THE GOOD WIFE Remains "Shiny"

Article first published as THE GOOD WIFE Review Season 6 Episode 5 Shiny Objects on Seat42F.

CBS’s THE GOOD WIFE has a very intriguing recurring character in Elsbeth Tascioni (Carrie Preston), one they cannot resist bringing out on a fairly regular basis, thankfully. This week’s episode gives us a peek at the genius who is easily distracted by “Shiny Objects,” letting her take the opening of the hour, and showing glimpses of the way her brain works throughout. It is a fascinating.

Unfortunately, Elsbeth is not the focus of most of the hour. Don’t get me wrong; I really like “Shiny Objects” as an episode. It has some wonderful moments, exciting legal battles, and the type of compelling drama that THE GOOD WIFE is known for. The story is interesting and the characters are well-developed. It’s just, with the Elsbeth-centric opening, I was looking forward to more of the quirky lawyer, and am disappointed she is only in a few scenes, in a relatively minor capacity. Even her love interest, Josh (Kyle MacLachlan), showing up is barely a quick blip. She should get more.

It’s hard to point to one main plot for this week’s episode because there are several. Obviously, there’s the case where Alicia (Julianna Margulies) and Dean (Taye Diggs) face Elsbeth in court is important. Then, there’s Kalinda’s (Archie Panjabi) reunion with Lana (Jill Flint), an FBI agent, which is connected to the tale of the law firm’s computer data being held for ransom and the search for the blackmailer. This also leads to Diane (Christine Baranski) having to face David Lee (Zach Grenier). And Alicia has to plan the important announcement of her candidacy. It’s a pretty full hour.

If pressed to pick a favorite subplot of “Shiny Objects,” other than the Elsbeth stuff, I’d have to go with the Diane vs. David Lee showdown. David Lee has an email that Diane needs. Diane still controls the lease for the office space David Lee uses. In recent struggles, Diane has been losing, but now she has a much bigger hand to play. She finally gets one over on him, getting him to give up the email in exchange for her consideration of transferring the lease, not a promise to do so, proving how much more important the lease is than the email. That should wipe the smirk of his smarmy face for an afternoon.

I have to say, though, I’ll be disappointed if Florrick, Agos, & Lockhart moves right back into the old Lockhart/Gardner building. Admittedly, the new space has plenty of flaws, but it’s been nice to get some fresh sets. I assume the former place would undergo some kind of makeover, if for no other reason than to provide three main spaces for the three named partners. But part of THE GOOD WIFE’s strength is that it keeps moving forward, and returning to Lockhart/Gardner would an uncharacteristic step back.

One thing that is not a step back, though it some ways it may appear to be, is the recreation of that famous Alicia / Peter (Chris Noth) press photo on stage. Now, it’s Alicia running for office and Peter supporting her, rather than The Good Wife standing by her cheating man. It’s not repetitive because the power dynamic has shifted so much, even though Peter still needs her more than she needs him, and Alicia has come quite far. It highlights Alicia’s arc and growth more than anything.

Unfortunately, this may also be the end of Alicia and Peter as a couple. They’ve never been all that solid, throughout the course of THE GOOD WIFE, but after Will’s death last year, things have been even more tense between them. When Alicia refuses to give in to Peter’s demand that Finn (Matthew Goode) not introduce her, it almost ends their arrangement, Peter being furious and not used to having to give in to Alicia. It shows us just how far apart the two have become, and makes any type of reconciliation, which is a long-shot before this anyway, totally unrealistic. I hope there are no shippers for the two of them left.

Speaking of shippers, Kalinda / Cary fans will be let down when Kalinda falls back into bed with Lana in “Shiny Objects.” Kalinda definitely cares much more for Cary and sees Lana as a tool she needs to use, and yes, sex is part of that. But I doubt Cary will understand if he confirms what he already suspects about the girls. And any hope that Kalinda could just pick up with Lana after losing Cary disappears when Kalinda finally feels something for Lana, but for the wrong reasons, driving Lana away.

Kalinda has, arguably, the messiest love life of any character on THE GOOD WIFE. Cary is her chance at stability, but (SPOILER ALERT!) since the actress is leaving the series at the end of the year, there’s virtually no chance of them ending up together. I feel like Kalinda only seems put together, and knows what she wants least of anyone. I’m rooting for her to find meaning by the time of her departure, as she deserves it.

“Shiny Objects” is not a “big event” episode (we’ll probably get one of those soon for November sweeps), but it is a fine hour of television, something THE GOOD WIFE manages to pull off most weeks, one of the few broadcast shows to do so. As long as they keep up this level of quality, I’ll watch them forever.

THE GOOD WIFE airs Sundays at 9 p.m. ET. (or so, depending on football run-overs) on CBS.

"Dear God," The GOOD WIFE is Good

Article first published as THE GOOD WIFE Review Season 6 Episode 3 Dear God on Seat42F.

On THE GOOD WIFE, all of Eli Gold’s (Alan Cumming) considerable political prowess and manipulation couldn’t get Alicia Florrick (Julianna Margulies) to run for State’s Attorney. Leaked news stories, NPR mentions, and Gloria Steinem (herself) couldn’t change Alicia’s mind. In the end, it’s James Castro (Michael Cerveris), the one currently holding the office, and who’d like to keep it, whom convinces Alicia to enter the race in last night’s episode, “Dear God.” What a tool!

Castro is his own worst enemy. He goes after Alicia’s partner, Cary (Matt Czuchry), and Alicia lets him slide. He bullies her and threatens the future of her firm, and she lets it slide. She even is clearly deciding to stay out of the race after knowing he will win it and how bad he is. Yet, he pushes just a little further, invoking Will’s name in a shameful fashion, and that’s the final straw. If he would just keep his big trap shut, he could retain his job. But because he is scared, he keeps acting out, and eventually, he causes exactly what he is trying to avoid.

I know it isn’t a foregone conclusion that Alicia will win the race, but it seems likely, barring a strong third party entry. She’s pulling way ahead of Castro, and he’s obviously a terrible choice for the job. THE GOOD WIFE is not afraid of shifting around its players, putting them in new positions, and the State’s Attorney’s office is a long-established set piece on the series. It is sad, though, that it could take Alicia out of her new firm right when it’s getting its legs.

The one who will lose the most by Alicia running is Cary. He and Alicia started Florrick, Agos, & Associates together. Lately, their power is eroding because Diane (Christine Baranaksi), Dean (Taye Diggs), and other former Lockhart / Gardner employees have come in and tried to grab power. We see this week that they are gaining ground and Alicia isn’t in any particular hurry to stop them. With her out of the game entirely, Cary stands no chance against the organized team of experienced lawyers.

“Dear God” has many brief cut-scenes showing what is going on at the firm. While Cary, Alicia, and Diane speak with Cary’s case worker, Joy Gubick (Linda Lavin, Alice), viewers are treated to glimpses of their workplace. It’s an interesting way to tell the story of Cary losing his own firm, and it certainly makes one sit up and pay attention as they occur.

Even better, THE GOOD WIFE makes Joy important. At first, she seems to be a clever story-telling device, something the show does from time to time. But late in the hour, Joy goes before a judge and has major sway over whether Cary will go back to jail or remain free. Up to this point, she isn’t portrayed very positively, and it’s no wonder Cary thinks he is screwed. Buy Joy is revealed to be a very fair judge of character, good at her job, and she ends up supporting Cary when no one else can. It’s a beautiful pay off for the character and the episode.

We find out in “Dear God” that Kalinda (Archie Panjabi) didn’t have Cary’s accuser killed after all! It appears in the previous installment that Kalinda gives up the witness to his kingpin boss, spelling certain death. Now, we learn Kalinda also warns the man so he can escape. This will certainly have implications, likely bad ones, for all involved, in both Cary’s case and Lemond’s business. But at least Kalinda isn’t as cold as she appears, and Cary may forgive her for this misstep, as he never would if Kalinda were responsible for a man’s death.

The B plot in “Dear God” is fun, too. Cary’s client, Ed Pratt (Richard Thomas, The Americans, The Waltons), gets tired of the vicious arguing of the courtroom and decides, through civil conversation with his opponent (Robert Joy, CSI: NY), to take the case to a Christian mediator (Robert Sean Leonard, House). This throws Cary, Alicia, Dean, and their opponent, Carter Schmidt (Christian Borle), off their games as they try to adapt to a system based on open honesty, rather than rules of law.

I love this plot for many reasons. One, it highlights how ridiculous the courtroom posturing often gets. Two, it boasts great guest stars. Three, it takes our characters to a new environment. Four, it gives Alicia a chance to bond with her religious daughter, Grace (Makenzie Vega). Five, it all comes together with a very nice ending. And six, it’s just plain fun.

THE GOOD WIFE continues to excel. Each episode, “Dear God” definitely included, presents a complex puzzle that brilliantly comes together seamlessly in the end. The acting is phenomenal, which is why the show can reliably, consistently attract such talented guests and recurring players. The drama is compelling. Each episode is highly entertaining and smart. I marvel at how in maintains this high quality week after week, but it currently shows no signs of slowing down. Great job.

THE GOOD WIFE airs Sunday nights on CBS. Air times vary based on stupid, ridiculous, frequent football run-overs.

No "Issues" With THE GOOD WIFE

Article first published as THE GOOD WIFE Review Season 6 Episode 2 Trust Issues on Seat42F.

Florrick, Agos, & Associates, one of the law firms at the center of THE GOOD WIFE is quite messy right now. I guess that’s why, as this week’s episode title suggests, some are having “Trust Issues” with the company. With a named partner in jail, a couple of big clients become hard to hold onto, even while the staff is about to expand greatly, with some very good lawyers joining up. One wonders how this will all shake down, given the show’s penchant for not playing it safe, making stability a true uncertainty.

First, there’s Cary’s (Matt Czuchry) case. Despite a tape suggesting Cary’s guilt, he insists he never directly told clients how to do illegal things, meaning the tape is likely edited. The problem is, Kalinda (Archie Panjabi) can’t investigate because the firm’s drug kingpin client, Lemond Bishop (Mike Colter), will hurt someone and take his much-needed business away if she does. And when he does allow her to talk to some of his crew, supervised, she then has to make a decision to protect Cary’s case and condemn someone to death, or tell the truth and leave Cary locked up.

One guesses Kalinda will probably tell Bishop whom his mole is. We don’t see that in “Trust Issues,” but Kalinda’s OK with moral ambiguity, and she cares about Cary, who clearly isn’t doing well in jail. While Cary would never choose to let a person die for his freedom, Kalinda doesn’t have the same qualms. The question is, though, once Cary is out and knows what Kalinda has done, and that Kalinda is now an employee of his that he can’t fire, how will it change their relationship? This is sure to be an ongoing problem with far-reaching consequences.

At the same time Bishop is threatening to pull out, Deena Lampard (Megan Ketch), who has a considerable say in Chumhum’s future, is also losing faith in her team. Cary is supposed to be handling things for her, and Alicia (Julianna Margulies) and Carey Zepps (Ben Rappaport) have to try to step into an ugly class action. They manage to pull it off and she’s satisfied for now, but they also expose something Deena would rather keep secret, and her confidence in the firm is surely shaken. Without Chumhum, there may be no Florrick, Agos, so her continued happiness is vital.

Into all of this come the newbies. Diane (Christine Baranski), voted in as new named partner against Cary’s wishes, asks a mentee at her old organization, Dean Levine-Wilkins (Taye Diggs, Private Practice), to come along. He is skeptical at first, visiting Florrick, Agos’ under-construction offices and seeing scrambling to cover for Cary, but Diane’s insistence that there is promise here prompts him to not only join up, but bring along six department heads.

This many veterans will definitely change the way business is done at the startup, and not everyone is going to like that. Many of the founding members left to escape the big firm and its stifling practices. Now, those former bosses have followed, and Dean, at least, has been told he can help direct the new business. I assume Dean is a good man or Diane would never have told him her secret before the move. But it still makes me extremely uneasy, again, mostly because of Cary’s lack of involvement in these decisions. There will be drama here.

“Trust Issues” doesn’t show how Cary reacts to all this yet, but he is out of jail and the episode ends with him giving Alicia a hug, a first for THE GOOD WIFE. These two have been through so much together, and it’s a testament to their continued bond that they hug. This is after Cary knows Diane has been voted in, but perhaps before learning of Dean and the others. Will that knowledge change things? Or does Cary know Alicia has the firm’s best interests at heart, even when he disagrees with her? Even if the relationship goes sour, it’s nice to see this moment now.

Will Alicia stick with this firm she, more than anyone, has created? The pressure mounts for her to run for State’s Attorney, mostly because of Eli (Alan Cumming) pulling strings behind her back. He even has Valerie Jarrett (herself, a good cameo get, but not a great actress) call Alicia! Alicia is insistent that she will not get involved in politics, but as this plot keeps coming back over and over again, and we know that Eli is good at his job, one wonders if he might finally find a way to get her to break. And if she does leave Cary with the things she has done against his will, will he resent her for it? He certainly would have a right to.

Coming back to Diane, there is a beautiful scene in “Trust Issues” when she, Dean, and the others leave her former company. She steps into the elevator and whispers goodbye. There is a real sense of finality here. Diane is the last original main character left in this place, and her departure closes the door on the law firm that had been THE GOOD WIFE’s main setting for a very long time. David Lee (Zach Grenier), who was promoted to main character last season, remains behind, which implies that there could still be story left for Lockhart, Gardner, Canning. But it’ll never be the same, and for now, it feels more like an evil place than the warm home fans remember.

THE GOOD WIFE is excellent for its continued bold storytelling and its interesting characters, who have very different personalities, causing drama and strife even when no one is at fault. It’s an intense series, with many weeks seeing major developments, and an ongoing serial that is as engaging as anything on the broadcast networks. I continue to find it among the very best on the Big Four, and am glad it has managed to not only maintain quality, but get better with age.

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

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.

"Coach" Is the NEW GIRL Now

Article first published as "Coach" Is the NEW GIRL Now on TheTVKing.

Way back in the fall of 2011, FOX's New Girl introduced us to Jess (Zooey Deschanel) and her three new, male roommates. Lest we forget, though, the initial trio are not the ones we've come to know and love so much over the past couple of years. One part was replaced in episode two, never to be heard from again... until now.

Coach (Damon Wayans Jr.) was not dropped from the cast because his character didn't work. On the contrary, while Winston (Lamorne Morris) is his own person, not the same role Coach would have had exactly, many lamented that Wayans was committed to Happy Endings, a bubble show that ended up lasting three seasons (and should have gone on longer). Thankfully, because New Girl went for the slight retool, rather than the usual recast, and looking towards the bright side of Happy Endings' unfortunate demise, the opportunity is now ripe for Coach to return.

Last night's episode, "Coach," finds Coach dumped by his girlfriend, the reason he hadn't been around for awhile, and he comes to seek solace in his friends. Schmidt (Max Greenfield) and Nick (Jake Johnson) are still at odds, but they set that aside to comfort Coach, along with Winston. However, Coach's idea of coping is for the young folk, and Nick and Schmidt soon realize that isn't something they can handle any more.

Everyone has a friend who disappears while in a relationship, so this is a credible explanation of Coach's disappearance. It also resets the series, as Jess is the one lonely and abandoned at the start of the show, while Coach is now in that boat. I didn't love Coach's dynamic with Nick, Schmidt, and Winston, though. The other three already have a patter down, and Coach doesn't gel, playing the old friend who hasn't grown with them.

Normally, this would be a recipe for a one-off guest appearance, perhaps a very occasional recurring part. New Girl, however, is considering letting Coach stick around long enough to explore the full implications of such a reunification. "Coach," is the first of four installments Wayans is signed on to do, though if negotiations can be completed successfully, he may stick around full-time. As much as I think Wayans belongs on a series, I am torn as to whether this would be the right move. It depends on where the writers go with him next.

Coach brings out the worst in Nick. Desperately seeking Coach's approval, Nick not only disses Jess, but misspeaks about the status of their relationship, spurring her her to go out and flirt with a very forward man (a hilarious Taye Diggs, Private Practice). It's the first real test Nick and Jess have had since officially committing to coupledom, and it doesn't go well at the start.

However, true love wins the day and Nick and Jess make up before anything too bad can happen. While it might have been more interesting and lasting for Jess to sleep with Diggs' character ("we were on a break," anyone?), there's been enough depressing material lately, given Schmidt's plot. Because of this, I'm glad the series goes with the safer, but happier, route of having Nick and Jess confess their love for one another.

Will a Nick / Jess pairing grow stale in time? Some shows avoid putting together their leads too early, and while I've argued against this action time and again, I'm starting to see how this could be a problem. The comedy Nick provides is because he cannot grow up, and as gratifying as it is to see him rise to the occasion when a woman demands it, it makes me wonder where he will go from here.

Schmidt's isolation is his own choice, but it's very clear it's going to be temporary. He is constantly around his friends, finding excuses to come home often, and still hanging out with the others. He is going through something very painful, and he needs those he loves around, even Cece (Hannah Simone), if she can forgive him even a little. I love that things aren't instantly all right and the story is taking its time fixing the rifts, giving it a sense of realism.

There may not be room for Schmidt to return to the apartment if Coach stays, but allowing the cast to take over two units opens up multiple possibilities, including space for a permanent couple to get some private time. So overall, having Schmidt move across the hall is a very smart idea.

CeCe is deeply wounded by what Schmidt has done, which is why she encourages Jess to forget about Nick. But that's more about Cece's feelings than what is actually right for Jess, and CeCe thinks better of it soon enough, a sign that CeCe's condition is definitely improving. I look forward to when she can be a true part of the group again.

Winston's part of the half hour is, as usual, the weakest link. Accidentally buying a bunch of strip club dollars is a problem, but it's way too much money to seem at all believable, even for Winston, who tends to go big. And why won't his friends help him out at all? Not to mention, why waste a ton of the cash on unwanted clothing when you can just return to the place and use it little by little until it runs out? This is especially weird once we see the club offers a vast menu of takeout food, something that would definitely be a better purchase than a crappy hoodie. It's not like the cash expires.

"Coach" is a fairly typical entry of New Girl, in spite of the two big developments that occur. It isn't as funny as other installments, but it does serve the characters and the established arcs in an entertaining way. Hopefully, as Coach integrates with the others, we'll get some better episodes in the near future.

New Girl airs Tuesdays at 9 p.m. ET on FOX.

Check Out of PRIVATE PRACTICE

Article first published as DVD Review: Private Practice The Complete Sixth and Finale Season on Blogcritics.org

Spun off from Grey’s Anatomy in 2007, ABC’s Private Practice tells the story of a group of doctors who all work out of the same medical practice. After six seasons, the series ended this past January. Now, those final 13 episodes are available on DVD.

As much as it has always presented itself as an ensemble, Addison Forbes Montgomery (Kate Walsh) has always been the star of the series. Her entire journey over the past six years has been to find herself, find her man, and find her family. It’s been a long, arduous road, full of plenty of screw-ups along the way. Season six concludes her six-year story arc, as she considers marriage to Jake (Benjamin Bratt) — who may just be the one — while facing motherhood for the very first time.

Addison isn’t the only one hoping to settle down. Sam (Taye Diggs) also is tired of dating, if he ever did like it, and now is ready to be married again. But who will be the girl for him? Stephanie (Justina Machado), his new flame, with whom things seem to be going well with? Naomi (Audra McDonald), his ex-wife, who returns late in the season after a long absence with a few surprises? Or could it be Addison?

Meanwhile, Charlotte (KaDee Strickland) prepares to give birth to triplets, and is not very excited about it, while her husband Cooper (Paul Adelstein) and their son Mason (Griffin Gluck) feel just the opposite. Cooper and Charlotte’s union has never been an easy one, yet the love between them is so strong that one knows they just have to work things out in the end.

Charlotte may doubt her ability to be a good mother, but watching her with Mason, we are confident that the new babies will be well taken care of. This may not be the way Charlotte wants her life to play out, but Cooper is sympathetic, and this story, while testing their marriage, could result in an even stronger bond between them.

Violet (Amy Brenneman) tries to find a way to honor departed husband Pete’s memory and process the anger she still feels towards him. This is a very interesting take on mourning, since Pete and Violet are not exactly in a good place when he passes on. The story does as good job of presenting how someone might face the loss of a spouse not be entirely missed.

The rest of the cast have their stories, too. Amelia (Caterina Scorsone) builds herself back up from a painful low and Sheldon (Brian Benben) faces his own mortality while understanding he is not alone. Every one of the series story arcs is well served before the final curtain.

Creator Shonda Rhimes seems determined to bring each player full circle, completing the path they have been walking, and tying up the loose ends as neatly as possible. However, in doing so, season six has some weaknesses as well. Not every couple that ends up together feels as earned as they should. Things get a little too on the nose when Violet reveals in the series finale (SPOILER) that she has written a book called Private Practice. But compared with past seasons, which sometimes delivered not-so-satisfying arcs, this sixth one is stronger than most, and at least tugs at the viewers’ heart strings with aplomb.

The special features are light, the three-disc set containing only deleted scenes and bloopers. But since these are some of the best installments of the series, for the die-hard fan, the episodes alone should suffice.

Private Practice The Complete Sixth and Final Season is available now.

Private Practices shuts its doors

Article first published as Private Practice shuts its doors on TheTVKing

ABC's Private Practice came to an end this week after six seasons on the air. Some of the plot arcs over the years were fantastic, others not so much. But there are some wonderful characters here, and some memorable stories, and thus, it's sad that it's over. Especially since it ran much shorter than the series it spun off from, Grey's Anatomy, still going strong nine seasons in.

The main character of Private Practice has always been Addison Forbes Montgomery (Kate Walsh). Viewers meet her in Grey's Anatomy, the cheater in a bad marriage, and we watch her pull herself together, mostly after moving away to sunny California. Addison searches for love, both romantic and as a parent, and this all finally comes together for her in "In Which We Say Goodbye."

I don't know that the show has really demonstrated that Jake (Benjamin Bratt) is a better match for Addison than anyone else. To keep the drama going up until the end, they have their rocky moments in the final season. Still, it's thrilling to see Addison get her happy wedding day, and as long as she believes that Jake is the man she is meant to be with, who are we to complain?

Besides, we know that Jake is a good man. We've seen how he treats his daughter (Emily Rios), and what he does to make sure that Addison can keep baby Henry, whom she wants more than anything. He is the type of guy that will sacrifice his own desires so that the ones he cares about get what they need. I don't know that Addison deserves someone quite so good, considering all of her faults, but it's gratifying to see her happy.

The big surprise in "In Which We Say Goodbye" comes when Sam (Taye Diggs) and Naomi (Audra McDonald) hook up, and then she gets pregnant. This, alone, would be enough, and yet, Private Practice takes it a step further. Months pass, Sam goes after Naomi, oblivious about the baby, and the episode ends with their second wedding, Naomi having returned to the practice and her friends.

Is this the ending the makes sense for the characters? After all, when last we saw Naomi, she was happily engaged. Sam is in a relationship with a wonderful woman, Stephanie (Justina Machado, Six Feet Under) throughout the past few installments. Why break up these pairings at the last minute?

That's the thing about the Private Practice finale. It gives the perfect resolution for each character, one that will pull the heart strings of the viewer, even if it doesn't quite fit with where the plot was going. The emphasis is placed on giving us the sappy. I don't know if that's the goal of every show as it goes off the air, but because of the way this show has played out, it works here.

Other stories are more mundane, but still sweet. Amelia (Caterina Scorsone) probably has the least to do, but we see things are going well with her and James (Matt Long, Mad Men), and that's enough. Cooper (Paul Adelstein), Charlotte (KaDee Strickland), Mason (Griffin Gluck), and the triplets find their balance as a terrific family. I loved this most of all, Cooper and Charlotte being my favorite people on the show. Sheldon (Brian Benben) gets to be with the woman he loves, even though she is dying.

Sheldon's plot is the only one I complain a bit about in this group. I know that there is no way to avoid his love interest kicking the bucket, and thus, he will be sad, while the others are smiling. But this would have been OK if he had returned to his job, months later, and we could see him laughing with everyone else in that final scene. Instead, he is the sole one missing, and it casts a slight pallor, knowing that where he is cannot be nearly as joyous at the practice.

Is this woman even who Sheldon is meant to be with? He has a tendency to jump into a relationship full force, and it is easily conceivable that she is just the latest in the line. "In Which We Say Goodbye" would have us believe otherwise, that she is Sheldon's soul mate, but like Jake with Addison, we don't really see what sets her apart from the other women Sheldon has loved. Thus, I'm a little bit depressed that he leaves everything else that is good in his world to care for her. He should have kept his job, and with it, the network of support at work.

Finally, we get to Violet (Amy Brenneman). She goes stag to the wedding, a sign that she is moving on from Pete and finding herself, something the character has always struggled with. This is a fitting ending for her, as Violet's plots have always been more about self-discovery and triumph, rather than depending on a love interest, the way other characters have. We get to see her doing well, probably temporarily, until the next tragedy comes along, but at least she'll have this moment in time.

It's a little too on the nose that Violet's second book about "joy" is called Private Practice. Are we supposed to think that everything we've seen over the last six years came from her book? I wouldn't think so, considering the early days were so Addison-driven. I enjoyed the characters debating whether it was a good title or not, but it does take one out of the story a bit in that moment, sacrificing the believable world the characters inhabit for a joke.

Violet also treats a patient (Sarah Ramos, Parenthood) in the finale that doesn't want to leave her. Series creator Shonda Rhimes has stated that the patient's words are her message to the fans. So Shonda doesn't want the show to be canceled, but realizes it's for the best? I'm not sure I quite understand. However, it's her show, so she can say whatever she wants. I just thank her for making it.

That's kind of my overall impression of Private Practice at this moment. I didn't always agree with the direction, and sometimes it frustrated the hell out of me. But it was definitely Shonda's vision, and at the end of the day, she knows how to jerk a tear, or help an actor develop a fully realized person. As I watched the last hour, I couldn't help but thinking, despite my periodic disappointments, it was a pretty darn good show, overall, and I wasn't ready for it to end.

At least it went out with a great last season. Private Practice will be missed.

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Private Practice stages The Intervention

     In an event dubbed by ABC Private Practice: The Intervention, two episodes, "Who We Are" and "The Breaking Point," air back to back. The major focus of the first hour is the characters staging an intervention for Amelia (Caterina Scorsone), who shows up engaged and high after being missing for twelve days. The practice gets together and tries to get her into rehab, but she only goes after her fiance dies of an overdose. In the second hour, Amelia spends about six weeks in rehab, while Addison (Kate Walsh) keeps trying to get pregnant, Violet (Amy Brenneman) considers leaving Pete (Tim Daly), and Cooper (Paul Adelstein) struggles to balance his son, Mason (Griffin Gluck, United States of Tara), with a patient.

     What Private Practice lacks in intriguing cases of the week, it makes up for when it comes to big, dramatic events. Amelia's arc is annoyingly slow ramping up, but in "Who We Are," it really comes to a head splendidly. The series handles the confrontation of an addict and hitting rock bottom with realism and grace. Amelia is not villainized, and Sam (Taye Diggs) and Jake (Benjamin Bratt), both medical professionals, debate whether addiction can be called a diseases. Many issues are explored, such as what causes addiction, how trauma can affect a person, and the emotional toll such an issue takes. Even Amelia's relationship, though very brief, feels authentic and solid. All in all, this aspect of the show comes through wonderfully in a way Private Practice only manages to do a few times per season.

     Jake gets some back story in "Who We Are" as well. Viewers learn that he is a widower of an addict, and that he raises her daughter, whom is not biologically Jake's. It proves he is a good man who has been through a lot, and come out the other side stronger than ever. His conversation at his wife's grave, revealing how he feels he has finally found a family at the practice, is moving, as well as revealing. The doctors at the practice, despite all of their flaws, are a family. When they remember that, they are at their best.

     Cooper has a real family to think of, now that Erica (A.J. Langer, Eyes) with his son. Charlotte (KaDee Strickland) adjusts far better than she would have before all of the things she has gone through with Cooper, and Cooper is every bit the great dad anyone would expect, having witnessed his bedside manner with his kid patients. It's an adjustment, to be sure, but the biggest obstacle for Cooper will be how his job interferes with his daddy time, something he doesn't really think about until "The Breaking Point." It is likely he will manage, though. It's a good thing he has a mature, understanding son.

     Unfortunately, not every family is destined to survive. Pete and Violet come together in a time of great turmoil, and are really only cemented as a couple around the time that she gets pregnant with his son. Pete sticks with Violet through all of her personal demons, but now that she is better, he is growing resentful of her. At first, she brushes it off as a coping stage after his heart attack. But the more time passes, it becomes obvious that if there was love between them, it is gone now. It's a brave and difficult thing for Violet to leave Pete, who would not end the marriage on his own, no matter how much he'd like to. But perhaps, after separating, they can be better people for it.

     Things also do not look good for Addison and Sam. She is determined to have a baby, something that frustrates him as it threatens her health. He wants her, but does not want to raise another child. When she gets hers, which may be soon, it will probably spell the end of them as a couple. Addison can compartmentalize her relationship with her efforts to get pregnant, but she can't do so for a baby. It is not revealed whether Addison ends "The Breaking Point" with child or not, but given the circumstances and the look on her face, it seems likely.

     Private Practice is enjoying a high point right now. Too bad, then, it's off until early 2012.

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     To purchase Private Practice DVDs and streaming episode, please click here.

"God Laughs" at Private Practice

     ABC's Private Practice premiere, "God Laughs," finds Addison (Kate Walsh) talking to a therapist about her life, especially the fact that her new fertility doctor turns out to be Jake (new series regular Benjamin Bratt, Law & Order, The Cleaner), whom she recently flirted with. But that's just the framework. The real action involves Pete's (Tim Daly) heart attack, Violet's (Amy Brenneman) encounter with an abused wife and her decision to return to Pete, and Amelia's (Caterina Scorsone) fall off the wagon into booze.

     The title is excellent, even if you do not believe in a deity, a valid conclusion. That's because it does seem like every time plans are made, reality will step in to mess with them. Life is messy, and some people, including many of the characters on Private Practice, tend to forget this. Love the reminder.

     Many will be happy to learn that Pete comes through his medical emergency more or less intact. It's touch and go for awhile, and with Private Practice's willingness to kill off main characters, there is some real drama built up. Even worse, a still inebriated Amelia operates on him, so anything could really happen. But Pete lives to doctor another day, and saves the series from having to replace another main character. This is great, because all the Pete / Violet drama deserves a happy ending, and not more turmoil.

     Violet's story in "God Laughs" is a little less enticing, but still interesting. Stuck at the airport, phone battery dead, ignorant to what is happening with Pete, Violet strikes up a conversation with a stranger (Breaking Bad's Betsy Brandt). Some of what they talk about it just patient of the week stuff, a little unexpected, since Violet's license is suspended. But she's not officially counseling, so she isn't technically breaking any rules, I think. However, there are also things in the conversation that remind Violet that she has it good with Pete, and she shouldn't leave him. Even if she's doing towards something instead of running away this time, that is no excuse to leave her still-fragile family. In the end, Violet makes the right choice.

     Addison takes care of a strangely silent Lucas the entire episode, sparking her to seek motherhood once more. This is the least effective story in the hour, not because of Addison's desire, a long running theme that does not resolution, but because it just doesn't fit with everything else. Pete might die, and Addison is thinking of having a child? There are other concerns going on. Yes, death can make one rethink priorities, but save it for next week. Private Practice is strongest when it is a true ensemble show, and now when Addison finds a way to draw focus constantly.

     Finally, Amelia's addiction arc is actually rather well done. Amelia has a tendency to fade into the background since joining the cast, and any story that gives her some focus is welcome, as Scorsone is a good actress that can hold her own with her co-stars, and deserves to. Charlotte (KaDee Strickland) has been through enough, and doesn't need a relapse, so it's cool that she is the tough cop trying to give Amelia a gut check about what she is doing, rather than the center to this story. Sheldon (Brian Benben) might be even more vital, providing help, but not enabling. Maybe a genuine romance could spring up between the pair after he finishes helping her get better? God knows Sheldon really deserves true love, but then again, "God Laughs."

     Private Practice also stars the excellent Paul Adelstein and Taye Diggs. It airs Thursdays at 10 p.m. ET on ABC.

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     To purchase Private Practice DVDs and streaming episode, please click here.

Private Practice: The Complete Fourth Season coming to DVD

     The fourth season DVD of ABC's Private Practice goes on sale next Tuesday, September 13th. For those of you familiar with the series, you know that it can be a bit uneven, and at times, painful to watch. Yet, season four contains the award-winning "Did You Hear What Happened to Charlotte King?" and its aftermath, definitely one of the finest plots in the run of the show. Nay, on television last year. As such, this season, more than any other of Private Practice, is worth buying.

     "Did You Hear What Happened to Charlotte King?" features a criminally insane man (Buffy the Vampire Slayer's Nicholas Brendon) raping Charlotte (KaDee Strickland) in her office at the hospital. Charlotte struggles for many episodes after to come to terms with what happens, and to start to move past it. Her friends are also quite stricken by the entire situation, and it takes awhile for everyone to learn exactly what the man does to her. Later, he returns, causing trouble all over again as he reopens old wounds, barely begun to scab over. It's a long arc, driven by some fantastic dramatic acting, and wonderfully realistic depictions of a heinous act. Strickland's lack of Emmy nomination for the ordeal is unacceptable.

     In fact, the best bonus feature of Private Practice: The Complete Fourth Season is a 13-minute special on the monumental episode. Called "An Inside Look: The Violation of Charlotte King," it contains interviews with producers and actors, explaining how they struggle to make it seem real, and the reactions they have gotten about it. Paul Adelstein, in particular, describes his experience of filming the episode. Of course, KaDee Strickland has plenty to say, too. Others praise KaDee for the way she has gotten involved with RAINN since filming the emotional entry, and she gets teary speaking about it. It's very clear the impact of this hour of television extends far beyond the episode itself.

     The other bonus features are few, but rich. There are 12 deleted scenes from eight episodes. Practically every single one of them are actually character development material, often with emotional impact. These are not the standard castoffs that can be taken or leaven. It's almost fifteen minutes of footage you will wish you had seen, and now can.

     There is also a two minute and fifteen second blooper real, featuring screwed up lines and funny faces. This is less important, yet still entertaining.

     Back to the plot itself, season four marks a lot of big change, ending in the ultimate closing of Oceanside Wellness, which is struggling financially. Naomi (Audra McDonald) spends much time out of town this year, and decides to quit the practice (and the series). Addison (Kate Walsh) deals with her mother, Bizzy's (JoBeth Williams), marriage to a woman, and untimely death. Violet (Amy Brenneman) publishes her book, which causes a stir among her co-workers. Pete (Tim Daly) tries to accept Violet, now his wife. Orphaned Betsey (Hailey Sole) returns to tug a few more heart strings. Sam (Taye Diggs) tries to make a relationship work with Addison. Amelia (Caterina Scorsone) struggles with her alcoholism. And Sheldon (Brian Benben) searches for love.

     While I would not recommend buying each season of Private Practice on DVD, season four is overall pretty worthy, so check it out. Private Practice: The Complete Fourth Season hits shelves on Tuesday, September 13th.

     Private Practice will return for a fifth season soon on ABC.

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

     To purchase Private Practice DVDs and streaming episode, please click here.

Article first published as DVD Review: Private Practice: The Complete Fourth Season on Blogcritics.

Private Practice wants "...To Change the Things I Can"

     ABC's Private Practice ends its fourth season with some big changes, as the episode title, "...To Change the Things I Can," implies. Violet (Amy Brenneman) has her medical license suspended, and the investigation into her extends to the entire practice. Only Sam (Taye Diggs) appears ready to fight to preserve Oceanside Wellness. Many characters ponder leaving the practice behind altogether. Violet decides she should go on a book tour, despite her husband, Pete's (Tim Daly), objections. Naomi (Audra McDonald) ponders a proposal from Fife (Michael Patrick Thornton). Addison (Kate Walsh) considers taking a trip with a handsome stranger (Benjamin Bratt, Law & Order, The Cleaner) she just met, whose name she doesn't even know. Meanwhile, Amelia (Caterina Scorsone) slides back into alcoholism, Charlotte (KaDee Strickland) struggles to counsel a rape survivor, and Cooper (Paul Adelstein) talks down a father (Joshua Malina, The West Wing) who wants to euthanize his daughter.


     The ending of this episode is a cop out. Addison decides not to run away, and instead, proposes dissolving the practice, only to immediately restart it again under a different name. Will that really throw the medical investigators off? If the same group of doctors stick together, it doesn't seem reasonable to assume changing the name of their organization will do anything substantial to get them out of trouble. Because of this, the whole thing feels forced upon any examination at all, and it becomes a hollow story with little suspense. At first, it looks to be an exciting challenge, but it peters out by the end of the hour. Hopefully, it will be revisited next season in more depth, and not just wasted.

     Why is the board even investigating them in the first place? Perhaps doctor / patient confidentiality is a tad confusing, but a when a group of doctors work together, they are not allowed to consult with one another? Sometimes the characters do slide into gossip, but trading opinions also occasionally leads to unexpected help. Keeping the information within such a community seems like it is only beneficial to the patient. No doctor is telling non-medical professionals anything about their cases. It is purely a professional arrangement. Don't any real life practices operate this way? If not, why not?

     That being said, the doctors on Private Practice have been pulled in a variety of directions, and a crisis like this may be just what they need to renew their commitment as a group. While only Sam initially steps up to fight, the possible dissolution weighs on all of the characters, and many take the problem into account as they decide what to do next. It is unfortunate that more screen time is not given to this plot, instead the hour is split between a variety of smaller problems. This could easily be a couple of episodes all on its own.

     Poor Amelia has little plot in Private Practice. Her current story arc, where she resorts back to alcoholism, feels contrived just to give her something to do. With no romantic entanglements and few medical cases that tie her to the other doctors, it is always a stretch to include her in episodes. The solution? Give her a dumb arc where she revisits past mistakes, and has learned absolutely nothing. While relapse is a part of many addicts' lives, Amelia doesn't seem the type to actually do it, until she does. With luck, the writers will come up with something for her soon that doesn't involve her addiction.

     Pete has a problem with Violet leaving because of past issues. Violet has shown a tendency to run away when things get tough. In Violet's mind, this is a totally different situation. Her medical career is stalled by her suspension, so she is pouring her energy into another job, that of selling and promoting her book. From her point of view, the decision is understandably not about running away, but keeping busy in a way that satisfies her professionally. But Pete's opinion is also easy to see, because of Violet's history. The couple needs a serious discussion with open minds. Neither of them seem willing to look at the other side, and that might end them.

     What happens to Pete at the end of "...To Change the Things I Can?" He collapses on the floor in front of his young son. Pete is showing signs of illness throughout the episode, so it isn't a total shock. But is the kid old enough to know how to dial 9-1-1? And what exactly is wrong with Pete? While this is a season finale, and so some months may pass before the season premiere, it is likely Violet will give up her book tour and come home to care for her family, even if that isn't shown in an episode.

     Who is Addison's new friend? Reports are that Benjamin Bratt is joining Private Practice full time next season. It is quite likely he is a doctor, though obviously not one that has worked at St. Ambrose, or Addison would know him before now. If he is not a doctor, it will be hard to serve his character in story from week to week, unless much more screen time is devoted to Addison's after house person life, which is not what Private Practice needs. Bratt's character is apparently here to start a love triangle with Addison and Sam. If he wants kids at all, he'll definitely win Addison over.

     It is a total mistake for Addison to fall back into Sam's bed. He probably does it because her strength in taking charge of the problem with the practice makes her attractive all over again. But they have an insurmountable disagreement that they cannot get over. There is a good, solid reason they end their relationship, and it isn't going away. As such, it is purely a mistake on both of their parts to risk reopening wounds by renewing a sexual relationship. It is just forced drama to create conflict when Bratt returns next season.

     Naomi's departure is a little anti-climatic. The production team has been willing to work with McDonald this year as she frequently commutes back home to her family in New York City. It is no surprise that she is leaving the cast, at least as a main character. She has been absent for many episodes this season. At least she is given a happy ending, and in NYC, no less. That will make it easy to film any stories the writers may come up with for Naomi in New York on location, instead of making her fly back to Los Angeles. Hopefully, that means her story isn't over, since the Private Practice developments somewhat mirror real life.

     It is sweet that Betsey (Hailey Sole) is brought back one more time. It is very sad that Betsey has had to go through so much, but the last time she came into the lives of the doctors, it felt certain that Naomi would have adopted her had she been in town and aware of the situation. Thus it is with poetic justice that Betsey returns back to them at a time when Naomi is there, so the caring mother can end any custody issues. It is too bad Betsey must suffer, but it concludes the story the way it should have ended in the first place, and so fixes a past mistake.

     Cooper only ever wants to help people. He is perhaps the most compassionate doctor on the show. In "...To Change the Things I Can," he  faces a very tough decision. Should he help a father end his daughter's life, when she doesn't have much of a life left? This is a moral quandary, similar to other episodes of the series, but different because a child is involved. There is no right or wrong answer when it comes to end of the life decisions, which are usually left up to the family. This one is a little confusing because the option is not given to end the child's life, though she is a vegetable. But Cooper handles the father with grace and care, in a way few people could.

     Charlotte has come full circle with the admission of a patient who has been abused and raped, but will not allow a rape test. It is no surprise that Charlotte relives old feelings, having only recently begun to recover herself from a similar ordeal. Charlotte is a very dynamic character, who has experienced a lot of growth over the course of the series. It is a logical step for her to have to face those demons again, and thankfully she comes through with flying colors. Charlotte is able to offer comfort and connect with the patient without totally tossing aside her personality, which prevents too much bonding. Kudos to a nice capper on a very good story arc.


     Private Practice will return for a fifth season next fall on ABC.

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     To purchase Private Practice DVDs and streaming episode, please click here.

Article first published as TV Review: Private Practice - "...To Change the Things I Can" on Blogcritics.

Private Practice Goes For "Blind Love"

     ABC's Private Practice is Grey's Anatomy's less consistent younger sibling. Despite a great cast, the series has had its share of ups and downs in the quality department. On shows I like, such as this one, I tend to try to overlook the downs, and only review the ups. Last week's "Blind Love" was an up, not for the story of the week, which was decent, but for the furthering of two major, well written, well acted running arcs.

     Last time I covered Private Practice was during November sweeps, when a man named Lee McHenry (Buffy the Vampire Slayer's Nicholas Brendan) raped Charlotte (KaDee Strickland). As good as Charlotte's arc of recovery has been, it should be no surprise that I am now revisiting the show at the end of that story, as Charlotte confronted and forgave Lee last week. Bonus points because Charlotte convinced Lee's abused girlfriend to tell the police that Lee confessed to the rape, so Lee will be paying for the crime in jail, which viewers may have considered a lost cause. It had previously appeared that Lee had gotten away with the assault. Not so fast!

     What's been great is that Strickland has really shone in a very out of character story for her. I say out of character not because the writing was bad, but because Charlotte has always been such a strong, assertive women, and lately she's played the terrified victim. I do not know anyone close to me who has ever been raped, but as near as I can tell, Private Practice has done a superb job at tackling the subject realistically, and in a very moving way. It wasn't just shown in one week, but in an ongoing story of recovery after the traumatic event. Both Charlotte and Cooper (Paul Adelstein) struggled mightily last week, both urging Sam (Taye Diggs) differently on whether to allow Lee to live or die during surgery. It was a strong note for the series, with both viewpoints being well rationalized. I wasn't completely sure which way Sam was going to go until just before the surgery.

     Equally strong, Private Practice is finally making good use of Kate Walsh's Addison Montgomery. For too long the character has been reduced to pining over various men, and bouncing from failed relationship to failed relationship. The recent plot with Addison's mother, Bizzy (JoBeth Williams), who came out as a lesbian, and then watched her long-time secret partner, Susan (Ann Cusack), die the day after the wedding, has been phenomenal. Addison's struggle with who her mother is, as well as expressing emotion to a woman who doesn't seem to have any, has been handled with care. I am giddy with anticipation, so to speak, over how tonight will play, considering the shocking surprise ending of last week's episode. Perhaps giddy is the wrong word, but I am very much looking forward to it.

     Sadly, Naomi, despite being played by the amazing Audra McDonald, has been pretty much worthless this entire season. She will soon be leaving the show as a main character. Perhaps her continued presence in coming years, only using her when good story needs her, will make up for a lackluster run. I can only hope. McDonald deserves better. I assume it's too much to ask that Naomi get one more good story so she can go out on a positive note?

     Though both larger arcs appear to be winding down, let's hope that Private Practice has a few more tricks up its sleeve. Now that it's got the momentum, don't let it stop! Private Practice airs Thursday nights at 10 p.m. ET on ABC.

Article first published as TV Review: Private Practice - "Blind Love" on Blogcritics.

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Private Practice doesn't suck anymore!

    Despite a fantastic cast, all of whom had television experience beforehand, and being a spin-off of one of television's most popular dramas, ABC's Private Practice has sucked plenty in the last couple of years.  It just goes to show you that you can never predict which shows will work or not until they happen.  But something great has been happening lately with the Grey's Anatomy companion, and that is good writing and great acting!  Last week's courtroom drama, "War", pitted the cast against each other as Violet (Amy Brenneman) and Peter (Tim Daly) fought for custody of their son was arguably the best episode of the series.

     The trouble, and a hell of a plot arc, started last spring when crazy woman Katie (the superb Amanda Foreman), convinced that Violet's child was hers, cut open the god doctor and kidnapped the child within her.  Katie went to jail and the baby was recovered unharmed.  Violet went through some very dark times, but she's finally starting to recover, and wants to be in her son's life.  Meanwhile, though, she dumped Lucas with Pete, who, trying to get over her, fell into the arms of Addison (Kate Walsh), who can't have a baby of her own.  To make things even more complicated, Addison is fighting feelings for Sam (Taye Diggs), so it's not a perfect match, but as it's her only chance to be a mother, she is reluctant to give it up.  The whole love rectangle is getting pretty complicated.

     In this week's episode, "In the Name of Love", things took an even darker turn at the very end, when Sam and Naomi's (Audra McDonald) daughter, Maya (Geffri Maya Hightower) went into labor, but as involved in a serious car accident on the way to the hospital.  Dell (Chris Lowell) was in the vehicle as well, but seemed to be ok.  This doesn't bode well, as rumors are circulating that one major character will not survive next week's season finale.  Would creator Shonda Rhimes be so cruel as to take the Bennett's pregnant teenager out of this world?  It just doesn't seem right!  Other rumors, however, point to Dell's exit, even though he seemed to walk away from the accident.

     My favorite love triangle currently is between Sheldon (Brian Benben), Cooper (Paul Adelstein), and Charlotte (KaDee Strickland).  I firmly believe, and always have, that Cooper and Charlotte belong together.  However, though it was Charlotte initially who couldn't commit, Cooper has been plenty immature in how he has treated her since their last breakup.  He was on his way to tell her how he felt as this week's episode closed, so hopefully the showdown goes well.  I can't help but feel bad for Sheldon, however, who lost Violet in his previous love triangle with Peter, and I do really want him to find someone and be happy.  He has been a great addition to the cast, and I hope Sheldon will continue to stick around, with or without Charlotte.
     If they keep this up, they could make my Best list soon!

     Private Practice's season finale will air next Thursday at 10pm on ABC.