot possibly win, hurting itself in the inevitable comparisons.

Murder in the First airs Mondays at 10 p.m. ET on TNT.

Stop CHASING LIFE

Article first published as CHASING LIFE Review on Seat42F.

ABC Family’s newest drama is CHASING LIFE. April Carver (Italia Ricci, Don Jon) is an ambitious, young, up-and-coming journalist. She lives at home with her widowed mother, Sara (Mary Page Keller, Hart of Dixie), rebellious teenage sister, Brenna (Haley Ramm, X-Men: The Last Stand), and grandmother, Emma (Rebecca Schull, Suits, Wings), a pretty happy existence. But her world is rocked when she finds out she has cancer.

My first impression is that CHASING LIFE is a step up from most of ABC Family’s fare. It does not center on a bunch of teenagers, as the network has sort of become the adolescent version of Lifetime. Its characters are better developed and played by actors who aren’t totally cheesy. It’s soapy, to be sure, but leans more ABC-esque than daytime level.

But upon further examination, the writing still suffers many of the same foibles that CHASING LIFE’s peers fall victim to. Too many bad things happen in quick succession to April, threatening to tear down her cheery disposition. Developments happen too quickly in ways that don’t make sense. Short cuts are frequently taken, possibly for pacing’s sake, but it makes the story feel unrealistic.

Take, for instance, the delivery of April’s cancer diagnosis. Her estranged uncle (Steven Weber, Dallas, Wings) secretly does blood work on her after April faints, which could be chalked up to the actions of a concerned relative. But then he’s worried she’s in eminent danger, and starts stalking her when he can’t get a hold of her for half a day. He hasn’t had the chance to run any tests yet, so how does he know how serious it is and how dire April’s circumstances are? April’s nose blood does confirm her uncle’s suspicions, but it seems far too convenient when it happens.

Also stale is the way April’s love interest, Dominic (Richard Brancatisano, Reef Doctors), is handled. They have one date and they’re smitten. Then she blows him off because she has other things on her mind (i.e. cancer), and he gets sulky. An overheard conversation between April and her uncle gets Dominic suspicious that she’s untrue (again, after only one date, so he has no right to expect exclusivity), but the whole thing is sorted out after April confronts him. It’s neat and false, not at all an authentic relationship beginning.

The Dominic subplot is completely unnecessary. Why does April need a guy in her life at this juncture? Doesn’t she have enough going on? What are the chances that her love life begins right at the time her career is taking off and illness strikes? It’s all just so obviously scripted, lacking in authenticity and originality altogether, which rips the viewer out of the fictional world.

Add to this the Big Twist at the end of the “Pilot,” which I won’t reveal in case you haven’t watched yet, and CHASING LIFE is little better than Pretty Little Liars and its ilk. While the characters may appear to be mature, sort of, the storytelling is not, relying on cheap tricks and cliché crutches to move along. Instead of creating something new, CHASING LIFE follows a pale version of a tried and true formula, which is not a good thing during the current golden age of television, surely to be lost amid the plethora of series that are way better.

I did enjoy CHASING LIFE, despite the glaring plot holes and logic jumps, but it’s nothing more than fluff entertainment, failing to be anything that makes you think. It may tug one’s heartstrings, but in a very much planned, manipulative way. One day ABC Family may make a series worth watching again, which it really hasn’t had since the cancellation of Kyle XY, but today is not that day.

CHASING LIFE airs Tuesdays at 9 p.m. ET on ABC Family.

2 Broke Girls not exactly a hiding a stash

CBS's 2 Broke Girls kicks off year two with "And the Hidden Stash." Caroline's (Beth Behrs) family possessions are up for auction. Her father, Martin (Steven Weber, Wilfred, Wings), insists that she attend the event and buy back her horse riding trophy. Max (Kat Dennings) assumes ulterior motives, convincing Caroline that there might be money inside the base of the cup. But in the end, it is only a message of perseverance that Martin is trying to get across.

The "twist" in "And the Hidden Stash" is seen coming from a mile away. It's one thing to speculate that Martin may have a trick up his sleeve. It's quite another for the girls to buy into it whole-heartedly, even figuring out how much money might fit in there, and getting upset when they're wrong. This is all guess work. There is never any guarantee. It's frustrating that they can't tamper their excitement for something they cooked up in their own heads.

Just as bad is how they openly discuss hidden caches of money in the prison visiting room. Guards are present, listening to their every word! Martin is in jail for stealing money. If an employee hears Martin talking to his daughter about secret stashes, and Max isn't subtle about the conversation, that will get reported. It just defies realism.

2 Broke Girls starts as a charming tale of two down-on-their-luck waitresses who are going to work their way into a cupcake empire. If the story had continued on that path, it would have been a very cool show. Instead, it has devolved into status quo, with the amount of money saved barely going up from week to week, and their station not improving at all. No one expects Max and Caroline to have left the diner behind by the start of season two, but there should be progress, and none is apparent.

It's not that the show isn't funny. The ensemble cast, which includes Matthew Moy, Jonathan Kite, Garrett Morris, and Jennifer Collidge, knows how to deliver a joke. The two leads can be very humorous, and it's not hard to root for them. Their bit bidding against Hamish McDonough (Robert Michael Morris, Running Wilde) is great, as is the rip on their sitcom competition, Zooey Deschanel! But it's this insistence on sticking with the world the way it starts, and the sacrifice of realism for the cheap gag (see the start of this review) that is frustrating. There is so much potential here that is being squandered.

Will it improve? It kind of has to. If it were to maintain what it is now, it would be stale and not worth watching by the middle of this year. Right now, it's risking losing those viewers drawn in by the initial promises. Although the rote scripts might appeal to a larger base, and are mildly entertaining, it hurts the quality in way that it soon would be nearly impossible to recover from. Please fix this show. The crucial ingredients are already present, they just need to be allowed to rise.

2 Broke Girls airs Mondays at 9 p.m. ET on CBS.

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

Wilfred makes "Progress"

FX's Wilfred returns next Thursday to officially begin its second season. It's odd, then, that a brand new "preview" episode aired last night. Entitled "Progress," this latest installment finds Ryan (Elijah Wood) in a mental hospital, where he has been getting better under the care of Dr. Eddy (Robin Williams) while waiting for Wilfred (Jason Gann) to recover from his car accident. Ryan is shaken when Jenna (Fiona Gubelmann) brings Wilfred to visit, and Ryan still sees Wilfred as a man in a dog suit, believing that his treatment isn't working. It takes no time at all for Ryan to get caught up in Wilfred's mental games, which disrupts his own path to healing.

There are signs that Ryan isn't mentally stable before Wilfred arrives, though. While in the hospital, Ryan has strange dreams where he is sitting at a conference table with some odd people named Amanda (Allison Mack, Smallville), Kevin (Rob Riggle, NTSF:SD:SUV), and Jeremy (Steven Weber, Wings, Studio 60 On the Sunset Strip), among others. What is going on? Why does Ryan keep dreaming them?

This experience of being a patient seems real enough for Ryan. In fact, it seems a lot like the reality he's been living in. The dreams are kind of new, but the rest of it is natural progress for the characters, considering four months have passed. Jenna has realized she is not pregnant and dumped her boyfriend. Ryan is working on the issues he knows that he has. Wilfred is his same manipulative, sneaky, morality challenged self.

And then, everything shatters. Ryan suddenly sees, in a meta moment, that he is being treated by the Robin Williams character from Good Will Hunting. An orderly (Brian Baumgartner, The Office) helps Ryan escape, only to reveal that he's actually Wilfred, and Bear is driving the getaway car! This makes the mental hospital world fall apart for Ryan as he tries to wake up.

Or does it? Maybe Ryan is in this mental hospital, and by not taking the pills that Dr. Eddy gives him, he loses his grip on what is real and what is not. This is certainly a possibility, and one supported by the notion that Ryan is completely crazy. Though, even before the pills are taken, it seems a given that Ryan is not at the hospital during the events of season one, so not everything can be explained away in this manner. Probably. Who knows? Wilfred is a truly odd show that defies clear definition. Which is what makes it so intriguing.

Ryan does "wake up," we assume, in the conference room with Amanda, Kevin, Jeremy, and the others. He's serving as a lawyer for them as they work on curing cancer. Is this any more realistic than the mental hospital illusion? Maybe Ryan's sister, unseen in this episode, got him this gig in the medical field. But that seems unlikely, given the way that Wilfred leaves things between the siblings at the end of season one. Thus, because of the events of "Progress," there will continue to be a nagging doubt about whether what is shown is real at any given time.

Ryan then goes home to confront the basement. At the end of season one, Ryan discovers a coat closet where he believes a basement door should be. His house certainly looks like it has a basement. Ryan busts through the wall of the closet, and low and behold, stairs to a basement! But the question is, did someone board up the stairs to trick him? Did Ryan himself do it in one of his weird states and just not remember? Is busting through the wall a sign of "Progress," or is it Ryan backsliding? These are questions not answered in "Progress," nor will they likely be with any certainty in season two.

Wilfred is a unique show that makes viewers think. The fact that it is well acted and funny are just frosting on the cake. Not to mention, the quality of guest stars that appear, in this episode alone, should entice you to tune in. If you are missing out on this weird television experience, it's time to correct that. Watch Wilfred Thursdays at 10 PM ET on FX.

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Falling Skies makes a "Silent Kill"

     TNT's Falling Skies looks for the "Silent Kill" this week, as Tom (Noah Wyle) finally gets the chance to rescue his son, Ben (Connor Jessup), from the alien harness. Well, actually, older son, Hal (Drew Roy), does most of the rescuing, with more than a bit of help from Margaret (Sarah Carter). And Anne (Moon Bloodgood) is the one who does the actual harness cutting, as well as figuring out the best way to subdue the aliens. But still... The only thing that is truly a mistake in "Silent Kill" is killing off Dr. Harris (Steven Weber, Wings, Web Therapy) so soon. Weber is a fantastic actor, and Harris is an interesting character. Too bad.


     The question of what the alien harnesses are used for when placed on children's bodies is one at the heart of the first few episodes of Falling Skies. The more that is learned, the more that remains a mystery. It is currently known that the aliens can communicate over radio waves, and likely do so when controlling the children. The aliens can reach the kids even after the harness is taken off. This may be because only the exterior portion can be removed without killing the kid. Also, the kids do manual labor, and a group of them sleep with an alien "nanny." They are almost treated as the own children of their alien caregiver, who may also cure diseases, such as Rick's (Daniel J. Gordon) cystic fibrosis. At present, Tom's group now has six kids rescued from such a fate.

     What is unknown is what exactly the short-term and long-term effects are for a kid who is harnessed. Some kids have different reactions. For instance, Rick wakes up with no memory of his father or his life before being taken. Yet, Ben instantly recognizes Tom. Rick also puts the harness back on to try to free a captive alien, though it does not go very deep, so it is able to be ripped off again, and Rick survives it. Does the device breed some sort of loyalty into the kids? Or is Rick still able to be controlled by the aliens over the radio waves? What does this mean if some of the aliens get close to the camp where many ex-harnessed children are? It's a frightening thought.

     For now, though, Tom is just happy to have his son back, as he should be. There have been a variety of horrors since the invasion, but having an enslaved child controlled by some sort of alien device is now one that can be reversed. There are many more captive kids out there, and many more worried parents. While not every child can be successfully unhooked, Anne has lost only one out of seven, so the odds are in the favor of the children being OK, at least as of "Silent Kill."

     Another thing worth exploring is that Rick is removed just fine, but after Ben's harness comes off in "Silent Kill," the other five kids' vital signs in the room begin failing. Is there some sort of connection or chain reaction that destroys the group? Rick's co-workers are executed, so there is no chance to observe the effects on them. But perhaps separating the kids before performing the surgery will decrease the fatality rates. Or possibly there is little time to save the rest of the group once one kid is removed. The questions to ponder are nearly endless.

     There is a lot of detailed technical discussion about these harnesses, and it is quite imaginable that most viewers do not care about the device one way or the other, but only how it emotionally affects the kids' friends and family. So enough of the technical stuff, and on to pathos!

     There is plenty of emotional turmoil in "Silent Kill." Much of it concerns Dr. Anne Glass. She is torn about killing an alien hostage who kills a fellow doctor. She is upset about the kid she loses. But these are symptoms of her deeper grief, which stem from her son's death, and having nothing to remember him by. Anne has a very harsh reaction to having a child die on her watch because it sparks bad memories, and she feels incredibly guilty about her lack of photos and momentos. If only she hadn't gone to work, she would have either died with her family, or helped them escape. But they'd be together. No wonder she is having a rough time. Kudos to Ms. Bloodgood for the incredible way she is handling the role.

     Tom has similar regrets in Falling Skies, as his wife was not supposed to work the day of the attack, prior to the series's start. Yet, she did, and so she died while Tom and their sons live on. Because of this, especially, Tom finds it hard to put his children in danger any more than he can help it. Unfortunately, he is unable to do much to prevent the threats. Ben has been a hostage for awhile, and Hal and youngest boy, Matt (Maxim Knight), are itching to help the resistance army. Matt is little enough he is satisfied assisting with the radio, but Hal is in on the action. Which is why it must almost kill Tom to let Hal go into the hospital by himself in this episode, an incredibly risky plan that is barely lucky enough to work.

     Hal does little to calm his father's fears. It is understandable in Falling Skies that an eighteen year old does not have the worldly wisdom and foresight to understand a father's worry. Besides, Hal just wants to help as much as anyone else, and he cares very deeply for his brother, Ben. There is no blame to be placed in this situation, with both Tom and Hal doing what their best to solve a tough problem, and both willing to put their lives on the line for someone they care about. It's not simply a matter of Tom understanding Hal's desires, but that has to be why Tom goes along with the plan, against his strong reservations.

     In "Silent Kill," a lot is learned about Margaret. The mysterious woman, who is previously held captive by a not-so-nice gang, seems to know a lot about hospitals and drugs. This is easily explained away by her cancer back story. It's too bad that the questions are answered so quickly and neatly, as a little bit of murkiness never hurt any story or character.

     It appears Margaret may be a third love interest for Hal. Or, really, second, given her personality and physical similarities to Hal's currently kidnapped girlfriend, Karen (Jessy Schram). With Karen gone, Margret is an older, wiser, deeper version that may stick where Karen does not. It's regrettable only in that it looks like Schram, who is a delight, won't be sticking around. Carter is more than capable, so anything the writers choose to give to her is welcome.


     Watch Falling Skies Sunday nights at 10 p.m. ET on TNT.

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Article first published as TV Review: Falling Skies - "Silent Kill" on Blogcritics.