Sign THE GUEST BOOK

Article first published as TV Review: THE GUEST BOOK on Seat42F.

TBS has some bizarre sitcoms, and their newest, THE GUEST BOOK, should fit right in among them. Created by Greg Garcia, the mind behind My Name Is Earl and Raising Hope, the show is sort of an anthology series, in that each episode stars brand-new characters in self-contained stories as they check in for a few days at Froggy Cottage and write their stories in the guest book there. I say sort of because there is also a group of locals who have ongoing arcs on the fringes throughout most of the episodes, culminating in a wacky season finale.

Yep, I know how it ends because I watched all ten episodes of the first season in one sitting. While not the most ground-breaking or fresh new comedy I’ve ever seen, I was thoroughly charmed by Garcia’s sense of humor, as I have been many times in the past, and impressed by the parade of performers who came through. This combines the quirky charm Garcia is known for, portraying “regular” middle Americans, with another interesting premise.

The four-member lead cast includes: Vivian (Carly Jibson, One Mississippi), a blackmailing stripper who owns Chubby’s Bikini Bar; Wilfred (Charlie Robinson, Night Court), the elderly gentleman who rents Froggy Cottage, and who becomes Vivian’s target when he’s just trying to reinvigorate his marriage to Emma (Aloma Wright, Scrubs); Frank (Lou Wilson, Tween Fest), Vivian’s good-hearted step-son and employee; and Officer Kimberly Leahy (Kellie Martin, the Mystery Woman TV movies), a cop who develops a crush on Froggy Cottage’s neighbor, Doctor Andrew Brown (Garret Dillahunt, Raising Hope).

Besides Dillahunt, Eddie Steeples (My Name Is Earl) plays another recurring local. This is notable because both starred in previous Garcia efforts. Other Garcia alum, such as Shannon Woodward (Westworld) and Jamie Pressley (Mom), pass through, and there are a host of references to Garcia’s past shows. This continuity, Easter eggs for fans of the writer’s work, is pleasing and makes the show more interesting. It helps create a feeling of family and warmth.

There are also some really clever, unique elements to THE GUEST BOOK. For instance, every episode (after the first) begins with two guys at a computer store recapping the ongoing plots in the context of a buddy trying to get his friend to watch the show. And there’s essentially a ‘house band’ that plays things out and provides bridges on a regular basis. These things kick the show up a couple of notches further.

I’d say the best way to judge the quality of such a show, though, is too at who the series got to headline the various installments, and that list is impressive to modern comedy and television fans. Stockard Channing (The West Wing), Jenna Fischer (The Office), Danny Pudi (Community), John Ortiz (Togetherness), Michaela Watkins (Casual), Arjay Smith (Perception), Lauren Lapkus (Orange Is the New Black), Laura Bell Bundy (Hart of Dixie), Kate Micucci (Garfunkle & Oates), Mary Lynn Rajskub (24), Andrew J. West (The Walking Dead), and my personal favorite from this season, Michael Rapaport (Prison Break), are among those who parade through. The great Margo Martindale (The Americans) also plays a recurring role. Having this kind of talent keeps the main plot engrossing, and is a good balance to the stories of the community.

Will this top anyone’s must-see list? Probably not. But is it an enjoyable way to pass a few hours? Absolutely. Garcia does ‘nice,’ non-judgmental, inclusive comedy as few others do, and I am always entertained and delighted by what he has to offer. Even in an increasingly crowded field of high-quality entertainment, he has a specific voice and style that is worth keeping around, and THE GUEST BOOK gives him time to really focus on key elements of the show in a way that he didn’t have the luxury to do on longer, broadcast-network seasons.

One last note, THE GUEST BOOK, interestingly, comes right on the heels of HBO’s Room 104, another anthology series set in a rental lodging, but the two could not be more different. If you want dark and science-fiction-y, go for Room 104. If you just want to laugh, and occasionally get your heart strings tugged on, then go with THE GUEST BOOK.

THE GUEST BOOK premieres tonight at 10/9c on TBS.

Out of the SEARCH PARTY

Article first published as SEARCH  PARTY Review on Seat42F.

TBS premieres SEARCH PARTY this week. It’s a dark dramedy about a bunch of young adults whose former classmate goes missing. Most of the quintet are self-absorbed enough not to care much, but one of them, Dory, takes the news very hard, even though she and the missing girl aren’t close, and Dory can’t stop thinking about it. What is behind this mystery and why does it matter so much to Dory?

TBS usually does very goofy comedies, more slapstick than clever, which isn’t an insult as there is plenty of room in the world for both, and each style has many fans. In SEARCH PARTY, though, the netowkr is departing, going more for a premium cable style sitcom, something that is as much drama as comedy, and that gets into deeper issues than are usually tackled in twenty-two minutes. It’s a serial story, almost with a miniseries feel, that presents a specific point of view, grounded and relatable, and I found myself interested in this one.

Alia Shawkat (Arrest Development) stars as Dory, who to me feels apart from her social circle. Her boyfriend, Drew (John Reynolds, Stranger Things), is such a doofus he can barely take care of himself. Portia (Meredith Hagner, Royal Pains) is a self-absorbed actress, and hipster Elliott (John Early, Your Main Thing) is equally shallow.

Now, it could be that these friendships are left over from Dory’s younger days, and she hasn’t yet found a peer group that really understands her; she certainly seems different enough for this to be the case. I like this distinction, though, because it helps explain Dory’s motivation, someone who feels like she doesn’t quite belong in the world she inhabits, and I get the impression she’s looking for the missing girl in order to figure out herself as much as to actually solve the case.

Dory has some help from ex-boyfriend Julian (Brandon Michael Hall, Cecile on the Phone), the fifth member of the cast. Julian also doesn’t seem as much a part of the others, and that makes him a good one for Dory to reach out to when her friends are disinterested. Smart and capable, he’s the perfect partner for our fledging detective, and together they are likely to figure out what happened.

If that was all there was to SEARCH PARTY, I might still like it. But as one keeps watching, one gets more insight into what, on the surface, seem like the more superficial characters. Portia, in particular, is given screen time to explain why she is the way she is, which is welcome. If the same is done for Drew and Elliott, and if that figures into Dory’s central line, I could see this being a pretty interesting series.

What stops me from a full recommendation is that I feel like other shows have done these things better, though. SEARCH PARTY has the mystery of Stranger Things, the narcissism of Girls, and the journey of a Wes Anderson film. And the problem with drawing those comparisons is that each of the other pieces of content are superior in their execution. Which means this one suffers by the reference.

I like that TBS has taken this chance, and if this series were just a bit better, it would succeed for me. I do hope a failure here (if, indeed it does fail, as others may disagree and this show could become quite popular; I’m terrible at predicting ratings) doesn’t discourage TBS from trying again. Some of the right elements are in place, it just lacks a polish and fresh take to really push it over the top.

SEARCH PARTY premieres Monday, November 21^st on TBS.

Welcome-ish, PEOPLE OF EARTH

Article first published as PEOPLE OF EARTH Review on Seat42F.

TBS is a network for experimental sitcoms, so their latest offering, PEOPLE OF EARTH, should fit right in. An accomplished journalist is assigned to cover a support group for people who believe they have been abducted by aliens. Anxious to get past that waste of time and onto something meaningful, he barely gives the theories of the crazy people a second thought… until he has an extraterrestrial encounter of his own.

Yep, it sounds like a bizarre premise, and it is. It gets even more bizarre when viewers get to start seeing the aliens, knowing this isn’t just conspiracy theories, and is actually a real problem. The aliens plan to take over the world and aren’t too happy that our hero, Ozzie Graham (Wyatt Cenac, The Daily Show), is onto them. After all, no one is going to listen to a bunch of crackpots, but an actual reporter who is determined to find proof? That could threaten all of their plans!

I like the cast of this show. Besides Cenac, the large ensemble includes Ana Gasteyer (Suburgatory, Saturday Night Live), Luka Jones (Up All Night), Brian Huskey (Another Period), Michael Cassidy (The Magicians), Oscar Nunez (The Office), Nancy Lenehan (My Name Is Earl), Da’Vine Joy Randolph (Selfie), Alice Wetterlund (Silicon Valley), Daniel Sherman (Run All Night), and Tracee Chimo (Orange Is the New Black). This isn’t an A-list bunch, but there are quite a few familiar faces, and some very funny people on the list.

I also like the concept. Alien abductions are usually dismissed as nonsense, and if they were to be played for laughs, it’s by laughing at the characters. Here, we have some people who fit that stereotype of someone who isn’t to be believed, but knowing they’re right changes the dynamic and feel of the series. It’s kind of a weird world that doesn’t feel like our own reality, even though it looks and sounds like it, which makes for an interesting watching experience.

Where it goes wrong for me is the execution. The aliens themselves aren’t portrayed nearly as well as they could be. They are an inept bunch, even though they’ve been able to operate in the shadows for some time. They’re too sloppy to feel realistic. There are plot holes, one of the invaders making a very strange decision in retrospect, which feels very obvious by episode two. We’re still very much in the dark about who they are and what they want, but there doesn’t appear to be a cohesive idea behind them that will make the mystery worth it. And, while some have cool designs, others are pretty lame.

Because of that, I don’t know where this is going, and I’m not that interested in finding out. If PEOPLE OF EARTH can’t get through two half-hour installments without making me doubt the reality they’re presenting, I don’t know that I can stomach a weekly show that may not pay off.

The one aspect that gives me a bit of hope is that delusions that Ozzie experiences. By setting the narrator up to be unreliable, there is a possibility that the inconsistencies and plot holes could be purposeful, clues that not all is as it seems to be to those of us watching at home (another level beyond the ignorant, unprepared humans who don’t know the aliens are coming). If this were embraced more fully, PEOPLE OF EARTH could be a ground-breaking sitcom.

I just don’t think that’s where it’s going, though, so while I was amused and interested in the first couple of installments, I’m not sold on continuing, especially on a network that had yet to distinguish itself as consistently reliable in the comedy realm, airing both good series and total duds, often at the same time.

PEOPLE OF EARTH premieres tonight at 10/9c on TBS.

Lost WRECKED

Article first published as WRECKED Review on Seat42F.

TBS’s latest sitcom, WRECKED, is nothing if not ambitious. It begins with a plane wreck on a deserted island, and then laughs ensue as the survivors get bogged down in petty things, rather than what it takes to survive. If this sounds like the comedy version of Lost, I believe that’s on purpose given the pilot’s title of “All’s Not Lost” and the appearance of the primary Jack-like hero who steps up at the beginning.

But WRECKED isn’t about to just rehash Lost. It can’t, can it? After all, Lost was a deep and complex series that had a lot of mythology. A comedy does not support that kind of structure (unless it’s Arrested Development). So while WRECKED picks at certain elements of Lost, such as the ghost of a dead father showing up to chastise his son, or lampoons a scene of a survivor trying to get a radio signal, I don’t expect it to commit to flashbacks and smoke monsters in any real way.

Still, the fact that someone is even going after Lost, a cultural icon of television no matter what you thought of its polarizing ending, is laudable. It’s one of those ideas that usually gets the low budget internet treatment, and I’m delighted to see this one make it to broadcast with actual money behind it instead. Even when the results are mixed, which does happen in the first few episodes, it still seems ambitious enough to be worth trying.

A couple of faces in the cast look familiar, but none are A-, or even B-, list stars, which may work in WRECKED’s favor. At the center are flight attendant Owen O’Connor (Zach Cregger, Guys With Kids, The Whitest Kids U’Know) and a fat (for TV) passenger lazy Owen was told to interact with, Danny Wallace (Brian Sacca, The Wolf of Wall Street). They are the odd couple who step up to lead when they’re not sitting on the sidelines making fun of their fellow survivors. And they work just fine as the focus of the show.

Along with Owen and Danny are geeky agent Pack Hara (Asif Ali, Mr. Robinson), scary survivalist Karen Cushman (Brooke Dillman, Bob’s Burgers), hippie Florence Bitterman (Jessica Lowe, Blended), Florence’s put-together doctor roommate Emma Cook (Ginger Gonzaga, Togetherness, Legit), shallow Todd Hinkle (Will Greenberg, The Grinder), Todd’s dissatisfied girlfriend who could do better Jess Kato (Ally Maki, Step Up 3D), and injured comic relief Steve Rutherford (Rhys Darby, Flight of the Conchords). It’s a pretty good ensemble, each given significant screen time and storylines, and hits just about all the archetypes one wants in such a series.

There are plenty of extras milling around in such a way that new people can be added to the group at any time, and I expect that to happen. A lot of the writing focuses on spoofing the genre, from comments such as pointing out the relative unattractiveness (for TV) of the castaways, to the way a boar is easily slaughtered. The rest goes for typical sitcom fodder, such as mistaking a golf club for a child, that seems crazily out of place under the circumstances.

WRECKED isn’t the best comedy on television; not even close. But it may be the boldest, taking a huge risk to commit whole-heartedly to such a bizarre concept. I applaud that fully, and as such, am definitely willing to give this show a chance to find its footing. The first few episodes aren’t bad overall, and each have some really clever elements to them that prove why this program should be made. I hope it gets a second season just because I believe the first one will likely be a hit-and-miss learning experience, and I am very interested to see what could happen if this is taken further.

WRECKED premieres June 14^th at 10/9c on TBS.

Take THE DETOUR

Article originally published as THE DETOUR Review on Seat42F.

Given the advertising for TBS’s upcoming comedy series, THE DETOUR, one might be forgiven for thinking that the family road trip resembles National Lampoon’s Vacation movies; I think the leading man even looks a bit like the most recent patriarch from that series. However, this little show is a little more original than that, and instead harkens closer to IFC’s The Incredibly Poor Decisions of Todd Margaret, a comedy of errors in which things just keep getting worse and worse.

THE DETOUR follows Nate (Jason Jones, The Daily Show), his wife, Robin (Natalie Zea, Justified), daughter Delilah (Ashley Gerasimovich, Louie), and son Jared (Liam Carroll, The Neighbors) as they drive cross-country. What upper middle class family does that nowadays, you may ask, given that airlines seem the more obvious way to go for those with means? Well, that’s part of the story, which is quite the convoluted mess, in the way you hope it will be.

It’s clear from the beginning of the series there is more going on that meets the eye. THE DETOUR is not a big mystery or conspiracy theory show, but it still keeps some cards close to its chest, which is fine since some of the reveals are played for a laugh or to enhance a certain moment.

This is a dense series, but not in a way that should worry you. The overriding mission is to elicit laughs, and it does that frequently. The story is cohesive and makes sense; I didn’t see any glaring plot holes in the eight episodes or so I viewed. But story is secondary to the funny bits that happen, so you can just go along and enjoy the ride without worrying about having to think any deeper than necessary.

Now, that almost sounds like an insult, but I swear it’s not. Comedy can be smart without being a chore, and this one is. There are the rare sitcoms, Arrested Development springs to mind, that do force one to pay attention to really get all the jokes, and that’s fine; I adore that show. But most comedies shouldn’t, and THE DETOUR fits into the realm of most comedies without seeming tired or repetitive.

The biggest compliment I can give THE DETOUR is that it is addictive. True, I didn’t have to keep watching for cliffhanger resolution, but I wanted to because I was amused and anxious to see what zaniness the family gets into next. One thing after another keeps befalling them, some their fault, some not, and it is a pleasure to watch it unfold. I wish I had the full season available, but made do with most of it.

The four main players all hold their weight appropriately. Jones and Zea have more importance in the scheme of things, but the kids are no slouches, either. The four roles they play are likeable, but flawed, and while some of the disasters do stem from bad decision making, not all of them do, so it’s not a constant cringe-inducer. Instead, the show deftly balances its elements to keep viewers invested and able to laugh at the characters without despising or being depressed for them.

In short, THE DETOUR did not give me exactly what I expected, and that ends up being for the best. It’s a well-crafted example of what cable should be doing when tackling sitcoms, making something both fresh and genuinely funny, and not being reined in by the boundaries of what “most” shows do in a given situation. It’s a great series to binge-watch on a Saturday and make you feel better about your own life, while still being impressed with Jones’ (who created the show alongside wife Samantha Bee, Full Frontal With Samantha Bee) chops.

THE DETOUR premieres Monday, April 11^th on TBS.

COUGAR TOWN "Stand" Strong

Article first published as COUGAR TOWN "Stand" Strong on TheTVKing.

Cougar Town wrapped up its fifth season on the air last night on TBS with "We Stand a Chance." It may not be a big, dramatic finale, nor does it end with a cliffhanger, as renewal is uncertain, but it is still a terrific installment of the friends-as-family show. A piece of exciting news affects just about everyone in the group, though their lives continue normally, as this isn't the type of show that goes for the ridiculous stunt.

 The story begins when Jules (Courteney Cox) borrows Laurie's (Busy Philipps) pee, since Ellie (Christa Miller) drugs Jules shortly before a physical. What's amusing about "We Stand a Chance" is that Jules acts like a guilty criminal even when no one is suspicious of her or really cares if she's breaking the law. It takes a situation often depicted for more nefarious purposes, and it applies it to normal suburban life, making for a silly, light tone.

The doctor soon calls Jules, though, to tell her the pee test indicates she's pregnant. After Ellie points out to Jules that it isn't her pee that has been tested, Jules realizes that Laurie and her son, Travis (Dan Byrd), are now expectant parents. She wants to break the news to them in a positive way, unsure of how they will react, being young and unmarried, but a fight comes between them, making it hard for Jules to find a good time to bring it up.

I love how Jules's concern is only that Travis and Laurie will be happy. She doesn't obsess over being a grandma or fret over the sex her offspring and friend engage in. While Jules can be selfish, when there's something so important on the line, she cares as much as anyone else.

Cougar Town is about a family. Not necessarily a biological one, though some of the players are related, but one built by choice. It's a group of friends as close as any relations, and while that may not be a unique premise on television, the continued way in which it warmly executes this premise makes it feel different. There's a deeper level of emotion behind the situations, and when the entire gang is there at the time Laurie and Travis finally learn the news, offering their support, it's a terrific moment for the show.

On any other sitcom, Laurie and Travis would end the episode broken up or upset, but Cougar Town avoids the false, forced drama. They have a disagreement while helping out Andy (Ian Gomez) and it's a serious one, but after getting a little advice from Grandpa Chick (Ken Jenkins), Travis makes up with Laurie. Again, love is a primary theme, more than laughter for its own sake, and the pregnancy is greeted joyously by all.

The other two characters Laurie's pregnancy affects most, besides the soon-to-be parents and Jules, are new grandfather, Bobby (Brian Van Holt), and step-grandpa Grayson (Josh Hopkins) (though, to the show's credit, the word 'step' is never uttered). They may be Jules's husband and ex-husband, but they're also friends, and decide to compete with young punks in a break dancing competition to hang onto their youth.

Again, Bobby and Grayson are not taken over the top in acting their age, but rather, their attitude comes from an authentic place. They lose sorely to the teenagers, as anyone should realistically predict, but it doesn't kill their spirits. They know who they are and they like themselves, which is probably why fans of the show continue to root for them, too.

Tom (Bob Clendenin) is definitely a character worth keeping around. Upgraded to main cast this season, he gets both the beginning and ending gags of "We Stand a Chance." At the start, he wins a Cul-de-Sac Crew trivia game, thus earning the right to pick their vacation spot. Since he loves just being around everyone so much, he chooses to stay home, to everyone's chagrin. Then, later, he recaps the season with his dolls and model of the neighborhood, which is equal parts creepy and hilarious. Tom may be awkward, but he's our awkward, and like the characters on the series are, even if they may be reluctant to admit it, I am fond of his continued presence.

Looking over this review, a lot of it seems mushy and overly sentimental, but this is the type of feeling Cougar Town elicits from its audience. The structure is common but the depth is not, and that's why it's still must-see TV for me, even after being canceled and reborn on cable (without changing a thing). I sincerely hope TBS keeps this thing running for years to come. This episode, great in its own right, could adequately serve as a series finale, but I hope TBS gives the writers a chance to really wrap things up when that time comes so the last episode is more than just adequate.

Cougar Town's fifth season is complete, and now awaits its fate.

I'll Take "All" of COUGAR TOWN

Article first published as I'll Take "All" of COUGAR TOWN on TheTVKing.

TBS's Cougar Town began its fifth season this week with "All or Nothing." I hesitate to call it TBS's, though, because it seems so unlike the rest of the TBS line up, much more toned down and intelligent than the goofy stuff the network usually runs. But then, it wasn't created by TBS, just rescued by it, so I guess TBS deserves credit for keeping a great thing going.

"All or Nothing" picks up an unspecified short time after season four's ending, with time spent making direction connections to last year's finale. For some, this may seem unnecessary and forced, but I get what Cougar Town is trying to do, keep the flow of story going. After all, there are things that happen late last year that we want to see explored, not picking up many months later, and this installments makes sure we know those revelations are still fresh.

The big change the cast is dealing with is that Travis (Dan Byrd) and Laurie (Busy Philipps) are now dating. This means the pair are making out and having shower sex in Jules' (Courteney Cox) house, which Jules has the unfortunate habit of walking in on, repeatedly. It makes everyone, especially Jules, very uncomfortable, and throws off the dynamic of the group.

"All or Nothing" focuses on Jules trying to deal with the situation. She's a trooper, keeping in mind these are both people she really likes and doesn't want to chase them away. As such, she bends over backwards, trying to accept things that just are not acceptable, being 'cool' with what's happening. She doesn't do it very well, but at least she tries.


I'm glad Jules gets her adaptation story, which is absolutely necessary, but I'm disappointed at the very small part Laurie plays in "All or Nothing." She is only seen wanting to constantly be all up in Travis' business, never on the other side, as the friend in the group that she has been. It makes sense that she's totally into the physical stuff, as that is in keeping with her character from earlier seasons. But she is also one of the adults, and has been for quite some time, and we don't see her chemistry with the rest of the cast here. She is the one straddling two difficult roles, and I hope that will be dealt with soon.

This may finally be how Travis joins the larger gang, though. He has always been an outsider at the fringe, occasionally roped into the principal story, but often off on his own. Fans of Cougar Town tend to like Travis, too, and by putting him with Laurie, it gives him a reason to want to hang out with his parents and their pals, strange as that might seem. This could be a good turning point for his character.

Bobby (Brian Van Holt) seems completely unbothered by his son's new circumstances, but then, little ever bothers Bobby, which is part of his charm. This comes into play this week as Bobby begins reaping cash from international sales of Penny Can and Grayson (Josh Hopkins) tries, subtlety at first, to get Bobby to pay his very large bar tab (which has spilled over into a second notebook). Dense as Bobby is, it takes him awhile to figure out what Grayson is asking for, but he does resolve the issue in true, lovable Bobby Cobb fashion.

I am all for any chance to see Grayson and Bobby bond. They share an affection for Jules, Bobby's ex-wife and Grayson's current spouse, but don't have a lot of alone time together. In "All or Nothing," their thread is solely about their friendship, something that has nothing to do with Jules, really, and it's nice to see that explored.

The other plot in this episode involves Stan (Griffin Kunitz) having trouble sleeping after Andy (Ian Gomez) lets him watch Nightmare on Elm Street. This story reinforces the Andy / Ellie (Christa Miller) dynamic, and provides a fun way to work their seldom-seen child into the mix. Plus, another great, amusing resolution at the end.

Not really a subplot in of itself, but we get more Tom (Bob Clendenin) in the episode than usual. His upgrade to regular cast member is well deserved, but I like how Cougar Town doesn't just seek to fold him into the ensemble, as that wouldn't be appropriate for his role. The more that is revealed about Tom, the more creeped out by him the characters and viewers alike get. It'll take some serious adjustment time before Tom is really wanted around by anyone. However, he's still a great character, and well used.

"All or Nothing" makes a slight misstep in the handling of Laurie, possibly because there isn't time for it, but other than that, is a return in keeping with the quality of the rest of the series. I love the group chemistry and the things these characters get up to, and find the jokes in the series quite amusing. All of this continues in fine form.

Cougar Town airs Tuesdays at 10 p.m. ET on TBS.

GROUND FLOOR "On Top"

Article first published as GROUND FLOOR "On Top" on TheTVKing.

Seven episodes into its freshman season, Ground Floor has become a series I look forward to watching. The cast doesn't have the chemistry of Cougar Town and the writing lacks the weird fun of Scrubs, but it still is a reliable draw from creator of all three, Bill Lawrence. There are constantly decent jokes, and I do enjoy the show's leads immensely.

At the heart of Ground Floor is the relationship between Brody (Skylar Astin) and Mr. Mansfield (John C. McGinely). Did you think I was going to say Brody and Jennifer (Briga Heelan)? Well, as much as Brody and Jennifer's pairing provides the structure, the best parts of each installment are usually those where Mansfield gives Brody advice. Every part of Brody's romantic life is observed and commented on by his boss, and through these talks, we see the development of Mansfield.

At first, it appeared that Mansfield might be a retread of Dr. Cox, McGinley's Scrubs character. But as layers are willingly revealed week after week, it becomes clear that isn't the case at all. While Cox was closed off, Mansfield is open. Cox hated being a mentor, and Mansfield lives for it. Cox would never admit to screw ups and emotions unless pushed, while Mansfield volunteers such things, thinking nothing of throwing an arm around an employee and sitting close on a couch. They are really two completely different people.

McGinley is quite the talented actor. He really makes the little gags Mansfield gets work far more than they should. Each time he appears on screen, the eye is instantly drawn to him, and for good reason. Last week's episode found him singing and dancing in the empty office, and I don't know how the actor kept it together with the audience reacting as they did (assuming the show films in front of a live studio audience?). He really has something.

Brody benefits much from his lessons from Mansfield. Whether he agrees with his superior or not, and he doesn't always, there's a camaraderie and respect between them that belies their varying power statuses. Mansfield is someone Brody looks up to, and I think they are friends, too, though Mansfield would never admit it to the office.

Back to the more obvious central duo, Brody and Jennifer appear to be progressing nicely. I'm a little disappointed we haven't witnessed more of their development after the rocky start, with a bigger focus on shenanigans in the office than in their personal lives. I want to see them outside of work more, find out what kinds of things they are going through that result in them being stronger. They do have a palpable attraction, and I just want it to be explored more in-depth.

Which is kind of what is nice about this week's episode, "Woman on Top," in which we see strain between Brody and Jennifer and how they work through it. Mansfield unknowingly hires Brody's serious ex-girlfriend, Heather (Anna Camp, True Blood, The Help), and as cool as Jennifer tries to be, she gets jealous, especially when she sees how well Brody and Heather still get along and how much they have in common.

Brody and Jennifer do overcome the Heather obstacle, though. It messes them up, and they put in the work to get through it. That's what every strong union needs, to be tested and survive, in order to thrive. I'm not asking for constant drama on this magnitude, as that would be hokey and false, but to get more glimpses of these two in this manner would be welcome.

It is not at all unexpected that Heather leaves at the end of "Woman on Top." Camp is much too in-demand to stick around in a recurring part, and her desk position and attitude would necessitate she be constantly seen. So Mansfield sends her to run his Chicago branch, leaving the door open for repeat appearances, but not making her someone we have to see again.

Does Mansfield do this for Brody? He's been a supported of Brody and Jennifer, even when he resists them, so it makes sense he might do a behind-the-scenes move to help the couple. On the other hand, he's a shark in the business world, and Heather is the type of firm hand the Chicago branch needs. Perhaps it's just a win-win.

Heather's departure is too bad, in a way. Camp and Astin were two of the stars of the film Pitch Perfect, and "Woman on Top" is a nice reunion. Jennifer always has Harvard (Rory Scovel) lusting after her, so it could be interesting to toss in someone who might want to get back with Brody. Plus, it's just plain fun how fast Heather whips Threepeat (Rene Gube) into serving her.

Speaking of Pitch Perfect, a movie with a lot of singing, Astin and Camp have musical moments in this episode, and McGinley and others sang last week. It's cool that Ground Floor finds ways to work its actors' vocal talents into the series. I'm a fan of musicals in general, and while I don't think this will ever be one of those, I appreciate even small numbers done by talented performers. Between Ground Floor and Super Fun Night, it's nice to see this element emerging in the new fall sitcoms. More singing please!

The one thing Ground Floor has yet to figure out is how to effectively use all of its supporting players. Jennifer, Brody, and Mansfield are the real leads, and they are great. Harvard serves his purpose, and Threepeat is someone flexible enough to vary his role week to week, which is what is happening. But Derrick (James Earl) and Tori (Alexis Knapp, who was also in Pitch Perfect) don't really have a fit yet. I'm hoping that changes and Ground Floor moves more in an ensemble direction, as pretty much all the best comedies on TV have larger casts than just 3 or 4 characters.

Overall, Ground Floor has a charm that really resonates, and it is pretty funny. For a freshman show with only half a dozen episodes under its belt, it's doing quite well, and the pedigree involved is such that I expect it will mature nicely. I look forward to seeing where it grows from here.

Ground Floor airs Thursdays at 10 p.m. ET on TBS.

Getting In On the GROUND FLOOR

Article first published as Getting In On the GROUND FLOOR at TheTVKing.

Bill Lawrence's (Spin City, Scrubs) newest comedy, created along with Greg Malins (Better With You, 2 Broke Girls, Friends), is Ground Floor, which premiered on TBS this week. A step above other TBS original sitcoms, like Sullivan & Son, because of more layered characters and stories, but a step below other Lawrence work, like Cougar Town, mostly because of an annoying laugh track, Ground Floor is not bad.

The series stars Skylar Astin (Pitch Perfect) as Brody, an ambitious, talented young money manager who is on the ground floor of his life, early in both career and the romance department. The latter kicks off as the "Pilot" begins when Brody meets Jennifer (Briga Heelan, Cougar Town), a girl who works on the first floor of his building. Both of them are given grief by their friends for dating each other.

See, in Ground Floor, the business world is segmented into two classes. The upper crust makes the cash and works themselves to death, while the lower level are uneducated slackers. No one in either world supports crossing the boundary. Never mind that the building has many more floors than two, and should employ many more people than the scant few we see, at many different levels.

This is the problem with the series, which seems to be a trait of this particular network - simplifying things to go for quick laughs without having to earn them with depth. It's the reason why I don't watch many TBS sitcoms (Cougar Town excepted, since it wasn't originally created for the cable channel). And given the weaknesses, tossing in the laughter, whether it be a live studio audience or just recorded additions, actually makes it seem more inane and surface-level.

Yet, Ground Floor has a little more than these surface traits, likely owing to its clever creator. Brody and Jennifer don't start their relationship in a predictable way, actually giving us a portrait of two people that are more than a stereotype or a category. The co-workers are forced to mix right away, blurring the lines between tow two groups right off the bad. And supporting players seem to have a little more going on than their counterparts in Sullivan & Son's bar, even if it's only a little bit.

Part of the credit can go to John C. McGinley, who plays Brody's boss, Mr. Mansfield. Mansfield is sort of like Dr. Cox, McGinley's character on Scrubs, because he's a demanding hard ass. But Mansfield is a little more willing to admit he cares, and reveals something of himself to his underlings. He tries to mold them into himself because he's found success and he wants that for them, too.

In the second episode, "Off to the Races," which aired just after the first, Mansfield meets Jennifer, whom he's been counseling Brody to ditch, leaving more time for his career. Mansfield takes an instant shine to the girl, and admits to Brody that he knew he would, given Brody has good judgment. This is something we'd never see from Dr. Cox, and makes the whole situation, with Body torn between love and his profession, more complex.

The three main actors aside, though, I haven't found any way to connect with the rest of the cast, co-workers to Jennifer and Brody. Played by Rory Scovel (Zach Stone is Gonna Be Famous) Alexis Knapp (Pitch Perfect), James Earl (Glee), and Rene Gube (a writer on TBS's Men at Work), none of these stand out as someone to watch. At least not yet.

I can't say that Ground Floor has truly won me over yet, but it's earned a few more episodes. Given the extremely poor way in which Cougar Town began, before growing into a beloved favorite, there's every chance that Ground Floor can do the same, as it did have a better initial two installments. The premise is a little flimsy, but the actors and the writing give us a bit more than might be expected, so there's definitely hope to be found.

Ground Floor airs Thursdays at 10 p.m. ET on TBS.

"One More Time" to SULLIVAN & SON

Article first published as "One More Time" to SULLIVAN & SON on TheTVKing.

As I sit down to write a review of the season two premiere of TBS's Sullivan & Son, "One More Time," I looked back at my article last year about the "Pilot," and realize that I want to say practically the same things. It's a funny, charming show that is thoroughly enjoyable to watch, even if the story and premise don't hold up to scrutiny. Yes, there are plot holes, but it's silly and heart warming and that makes it worth my time. It's not stupid or groan-inducing, and that puts it head and shoulders above many other sitcoms.

At the start of "One More Time," it is not revealed how much time, if any, has passed since the season one finale. Yet, that only adds to my fascination with the series. The bar where the show takes place is timeless, with the feeling that one can walk in ten years after the first visit and nothing will have changed, including the patrons. It's sort of like Cheers, in that everyone knows everyone's names, as well as quite a bit more, and they welcome one another as a family. They just enjoy being together.

The 'B' plot of "One More Time" is a very typical Sullivan & Son story. Melanie (Valerie Azlynn) realizes that Owen (Owen Benjamin), Roy (Roy Wood Jr.), Ahmed (Ahmed Ahmed), and Hank (Brian Doyle-Murray) all lack some form of sports knowledge, and so sets about to fill in the gaps. The tutoring sessions quickly become group ones, with the format not unlike Alcoholic Anonymous, except that the flaw each has is that they aren't as knowledgeable as they pretend to be, rather than having a drinking problem.

This is absolutely hilarious because they are in a bar, and are awarded drinks for learning things. Hank's confusion that he is actually at AA for a minute is a bit odd, especially because he immediately drinks after, and we don't need hit over the head with the comparison quite so overtly. However, the chemistry of the characters and the choosing of such a standard problem for the setting make the story work, even though it's completely unrealistic that they need intervention for not knowing an obscure rule or two about a game.

 Of course, they have to make Melanie a part of the larger hole, and so her knowledge gap is about Sex and the City. Perhaps a bit cliche, to be sure, but by including her, she doesn't seem like an arrogant outsider. Had she just lorded her wisdom over the others, "One More Time" would not have been as good. By giving the guys a chance to assist her, even if they aren't all typically the type of guy who would have actually watched the girl-led show, it evens out the playing field.

The 'A' plot confused me a bit, though. It involves Susan's (Vivian Bang) husband (Community's Ken Jeong) coming to the bar, seeing how fun it is, and giving up his career to work there, too. Steve (Steve Byrne) isn't so pleased to have his brother-in-law around, especially because his parents make it clear they don't want to support Susan's family. Plus, the doc goes too far when he gets all of his co-workers drinking, too, and soon the hospital is almost completely without staff. Luckily, Steve helps them see that life balance is more important than just letting off steam, and they go back to work.

There are all kinds of problems to cite here. Susan's husband doesn't know pizza and beer are good prior to his visit? All of these doctors think they can just give up their careers and incomes? The local hospital is staffed only be a couple of dozen Koreans and three Jewish guys? It's OK for Steve to quit his job but not his brother-in-law? Not to mention, I was sure Susan was single in the first season, though I have been unable to confirm that on google.

Again, though, it's the overall tone of the series that wins out, beating its flaws. The story is amusing and it works for the environment. Jeong, whom I sometimes find over-the-top obnoxious in certain roles, stays within the boundaries Sullivan & Son is accustomed to. Steve's family interactions are a major selling point of the show, and he's a solid addition to that clan that will hopefully return again.

As such, although I wouldn't look too closely at "One More Time," I was completely entertained for the twenty-some minutes it took to view the episode. I like this cast and I like what they're doing, despite any complaints. It feels like the show is made of a bunch of buddies hanging out, and it makes you want to spend time among them. It's great escapism fluff to make you smile.

Sullivan & Son airs Thursdays at 10 p.m. ET on TBS.

Cougar Town Sweet and Funny In Its Old Age

Article first published as Cougar Town Sweet and Funny In Its Old Age on TheTVKing.

Cougar Town, having successfully relocated from ABC to TBS this year, wraps up their fourth season with the two parter "Don't Fade On Me; Have Love Will Travel." The Cul-de-Sac gang plans a trip to the Bahamas, but when Jules (Courteney Cox) learns that her father, Chick (Ken Jenkins), has Alzheimers, she convinces her friends to give him the dream trip he has always wanted to Los Angeles.

Surely, it saves quite a bit on budget to film a "location" shoot in the same city the rest of the series is taped in, even though the show is set in Florida. And it does feel a little surreal to watch actors who live in Hollywood walking the streets and commenting on what a weird town LA is. Yet, like most of Cougar Town, it strangely, inexplicably works in a very delightful way.

Except for the shot we get of Tom (Bob Clendenin) actually in the Bahamas. That looked super fake, definitely filmed on the green screen in Travis's apartment. In real life, not in the story. I do believe Tom actually went there, for the sake of the plot.

"Don't Fade On Me" and "Have Love Will Travel" are incredibly moving episodes. Cougar Town is funny, but it also has always handled the emotional side of itself well, not just in "special" episodes or as it ages, as some sitcoms do. Seeing Jules worry about, and take care of, her ailing father it a wonderful thing, forcing her to deal with emotions that she would rather avoid. The way her friends rally around her is awesome.

That's what Cougar Town is about: friends that are like a family. These people love one another and support each other through everything. They are always around, and willing to help. Some of them may say things don't sound that nice, but there's genuine affection behind the front, and they all understand that. So if there's anyone left out there that still thinks the series centers around older women chasing younger man, get over it, please.

The unfortunate thing about this arc would be if Cougar Town chooses to kill off Chick. While not a main character, he pops in on a decently regular basis, and is an important figure in Jules's life. I love Jenkins, and don't wish to see him depart the series, but I also don't think we need that level of grief anytime soon. Eventually, everyone loses their daddy. However, it would be heartbreaking for Jules to do so now. Maybe in the final season, but please, not before.

I love that Cougar Town gets Tippi Hedren (The Birds) to cameo as herself, giving Chick his dream date. It's an unexpected star to bring in, but with recent Alfred Hitchcock film projects, she should be back in the public consciousness, so she's not too far out of mind. Very nice.

Aging has been a theme this season, not just in an episode or two, with an older lady, Anne (Shirley Jones, The Music Man), and her husband moving to the cul-de-sac and joining the show on a recurring basis, the main characters embracing the good parts of getting older, and now Chick showing us the bad. It is an interesting direction for the show to head in, and not an entirely expected one, as most television doesn't illustrate this particular aspect of the human experience very often. But Cougar Town has never been most television, so it's terrific that they've found yet another way to be different.

 The first few seasons of Cougar Town do let Jules have a dating life, but she's married off now, so it's up to other characters to carry the romantic element of the show. Finally, in a move that fans have long been waiting for, but had to wait until Travis aged a bit, Travis (Dan Byrd) and Laurie (Busy Philipps) are together.

This two-parter sees them on a rocky start, not able to find a moment to share their first kiss, and stressing out about it. It seems like fate is against them, and they do soon break up, which is what many a show would do to draw out such a plot. But unlike its peers, Cougar Town finds a way to bring them back together, totally naturally, in a very romantic moment.

I don't know if they will be together for the rest of the show or not; that's impossible to predict. But they are together for now, circumstances be damned. Their issues can be tacked up to their worrying and stress, rather than an actual message that they shouldn't be together, and it just feels right. Laurie provides a logical reason for Travis to stay part of the group, so he's not just the creepy kid hanging out with his mom, and Travis lets Laurie grow as a human being with actual depth. It's a wonderful coupling, and it's oh so satisfying to see it come together.

Bobby (Brian Van Holt) also has a gal, Riggs (Maria Thayer), who unfortunately doesn't go on the trip, though I guess everyone can't be included. He has long been the single one, the constantly lonely man. I do think it's time for him to find happiness, though. If not with Riggs, who I see as a perfectly acceptable candidate, than with someone else. Cougar Town doesn't need to have anyone dating; it's good enough just to focus on hanging out. Thus, hopefully everyone finds love and settles in for another several seasons.

I guess a theme of this article is that Cougar Town does it differently than most comedies, and I can't stress enough that it really does. It has a certain tone and way about itself that sets it apart. The characters and writers are completely comfortable in this direction, and don't seem to second-guess what "sells" on television, which is refreshing. They also do it really well, which allows them to depart from convention without being crucified for it. The television landscape would be much poorer without it, which is why I'm very happy to see that TBS has renewed it for a fifth season.

I've been concentrating on the mushy stuff, but there are also a lot of funny moments in these episodes. Grayson (Josh Hopkins) is stuck on his past, remembering his days as a model in LA. The doctors' office that Jules takes Chick to has many of the Scrubs, another series by the same creator, Bill Lawrence, doctors listed on the sign. Poor Tom is still dumped on, but at least he's finally included. Andy (Ian Gomez) tries to make everyone admit he's Latino, even though he never acts like he is.

In short, Cougar Town continues to be a humorous and heart-warming story of a group of best friends who drink a lot of wine. Exactly what its fans want it to be.

Cougar Town pads over to TBS

Grade: 90%

ABC’s COUGAR TOWN has a strong following and a determined staff, but sadly, that wasn’t enough to keep it on network TV. Luckily, in this modern age, there are other platforms willing to take such gems and keep them going. On January 8th at 10 p.m. ET, TBS premieres COUGAR TOWN’s fourth season.

I have been a big fan of COUGAR TOWN since mid-season one. Once the first few episodes got the titular premise out of the way, and the series settled down into a grown up version of Friends with lots of wine, it became something really special. The question is, how long can it retain this magical feeling?

Season three was helped tremendously by the amount of love and buzz. Creator Bill Lawrence and his cast traveled the country, hosting screening parties at bars on their own dime. They all took to twitter. There were web videos. Bottles of wine were shipped out. All of these things likely contributed to an aura that went beyond the television screen, and energized those who would tune in.

That does set a dangerous precedent. This year, with just a commercial or two to psych fans up, the energy felt down. Of course, one does not expect the people behind a show to keep up such a huge and expensive slate of promotion. But because it made viewers feel like a part of something, there has to be a let down when it’s over.

Which is not to say that season four is bad, by any means, but simply to explain the headspace the precedes such a viewing, and to give a warning to not build up your expectations beyond what they normally are for what is really, at its core, an enjoyable, lovely, and entertaining series.

Recently, I sat down and marathoned the first six episodes of the new run. Many of the same humorous bits were present, and the series has not lost a thing since transitioning onto cable. Each of the characters definitely retained their identities, and the story arcs progressed naturally from where they left off. Most importantly, I laughed quite a lot out loud.

However, for a reason I couldn’t quite put my finger on, the premiere, “Blue Sunday,” just felt like a little bit less than earlier seasons. Later episodes were better, for sure, especially the second one of the season. But the long-anticipated return was just slightly less than I’d hoped for. I emphasize the word slightly.

I won’t give too much away, plot-wise, but here are the basics of the initial set up. The story resumes one week after the season three finale, with Jules (Courteney Cox) and Grayson (Josh Hopkins) getting used to married life. Ellie (Christa Miller) warns Grayson that anything he does twice the first week is a precedent, and he must continue to do those same things for the rest of his life. Obviously, this isn’t a realistic expectation, and what works in one marriage won’t necessarily translate to another couple. Oh, and Jules is mad at Grayson for something he did in her dream.

Meanwhile, Travis (Dan Byrd) seeks to avoid a messy conversation with Laurie (Busy Philipps), so he takes his father, Bobby’s (Brian Van Holt), advice and runs from his problems. After all, if you don’t deal with them, they just go away, right?

The rest of the stories continue on from there. There’s plenty of relationship drama, some insight into the origins of the relationships between the various characters, and a lot of laughs based on running gags. Whether it’s Ellie approving new rules, Laurie acting the slut, Jules being a little too in love with her son, or Andy (Ian Gomez) crushing on Bobby, these things continue to just work.

I don’t know that I noticed the content turning any more adult than it already was. Sure, a title card references greater freedom on cable, and perhaps episode six goes a little bit further with a visual gag than they could have previously done on ABC. But overall, I’d say things stay pretty much the same. Which is what fans have hoped for.

I think fans will be pleased with the return, and find little to complain about. If you loved COUGAR TOWN before, you’ll continue to love it. If you liked it before, you’ll continue to like it. Just be grateful that, like Tom (Bob Clendenin), we have been allowed to continue to look in on this group of funny people for another year.

Play for me, Wedding Band!

TBS premiered a new hour-long dramedy series this past Saturday night called Wedding Band. Yep, the network known for Tyler Perry sitcoms and stale comedies, both new and in syndication, began a show of a different format on a night where virtually no one airs any new television episodes. It has to suck, right?

Actually, quite the opposite. It's compelling! The characters are well thought out, the cast is terrific, fantastic music with interesting arrangements adds to the fun, and the first story is both entertaining and moving. Let's hope, with virtually no competition on Saturdays, save BBC America, Wedding Band can find an audience. Let's also help, with Wedding Band and the-soon-to-launch fourth season of Cougar Town, TBS has finally become a network worth watching! Sure, it's only two shows, but it's a start!

Wedding Band follows four guys who play have their own band that performs at weddings and various other functions. There's Tommy (Brian Austin Green, Desperate Housewives, Terminator: The Sarah Connor Chronicles), the lead singer, who is somewhat of a player, but only until he finds the right woman; Eddie (Peter Cambor, NCIS: Los Angeles, Notes from the Underbelly), who has to balance fatherhood with his passion; Barry (Derek Miller, Secret Girlfriend), the goofy drummer with a knack for pyrotechnics; and Stevie (Harold Perrineau, Lost, Sons of Anarchy), the new guy who is tired of being a studio musician and wants to hit it big as a real part of a band. He thinks that he has found his chance in this group.

Stevie may be right. I don't know if the actors are doing their own singing or playing, but if it's fake, it isn't obviously so. They perform arrangements of popular songs, both new and old, crossing genres, and they sound really, really good. They take what they're doing very seriously, which shows. It's no wonder that, by the end of the "Pilot," they are being sought out by Rutherford (Melora Hardin, The Office, Monk), Seattle's top wedding organizer, who previously had hired their arch-nemesis group, led by a real douche (Ken Marino, Childrens Hospital).

In the "Pilot," the gig that gets them Rutherford's attention is one in which they are playing for Tommy's ex, Sara (Bree Turner, Grimm). Yet, as hokey as the sounds as a premise, it is executed with the utmost sincerity. Sure, Tommy still has feelings for Sarah; she's the one that got away. But he also loves his buddies, and he's not about to (intentionally) do anything to jeopardize the band. This isn't just a weekend hobby for the guys. it's something they want to devote their life to. Rutherford can help that.

Which doesn't mean there aren't any shenanigans. One of the group does hook up with Rutherford, and the boss's adorable assistant, Rachel (Jenny Wade, The Good Guys, Reaper), who happens to be engaged, catches Tommy's eye. Yet, all of the main characters are upstanding citizens who seemingly would not cheat on their significant others, which actually makes them all the more charming and easy to root for.

The non-band and non-romance scenes are also great. There's a birthday party that lets everyone show off a bit of their personalities, and an hour does not seem too long a format, given the way it plays out in the first hour. There's some drama, to be sure, especially when Sara makes a play for Tommy, which results in a boob mishap, and as Eddie lies to his wife, Ingrid (Kathryn Fiore). But none of it plays out in a completely predictable or boring way.

This band needs to find success. I'm not just talking about within the story, because I want the show itself to get some attention. It's a special series that could easily slide onto a broadcast network and not look out of place. It deserves to do well. It's doing it's part, making quality, now the audience just needs to find it.

There's nothing else on TV Saturday night. What have you got to loose by checking out Wedding Band, which airs at 10 p.m. ET on TBS?

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

Come on down to Sullivan & Son

TBS's newest comedy is Sullivan & Son, which kicked off with two episodes this week. The "Pilot" begins when Steve Sullivan (Steve Byrne) visits his hometown for his father, Jack's (Dan Lauria, The Wonder Years), retirement party. Though Steve is an attorney in the big city, he decides that he can't let his father sell the bar, which is an institution in the neighborhood, to a stranger. So he gives up his career and fiance to move home and take over.

I have a lot of mixed feelings about Sullivan & Son. Let's start with the positives. First, there is a ton of charm to this series, oozing out every pore. It's been awhile since a sitcom was really about a community brought together, like this one is. There is family and surrogate family, the bar serving as a gathering place for friends and neighbors.

The acting is also pretty decent. The cast is staffed with a bunch of terrific performers, including Christine Ebersole (Royal Pains), Brian Doyle-Murray (Groundhog Day, The Middle), Jodi Long (Eli Stone), Vivian Bang (Yes Man), Owen Benjamin (Pretend Time), Valerie Azlynn, and comedians Roy Wood Jr. and Ahmed Ahmed. Each has already developed a well defined character, and the group chemistry is absolutely delightful. They are totally believable as a gang of people who just love spending all of their time hanging out together.

The individuals relate to each other well outside of the larger group, too. In the second episode, "The Bribe," Steve butts heads with his Korean mother, Ok Cha (Long). She wants to continue to pay off the health inspector, but now that Steve is running things, he refuses, wanting to go by the book. This results in him getting shut down and, after running an illegal backroom bar, arrested. The scene where Steve and Ok Cha confront each other in jail, neither backing down, but coming to an understanding anyway, is a great picture of an authentic, though not necessarily typical, mother / son relationship.

The stereotypes played upon aren't a bother either. Sure, Ok Cha is stubborn and cheap, which viewers are told is standard for Koreans. However, these adjectives do actually apply to Ok Cha, and no one tries to attribute them to her children (unless they deserve it), so while it may seem couched in a slight bit of racism, it's actually handled just fine.

Now, the negatives. Why is Steve's bar packed before 3 p.m. on a Tuesday? The characters kind of poke fun at this conceit, but that doesn't make up for the fact that it's a silly thing. I mean, perhaps if it was just Steve's friends at the bar, it might be excusable. But wider shots reveal plenty of other patrons. This does not make sense.

Also, while the characters in Sullivan & Son are said to do nothing but drink all the time, none of them are too pathetic. No one looks unwashed or smelly or in need of counseling. Even Owen (Benjamin), who is unemployed, seems to be doing just fine. Carol (Ebersole), the bar floozy, isn't ravaged by disease of a hard life style. It just doesn't hold up at all that these are the types of people that spend all day, every day consuming copious amounts of alcohol.

Then, some of the humor is ridiculous. Owen suddenly gets smart just by giving up alcohol for a few days, though he really has no motivation to do so, since everyone else continues to drink. Susan (Bang) gets a gun to hit her mother with. Someone needing a tow waits by their car all week. These occurrences aren't that funny to begin with, and pull the viewer out of the fantasy world the show presents.

Overall, Sullivan & Son has heart, but the concept could use some work, and the humor is uneven. A few tweaks and this could be a really fine show. Tipping the other way could ruin it. I'll watch for now and see which, if either, happens.

Sullivan & Son airs Thursdays at 10 p.m. ET on TBS.

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

Men at Work is "Plan B" for me

The latest episode of TBS's Men at Work is "Plan B." Neal (Adam Busch, Buffy the Vampire Slayer) hooks Milo (Danny Masterson, That '70s Show) up with his hot friend, Hannah (Laura Prepon, Are You There Chelsea?). Milo likes Hannah, but as Neal keeps intruding on their dates, Milo begins to wonder if Hannah is Neal's Plan B, should things not work out with his current girlfriend, Amy (Meredith Hagner, As the World Turns). Milo is right, and Hannah, thrilled to see Neal's interest, makes a play for him, leaving Neal with a tough decision to make.

This is a story that has been done before about a bazillion times. Neal doesn't realize how good he has it in his relationship until he sees another choice. Then he thinks about what Amy means to him, and makes the right decision. Milo is merely present as a way to bring Hannah in, without any good character development for himself. Hannah, while played delightfully by a talented actress, is also simply a catalyst for Neal's story. This entire plot is Neal's. Busch handles it well, but it's nearly impossible to do a fresh take on such a been-done story, and Men at Work fails to make it seem current.

The B plot of "Plan B" is no better. Tyler (Michael Cassidy, Privileged) and Gibbs (James Lesure, Las Vegas) pretend to be a gay couple to join an expensive gym that offers two-for-one membership deals. This is merely an excuse by the writers to make these too masculine men act gay, and try to mine humor in that. Men at Work deserves a little bit of credit for not playing too much into stereotypes or getting crass in the story. But it's incredibly predictable, right up to when they figure out that the two-for-one deal did not specify that they had to be a couple to use it.

I originally watched the pilot of Men at Work, and decided it would not be a series worth my time reviewing. It seems like something completely unoriginal, just mixing up the ingredients of previous sitcoms in a slightly new way. The characters tended to be broad and unfocused, and the stories trite. The cast is decent, but not amazing enough to warrant regular viewings for a show that already feels like every week's episode is a reruns, even though they aren't.

"Plan B" doesn't do a lot to dispel those notions. It's better than the first episode, for sure, but there's still a lingering sense of nothing special. It's a diverting way to spend a half hour, but no jokes really stuck out as being memorable, and I am unlikely to dwell on any scenes after I've finished watching. It's not bad, per se, it's just not great, either. In today's world of a million programming choices, with enough gems to keep anyone busy, it's not worth it to continuing watching Men at Work.

Part of the problem is that other networks have recently tried a similar formula, about buddies at this stage of their lives, and done better. Man Up springs to mind, in spite of its cancellation. This comparison hurts any impression Men at Work seeks to make.

Most of these actors have been a part of better shows. One hopes they will be again soon. And Men at Work definitely makes me long for the arrival of Cougar Town so TBS can have a good comedy again, something it has not seen since ending My Boys.

If you choose to watch, Men at Work airs Thursdays at 10 p.m. ET on TBS.

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

Glory Daze a Slow Starter

     I just finished watching the pilot of TBS's new series, Glory Daze. It's a period piece about a group of college in freshman in 1986. Think Animal House: The Series and you'll be in the ballpark of what the show is.

     About halfway through the first episode, I was bored, couldn't tell the main characters apart (they all look alike!), and was fighting the urge to turn it off. I was also getting frustrated with TBS for pulling the brilliant My Boys and replacing it with this drivel. Then things turned around, and I actually enjoyed about the last ten minutes. I did not set a season pass on my TiVo, but I did decide to record episode two next week.

     The draw is certainly not the actors. I could list their names, but they're all virtual unknowns, with only a few credits between them, so it wouldn't give the perspective viewer any information. Small parts went to Tim Meadows, Cheri Oteri, and Brad Garrett. They were each funny, but had little time.

     No, the draw is the bond of brotherhood. Having been in a fraternity myself (though I pledged in 2002, not 1986, when I was three), I saw glimpses of bonds that really meant something. Sure, this series's frat in an overblown stereotype. But that might just work for it.

     I guess what I'm most confused about is why this show is trying to be an hour-long drama instead of a sitcom. I can't recommend it, but there was a glimmer of something near the end, so you never know. Glory Daze premieres Tuesday night at 10pm on TBS.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.

Article first published as TV Preview: Glory Daze a Slow Starter on Blogcritics.

Conan - TBS Premiere

     Last night, after spending the better part of a year "Legally Prohibited From Being Funny on Television" (as was the name of his comedy tour), Conan O'Brien returned to TV; still sporting his time-off beard. His new show — airing on TBS — is called Conan, which, according to the host, was to make it harder for him to be replaced. In fact, there were a number of jokes told last night about his brief run as host of The Tonight Show, and made at NBC's expense.

     Ironically — as Conan did not want to do The Tonight Show at midnight, hence his departure from NBC — Conan's 11pm timeslot means that TBS's other late night show, Lopez Tonight, was bumped from 11pm to midnight. However, George Lopez has been warm towards Conan since the announcement of the new show, and seems to harbor no ill feelings. In fact, having the more famous Conan as an opener will likely help Lopez's ratings.

     Everything that fans love about Conan has come back with him. NBC allowed him to take his characters, and so the Masturbating Bear made an appearance in last night's premiere. Andy Richter has returned as sidekick, and most of the show's creative team has moved over from NBC with the host. The glaring exception is the departure of long-time bandleader Max Weinberg, who has been replaced by Jimmy Vivino. Max has recently suffered health problems, and his family stayed in New Jersey when Conan's crew moved to California. The band is now known as The Basic Cable Band, or BCB on certain logos.

     Long-time fans of Conan should have few complaints. The new series sticks to the brand of humor viewers are familiar with; TBS even allows Conan to push the envelope a little further in terms of content than network television. It's a comfortable gig that will hopefully last a long time. It should be helped along by the flight of many television viewers from network into cable.

     Last night's premiere featured guests Seth Rogen and Lea Michele (Glee), as well as Jack White, whom Conan sang with. There were also cameos by Ricky Gervais and Don Draper (the Mad Men character portrayed by Jon Hamm).

     Conan airs Monday through Thursdays on TBS at 11pm.


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Article first published as TV Review: Conan - TBS Premiere on Blogcritics.