BROOKLYN NINE-NINE "Charges" Into Season Finale

Article first published as BROOKLYN NINE-NINE "Charges" Into Season Finale on TheTVKing.

FOX's Brooklyn Nine-Nine has proven to be a very entertaining series, a conclusion that does not lessen going into the final episode of its freshman run, "Charges and Specs." Despite starting the story at the end, a terribly overused TV trope in recent years, this installment manages to tell a surprising and compelling story, taking several of our characters in new directions while allowing their fun, bumbling energy to come out along the way.

As "Charges and Specs" begins, Jake (Andy Samberg) is being pressured by his boss's boss, Deputy Commissioner Podolski (James Michael Connor), to stop investigating a rich donor. Jake continues anyway, even after Captain Holt (Andre Braugher) orders him not to. When Jake finds some evidence to support his theory, Holt and Santiago (Melissa Fumero) get on board. That is, until Holt asks Jake to trust him and get himself fired.

We all know what a great detective Jake is, in spite of his lackadaisical personality. If he says the man is dirty, he's dirty. And Jake continuing to pursue his case long after he's threatened only proves even more how dedicated he is to the badge. It's not a new thing for a hero cop to go off book and doggedly follow his leads, but this is a pure comedy, not the drama most police shows are made up of, and it's still integral to the character.

Holt likely thinks that Jake is right from the start, but as captain, has to play the politics of the department. As the man in charge, he can't just buck his superiors at will or none of the officers under his command would have jobs. To Holt's credit, he doesn't turn a blind eye when Jake brings him actionable evidence. But he's a sympathetic man, balancing the responsibilities of the job with justice.

Any annoyance at Holt for not getting behind Jake sooner is tossed out as soon as the trio go undercover at a dance competition. "Charges and Specs" gives Holt a chance to show his lighter side, something glimpsed occasionally on Brooklyn Nine-Nine, but never more so than in this episode. I do think if Holt were allowed to come out like this more often, the novelty would soon wear off and it wouldn't be half as amusing, so as much as I love this, it's good the writers dole it out in dribbles, rather than letting it flow.

In the end, their work takes them across an FBI case and Jake must get fired in order to go undercover for the feds. Holt does the right thing by not telling Jake the full story ahead of time, as Jake can be his own worst enemy, and could have spoiled a rich opportunity. It's telling how well Jake and Holt have come to know and trust each other when this plays out exactly the way it should, and it's gratifying they will have that bond going forward, their dynamic a centerpiece of the program.

Santiago gets to show a different side, too, bucking the rules to help Jake. Is it because she has feelings for him, as he does for her? Or does it just feel good for once to get caught up in the mission, forgetting about the rule book she usually worships? Whatever the reason, this version of Santiago feels a little awkward, as she hasn't been developed yet, but really works.

Jake confesses his feelings for Santiago in a very appropriate way just before he leaves. Setting aside Jake's public discussions of covert affairs, which is dumb, the scene between the two is sweet and perfect. Samberg doesn't abandon who Jake is, finding his own unique way to say what he wants to say, not going over the top or getting too gushy. And Amy is fittingly shocked, giving them both plenty of time to mull this confession over.

Charles Boyle (Joe Lo Truglio) has love troubles of his own. Dumped by Vivian (Marilu Henner), he settles into a Matrix costume and consumes only eggs for sustenance. It's pathetic, and it's a shame; the couple is so good together. However, they found one another at the wrong time in their lives, professional considerations pulling them apart.

Boyle's co-workers do their best to cheer him up, especially Terry (Terry Crews), Gina (Chelsea Peretti), and Rosa (Stephanie Beatriz). They don't make much headway, none quite getting the depth of what Charles is going through, but at least they offer companionship and drinks. I think that's all friends can really do in such a situation. Boyle needs time to heal.

One suggestion brought up repeatedly is that Boyle should engage in some meaningless sex to bounce back. For a time, it looks like Rosa is being encouraged to step up, but Boyle's emotions towards Rosa will come back, and it would be a shame to waste them now. Besides, Rosa has definitely developed some real compassion for the man, which could lead to her wanting something real, too, besides a one night fling. So Gina boinks Boyle.

As long as Gina and Boyle are one-and-done, this works. It will cause tension and an obstacle between Rosa and Boyle making a go of things, but it also serves the purpose for now. Gina isn't girlfriend material for someone as earnest as Boyle. Overall, the romance on Brooklyn Nine-Nine has been handled with care, not allowing Rosa to fall into stereotypical jealousy when Boyle is happy with Vivian, either. I'm impressed by the nuance in what is, on the surface, a broad comedy.

Brooklyn Nine-Nine has exceeded expectations. It's a whacky group of players, to be sure, but also a complex gang. It does the unexpected from time to time, and somehow puts forth a layer of authenticity over the goofball antics. A stellar cast and terrific writing combine to create a series I look forward to watching for years to come.

Brooklyn Nine-Nine has been renewed and will return on FOX next fall.

"Party" With BROOKLYN NINE-NINE

Article first published as "Party" With BROOKLYN NINE-NINE on TheTVKing.

FOX's Brooklyn Nine-Nine got the sort-of cushy show-after-the-show-after-the-Super Bowl-slot this week, meaning a new episode aired following New Girl late Sunday night. Unfortunately, by then many viewers were going to bed and turning off their television sets, so the ratings weren't as over-the-top better than a typical week as one might expect. But hopefully it still got the program a few new viewers. It's original, charming, and creative, and deserves the eyeballs.

Last night, Brooklyn Nine-Nine aired their second fresh episode of the week. Called "The Party," Captain Holt (Andre Braugher) and his husband, Kevin (Marc Evan Jackson, Parks and Recreation), host a fancy gathering at their home and invite the squad to attend. Granted, the 9-9ers aren't the most dignified of people, which leads to some awkwardness, but the main problem isn't Kevin's stuffy academic colleagues, nor Holt's eccentric ones. It's that Kevin doesn't want them there, and makes that pretty clear, even if he isn't overtly rude.

Kevin is introduced as an unlikable character from the start, which is weird, since Holt is such a well-developed person himself. It's sweet to see Kevin and Holt interact, but when Kevin looks down his nose at the cops, it becomes downright uncomfortable. Had "The Party" left the situation at that, I would have been confused as to how the relationship worked, and disappointed at Brooklyn Nine-Nine's choice. I also didn't want to believe that Kevin really thought Jake (Andy Samberg) had read The New Yorker because the man doesn't seem that gullible.

But Jake sees what no one else, including the viewers, see - Kevin hates the NYPD because of how they've treated Holt. In retrospect, it makes total sense, and once that piece of the puzzle is revealed late in the half hour, the episode really comes together. Besides being funny, Brooklyn Nine-Nine sneaks in a pro-gay rights agenda where one might least expect it, a definite check mark in the plus column for it. Perhaps the show could have been a little more obvious about the plot, rather than allowing it to come out so subtly. But I appreciate that they don't make Kevin a stereotype, didn't necessarily copy the tale from other series, and in the end, Kevin seems a worthy companion for Holt.

That's why I'm diggin' Brooklyn Nine-Nine; it brings something new to the table. There are classic sitcom elements, to be sure, but it also has a unique voice you can't find in any other program currently running. It does things its own way, celebrating oddity and embracing skewed perspective. Holt's husband, Kevin, is only a small element, having just been introduced, but "The Party" is in keeping with the larger tone and spirit of the show.

"The Party" is also great because it gets to showcase the rest of the ensemble, who have terrific chemistry, and can each stand on their own. Jake craves approval but acts like he doesn't, his target in this episode being Kevin. Gina (Chelsea Peretti) is certifiably insane, earning her a crowd of head docs gleefully analyzing her. Boyle (Joe Lo Truglio) is more cultured than his fellows, and so clicks well with Kevin's foodie friend (Marilu Henner, Evening Shade, Taxi). Terry (Terry Crews) is the father figure who tries to make them all behave. And Santiago (Melissa Fumero) likes to believe she's the well-adjusted one, but her sneaky antics to get to know Holt better prove otherwise. Even Scully's (Joel McKinnon Miller) talent for opera and his weirdly close relationship with Hitchcock (Dirk Blocker) gets screen time.

Only Rosa (Stephanie Beatriz) is not highlighted in "The Party," but that's OK because there's a big cast to serve. It's impressive how all of these people can get their moments and subplots in such a short running time, each more than pulling their weight. They're oddballs, but they're specific oddballs who exist in a well-fleshed out world and have found their place. Brooklyn Nine-Nine is tightly written and knows how to effectively use its people.

Another cool thing about "The Party" is that Kevin's friends come to see the value of the squad, too. At first, there's a definite divide in the house, but once our heroes split up and interact, there is acceptance and appreciation for them. They may not have earned any new best friends, but Kevin's teacher pals don't look down on them, either, which is heartening to see. While some shows might go for the easy conflict in the clash of worlds, Brooklyn Nine-Nine plays something smarter, teaching us about human nature and the individuals themselves who star in the piece.

Overall, I'm highly impressed with Brooklyn Nine-Nine. I'm not a fan of dumb, base comedy, and while some commercials may lead one to believe that's what this show is, it couldn't be further from the truth. The fact that I could write a similar glowing review about basically any episode that's aired recently in their run is even better. I chose this one for convenience, having missed the window post-Super Bowl, but it really doesn't matter; the series consistently delivers. It definitely deserves the Golden Globes it recently brought home.

Brooklyn Nine-Nine airs Tuesdays at 9:30 p.m. ET on FOX. If you haven't done so yet, do yourself a favor and check it out.

Calling BROOKLYN NINE-NINE

Review first published as BROOKLYN NINE-NINE Review on Seat42F.

Grade: 88%

After watching the premiere of the new FOX sitcom BROOKLYN NINE-NINE and ruminating on it for a day, I am still not sure if I truly believe it is a great series. There are funny jokes, and it’s not predictable or rote, but it’s also a very odd tone that is hard to pin down. There is a terrific cast assembled for it, and the “Pilot” necessarily contains a lot of set up, so it seems to deserve the benefit of the doubt for now, until more installments can be viewed.

As the “Pilot” opens, the Ninety-Ninth precinct gets a new leader, Captain Ray Holt (Andre Braugher, Men of a Certain Age). Holt has an interesting back story, not revealed until late in the half hour, but who Holt is and what he has endured informs how he treats his new command, and the department, used to a different style, reacts poorly to the change.

Well, at least one detective does. Jake Peralta (Andy Samberg, Saturday Night Live) is a very effective, but highly immature officer. He scoffs when Holt insists he wear a tie, and has no problem goofing around at a crime scene. Yet, we also see how he puts together the pieces of puzzles that others cannot, so we know he has talent, and it does feel like a believable character, especially able to get away with how he is given the past captain we are shown.

Jake and Holt are the two obvious leads of BROOKLYN NINE-NINE, and the make for a very unusual pair. Even in the first half hour, one can tell they are both looking for ways to understand one another, and that will make them stronger. However, since a lot of the comedy in the “Pilot” is their clash, and one presumes that they will soon grow not to fight against each other so much, one wonders what the rest of the show will be like. After all, Jake can’t just grow up, or he wouldn’t be the character created here, but Holt does see Jake’s talent, and already knows how to mold it, so can’t give Jake too hard a time for too long.

Braugher is exactly what one would expect from him, given his resume: cool, layered, and intriguing. Samberg has kept the goofiness that has earned him a following, but honed it into a less cartoonish character, someone who could exist in real life, not as over-the-top as he has been. When his character does cross that line in taste, the other players are there to make him feel foolish, so it does come together nicely.

My favorite member of the main cast in the “Pilot” is second-in-command Terry Jeffords (Terry Crews, The Newsroom). Terry is a big, tough cop who shaped his fat into solid muscle, only to suddenly grow very afraid of the job after fathering a couple of adorable twin girls. This is something many a dad should be able to relate to, but also seems unique, at least when taken to this extreme, for a man who looks like Crews. Because Crews, as usual, has perfect delivery and timing, Terry is a great character I am missing whenever he is not on screen.

Jake’s partner is Amy Santiago (Melissa Fumero, One Life to Live), a by-the-rules woman who has many brothers and thinks she is better than Jake, even though Jake has a slightly better record. In the “Pilot,” there isn’t much interesting going on with Amy, who kisses Holt’s butt a lot, but still takes a back seat to the central pair. One wonders if she will step up and hold her own, or be a forgettable second banana.

The other two main detectives are Rosa Diaz (Stephanie Beatriz, Short Term 12), a seemingly emotionless, scary woman, and Charles Boyle (Joe Lo Truglio, Burning Love), a wimp of a man who is in love with Rosa. These two seem destined to be stereotypes, milked for a laugh, at least for the foreseeable future. I like the performances, Lo Truglio playing more earnestly than I’m used to seeing from him, and Beatriz being a blank slate, but I can’t really get behind the characters yet.

There’s also Gina Linetti (comedian and writer Chelsea Peretti), who is a little bit obnoxious initially, but I like Peretti’s stand up, so hopefully she will be able to channel some of that into the role.

This strange combination of personalities makes for an ensemble that is hard to figure out. With a setting that allows for recurring parts, too, such as Scully (Joel McKinnon Miller, Big Love), BROOKLYN NINE-NINE could paint a rich, full world, making a successful cop comedy for the first time in a long time. Or, it could be too inaccessible for a mass audience, scratching their heads and wondering what they’re supposed to be laughing at. I cannot predict at this time which is the more likely outcome.

BROOKLYN NINE-NINE premieres Tuesday, September 17^th at 8:30 p.m. ET.

THE NEWSROOM Declares "Let's Kill All The Lawyers"

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

Grade: 91%

HBO’s THE NEWSROOM is back for a second season with “First Thing We Do, Let’s Kill All the Lawyers.” The main part of the story takes place two weeks after the events of last year’s finale, and the various characters must deal with the consequences of their actions, both professional and personal. If you have not yet watched the episode, I recommend viewing it before reading this review, to avoid anything being spoiled, as the various story points will be discussed below.

Will McAvoy (Jeff Daniels) is a subdued man in “First Thing We Do, Let’s Kill All the Lawyers.” Although he is fired up and passionate when dubbing the Tea Party ‘The American Taliban,’ he now must pay the price for doing so, namely, being pulled off of the network’s 9/11 tenth anniversary coverage. He deals with this by drinking and smoking and becoming a wimp on-air again.

While it is absolutely in keeping with his character to go back and forth between fearless crusader and appeasing ratings-whore, one must wonder how long the see-saw can continue. Will’s spirits are already bolstered multiple times in the first year alone, and it would suck if none of those efforts have lasting effects, always returning him to the same sad state in their aftermath. Will must find a way to break this cycle, committing to the persona he wants most.

It is my opinion that the way for him to do this is to be with Mackenzie McHale (Emily Mortimer). She still doesn’t know what is in the voice mail Will leaves her while high, but it’s obvious that she is sensing his anger towards her cooling, and is intending to reform as much of a bond with him as he will let her. She calls him in the middle of the night, and shares a drink with him at the bar. It can’t possibly be much longer before they are a couple again, and in that relationship, Will might finally stabilize.

Though where is Lonny (Terry Crews) during this installment? Why do we not see him guarding Will in the bar? Hopefully, Lonny’s absence is temporary, just an oversight caused by not needing the actor enough to warrant an appearance in this particular episode.

In keeping on the romantic track, Jim (John Gallagher Jr.) is unwilling to be friends with Maggie (Alison Pill) after she chooses to move in with Don (Thomas Sadoski), and so takes an assignment following the Romney campaign, where he is shunned for Will’s Taliban comment. This doesn’t seem like the environment where wounded Jim can heal, certainly not a comforting, supporting one, but maybe concentrating on work is what he needs. And if he finds victory in reporting the story, that could help. Running may seem cowardly to some, but Maggie has made her choice, so it’s understandable why Jim would find it hard to be around her, and perhaps he’s wise to get himself out of that environment.

Except, Jim may actually still have a chance with Maggie, as Don finds a YouTube video of her rant about Jim, and promptly decides they are over as a couple. I am very dissatisfied with this quick evaporation of their romance. Don and Maggie have plenty of ups and downs, but two weeks is all they can make it? Maggie chooses Don; that should count for something. And it seemed so fresh and realistic that Jim and Maggie weren’t going to ever be together because Maggie would be with Don, no matter what viewers thought should happen, and this has been ruined. Though, Maggie clearly won’t just have a happy ending with Jim, given her appearance in future scenes, which I’ll get to shortly.

This does leave open the possibility of a Don / Sloan (Olivia Munn) pairing now. Things are plenty awkward between the two, since Sloan confesses her feelings for him, even though Don isn’t holding it over her in any way. But now that he’s single, maybe after a short, respectful pause, he may pursue Sloan, thus solving at least one rocky dynamic in the workplace. Although is Don gets with Sloan too quickly, that could screw up Maggie even more.

Because of Jim’s absence, a producer out of Washington D.C., Jerry Dantana (Hamish Linklater, The New Adventures of Old Christine), is tapped to fill in for him. Jerry is immediately a hindrance, vaguely appearing to be a team player, but also having his own ambitions. We don’t know all of the details yet, but Jerry and the guest that he brings onto a panel will definitely set off a huge mistake involving Genoa.

Genoa is a secret military that has landed the staff in very hot water, as evidenced by the fourteen-months-later framing scenes in “First Thing We Do, Let’s Kill All the Lawyers” in which Will, Mackenzie, and Maggie are seen with a team of lawyers led by Rebecca Halliday (Marcia Gay Harden, Damages). Our beloved characters are in trouble after a string of unfortunate events, one of which leads Maggie to Africa and a terrible hair cut and coloring. Bringing in Jerry is a huge mistake they will all regret. Too bad, he seems so nice-ish.

I’m a little tired of television shows doing the flashback to death. THE NEWSROOM is only the latest in a long line of series using that technique lately, and it’s been being done way too often. I’d rather see the Genoa disaster unfold slowly, not realizing that there’s trouble until it’s too late, like the characters do, rather than getting a puzzle piece by piece. I know this trope can be implemented effectively when done right, and THE NEWSROOM is brilliantly written, but in this case, I feel it is a big, easily avoidable misstep.

There are two smaller plots unfolding, too, that may have some big impact. In the first, Neal (Dev Patel) gets involved with Occupy Wall Street. For Neal, this story is both a far-out, unlikely movement, and something playing to his prowess with social media, so it straddles the two interests we’ve known him to have. Those who remember the protests know that they get lots of attention for a short time, but don’t go anywhere, so this is both an opportunity for Neal, professionally, and another dead end for him to pursue, the perfect plot for the character.

In the second, Charlie (Sam Waterson) chooses to pull Will off of the 9/11 special. This is something very uncharacteristic, in that he chooses to bench Will with nearly zero pressure from Leona (Jane Fonda) and Reese (Chris Messina) to do so. Weird; Charlie always defends Will. Did Reese getting kicked out of SOPA scare Charlie that much? It doesn’t seem like it should, in keeping with Charlie’s established personality. I wonder what’s going on there?

THE NEWSROOM is a fantastic series that deftly balances character-driven drama with real-world events and a commentary on the state of journalism. It takes the big stories we’re familiar with, and makes them personal to people we watch on screen and care about. There are a number of new arcs introduced in this season premiere which promise a great season, even if the episode itself lacks any of the stellar, inspiring moments that were a hallmark of the first year. Once we get past the weird flashbacks, I think that will sort itself out.

THE NEWSROOM airs Sundays at 10 p.m. ET on HBO.

The Newsroom doesn't put up with "Bullies"

HBO's The Newsroom is generally about a crusader and his gallant team championing the facts, standing up to those who would deceive and mislead the American public. But what makes the kind of man who becomes this kind of leader of the righteous army? That is the question at the heart of this week's episode, "Bullies."

Will McAvoy (Jeff Daniels) can't sleep. He doesn't know why, and he doesn't want to know. But viewers do, and the only way Will can conquer his problem is to open himself up to inquiry. It's funny, but wholly authentic, how someone who can be so brave on the air shudders at the mere hint of personal analysis. Yet, that is exactly what happens. Luckily, Will does have some sense and wisdom, which is why he visits a mental health professional.

The doctor is named Jack (David Krumholtz, Numb3rs, The Santa Clause), a quirky prodigy, like just about every other character on The Newsroom, and Will has been paying him for two years without visiting. Actually, Will has been paying for four years, having previously been treated by Jack's father. It's as if, no matter how much Will protests, he knows he needs help, but just can't bring himself to ask for it, at least not until today. Jack sees right through the facade, and despite Will's attempts to just get a prescription for sleeping pills and get out, Jack makes Will confront those demons keeping him up at night.

The source of Will's issues? He has become a bully himself. Will is the son of an abusive alcoholic. The need to fight back is what drives him, first to become a prosecutor, and then to become the king of news. But there is a point where Will is no longer acting in self defense. Rather, he has become the bullier of bullies, kicking a man long after he goes down. Will might not want to admit to the bully label, but he knows what he's doing is wrong, and cannot live that way.

The subject of Will's attack this week is the former chief of staff for Rick Santorum, who happens to be a gay black man. Santorum is famously against homosexuals, and Will uses that angle. The staffer almost breaks, pleading with Will, near tears, to stop defining him by a simple label, and realize that his gayness is far from the only part of him. Will refuses, assaulting him over and over again. There's a moment where viewers think Will will back down, as the interview subject gives a wonderful speech. But Will can't resist one final blow, and respect for himself goes out the window.

This is a complex topic, both the conversation being had, and the psychology behind Will's actions. Will is right in that this man should not be working for someone who doesn't respect him. But the man is also right in refusing to be put into a box, and in defining his own priorities the way he wants to. That's what American freedom is about. Both are right, and yet, because they focus on different points, they can't reach an agreement. The Newsroom's masterful writing balances both opinions, as well as the way they are portrayed, so expertly, it leaves one in awe of "Bullies."

The question going forward is, now that Will knows his weakness, what kind of man will he be? Surely he will not slip back into the aggressor when it is unwarranted, checking himself. However, he also can't hang his head and be a passive anchor. So he must find his balance, being a protector, but not delivering unnecessary blows. Under the powerful skills of Daniels, this character is likely to remain intriguing and deliciously layered.

While this war rages within Will, a number of other significant events are going on around him. He rails on the internet, demanding a stop to anonymous posting. One commenter strikes back, delivering a death threat. This means Will now has a bodyguard (Terry Crews, Everybody Hates Chris, The Expendables). Adding the new guy into the mix changes the office chemistry slightly, and hints at a larger arc. Will anything come of this story, or is it just an excuse to bring in the talented, funny Crews to the ensemble? Either is totally acceptable.

Also, Will buys an engagement ring to gain the upper hand with Mackenzie (Emily Mortimer). He's not proposing, he's just messing with her so he can avoid embarrassment.

Or is he? A scene at the end where Will tears up the ring receipt, rather than returning it, might be a sign that he is forgiving Mackenzie for her past indiscretion. A year spent working together, seeing her passion, has rekindled something within him. It might take a bit longer, but he's thawing towards her, and there is definitely some spark left for the pair. One day, as cruel as this ploy might be now, he may actually give her the ring with all sincerity.

A year working together. Only six episodes in, The Newsroom has already covered an entire year in the lives of these people. This is an extremely rare pace for a show, and it's a little sad that so many news events get skipped over. It also means that the characters are soon going to reach present day, meaning season two (and any more after) will, by necessity, be more condensed. I don't know if I wish they'd started the timeline earlier, so they could keep up this rate, or if I'm looking forward to the series slowing down a bit, even if that means having to play into television drama conventions a bit more.

Another casualty of Will's unhinging is Sloan (Olivia Munn, Perfect Couples, Attack of the Show). She asks her trusted mentor for advice soon before going on air herself, and he urges her to not back down, turning her into a bully, too. Without the gravitas and reputation Will has, Sloan is called to task by Charlie (Sam Waterston), resulting in her suspension. Charlie does manage to fix things, but Sloan suffers a huge personal blow, and Will is feeling mighty guilty.

Sloan's story in "Bullies" is interesting because it proves the kind of woman that she is, and that Mackenzie chose very well in finding someone to sit alongside Will. It also shows that Sloan is still green and stubborn, unwilling to back down to Charlie, even though she really should to protect her career. She makes a mistake, but rather than apologizing and being humbled, she doubles down, yelling at her boss. Sloan will be a fine reporter some day, but she definitely has some growing to do in how she fits into the business.

An interesting result of the Sloan story is the revelation of Don's (Thomas Sadoski) vulnerability and compassion. He is deeply upset at Sloan for going off on her guest on his show. But knowing that she will get enough anger from Charlie, he holds himself in, and instead offers her support. This is a side of Don we haven't seen too much of, and makes him a much more sympathetic character. Credit The Newsroom for not just demonizing the man, who we've been rooting for to be dumped since day one.

There have definitely been hints that Don's girlfriend, Maggie (Alison Pill), might be interested in another man, Jim (John Gallagher Jr.). Amid the Sloan fiasco, Don still worries about that as much as anything. Are these feelings making him softer in his work, as his priorities shift? He really does seem to love Maggie. And while in most shows Maggie leaving Don for Jim would be a given, I'm not so sure The Newsroom will go down that path. It will probably still happen, but how interesting, and true to life, would it be if it didn't?

The Newsroom is an exemplary show with very realistic characters in an exploration of justice and shades of grey. It is brilliantly written and executed, with a team, yes a team, not a cast, of truly gifted performers. I dare anyone to hold up any show against The Newsroom, no matter their political beliefs, and find this series lacking. It will not happen. "Bullies" shows yet another side of the story, going in another direction from past episodes, and still upholds the expected level of excellence.

Watch The Newsroom Sundays at 10 p.m. ET on HBO.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published as TV Review: The Newsroom - "Bullies" on Blogcritics.

Is it over yet?

       TBS presents a new sitcom tomorrow night called Are We There Yet?  From producer Ice Cube, who starred in the 2005 movie of the same name, and the 2007 sequel, Are We Done Yet?, it follows the same characters, as I understand it, as a continuation of the movies.  It begins six months after Nick (Terry Crews, Everybody Hates Chris, in the television adaptation) and Suzanne (Essence Atkins, Half and Half) married.  Although the actors are different, Ice Cube does return in a recurring role as Suzanne's creepy, SWAT brother.  The kids in the television show are Coy Stewart and Teala Dunn.  The cast also includes Telma Hopkins (Family Matters) as Nick's mother, Keesha Sharp (Girlfriends) as Suzanne's best friend, and comedian Christian Finnegan as Nick's best friend.

     I can't compare it the movies because I have never seen them, so this review is just based on the two episodes I watched: "The Hyphenated Name", which airs tomorrow night, and "The Michelle Obama Sweater Episode", which is slated for June 23rd.  Those were not the only episodes I received, but the show is just not very good, so I stopped there.  I only watched the second one because of it's interesting title, and because I try not to judge shows based on pilots.  However, I was disappointed that the First Lady was nowhere in sight, nor was the other celebrity that the episode revolved around, ARod.

     The problem here is there is nothing original.  The cast isn't particularly bad, especially not the hilarious Terry Crews, but they struggle with bland writing, and uninteresting plots.  It's not because I'm white; I frequently laughed hard at Everybody Hates Chris, and as this series retained one of the stars and show-runner Ali LeRoi, serving as a producer, I had high hopes.  Besides, this show doesn't come across as belonging to any race.  It's not defined enough for that.  Unfortunately, it just falls short on all levels.  The relationships feel forced and inauthentic.  The jokes fall flat.  It's not the worst show on television, but it makes the low list.

     TBS has ordered ten episodes, with two each presented tomorrow night and next Wednesday, with an option to pick up ninety more.  I sincerely hope they don't exercise that option, because the talent involved can do much better than this, and I'd hate to see them trapped for years on such a lackluster project.