THE Just-As-GOOD PLACE

Article first published as THE GOOD PLACE Season 2 Premiere Review on Seat42F.

NBC’s most innovative current sitcom, THE GOOD PLACE, is back for a second season this week. The story picks up right where last year ended, with Michael resetting his world of psychological torture and starting over with his quartet of victims, who discovered they were actually in The Bad Place. Things in the premiere begin slowly, following the lead humans one by one as they re-enter Michael’s new version of hell, with only Eleanor’s confusing clue, hastily stuffed in Janet’s mouth, to guide them back to the truth. But true to form, THE GOOD PLACE doesn’t stop there, barely a pause before it jets off to something else.

What I love best about THE GOOD PLACE, besides the excellent cast, beautiful production design, imaginative spirit, direction, plot twists… OK, so I love a lot about this show. But one of the things that really stands out in the freshman year is that every time viewers think they know what’s going on, the premise takes a sharp turn in another direction, constantly keeping you on your toes. The plot doesn’t move in a straight line, zig zagging all over the place, rarely predictable.

Having watched the first four half-hours of season two, I can happily confirm this trend very much continues. Beginning the experience over again is merely a starting point, not a roadmap for the entire season. There are some very unexpected occurrences, culminating in what the ‘new normal’ becomes in episode four, which looks like it could hold steady for a bit. But the only thing I’m certain of is, that framework probably won’t last very long, either.

That doesn’t mean things are completely unfamiliar in season two. Besides the well-established personalities of Eleanor (Kristen Bell), Chidi (William Jackson Harper), Tahani (Jameela Jamil), and Jason (Manny Jacinto), we now know a lot of rules and elements that make up this world. For instance, Michael (Ted Danson) is the architect, but he answers to mean boss Shawn (Marc Evan Jackson, Thrilling Adventure Hour), who doesn’t approve of Michael’s experiment. Janet (D’Arcy Carden) is the artificial intelligence assistant to everyone, and is reset every time the participants are. Mindy St. Claire (Maribeth Monroe) exists in a space between the Good and Bad places. I don’t mention all of these just for fun; they all are part of the series’ fabric, and thus are things that can be used again without needing to slow down and explain them. Meaning the pacing picks up in this second batch, rejuggling familiar elements, while tossing in new ones.

One of the prime new things worth talking about is that the demon denizens of The Good Place are starting to develop personalities. Or, they probably always had them, but we finally get to see them. While we still don’t know ‘Real Eleanor’s (Toya Sircar) name, she is definitely more active in the proceedings than she was. Through her and others, we get more information about how Michael is viewed by his peers and underlings, and it is enlightening. I’m hopeful other recurring players will get more material in the coming weeks, too.

All of these things make for a very enjoyable experience, comfortable, yet still fresh. I don’t know for sure that the writers, led by Michael Schur, know where they’re going. But there are enough elements introduced previously paying off now that I feel there’s at least a pretty good handle on the world and its rules. As to how long this chaos can be kept up, that’s anyone’s guess. But I’m quite happy to have the show back, and bingeing four episodes back-to-back did nothing to lessen my anticipation of the next installment.

THE GOOD PLACE returns with an hour-long premiere Wednesday at 10 ET on NBC.

THE Very GOOD PLACE

Article first published as THE GOOD PLACE Review on Seat42F.

THE GOOD PLACE will be on NBC Thursdays at 8:30PM. No, I’m not saying whatever show fills that time slot is good, though in the case of THE GOOD PLACE, it’s very good. It’s the title of a new sitcom about a woman who mistakenly goes to the wrong afterlife and her attempts to stay there. No, it’s not too sacrilegious, not attacking any faith in particular nor bashing religion much. Yes, it is clever, fresh, and funny.

Kristen Bell (House of Lies, Bad Moms, Veronica Mars) stars as Eleanor Shellstrop, a former pharmaceutical salesperson who cheated old people out of their money for ineffective drugs, and who died in a very embarrassing manner. Mistaken for an altruistic woman of the same name, Eleanor finds herself in what we might call heaven, a small city with lots of frozen yogurt, no cursing, and (mostly) very large houses.

Who would build such a place? Well, that’s the work of Michael (Ted Danson, Fargo, Cheers), a brand-new architect who has just created this town as his first solo project. As such, I guess there are bound to be a few mistakes as he figures his way through.

Eleanor doesn’t want Michael to find out about this particular mistake, though, because that would mean she has to go someplace worse. So what we’ve got is a bad person taking advantage of a bunch of good people. I mean, the other tact to take would be to become a good person herself, and I won’t say that Eleanor won’t try to do that, but it seems much more likely she’ll take the easy path as much as possible, given what we know about her.

One of the first things Eleanor does is drag in an accomplice, Chidi (William Jackson Harper, True Story, The Electric Company), the other Eleanor’s soulmate. Right away, that tells us something about her and how she’ll handle the situation, which makes absolute sense as we learn the type of person she was.

I feel like there might be something going on in THE GOOD PLACE that isn’t immediately obvious. Is the whole thing a test for Eleanor? Is this her purgatory? Is this place not as ideal as it seems? Do the architects make mistakes so often? Is Chidi really this Eleanor’s soul-mate, both forced to grow through interacting with one another?

Or is this a story about two screw ups, Eleanor and Michael, who are in a bit over their heads and have to find their way? That could certainly be equally compelling, and is the more straight-forward way to take the premise.

For either of those two theories to be fully realized, THE GOOD PLACE must get multiple seasons on the air. I adore Bell and Danson, and these two characters are terrific for them, allowing them each a showcase to shine. I thoroughly enjoyed the first episode, both in terms of premise and cast, the latter of which also includes Jameela Jamil (the DJ and writer), Manny Jacinto (The Romeo Section), and D’Arcy Carden (Broad City). I am very excited to watch more of it.

But I do worry it’ll be too high-concept for broadcast network audiences. It reminds me a little of The Neighbors in that we’re seeing a bit of hyper-reality and characters we can’t necessarily relate to. This doesn’t make the series any less entertaining, and in fact, is a good sign in my book. But viewers can be fickle, and I worry THE GOOD PLACE won’t catch on the way that it should. I’m hoping the two very recognizable leads (who are also very talented, but that’s less important in the context of this point) will draw people in to at least give it a try. As long as its potential audience is aware of it, I think it’ll succeed.

THE GOOD PLACE premieres Monday, September 19^th at 10/9c, before settling in its normal timeslot Thursdays at 8:30/7:30c.

Fargo Year Two

Article first published as Blu-ray Review: 'Fargo Year Two' on Blogcritics.

Last year, FX’s Fargo was a standout in a great year of television. With its Minnesota accents, oodles of charm, stellar cast and guest stars, and hilarious mayhem, it provided a unique, high-quality viewing experience. It was so good, I wondered if they could possibly recapture that same magic in the second go-round, since it’s an anthology series that isn’t reusing the same cast members. Thankfully, recapture it, they did, and the second season, which only recently concluded its ten-episode run, is now available on Blu-ray and DVD.

For season two, the action moves to 1979. It is still in the same part of the country, and has much of the same tone, but now has a period component added in. The music, the cars, the fashion, even Ronald Reagan (Bruce Campbell, Burn Notice), help sell that image. As such, it takes the specific spirit of season one and ups the weirdness even more, with great results.

In order to reach out to existing fans, Fargo Year Two does have two characters that connect it to the freshman run, and covers a case referenced in the premiere outing. Lou Solverson is the detective on the case. Played by Patrick Wilson (Watchmen) now, he is more than two decades younger than Keith Carradine’s version of the character. (There’s a bonus feature on the disc in which Wilson and Carradine discuss the shared role, and it’s a very welcome way to bring the stories together.) Lou’s daughter, Molly, the hero of last year, is five years old in this season. She doesn’t get involved much, but it’s still gratifying to see her.

Lou is going through a tough time when this season begins. His wife, Betsy (Cristin Milioti, How I Met Your Mother), is sick and, going by what we learned last year, doesn’t have a lot of time left. Thankfully, he has a good father-in-law, Hank (Ted Danson, Bored to Death, Damages), also in law enforcement, to help him out. This trio is by and large my favorite part of this run.

Once more, Fargo also has an average, quirky citizen mixed up in murder. This time, it’s Peggy Blumquist (Kirsten Dunst, Spider-Man), a hoarder, klepto housewife, and unlike last year’s Lester, her spouse, Ed (Jesse Plemons, Breaking Bad), is not the victim. Peggy doesn’t mean to do wrong, but she’s scared when events occur outside of her control. While she doesn’t handle them as well as we’d like to think most people would, it’s hard to hate her.

What’s interesting about what happens with Peggy in the first installment, which I don’t want to give away, is that it ties into a familiar urban legend. Fargo bills itself as a ‘true crime’ story, with words on the screen at the beginning of each episode proclaiming that what you’re viewing actually happened. It didn’t; that’s part of the conceit of the show, that it’s done in the style, but is not actually real, so those words are a lie. However, tying in something that lots of people think happened will only reinforce the believability of the premise.

For villains, there’s an entire mob family led by Otto Gerhardt (Michael Hogan, Battlestar Galactica). Otto has a wife, Floyd (Jean Smart, 24), three sons, Dodd (Jeffrey Donovan, Burn Notice), Bear (Angus Sampson, Insidious), and Rye (Kieran Culkin, Scott Pilgrim vs. the World), and a granddaughter, Simone (Rachel Keller, Hollidaysburg), and they have no small share of foes to compete with, including ones played by Brad Garrett (Everybody Loves Raymond), Bokeem Woodbine (Saving Grace), and Zahn McClarnon (Longmire).

The Fargo Year Two release has no shortage of interesting extras, going above and beyond what most shows are doing these days, despite its quick turn-around. I mentioned the Lou featurette already. There’s also a bit on “The Films of Ronald Reagan,” a Skip Sprang TV commercial, a two-part making of, and an extra about true crimes in the Midwest. In all, this is a lot more than the normal deleted scenes and audio commentaries, and all complement the set nicely.

Visually, Fargo is stunning. With lingering shots over desolate landscapes and a design and color palette that enhance the experience, it is worth it to shell out for the high-definition edition.

Fargo Year Two is available now

"Waiting for" FARGO Over

Article originally published as FARGO Review on Seat42F.

Last year, FX’s FARGO delighted. With its Minnesota accents, oodles of charm, stellar cast and guest stars, and hilarious mayhem, it provided a unique, high-quality viewing experience.

Tonight begins season two, and because it’s an anthology series that isn’t reusing it’s cast (unlike American Horror Story), none of the familiar faces are back. This provides a considerable obstacle for the show to overcome. However, overcome it, FARGO does, immediately hooking fans in to what promises to be another excellent miniseries.

Season two of FARGO is set in 1979, or at least starts there. It is still in the same part of the country, and has much of the same tone, but now has a period component added in. The music, the cars, the fashion, even Ronald Reagan (Bruce Campbell, Burn Notice), help sell that image. As such, it takes the specific spirit of season one and ups the weirdness even more, with great results.

In order to reach out to existing fans, FARGO season two does have two characters that connect it to the freshman run. Lou Solverson is the detective on the case. Played by Patrick Wilson (Watchmen) now, he is more than two decades younger than Keith Carradine’s version of the character. Lou’s daughter, Molly, the hero of last year, is five years old in this outing, so she probably won’t get involved much. FARGO season two is a case referenced in the first season and we know Lou will make it out alive, but that’s about all we know.

Lou is going through a tough time when this season begins. His wife, Betsy (Cristin Milioti, How I Met Your Mother), is sick, and going by last year, doesn’t have a lot of time left. Thankfully, he has a good father-in-law, Hank (Ted Danson, Bored to Death, Damages), also in law enforcement, to help him out. I’m not sure yet how the case will unfold, but if Lou and Hank are the primary investigators, sign me up for the season pass!

Once more, FARGO has an average, quirky citizen mixed up in murder. This time, it’s Peggy Blumquist (Kirsten Dunst, Spider-Man), a hoarder housewife, and unlike last year’s Lester, her spouse, Ed (Jesse Plemons, Breaking Bad), is not the victim. Peggy doesn’t mean to do wrong, but she’s scared when events occur outside of her control, and while she doesn’t handle them as well as we’d like to think most people would, it’s hard to hate her, at least at first. What she does next will determine if she remains sympathetic or not.

What’s interesting about what happens with Peggy, which I don’t want to give away, is that it ties into a familiar urban legend. FARGO bills itself as a ‘true crime’ story, with words on the screen at the beginning of the episode proclaiming that what you’re viewing actually happened. It didn’t; that’s part of the conceit of the show, that it’s done in the style, but is not actually real, so those words are a lie. However, tying in something that lots of people think happened will only reinforce the believability of the premise.

It’s less clear who the Billy Bob Thorton-esque villain is this year. There’s an entire mob family introduced in the premiere, led by Otto Gerhardt (Michael Hogan, Battlestar Galactica). It doesn’t seem like Otto will be long for this world, but he has a wife, Floyd (Jean Smart, 24), three sons, Dodd (Jeffrey Donovan, Burn Notice), Bear (Angus Sampson, Insidious), and Rye (Kieran Culkin, Scott Pilgrim vs. the World), and a daughter, Simone (Rachel Keller, Hollidaysburg), so it’s likely one of them will emerge as the bad guy. Or, it would be more fun if we’re left wondering who in the clan is the worst as the installments play out.

This year’s cast also includes Nick Offerman (Parks & Recreation), Brad Garrett (Everybody Loves Raymond), Bokeem Woodbine (Saving Grace), Zahn McClarnon (Longmire), and many more, so like last season, I doubt viewers will get bored or be hard up for a fresh face to come in and shake things around.

If the season premiere is any indication, FARGO has done it again, and I look forward to another excellent batch of television episodes.

FARGO airs Mondays at 10 p.m. ET on FX, beginning tonight.

Bored to Death but "Nothing I Can't Handle By Running Away"

     Season three of HBO's Bored to Death comes to a close with "Nothing I Can't Handle By Running Away." Jonathan (Jason Schwartzman) tries to make amends with his biological father, grifter Bergeron (Stacy Keach, Prison Break, Lights Out), only to get kidnapped by some thugs whom Bergeron owes money to. George (Ted Danson) springs into action to save Jonathan, and brings along Ray (Zach Galifianakis) and his league of Super Rays (including The Office's Zach Woods), who are all in costume. Even though the bad guys have guns, a happy ending is found by all, in a slapstick, roundabout way. 

     Bored to Death is one of the most original, consitently funny series on television. Part buddy comedy, part film noir, and lots of other, less identifiable parts, "Nothing I Can't Handle By Running Away" embraces all of those signature elements, crafting a heck of a finale that should satisfy any fan of the show. It's odd that Jonathan, George, and Ray have now defeated actual evil people a couple of times, and remain unscathed. Yet, somehow, they do it. And it is quality television to a point where one doesn't spend much time pondering how unrealistic it probably is.

     The showdown in the stadium is meant to bring pure joy for the viewers, and that it does. No matter that three groundskeepers happen to be in a sort of mob, and can't shoot Jonathan, who isn't a deft or fast runner. George's commentary from the press box only adds to the hilarity of the scene, giving it a surreal quality. Not to mention the unathletic quality of the various Super Rays.

     But there is much, much more to Bored to Death than humor. The friendship between Ray, George, and Jonathan is heartwarming and strong. George and Ray do not hesitate to rush to their friend's aide when he is in need, with little worry for their own safety. It's why their friendship stands the test of time, even when Ray can't make things work with Leah (Heather Burns). Instead, Ray is reduced to seeking dirty, dirty elder love, including with a new lady (Lynn Cohen, Sex and the City) in the finale.

     George, unlike Ray, is making strides with family, too. Learning from Jonathan and Ray how to be a father figure, he is able to reconnect with his daughter, Emily (Halley Feiffer, Mildred Pierce), and throw a wedding for her and her completely inappropriate fiance, Bernard (David Rasche, Rubicon, Ugly Betty). With all of this love to give, he may even manage to make things work with Josephine (Mary Steenburgen, Danson's real-life wife, and a delightful addition to the cast). Thus, George ends "Nothing I Can't Handle By Running Away" in the best place of the trio.

     Jonathan is left in a very weird spot at the end of season three. For one, he doesn't realize that Bergeron does, indeed, return to try to save him, rather than just running away. Which means, Jonathan misses a connection with his dad that will hopefully be revisited, should HBO wisely order a fourth season. Even bigger, Jonathan decides not to tell Rose (Isla Fisher, Wedding Crashers) that they are half brother and sister. It's disturbing, though not having been raised together, the incest is technical, rather than ingrained. Still, Jonathan can never really be happy with someone he knows he is related so closely to. And thus, it must end in a big, messy way, with her furious for having kept the secret, and likely not even wanting a sibling-esque relationship with him. The drama!

     Please, HBO, bring back this quirky, wonderful series for a fourth season!

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     Click here to read every review of Bored to Death I have written.

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Bored to Death finds "Two Large Pearls and a Bar of Gold"

     HBO's Bored to Death's latest installment is called "Two Large Pearls and a Bar of Gold." Jonathan (Jason Schwartzman) is tasked with protecting some family jewels for his ex-girlfriend, Patty (Casey Wilson, Happy Endings, Saturday Night Live), on the eve of her wedding, and brings Ray (Zach Galifianakis) and George (Ted Danson) along to help. But things get complicated when Patty insists on carrying out a pact she made with Jonathan, which entitles her to one more roll in the hay with him. Then things get hairy as a masked bandit attacks and steals the jewels. Jonathan puts the clues together, and realizes that Patty's father, Henry (Rene Auberjonois, Boston Legal, Star Trek: Deep Space 9), is the thief, as he wants the insurance money.

     It's nice that George and Jonathan are good again. Their separation is as hard on the audience as it is on the characters. With George and Ray independently growing closer, Bored to Death creates a Three Amigos relationship that plays very strongly. In "Two Large Pearls and a Bar of Gold," this relationship is shown as much as ever, with the three spending a lot of time together on another crazy adventure. It's like their complete, non-judgmental acceptance of each others' eccentricities that gets the flow going. Their pleasure with each other is our pleasure with the series.

     Ray needs his friends right now. Leah (Heather Burns) catches him playing in the bathtub with Belinda (the great Olympia Dukakis, Steel Magnolias, Mr. Holland's Opus), and she kicks Ray out. Ray strays with Belinda after having a fight with Leah, and his heart truly belongs to his girlfriend. Ray blames it on a case of "elder love," which doesn't really explain anything. But he is sincere in wanting to make up with Leah, and for that reason, despite his nasty actions, it's hard not to root for Ray to win his lady love back. Plus, Ray and Leah fight and split up way too much, and it would be nice to see them more stable.

     George is heading for stability with Josephine (Danson's real life wife, Mary Steenburgen, Curb Your Enthusiasm). Though he has problems with impotence in "Two Large Pearls and a Bar of Gold," they are two kindred spirits who share a love for pot. While George claims to be unavailable for a female companion, Josephine is already latched on, and George doesn't seem to mind. What will be the true test of their relationship, and could potentially ends things, is if George puts Jonathan and Ray ahead of Josephine. Which he most likely will, given their platonic closeness.

     Wilson is hilarious in sitcoms, and Bored to Death is no different. She brings just the right level of crazy to be believable as an ex of Jonathan's, but not too over the top that he would resist her. Similarly, Auberjonis, a fantastic performer in his own right, is wholly sympathetic in a role that could easily be a villain. They continue the wonderful lineup of guest actors this season, which includes Sarah Silverman, Patton Oswalt, Dick Cavett, Bebe Neuwirth, and, of course, John Hodgman and Oliver Platt. It is interesting, but not surprising, that Bored to Death, with its unique brand of absurdity, can attract such talent. But each appearance is wholly appreciated on its own merits.

     It's deeply regrettable that I forgot to review Bored to Death until now this year, and I am deeply sorry. But there are still two episodes left, so make sure to catch them. Bored to Death airs Mondays at 9 p.m. ET on HBO.

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     Click here to read every review of Bored to Death I have written.

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Bored to Death ends second season

     Last night, HBO's Bored to Death finished its second season. It's a noir-comedy, and that if sounds odd, you should see it! I liked the second season way better than the first. The characters were better defined, as were their relationships to each other. The humor was tighter. Guest stars became recurring characters. Less case-of-the-week, and more play into an ongoing plot. Plus the cases-of-the-week they did have often came back up later, and they were just more fun.

     In the finale, Jonathan (Jason Schwartzman) contemplates whether he should let Nina (Zoe Kazan) move in after one night of great sex. By the end of the episode, Jonathan still hasn't made a decision. He's too involved with his friends' drama, and fighting with nemesis Louis (John Hodgman) to think all that much about it.

     In fact, all three principal characters are pretty self-involved. They care about each other, but that's about it. Only Ray (Zach Galifianakis) truly loves a woman, Leah (Heather Burns). But while Ray is still thinking about her, he beds several other women this season, whom he doesn't seem to care a lick about. Jonathan similarly doesn't seem to let his most recent breakup affect him that much. Even Jonathan's pining over his ex in season one seemed more for his benefit than to make her happy. Thankfully, the pining did not really continue into season two.

     Self-involvment can be funny (think Seinfeld or It's Always Sunny in Philadelphia), but somehow this show makes it seem fresh all over again. Not to mention, the characters stay very likable. They're not mean to others; they let Vikram (Ajay Naidu) hang out with them instead of treating him like a driver. They just don't take much interest in others.

     The heart of the series is not love. It's the hilarious hijinks in a three-way bromance. Whether it's rescuing a lovely Korean tranny from his father's spa, or buying rubber bullets when high to stage a rescue from real bad guys. Jonathan did eventually go to lengths to save Ray from his stalker, but he cut an earlier stakeout short because he had to get to a job interview.

     George (Ted Danson) is the most clueless, but he mostly just rolls with whatever happens. He will occasionally take a stand, such as quitting the magazine in the finale. But when he's with Ray and Jonathan, he just seems along for the ride. It probably helps that he's usually incredibly stoned. I think he's also trying to recapture his youth through them, and there is a genuine father-son-esque bond between Jonathan and George.

     I have referenced three main characters. While it is true that Leah was upgraded to series regular for season two, she still wasn't in every episode, and had not independent plot apart from the main three. Hence, despite her name in the credits, she still comes across as a supporting player. As she should stay, because any dissolution from the three guys would probably bring down the show. Other actors appearing are quite capable, but the three men have a chemistry that defines the series.

     I could spend paragraphs dissecting each of the three leads. There is ample neurosis and depth to them all. But it's not necessary. The show is enjoyable at a surface level, as well as with some after thought. It's three A-list actors, taking a break from careers to film eight half-hours a year. I am very glad that they do. I look forward to a third season.


For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.
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Article first published as TV Review: Bored to Death Ends a Second Season on Blogcritics.

Bored to Death will leave you far from it

     HBO's Bored to Death began it's sophomore season two weeks ago.  Starring Jason Schwartzman as Jonathan Ames, a struggling writer, who moonlights as an (unlicensed) private detective, it's a truly unique show.  Ames is joined by his two best friends, George (Ted Danson), who is also his boss, and Ray (Zach Galifianakis), a cartoonist.  All are into pot, and each has their own brand of alcohol.  The show comes across as part noir, part screwball.  This season, Ray's girlfriend, Leah (Heather Burns) was added as a main character.

     Last week tied up some loose threads left after from last year's season finale.  Jonathan is hired by George's nemesis, Richard Antrem (Oliver Platt, The Big C) to find out if his wife, Priscilla (Laila Robins), is cheating on him.  While hiding in a closet, Jonathan is disturbed to see George come back and have sex with Priscilla, something that has been going on for awhile.  What's even more disturbing is that George forgets to keep track of the nights that Jonathan will be waiting in the closet, and it happens a second time.  Jonathan tries to cover up the tryst from Richard, but eventually Richard returns home to find both Jonathan and George in his closet.  In a true testament to just how weird the series is, and how accepting the characters are of each others' various flaws and vices, Richard, George, and Jonathan all go out for a drink afterwards.  It's also worth noting that Richard is George's foil, and the two are far more alike than different.

     The show is mostly about Jonathan.  George and Ray have subplots, such as Leah dumping Ray in the season premiere, and his struggle to win her back, but they are always minor to whatever is happeneing with Jonathan.  In fact, the main character often has two plots going on in each episode.  This week, his new girlfriend, Stella (Jenny Slate, Saturday Night Live) wants him to have a sleepover with her and her ex (Josh Gad, Back to You).

     A side note, the naked man in Leah's bed last week was played by series creator Jonathan Ames.  It is interesting to note that in a deleted part of the scene, Ray actually grabs Ames's penis as he runs past.  Ames says on his blog that it will be on the DVD.  Why would the creator put himself through something like that?  It's a brief glimpse into the mind making the show that fits totally with what we've seen.

     It's a weird show, a perfect vehicle for Schwartzman.  Ames feels like most of the other parts that the actor has ridden to fame, and so fits perfectly.  Somehow, even in weekly doses, it's still a thrill to watch Schwartzman work.  Danson, who has had one of the most successful, consistently wonderful careers of any television actor, shines once more.  I wonder if there isn't more than a little bit of the real Danson in George, who has had bright periods in his life, intermixed with faliure, but weathers it all with good humor and genuine niceness, though he's far from a pushover.  Galifianakis, who soared to notority after The Hangover also plays a part we've seen from him before.  The repeat performance of any of the leading men never comes off as stale, but more finely honed and aged.

     I recommend you tune into Bored to Death, which will have a new episode tonight 10pm on HBO.

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

Damages drowns in blood

    It began three years ago.  Ellen Parsons (Rose Byrne) stumbled down a dark street, blood on her hands and clothes.  It was quickly renewed for not one, but two more installments.  Now, after a trio of breathtaking seasons, the series may be at an end.  Currently, FX is in talks with DirecTV to split the cost of continuing Damages, but whether that will happen is still up in the air.  Why does such a critically acclaimed, award winning show have to struggle so hard in the ratings?  Perhaps it is the serial nature of it.  But it's well worth the time.


     This year's major case centered around the Tobin family.  True to form, twists kept coming left and right in the final hour and a half finale.  After the suicide of Louis (Len Cariou) in an earlier episode, it was a bit of a surprise to watch his wife, Marilyn (Lily Tomlin) jump to her death.  Beautifully filmed, I didn't even see it happening until she hit the water with a splash.  But will Carol (Ana Reeder) get away with murder?  It appears so.  For now anyway.

     Speaking of getting away with murder, it was wonderful to see Frobisher (Ted Danson) finally get arrested for paying someone to murder Ellen's fiance two years ago.  I'm sad that Wes (Timothy Olyphant, who now his own FX series, Justified) had to go down, too, but it proved the kind of man he is, and that he loved Ellen.  It would be fantastic if they could get back together at some point in the future.  Despite their dark deeds, the bad guys on Damages are frequently shades of gray, and I almost felt sorry for Frobisher, since he turned his new leaf and all.  Almost.

     Turns out, Joe Tobin (Campbell Scott) was really the villain, and the man who murdered beloved character Tom Shayes (Tate Donovan).  Because of that bastard, if the show gets a fourth season, long time third-star Donovan will not be able to return.  Or maybe he will.  Dead characters frequently prop up on Damages, among them, Zeljko Ivanek's Ray Fisk, for which he won an Emmy.  Ray popped up as recently as this week to haunt the people left behind.  But not in a cheesy way.

     I would be remiss if I did not praise Martin Short for the brilliant way he handled the serious drama, as opposed to the comedy that I am used to from him.  Also, Glenn Close is a true star, and proved once again how she can handle entire ranges of emotions in just her eyes, without speaking a word.  Her character may be one who deserves to be taken down more than any other, but you still root for her and care for her.  This season's plot concerning her son, Michael (Zachary Booth) allowed her to show yet more layers to Patty Hewes.

     Please, FX.  Find the money.  Give Damages another season.  To do otherwise would be criminal. 

More Damages have arrived

     One of the best dramas on television, Damages, has just returned for a third season on FX.  There was much to like about the season premiere last Monday, including a new, lighter tone with welcome brighter colors.  That's not to say there isn't plenty of twisted stuff still going on.  In fact, one of my favorite characters, and one of only three principal actors in all three seasons, is shown dead in a body bag at the end of the episode.  Of course, much of Damages takes place in flashback, so the character will still be around for at least this year, if the person is actually dead, which I have my doubts about.  Either way, killer way to end the special no-commercial episode!

     As this season begins, ten months after the last, Ellen Parsons, (Rose Byrne) though she has forgiven her former boss, has moved on with her life and now works for the DA's office.  Meanwhile, the former boss, Patty Hewes (Glenn Close, who has deservedly won multiple awards for this role) is just getting around to allowing Ellen's office to be cleaned out, though she is certainly in a better mood than when we last left her.  She is even allowing longtime employee Tom Shayes (Tate Donovan, The OC) to add his name to the door of her firm.  Meanwhile, Tom has remained friendly with Ellen, and when Ellen suspects Patty secretly helped her with a client, the three are entwined further together.  If it wasn't Patty, who was it then?  One of these season's many mysteries, surely.

     The big case of season three deals with a Ponzi scheme of Madoff proportions.  The head criminal here is Louis Tobin (Len Cariou, Into the Storm), and both Patty and the DA are trying to bring him down.  Tobin's family is brilliantly cast, including Lily Tomlin (The West Wing, The Magic School Bus) as his wife and Reiko Aylesworth (24) as his daughter in law.  Joining the cast full time are Tobin's son Joe (Campbell Scott, Royal Pains) and family friend slash lawyer, Leonard Winstone (Martin Short, Primetime Glick, Father of the Bridge, Three Amigos).  Short, usually a comedian, plays this ore dramatic role well, and despite limited screen time in the first episode, he has managed to impress already.  Add to that the promised return of Frobisher, (Ted Danson, Bored to Death, Becker, Cheers) there will surely be no lack of star power.  Yet, unlike other shows, it never feels like stunt casting on Damages.

     This season's mystery will continue tonight and every Monday at 10pm on FX.