LEGENDS Anything But Legendary

Article first published as LEGENDS Review on Seat42F.

Morris Chesnut, Sean Bean and Ali Larter | LEGENDS

TNT’s newest drama is LEGENDS, premiering this week. Rather than some epic tale rooted in mythology, as one might guess from the title, LEGENDS refers to the secret identities that deep cover spies have. It is based on a book by Robert Littell. A premise like this should still lend itself well to a large, serial story, in my opinion, but LEGENDS goes in the opposite direction, basically making a case-of-the-week show, or so it seems from the pilot, squandering both an interesting setup and an excellent cast.

At the forefront of LEGENDS is Sean Bean (Game of Thrones) as Martin Odum. Martin is one of those people who gets super intense about his mission, supremely focused on his goals, ignoring rules that might get in his way and a family, including a son (Mason Cook, The Lone Ranger), that could humanize him. This is a very familiar type of protagonist to TV viewers, as it seems that any character that carries a show cannot be average in any way.

In the pilot, Martin is approached by a mysterious man who tells him that the Martin persona is yet another Legend, and the real man is buried deep within by a shady part of the government. This is intriguing, of course, making viewers question both the truth in what we’re seeing and Martin’s mental stability. I could easily see a show or season-long story being focused on this, but the pilot barely glances across it, seemingly destined to be developed in tiny pieces, rather than played up as it should be.

Besides Bean, many other talented people are wasted on this project. Martin’s co-workers are played by the likes of Tina Majorino (Grey’s Anatomy, Veronica Mars), Steve Harris (The Practice, Justified), Morris Chestnut (Nurse Jackie, V), and Ali Larter (Heroes, Resident Evil). None of the characters they play really stand out in episode one. They’re mostly there to alternately back Martin up and get in his way, making up a very standard ensemble for such a show.

What is really troubling is that Bean’s characters inevitably die in just about every project he’s involved in. Because the rest of the characters are so under-developed, LEGENDS as it currently is would not work without its star,

There really isn’t much about LEGENDS that is original or impressive. The acting is top notch, to be sure, but the writing is not. There are hokey situations such as when Larter’s character has to pose as a stripper at the last minute, ostensibly to slyly get to Martin past the bad guys, but in reality, probably just to show off some of Larter’s skin to the viewers, who tend to like a little sex with their action. But it seems designed to be the equivalent of a popcorn flick, sort of like a crime-genre Falling Skies, rather than make an impact on the television landscape or win any awards.

In comparison to other procedurals, LEGENDS holds up well enough. The production looks good and there are no obvious problems. As I said, it copies the structure of other projects quite copiously, but so does everyone else, which is how we end up with so many versions of what is basically the same show all on the air at the same time. It’s not that there’s anything glaringly wrong with LEGENDS or the peers it borrows from. They just aren’t anything special either.

One wonders if we’ve reached a tipping point for this kind of show. Many of the procedurals currently running have either started to skew more serial or incorporate serial elements into their format. However, as long as Bones, NCIS, and others like them rule the airwaves and get the biggest ratings, I don’t see simple escapism entertainment going anywhere any time soon. That is disappointing to the critics, who watch a lot of TV and quickly tire of this junk food-like product, but maybe not to the casual viewer, relaxing with a favorite they stumbled upon and like to check back in with.

LEGENDS premieres this Wednesday at 9 p.m. ET on TNT.

Hey GREYS ANATOMY, "I Want You With Me"

Article first published as Hey GREYS ANATOMY, "I Want You With Me" on TheTVKing.

ABC's Grey's Anatomy begins their tenth season this week with a two part episode, "Seal Our Fate; I Want You With Me," that picks up on the same night last spring's finale ended. The storm still rages on, the team searches for one of their own who has gone missing in the hospital, a marriage falls apart, and a strong, new bond is formed. It's quite an episode!

Fans of Grey's Anatomy have waited all summer to learn the fate of Richard Webber (James Pickens Jr.), last seen lying on the floor, electrocuted. With everything going on at Grey Sloan Memorial Hospital, his absence hasn't really been noticed, but they do need him in surgery so Ross (Gaius Charles) is sent to look for him. Ross bumps into Brooks (Tina Majorino), and, wanting to steal her assignment, tells Brooks she is supposed to find Webber. Brooks locates Webber all right, but not noticing the danger around him, get shocked herself, bumping her head on the way down.

What this means is that both Webber and Brooks' lives on the line through the first hour and into the second. This is kind of a neat little fix, from a behind-the-scenes perspective, because Grey's gets to kill someone while still keeping beloved original cast member, Pickens. After all, while the other four interns have been promoted to series regulars this season, Majorino's schedule precluded her from accepting such an upgrade, so this ties up her storyline neatly, while having her departure make an impact, sort of like when we lost two of Mercy West residents in the shootout season finale a few years ago.

In fact, the death of Brooks sparks a major change in the remaining four interns. Ross, Murphy (Tessa Ferrer), Stephanie (Jerrika Hinton), and Jo (Camilla Luddington) haven't bonded yet the way the first five interns did way back in season one. Losing Brooks and forced to sit together to figure out something to say to Brooks' mother finally puts them all in a situation where they must rely on one another. This is a great moment for these four characters, developing them into something that should change their interactions from here on out.

That is, if they're still around, since the girls chase foolhardy Ross, who is rightly feeling extremely guilty, off to help people trapped by a mudslide, a dangerous operation. Might this three-part episode actually by a four-parter? Or will the story just skip ahead next week, revealing that the characters, so recently upgraded, are safe?

While Brooks passes away, Webber's life is saved. It's not an easy process, to be sure, with Bailey (Chandra Wilson), Yang (Sandra Oh), and Catherine Avery (Debbie Allen) arguing over treatment options. None of their opinions matter, though, because Meredith Grey (Ellen Pompeo), who has just given birth and had surgery, is listed as the decider of Richard's care in his personnel file.

Meredith and Webber have always had a very tense, yet close, relationship, he being the man who came between Meredith's parents. Meredith looks up to him, and even when she doesn't want him to, Webber attempts to be a father figure for her. It's an uneasy alliance that has occasionally been addressed, but never had any resolution to it.

Now, ten years in, Grey's Anatomy finally forces Meredith to decide how she feels about Webber. Richard has put his absolute faith in her, and while Meredith could sit out of the game and let the other three bicker over what to do, she makes a stand, becoming Webber's advocate. She says that he's family, and she's right. He has been for a long time, but until she says those words out loud, it's not established. This will likely mean a different relationship for them from now on.

I am really moved by the scene in which Bailey leaves a voice mail for her husband, Ben (Jason George), about what has happened with Webber. Living apart is very tough for the newlyweds, and this bit shows Bailey's longing and pain. I really hope Grey's reworks the plot to move Ben to Seattle ASAP. He's a great character on the show, and will be welcome to stick around more.

Meanwhile, things are still extremely tense between Callie (Sara Ramirez) and Arizona (Jessica Capshaw) after the latter's indiscretion is discovered. Arizona wants to talk things out and thinks she can make it OK, but Callie doesn't want to even be around her wife, grabbing their daughter and leaving the apartment while Arizona is still at work. Is this the end of their marriage?

I'd like to think not. They've been through a lot together, and while they still have a long way back to normal, as evidenced by their fights in last spring's finale and these premiere episodes, at least they are communicating. Yelling gets their feelings out, and perhaps, given space, Callie will begin to understand and forgive Arizona. In the meantime, it's a good sign that they are sharing custody of the daughter they've raised together, Callie not pointing out that Arizona has no legal right (which is probably true) and cutting her off.

It's interesting to see Callie hide out at Meredith and Derek's (Patrick Dempsey) place. They would have taken her in before last season, but it's only with recent stories that they want her to stay with them so they can help her. Taking over the hospital and all the time they've spent together away from work has changed the dynamic of the group, and it's touching to see how they have truly become a family for one another. Neither Derek nor Meredith take sides in Callie and Arizona's marriage, but offer support to whoever needs it, and try to provide a way to keep the lines of communication open.

Yang is involved in all of this, hanging out at Meredith's house, convincing Callie to let Arizona have a few minutes with her daughter when it's not her night. And she helps talk Meredith through the Webber thing, even when Meredith decides against Yang's recommendations. Plus, we see Yang have a few last trysts with Owen (Kevin McKidd) before deciding to finally be done with him for good. These are a lot of different sides to Yang, giving her a number of strong character scenes in the two hours. This season, her last on the show, will definitely be amazing, if these installments are any indication.

Also on the relationship front, Alex (Justin Chambers) and Jo finally have sex, and Avery (Jesse Williams) turns April (Sarah Drew) away. This hurts April, and drives her back into Matthew's (Justin Bruening) arms, accepting his proposal. Is April doing the right thing, moving on as she should? Or is she just fooling herself, using Matthew as a way to avoid the pain caused  by Jackson's rejection? I really don't think April should, or will, stay with Matthew for too much longer.

It boggles my mind how Grey's Anatomy continually re-invents itself in a way almost no other program does. Ten years in, the players are still growing and changing, and the stories move them in unexpected directions and still challenge them to rise to new, difficult occasions. Sometimes it seems artificial how many disasters come to this one particular location and staff, but it is never handled that way by the characters, always finding something authentic in it for them to work with. "Seal Our Fate" and "I Want You With Me" are very good, very enjoyable episodes.

Grey's Anatomy airs Thursdays at 9 p.m. ET on ABC.

DVD Review: ‘Grey’s Anatomy: Complete Ninth Season’

Article first published as DVD Review: ‘Grey’s Anatomy: Complete Ninth Season’ on Blogcritics.

The ninth season of Grey’s Anatomy‘s is a time of great transition. As it says on the cover of the Complete Ninth Season DVD, “Everything Changes.”
The entire season focuses on the effects of the plane crash in the season eight finale, as well as events that intercede to set the doctors’ lives on new paths, proving that a series can still maintain a freshness and extremely high quality almost a decade into its run.

The season premiere, “Going, Going, Gone,” picks up months after the plan crash. Meredith (Ellen Pompeo) is grieving the death of her sister, Lexie (Chyler Leigh), Derek (Patrick Demsey) has traded being a surgeon for teaching, Cristina (Sandra Oh) has not returned to the hospital because she can’t bring herself to board a plane, Arizona (Jessica Capshaw) is cold towards her wife, Callie (Sara Ramirez), because Callie has amputated Arizona’s leg, and Mark Sloan (Eric Dane) seems to be recovering, only to take a turn for the worse and dies.

This is the starting point for a roller coaster of a year. We see how the doctors try to cope with their losses and move forward while dealing with the guilt plaguing those who may be responsible or should have been flying that day, too.

The hospital pays out a huge settlement, which threatens its very existence, and the desperate plan to save the facility has great personal cost both to those keeping the mission a secret and those on the outside wishing they didn’t have to look in. And a marriage crumbles as an interloper (White Collar‘s Hilarie Burton) somewhat inadvertently takes advantage of the strain.

There is also turmoil that has nothing to do with those events. Webber (James Pickens Jr.) faces a crumbling marriage as his wife, Adele’s (Loretta Devine), mental health decays. Jackson (Jesse Williams) wants to confess his feelings for April (Sarah Drew), who is rehired at Seattle Grace Mercy West, but she is moving on with a paramedic named Matthew (Justin Bruening, All My Children).

But there are happy times, too. Bailey (Chandra Wilson) gets to marry Ben (Jason George). Meredith discovers the joys of motherhood. Cristina finds true wisdom in working with Dr. Thomas (William Daniels, Boy Meets World). New ownership looks good for the hospital. Owen (Kevin McKidd) finally stops fighting with his wife. Alex (Justin Chambers) falls for a kindred spirit. Life is a mixed bag, and there is always happiness sprinkled in the sadness.

Best of all, the halls are now ringing with a new class of interns (Camilla Luddington, Gaius Charles, Tina Majorino, Tessa Ferrer, and Jerrika Hinton). These five are built to last, unlike previous batches, with four of the quintet signed on as main characters for the upcoming tenth year. (In-demand Majorino has a previous series commitment that prevents her full-time return at this time). They remind us of the youth and foolhardiness that once belonged to Meredith, Cristina, Alex, and their friends. They are a reflector to show the growth of the central cast. They reinvigorate the story, and give the series promise of many more years. In short, they are a fresh injection of welcome blood.

The original characters are still our most beloved, but as Grey‘s approaches a milestone decade on the air, it cannot remain stagnant. The writers deftly balance plots of both new faces and the beloved veterans, keeping things going, even as they reinvent themselves, and tying both together in a pleasing patchwork. This is a stellar season, full of terrific installments which I cannot praise enough.

The bonus features are light, unfortunately, though how much more can be said this far along? “Happy Trails with Jim Pickens, Jr.” revels in the real-life passion of horses and charity that our Dr. Webber has. “The Long Road Home” is also about fifteen minutes, and covers how Arizona’s storyline this season was approached, and the special effects behind the now-one-legged doc. Plus, there are a LOT of deleted scenes, and a couple of minutes of outtakes. Plus, the finale is an extended episode. The only thing really lacking here is the absence of a single audio commentary.

Grey’s Anatomy Complete Ninth Season is one of the best ones yet, and is available to relive on DVD now.

Grey's returns with a big gap

The events of the latest Grey's Anatomy season premiere, "Going Going Gone," pick up months after the plane crash. This does a couple of things. One, it allows them to jump ahead in the story without having to be bogged down in months of suffering. Two, it lets the writers dole out one character at a time, keeping fans guessing about the fates of some of their favorites until late in the hour. But rest assured, next week will return the action to last spring for at least one episode, so some of the missing pieces will be filled in.

Last year, many of the doctors were considering leaving Seattle Grace Mercy Death West. As they became attendings, they looked for other hospitals around the country from which to ply their trade. In "Going Going Gone," Cristina (Sandra Oh) is miserable in Minnesota, but she's the only one who transferred. And her inability to get on a plane after the trauma she suffered prevents visits back to Seattle. She isn't fitting in too well at her new digs, clashing with the doctors on staff (William Daniels, Boy Meets World, and Steven Culp, Desperate Housewives), so it's likely only a matter of time before she comes back.

The fact that Cristina's home hospital seemingly hasn't hired a new cardiac god yet should smooth the process. Is Owen (Kevin McKidd) reluctant to bring in a replacement because he misses Cristina and Teddy (Kim Raver, who left the series)? Or has he just not found the right person? Either way, this opens the door for Cristina's return, and that would be most welcome, as dividing the action between cities will grow awkward real quick.

Alex (Justin Chambers) has been trying to leave, but finds himself unable to do so, feeling guilty for not getting on the plane that crashed, and not wanting to abandon his friends. It's not a sign that he's stuck so much. He just feels a responsibility because he's a good guy. And no one really wants to see Alex leave, either, so when he decides to stay at the end of "Going Going Gone," it's a relief to viewers and the characters alike.

Tragedy affects different people in different ways. Last spring, the doctors consider moving on because of the bad things that have happened to them at Seattle Grace. But having one more event occur makes them remember just how much they care about each other. How can they look out for one another when they are spread across the country? They simply have to stay.

April (Sarah Drew) does something far more drastic than transfer: she goes back to work on a farm. Owen isn't going to let that be his protege's fate, so he goes and gets her. Is there a little bit or romance brewing between the pair? How might that affect Cristina's decision to come back, or the chemistry between them once she does? I learned to like April, but there is trouble here.

Others have suffered even worse fates. Derek (Patrick Dempsey) can't fully use his hand (haven't we seen this story before, back in season two-ish?), and Arizona (Jessica Capshaw) is left with an amputated leg. This makes things difficult for their loved ones, Meredith (Ellen Pompeo) and Callie (Sara Ramirez). But it also means there are lingering wounds that cannot heal just yet.

Derek and Callie have the added pain of watching Mark (Eric Dane) die. A fan favorite, Grey's regrettably decided that Mark should pass away, and "Going Going Gone" does it slowly and fittingly, with video tributes to him from throughout his life. Other characters may be killed off more quickly, but Mark gets perhaps the most touching, drawn out ending. I just wish we could take it back and keep him around, even if he is finally with Lexie (Chyler Leigh) in the afterlife.

Who I really feel sorry for, though, is Callie's daughter. Her father is dead, her second mother just lies angrily in bed, and Callie has to deal with grief and a young child. It's not fair to the kid. How can she avoid being scarred by everything that is going on around her?

Things aren't all mired down in hopelessness. There is a bit of lightness in "Going Going Gone," too. Bailey (Chandra Wilson) is happy to get a visit from Ben (Jason George, why is he not a series regular yet?), but romantic playtime with him has turned her from The Nazi into Booty-Call Bailey. It's funny that the character who began so grumpy and judgmental about sex in the workplace is now getting it on more often than anyone! I don't see the nickname standing, though, even with the warmer, fuzzier Bailey. Look for her to lay the smack down on the newbies (which include Gaius Charles, Friday Night Lights, Camilla Luddington, True Blood, Californication, and Tina Majorino, Veronica Mars, Napoleon Dynamite) soon.

Despite all of the dark drama going on, it's nice that the new interns are introduced in this episode, and we even get to see one do their first surgery. It provides a circle of life theme, that things move on, and new faces will soon fill the holes left by old ones. Having Meredith be the mean boss is also cool, a kind of "student has become the master" moment.

An interesting, sad, hopeful start for the new season. Watch new episodes of Grey's Anatomy Thursdays at 9 p.m. ET on ABC.

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

'Bones' faces a new bump in the road

This week, FOX's Bones presents "The Bump in the Road." Brennan (Emily Deschanel) finds it hard to concentrate on her work, now that her baby is in daycare nearby. Cam (Tamara Taylor) also had a mommy dilemma when her daughter, Michelle (Tiffany Hines), begins dating new-ish Jeffersonian intern Finn (Luke Kleintank). Will these parents be able to compartmentalize their kids and their careers, and still do right by both?

In the fall batch of Bones episodes, the new dynamic between Brennan and Booth (David Boreanaz) does not hurt the series at all. If anything, Bones becomes energized by the shake up. However, the same cannot be said of the past two episodes, which are more baby-centric. Yes, it's nice to see Booth and Brennan have a little family, and the scenes featuring these two are mostly authentic and sweet. Bones has always been good at writing the romantic stuff. It's Brennan-as-a-mommy that they have yet to figure out, and so other parts of "The Bump in the Road" come off as clumsy.

Brennan studies human behavior, without fully understanding how to fit into social interaction herself. It's always been a part of her character, so it's no surprise that being a mother is an adjustment. However, the overwhelming emotion Deschanel lets slip into the part glosses over this. This is not the complaint, as it isn't a surprise that giving birth could change a person.

However, to hear Brennan endlessly talk about motherhood doesn't feel all that authentic. The scene where she catches Angela (Michaela Conlin) hiding her own child in a file cabinet is worse. Sure, it's believable that Angela might sneak her kid into the lab, but the whole thing feels like a staged set up to give Brennan something to babble about. The way Brennan is now being written just seems a bit fake. It's like the writers know how they want her to act, but haven't quite mastered how to make it happen at the same level they were writing the character previously.

Booth fares a bit better, but then, he's not the mommy. His scene with Special Agent Shaw (Tina Majorino), where she admits to having a child, also feels staged. The fact that she acts awkwardly as Booth stumbles for something to say, settling on praising her motherly abilities, of which he has not witnessed, saves it. He act authentically out of step after such a weird confession, and she also looks uncomfortable. This works, even if the initial conversation does not.

Cam, too, is written weirdly in "The Bump in the Road." She is a cheerleader and mentor for Finn, until he wants to date her daughter. Understandable. But then Cam implies that her concerns are about Finn's past, which has already been justified to her and the audience. Why not have Cam express hesitation because of how she sees Finn treat a girl in the diner at the beginning of the episode? That would feel much more real. And without her bringing it up later, instead, using other excuses, why even have that scene?

The lack of focus on this week's case is not a problem. Bones is at its best when it lets its character breathe, and doesn't stick them stringently into the crime formula. But since the characters have all undergone big shifts, and the writers haven't completely adjusted yet, "The Bump in the Road" feels like a mediocre effort. Perhaps it should have been a practice script that didn't see the light of day.

Given the long track record of greatness that Bones has, things will probably get sorted out, hopefully sooner, rather than later. Watch Bones Mondays at 8 p.m. ET on FOX.

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Big Love takes us "Where Men and Mountains Meet"

     It ended with the wives. Of course, it had to. After five seasons, HBO's Big Love finished with a startling, powerful climax, and with a family held together by deep love, no matter what judgments society makes about them. I do not know what most viewers' reaction is to the death of patriarch Bill (Bill Paxton) yet, but I thought that, combined with the group hug and remix of the original theme song, is the perfect ending to a wonderful series. And the episode title, "Where Men and Mountains Meet"? Epic!

     Bill has to die. That's the only way the series could have satisfactorily wrapped up his story. I did not care for the story arc of Margene (Ginnifer Goodwin) being underage when she married Bill, and thus, am disappointed that Bill's name is so blemished by the incident. Having had plenty of time to accept the bad twist, though, Bill is in a corner where, if he had lived, he would surely have tarnished his name, likely served jail time, and lost his senate seat. But killing Bill off right after his triumphant stand for polyagmy in the senate and his huge turnout at his Easter Sunday services, he is a martyr and a hero, rather than a man who would spend many years trying to rebuild himself, if he ever could.

     In retrospect, Bill's death is much less of a surprise, when considering the points mentioned in the preceding paragraph. The weight of what was about to happen hit me moments before shots rang out on the lane. But there was no way I can think of to predict the method of Bill's murder ahead of time. While the seeds for such were laid, they were done so subtlety, it wasn't even on the radar as a possibility. For Bill to die senselessly at the hands of his neighbor, Carl (Carlos Jacott), upset over things that had nothing to do with Bill, is a shocker. I would have assumed Alby (Matt Ross) would do it, or at least a fanatic upset over Bill's political actions.

      But Alby's plot wraps up early, arrested as Bill held a gun to him in the courthouse at the end of the previous episode. Bill has already won the Juniper Creek battle.

     And what of Bill's vision of Emma Smith (Rebecca Wisocky)? This is a turning point for him. While debatable what exactly changes in Bill during that sequence, it is apparent Bill is undergoing some type of revelation. I like to think that he is realizing the power one woman had in the founding of the church, and through that, accepting Barb's (Jeanne Tripplehorn) holding of the priesthood, which he affirms as he dies. It is hard for Bill to change his beliefs, but he has done so a number of time, most notable embracing 'the principle' after living in a monogamous marriage. Accepting that women are not separate but equal, but instead, true equals, is his last transformation he needs to undergo.

     Barb's embrace of the priesthood is a major conflict point in this final season. Had the show continued on, I am fairly confident this season would have ended will Bill and Barb separating over their disagreement. Instead, as an ending is imminent, Barb rejects her new religion to return to her family. I don't believe she is rejecting her convictions or ideas, nor do I think that she intends to end the fight with Bill. But her family is more important than her self, and so she returns to the fold. I think Bill would have eventually welcomed her as a priest holder into his church, and in the end he did. She becomes, seemingly, the leader in his stead. She was always the true driving force in the marriage anyway, and in the end, that is revealed to all.

     The story of the show is of the family. More importantly, it is of the wives. As the three ride down the highway in Barb's new car, even Nicolette (Chloë Sevigny) allows a smile to tug at her lips, however fleetingly. These three very different women have come together over the same man and the same values. The show ends with the three hugging and Bill's ghost watching on with pride and love. Even without Bill, they stay together. Their marriage isn't just about him. The car ride shows that, before the tragic ending, and reminds us of the powerful feelings shared between them.

     Nicolette gets the ending she deserves. With Barb, she finally accepts her own feelings. Her insisting she doesn't like touching, but allowing Barb to pull her into a hug, is the perfect in-character demonstration of this. Nicolette also gets to make up with daughter, Cara Lynn (Cassi Thomson). While the audience knows Nicolette's hurtful words to Cara Lynn are really directed back upon herself, Cara Lynn doesn't, until Nicolette basically shows her. Two years of plot pay off in that moment as daughter finally understands mother, and having accepted herself, Nicolette can accept Cara Lynn.

     Margene, I feel, is the weak link. So she leaves her little kids with Barb and Nicolette so she can go help poor people? I understand that Margene is young as Bill dies, and she still has much to accomplish with her life. But I just don't see her abandoning her children this way. Even if she took them with her, which doesn't seem to be the case, she wouldn't actually get much charity work done, so it would be a waste of time. Her ending is the most self-serving, and thus, the most dissatisfying.

 

     Not far away, another moving death, this one much easier to see coming, is playing out. Frank (Bruce Dern) sweetly holds wife Lois (Grace Zabriskie) in his arms as she slips into death courtesy some drugs Frank apparently injected her with. It is a shame it took such a tragic story as Lois's dementia to bring the warring pair back together. For most of the series they fought bitterly, both attempting to murder the other. Yet, in these final moments we see the real love between them that has existed for decades, and how their relationship must have been when it was new. It is a tear-jerking scene, and leaves Frank slightly better as a human being. Lois herself has already been redeemed, as she struggles with a disease wrongfully inflicted upon her.

     For those who question if Frank also has injected himself, so that he could die with her, as I first wondered, the series creators have insisted that no, Frank is not dead. He lives on. I really hope he isn't caught and arrested. He deserves jail time, but not for Lois. He actually treats her right in the end, and thus should gain a reprieve.

     Finally, Ben (Douglas Smith) ends up with Heather (Tina Majorino). As soon as Heather makes her first appearance after Sarah (Amanda Seyfried) left the cast at the end of the fourth season, it is obvious that Ben and Heather are going to be together. There is simply no other reason to bring her back. At first, the pairing is awkward. Then it isn't, because Heather has always been drawn to the family, so it makes sense she would marry to stay involved with them. Ben has only flirted with polygamy for the same reason any teen boy would - more women to sleep with. He can give it up for a woman he truly cares about, and he is protective of Heather, so love is not far behind.

     Going into this episode, I wanted to see all the supporting characters return in some form. Instead, I am very glad that didn't happen. Don (Joel McKinnon Miller) is around, and we get a glimpse of how Sarah and Scott (Aaron Paul) turn out, and that is plenty. Getting to its core is far more fitting than serving all of the debris that revolves around the family. I am also grateful that Tansy is only mentioned, after not being seen all season. Let's be honest; he recast was a mistake, though writing her out did feel awkward. As such, if the original actress could not be got, it's better not to see her at all.

     One last musing: I understand the final shot is of the wives living on together, and it is very appropriate. I had thought, and still think seeing the family reunited in heaven would have also been nice. I don't think my idea is better than what aired, but it would have made a good ending credits sequence, no? Ah, well.

     Thank you, Big Love for a big, loving story that was a thoroughly enjoyable experience.


Article first published as TV Review: Big Love - "Where Men and Mountains Meet" on Blogcritics.

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The Deep End fits well in ABC's Thursday

    The Deep End has been placed on ABC Thursdays nights just before Grey's Anatomy, and this is the perfect spot for it.  It resembles the other show in many ways.  It stars five attractive, young people at the bottom of the rung on a law firm, and the cast is peppered with older, established potential mentors at different tiers in the same law firm.  It's the legal version of Grey's, and the music, tone, and sensibilities are also incredibly similar.  Does that mean that this show is more of the same?  Not exactly.  It's a formula that works, with a different take.  As long as it is done correctly, and it appears from the pilot that it has been, then it should do all right, though critics aren't too impressed.  The question is, will audiences embrace it?  Based on ABC's track record, they should.

     The two young women joining the firm are Addy (Tina Majorino, Veronica Mars, Big Love, Napoleon Dynamite) and Beth (Leah Pipes).  The guys are Liam (Ben Lawson, Neighbours), Malcolm (Mehcad Brooks, True Blood, Desperate Housewives), and Dylan (Matt Long, Jack & Bobby).  Liam and Beth have already slept together, so the requisite sexual tension is already starting among the group.  Four of them already demonstrated a fun dynamic, though Malcolm showed up late in the pilot, and hasn't yet had much interaction.  They are different enough to keep the show interesting, but have enough similarities to mostly gel as a group.  They are all recently hired out of law school, the most promising candidates picked from a pool of thousands.  They will clearly be the heart and soul of the show, and the focus of the series.

     Elsewhere in the firm, Cliff a.k.a. The Prince of Darkness (Billy Zane, Samantha Who?, Titanic) has been running the place for three years, while sometimes clashing with fellow employee, and his spouse, Susan (Nicole Ari Parker, Soul Food).  However, now the old boss, Hart (Clancy Brown, Carnivale, SpongeBob SquarePants) is back, and the two have to find a way to work together.  The new recruit's marginally effective mentor is Rowdy (Norbert Leo Butz).  Each have their own concerns, but will also have to help out, or torture until they turn out right, the rookies.

     The Deep End will run Thursdays at 8pm on ABC.