Who's the BOSCH

Article first published as BOSCH Review on Seat42F.

Amazon’s new drama pilot, their first ordered to series, BOSCH, begs the question: do we need another police procedural? True, BOSCH is also a character study of a tormented man who is on trial for killing an unarmed suspect, so he’s not solely focused on whatever new cases he gets into (against orders, of course), but none of this is very original or groundbreaking. Perhaps the title character in this show takes a things a step further than his broadcast network peers, the writers digging a little deeper, but the first hour feels like yet another retread on very familiar ground.

The thing is, I just can’t jump on the Bosch band wagon. When Luther, Elementary, House, and so many other shows have given us a very similar leading man, there just isn’t enough here that feels fresh or new. Sure, there are cosmetic differences, of course, the quality of this program is at least as high, if not higher, than those others I’ve named. But at the central core, Bosch is lacking originality. And, like nearly half of the shows on television today, it takes place in L.A., a totally uninspired setting.

It’s possible to stay in the crime genre and make something fresh. HBO’s True Detective last year proves that. But BOSH isn’t True Detective, so it fails on an essential level.

The best thing I can say about BOSCH is that it casts Titus Welliver (Lost, Argo, Sons on Anarchy) in the main part. Welliver definitely deserves leading man status, and he easily handles the material, being allowed to show his depth and range in a way he hasn’t yet. From his buried pain over what he did, to the face he has to put forward both for the sake of his profession and so that he can try to live with himself, he’s not a shallow man. Bosch is no House; he is quite likeable. Circumstances have brought him to where he is, not mistakes he made with foreknowledge.

He is joined by an excellent ensemble. The other major characters include Scott Wilson (The Walking Dead), Annie Wesching (24), Lance Reddrick (Fringe), Amy Aquino (Being Human), Abraham Benrubi (ER), Amy Price-Francis (King), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), and Jamie Hector (The Wire). So many familiar names, and all of them memorable. One cannot complain about the casting.

What will set BOSCH apart a bit, for those who love the genre so much that they haven’t yet grown tired of it yet, is the dual narratives. Because Bosch is facing his own challenges while working at his job, and his personal story probably won’t only pop up a couple of times per season, as it would on CBS, there’s something interesting in every episode. It’s not enough for me, but it will likely be enough for many viewers.

So, at the end of the day, I don’t think it matters if BOSCH has smart writing, convincing acting, and well-developed characters. All of those things are true, and the series definitely is near the top of its field, but the market is too saturated. With Amazon just trying to break into scripted drama, it may have been a safe path to choose something tried and true, but it’s also a boring one. We didn’t need another show like BOSCH, and while it may make Amazon seem like a legitimate contender in the original content market, it also signals they may not forge their own identity, which is sorely needed to set them apart.

Bosch’s first season is available now on Amazon.com.

He's the BOSCH

Article first published as He's the BOSCH on TheTVKing.

Do we need an other police procedural, even if it's couched in a character study of a tormented man? That's what Amazon is delivering to us in Bosch, one of their first two drama pilots, currently streaming free on their website. The titular detective is simultaneously on trial for the murder of an unarmed suspect, while still digging into fresh cases, against orders. Can he escape jail and find peace?

It's hard to argue that Titus Welliver (The Good Wife, Lost, Sons of Anarchy, Argo) doesn't deserve a leading role. He absolutely does, and he definitely handles the main part of Bosch well. He lets us see the hurt it causes him to know he killed someone, beneath the bravado he must maintain to sleep at night and continue to do his job. He's a good man who accidentally did a bad thing, with cause, and thus a likeable protagonist.

The problem is, we already have plenty of these. Shows from Luther to Elementary to Justified to House have already given us pretty much the same archetype. There are differences of course, but these tend to be only cosmetic, and what sets each apart tends to be the quality of the writing and the ensemble, rather than any real originality in storytelling.

Bosch does lean towards the higher end of the spectrum. Part of this is because of the dual narratives, the court case and the current investigation, balancing each other nicely. Another part is the enjoyable ensemble, which includes Scott Wilson (The Walking Dead), Lance Reddick (Fringe), Amy Aquino (Being Human), Annie Wersching (24), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), Abraham Benrubi (ER), Amy Price-Francis (King), and Jamie Hector (The Wire). It's a great group of performers.

Bosch is better than most of the other crime shows. The writing is smart, the acting is convincing, and the characters are well developed. These are adjectives I frequently use to describe good shows, and it applies here, too.

But because the market is inundated with this type of drama, though,, it's not necessary to make another. I don't know if Amazon hopes that by delivering something so familiar, we'll see it as a legitimate television content provider. What is more likely, though, at least for those of us that consume lots of TV, is we'll see it as lazy, yet another clone for an already crowded genre.

What would set Bosch apart from its peers? Well, letting Bosch leave the law enforcement profession behind would be good. Or seeing him actually go to jail, the story following him as his life changes, and then the fight to overcome that. I'd like to see Bosch himself do more than just stay in the structure he's accustomed to. But this seems quite unlikely, as it's a much more challenging type of show to tell. Or, at least they could make the setting somewhere other than L.A., which has been done to death.

Making a brand new crime show worth watching isn't impossible; HBO's True Detective has proven that. Bosch just isn't True Detective-caliber, even as it's a notch above anything on the broadcast networks.

Bosch's first episode is available now on Amazon.com

Blu-ray Review: ‘Argo Extended Edition’

Article first published as Blu-ray Review: ‘Argo Extended Edition’ on Blogcritics.

By now, most lovers of cinema have seen last year’s Academy Award Winner for Best Picture, Argo. Based on the true story of CIA specialist Tony Mendez (Ben Affleck, who also directed the film) and his plan to sneak American diplomats out of Iran during the hostage crisis of 1979 with the help of Hollywood players, it boasts an impressive cast and a compelling story. Now, just in time for the holidays, Warner Brothers has released the Argo Extended Edition.

For those who haven’t seen it, at the start, Iranians attack the American embassy and take a bunch of people captive. A small handful escape and hide with a friendly dignitary. With the noose closing in, and the American government unable to sanction an official rescue, Mendez comes up with the ingenious idea to fake a movie being shot in the area and get the sextet out of danger.

Now, Iran is keeping a close watch on visitors from the U.S., so with the help of Lester Siegel (Alan Arkin in an Oscar-nominated role) and John Chambers (John Goodman), filmmakers in L.A., Mendez sets up a Canadian production with an actual script and full cover identities for each of the people stranded. Then, he himself sneaks into Iran, makes it look like he’s actually scouting locations, and smuggles them back home.

It’s an unbelievable story of courage and ingenuity, one that is inspiring and inspired. Even with the outcome certain, viewers are sure to be kept on the edge of their seat as the tense situation plays out. Yes, some liberties are taken to build suspense, but in general, Argo is about real people, which definitely makes it easy for the movie to make viewers care about what’s happening.

Besides the aforementioned actors, the cast also includes Bryan Cranston, Victor Garber, Tate Donovan, Clea DuVall, Kyle Chandle, Chris Messina, Kerry Bishé, Zeljko Ivanek, Titus Wellivar, Scoot McNairy, Rory Cochrane, Bob Gunton, Richard Kind, and more. It’s a very impressive call sheet, and together, they act the hell of of Argo, delivering some really authentic performances. Combined with an Oscar-winning script, it’s a heck of a movie.

The presentation is fantastic in Blu-ray high definition. The detail is excellent, especially in darker scenes, with rich layers. The soundtrack is great, too, with a full surround effect and a nice mix between background noise, dialogue, and score. It’s definitely on par with most recent releases of modern, big budget films, which are quite good.

As the set title implies, this cut of the movie is longer, about nine minutes more than the version released in theaters. Most of the fresh material concerns Mendez’s relationship with his family. This is nice, perhaps not completely necessary, but still welcome.

Better is the wealth of extras that are included with the Argo Extended Edition. There’s a hardcover book about the production with some neat photos, a CIA ID card for Mendez (as he looks on screen), a map of Tehran so you can better track the setting, and, my favorite, a poster for the movie-within-a-movie.

There are three features exclusive to this disc. One shows the real CIA honoring this operation as part of the agency’s fiftieth anniversary. Another looks into how Affleck brought the various elements of the piece together into this finished product. The third is a mashup of the catchphrase “Argo fuck yourself,” used over and over again in the movie. Besides all of this, a number of previously-released bonuses are present as well. There’s a picture-in-picture to compare what really happened with the film, an audio commentary for the theatrical cut, interviews with Jimmy Carter, Tony Mendez, and others, and a discussion with the cast. Affleck talks about why they shot Argo in Istanbul, documents used for the mission are examined, many of those actually involved in 1979 give their perspective, and more. Basically, it’s a really nice mix of stuff about the movie and insight into the real events.

All of this makes Argo Extended Edition a really nice set. What’s included is pretty much all useful and interesting, without the fluff some releases use to beef up their extras list. Not to mention, all of the additional physical material packaged with the discs, are pretty cool, too. For a fan of Argo, this seems to be the definitive edition to have.

Argo Extended Edition is available now.

White Collar's fourth season is now "In the Wind"

Article first published as White Collar's fourth season is now "In the Wind" on TheTVKing.

USA's White Collar completes its fourth go-round this week with "In the Wind." Reese (James Rebhorn) warns Peter (Tim DeKay) not to trust Callaway (Emily Procter, CSI: Miami), who apparently is in the pocket of Senator Pratt (Titus Welliver, Lost, Sons of Anarchy). Since the FBI is closing in on the evidence box in the Empire State Building, and Peter doesn't think he can get around Callaway professionally, he asks Neal (Matt Bomer) to cross the line and get the evidence himself.

"In the Wind" is an action-packed episode. There is a death by shooting, a couple of twists, some running around, and an escaping blimp. There's subterfuge and betrayal, all in a gorgeous location shoot. All of this is very exciting, especially when the evidence is kept out of Callaway's hands in an original way.

But the best parts of "In the Wind" are the emotional moments. Most obvious is that involving the relationship between Neal and his father, James (Treat Williams). Mozzie (Willie Garson) never quite trusts James, and so viewers may be inclined to look at him with suspicion, too. Even as we hope that James turns out to be the innocent man he claims to be, for Neal's sake, we see the signs that everything he says is not on the up and up.

In the end, it's not finding out that James is guilty that hurts. It's the fact that James is not a good guy nor dad, refusing to stick his neck out for Neal. It's understandable that James doesn't want to risk going back to prison, but after all of the pain he has caused Neal throughout his life, when Neal begs him for a favor, and this favor is selfless, James should definitely comply. He doesn't, and I feel like this is the end of their emotional journey as father and son. James can never really return to Neal (even if the actor guest stars again), and Neal can never forgive his father.

The favor that Neal asks is to clear Peter's name. James kills Pratt in self defense, but Peter takes the fall for it. The evidence is damning against Peter, and the way it plays out actually feels smart, rather than contrived. Neal very much cares for Peter, and has shown that he will do almost anything for him. Neal is even willing to sacrifice his own father for Peter, which proves once and for all the level of affection between them, despite the sometimes rocky story.

The only thing that feels slightly off in this James-Neal-Peter arc is that Neal seems to suddenly regard Peter as a father figure. Sure, Peter is older and has authority over Neal. But I've always seen the two as best buddies, rather than mentor-mentee. They work in unison, not necessarily as a superior and an inferior. The power shift drawn here is a little weird.

Also, when Peter makes dinner plans with Elizabeth (Tiffani Thiessen), you just know something is going to happen to prevent the date. Usually, White Collar isn't this obvious, so it's a shame a move is telegraphed here, even if the way the story shapes up takes awhile to become clear.

Neal not only gets to connect with Peter and James, but he also has a wonderful scene with Sara (Hilarie Burton) in "In the Wind" in the Empire State Building. The relationship between them has been a highlight of the series, and there is definitely something real that works for the pair. Neal gets to confess his feelings in a very authentic way, even while performing a mission, and she responds to them. It's a shame the show is sending her off to London instead of keeping her around. "In the Wind" feels like a sad, but very well written and performed, ending for the couple.

I am not yet ready to cast judgment on Callaway. I miss Reese as boss, to be sure, despite the small role he usually plays. But Callaway seems like she just might be on the side of justice, and changes the dynamic in the White Collar Division in an interesting way. The evidence Reese brings to Peter makes her look bad, but not so bad that it can't be explained. She does try to keep Pratt away from the evidence that will take him down, and so I think there could be some redemption for her next season, should she stick around.

Ah, next season. I hate when Peter is away from his job, but a murder trial is too rich to just skim over. Let's hope White Collar delivers the goods in this arc, rather than cutting it short, as it sometimes, but not always, does with longer plots.

White Collar will return next fall to USA.

Touch getting "Closer" to what it should be

Article first published as TOUCH Season 2 Premiere Review on Seat42F.

Grade: 87%

FOX’s TOUCH returns this Friday with two new hours. When last we see Martin Bohm (Kiefer Sutherland), he is in California, led there by Jake’s (David Mazouz) number trail. He encounters Lucy Robbins (Maria Bello, who guest starred in last spring’s finale), whose own daughter, Amelia (Saxon Sharbino, I Spit on Your Grave), is kidnapped after touting the same sequence as Jake. Now, teamed up, they must find Amelia and stop the dastardly corporation, Aster Corps, who will use the numbers for evil, rather than good.

TOUCH has undergone a major cast overhaul heading into season two, ditching social worker Clea Hopkins (Gugu Mbatha-Raw), left behind in New York when the Bohms head to the West Coast, and adding four new stars, including Lucy and Amelia. For some shows, a drastic change like this would be startling. However, in TOUCH, it seems a natural part of the growth of the story. The series follows Martin and Jake, and when they move to the opposite end of the country, they will necessarily be surrounded by different people.

It makes sense, too, then, that many of the recurring players of the first season are not in evidence in these initial two hours back. Some, like Randall Meade (Titus Welliver), seem to have already run their course, while others, like the Asian girls, are simply gone. It won’t be too disappointing if many season one players don’t come back, as the story has moved into the next phase, and so, too, must the people in it. However, the pattern is often illustrated as a spiral, so TOUCH may eventually circle back around to them.

I really like the changes TOUCH has made. Whereas season one seemed a little wandering, a little unfocused, playing a bit with mythology, but also presenting a lot of seemingly stand-alone stories, season two tightens up the plot. Now, there is a singular enemy, and all of the various characters in the show are involved in one situation. It helps to focus, and while there are still plenty of coincidences and patterns, they are usually guiding towards something specific.

As the first episode back, “Event Horizon,” begins, Jake narrates, telling viewers that his lack of speech is about to change. He doesn’t utter a word out loud in these two hours, so it seems a little odd to start this way. Does he just mean that he will begin communicating more clearly, though utilizing the tools he already has, or does he mean that he will start talking? Others like him, including Amelia, have no problem with vocalization. Why does Jake stay silent?

The dynamic between Jake and Martin is already being shaken by the inclusion of Lucy with them. Amelia does provide a handy way for Martin’s time to be freed up, leaving his son with Lucy. But she’s not just a babysitter, with the action following her, as well as Martin. I am very curious how things may change even more when they find and rescue Amelia, which seems a foregone conclusion. TOUCH isn’t nearly dark enough to kill a child viewers are made to care about.

TOUCH places Amelia in the most unlikely place. She is staying with someone we think of as a good guy, based on the story laid out in “Event Horizon” and the second part, “Closer.” I won’t spoil where she is, but suffice it to say, it’s unexpected. In keeping with what the show does best, TOUCH sets up some storylines in the first two hours, but only gives viewers a taste of what’s to come, leaving many unanswered questions.

Unanswered questions hover over the other two main characters quite thickly. The first, Calvin Norburg (Lukas Haas, Inception), is the brain behind Aster Corps’ recent activities, but he is feeling bad about what they plan on using his ideas for. He wants to save the world, and finds that hard to do in his current position.

Calvin’s path already begins crossing the rest of the cast quite quickly, being in L.A. at the same time they are. I don’t know if we will join up with them or pursue his own path, but he definitely will not remain outside of the circle. The question is, will he have power to help them? And what insights might he offer into what is going on?

Lastly, TOUCH has added a true face of evil in Guillermo Ortiz (Said Taghmaoui, Lost). Ortiz is traveling the globe, slaughtering people who know about the number sequence. We don’t yet know what his motivation is, though there are hints in his physical appearance, nor do we know what his end game might be. However, it does seem like his negative emotions about what he’s doing, which are present, are not enough to sway him off the course, so he could end up being quite a danger to the protagonists, since he cannot be reasoned with or moved by sympathy.

All in all, TOUCH’s season two ups the ante and makes the latest installments more exciting by shrinking the world in which this tale unfolds. I am curious as to if this is a trend that will continue more and more as the show goes on, spiraling towards an impressive climax. At least, that’s what it appears should happen at this point.

TOUCH airs Fridays at 8 p.m. ET on FOX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter.

Touched by Touch

     FOX presented a very special preview episode of Touch last night, two months before it officially joins the network lineup. In the "Pilot," widower Martin Bohm (Kiefer Sutherland, 24) is working a low paying job, struggling to make ends meet, while caring for his autistic son, Jake (David Mazouz, Amish Grace), who, by the way, doesn't talk, nor allow even his father to touch him. When Jake repeatedly runs away from his school to climb a cell tower, social worker Clea Hopkins (Gugu Mbatha-Raw, Undercovers, Doctor Who) shows up to remove Jake, at least temporarily, from the home. But soon both Martin and Clea are drawn in by the mystery of Jake's numbers, which leads to some remarkable connections. Martin follows those, and when his actions result in kids' lives being saved, he becomes a true believer.

     "A believer of what?" you might ask. Well, that's complicated. Basically, the theory set forth in Touch, and explained to Martin by the series's mysterious fourth main character, Arthur DeWitt (Danny Glover, Lethal Weapon, Brothers & Sisters), is that everything in the world is connected. Not only that, Jake is part of the next stage of human evolution. Jake can see all of these connections, and it allows him to understand what is going to happen. It's not predicting the future, but rather, having a clearer understanding of how the world works. Unfortunately, being mute is a side effect that prevents Jake from acting on this knowledge, so Martin must pick up on the clues and do the hard work for his son.

     While, in terms of realism, Touch stretches things just a bit, the emotional impact of this show cannot be overstated. Sutherland is fantastic as Martin, and other than at the beginning of the episode when Martin is informed that Jake has left the school, and dad gets upset, there are few echoes of Jack Bauer. For instance, Jack Bauer would never be afraid of heights! Viewers will really feel the affection Martin that has for his son, as well as his frustration at not being able to connect with him. Add to that, Martin's wife died on September 11th, and the whole nation will remember and feel his pain. Martin is in a nearly impossible situation, and the way in which he deals with his life is nothing short of heroic. Being given this purpose, as difficult as it may pan out to be, is kind of like a reward for all of the suffering Martin has been through, tangible proof that his efforts have paid off.

     In "Pilot," things get personal for Martin when Jake's numbers keep leading dad to run into a grumpy man (Titus Welliver, The Good Wife, Lost, Sons of Anarchy). At first, this strange guy seems to be an antagonist. But soon enough Martin learns he is a firefighter, and one who not only tried to save Martin's wife's life on that fateful day, but also pulls children from a bus. He is a hero, too, and Martin's actions lead to the latter outcome. It personalizes the mission in a way that future episodes likely won't often be able to, making for a hell of a "Pilot."

     It's wonderful that Clea gets on board with Martin so easily. Many shows would stretch out this friction to make drama, keeping Martin fighting with her. But in finding an ally for him and his son, Martin's job gets a little easier. And Martin has suffered enough, he doesn't need any further problems. Look for Clea to get more personally involved soon, cementing her role in Touch.

     There are other things going on in the "Pilot," though, that don't seem to have a lot of connection to the main plot, other than the central role of cell phones. A woman trying to make it as a singer sends videos of herself out on cell phones, aided by a friend. The video gets onto a father's, which he loses, and it also has pictures of his young, deceased daughter. The father desperately tries to get his phone back, and it ends up on a suicide bomber in the Middle East. Luckily, the bomber just needs an oven for his family, the father is a restaurant supplier, and they end up both connected to an operator, who happens to be the singer, during a crucial moment. How this connects to Jake and Martin is circumspect, but it's an inspiring, uplifting tale.

     In all, Touch really hooks viewers in with one of, if not the, the best pilots of the season, even with the few leaps people will have to make to enjoy it. The biggest worry here is that it is from Tim Kring, who also created the ill-fated Heroes. Fans of Heroes will remember how awesome the beginning of that show was, before devolving into something not worth watching, and getting canceled at the end of season four without resolution to a cliffhanger. Thus, watching Touch is recommend with some reservation, given that if Kring goes down the same path, an emotional investment might hurt quite a bit.

     Touch will return in March to FOX.

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

The Good Wife makes "Closing Arguments"

     For the second season finale of CBS's The Good Wife, the series combines an important case with a number of personal developments. Will (Josh Charles) works to clear a man of murder. The odds are against him, even though the prosecution has a shaky case. Alicia (Julianna Margulies) is forced to work with Kalinda (Archie Panjabi) to assisst Will, even though Alicia still isn't speaking with her on a personal level. Meanwhile, Eli (Alan Cumming) wants to move his consulting business into Lockhart / Gardner, a development that could mean a big promotion for Alicia. Cary feels frozen out by Kalinda, who has taken up with Sophia (Kelli Giddish), a married woman. And Owen's (Dallas Roberts) dinner out with the kids is interrupted by Jackie (Mary Beth Peil).


     The case of the week is more than a simple affair, as the life of an innocent man hangs in the balance. Stakes are raised for the season finale. What is interesting, and is a common occurence on The Good Wife, is that the facts of the case aren't necessarily the most important element in the jury's decision. New evidence that could exonerate L/G's client surfaces, but instead of immediately halting proceedings until it is examined, the judge tells Will he needs to get his findings in before the verdict is delivered, or he's out of luck. Bureaucracy is clearly not beloved by the writers of the series.

     The defense team are the heroes here, as they valiantly try to get DNA samples and tests done as time ticks down. The District Attorney, Glenn Childs (Titus Welliver), is a lame duck and cares more for his reputation than the truth. This is completely in character for Childs, but disappointing to anyone who believes in the American justice system. Luckily, the new DA, Peter (Chris Noth), is a bit more honest, and his new right hand man, Cary (Matt Czuchry), has also shown a willingness to let justice prevail, even when it doesn't suit them. While neither Cary nor Peter are completely noble, neither are the attorneys of L/G, so what results is a murky, yet realistic, system, that gets it right as often as it can.

     Complicating matters further is the most obtuse character, Kalinda, who has friends on each side, and who can be a wild card. In "Closing Arguments," Kalinda calls upon an old friend to assist L/G with the tests that need to be done. Sophia helps, but more out of an interest in getting Kalinda into bed than helping the client. Once Sophia accomplishes this goal, Kalinda realizes Sophia is married, something that doesn't cross her mind earlier, and she feels a profound sense of guilt. Kalinda isn't good at vocalizing these things, but Panjabi is an expert physical actor, able to show a lot with just a facial expression.

     Guilt is not an emotion often associated with Kalinda, and it seems to have come about only after Kalinda betrays her best friend, Alicia. It doesn't matter that Kalinda didn't know Alizia when she slept with Alicia's husband, Peter, because Kalinda keeps the secret these several years until it comes out on its own. Clearly, the nearly unflappable Kalinda has been deeply shaken by losing her friendship with Alicia, and an act that she once may not have thought twice about suddenly takes on whole new meaning. With Kalinda's judgment and moral compass changing, it's hard to tell how that will impact her future work, which frequently crosses a line into illegal territory.

     The love triangle between Alicia, Will, and Peter has only been danced around until "Closing Arguments," but is now erupting into full blown drama. With the Kalinda revelation, Alicia kicks Peter out. When Will wins the trial, Alicia goes with him to celebrate. Old feelings from their involvement in college resurface, mixing with alcohol consumption, and the pair decide to act on them, seeking out a hotel room. While timing has never been their strong suit, they decide that now is the right moment, and go for it with gusto.

     Some people listen to signs from the universe, and some do not. Will and Alicia fall firmly in the "not" category, at least in this episode. Everything that can delay them in getting upstairs and stripping their clothes off does occur. From a lack of rooms, to a full elevator, to all the buttons being pushed so their elevator makes frequent stops, to trouble with a door key, everything seems to point to their hookup being a bad idea. But hormones do not listen to such things, and they keep perservering until they make it into the room. The two want it to happen so badly, it must happen.

     Poor Peter, though. Sure, he has done some horrible things, and deeply hurt his marriage to Alicia. But he has also been working very hard to repair their relationship, and has shown no signs of straying recently. His help with the case, sending L/G much needed evidence, happens anonymously, and Alicia doesn't realize what Peter has done for her. Just when Peter starts to be worthy of Alicia, she moves on. His timing is terrible. However, the fact that Peter is trying so hard signals that Peter and Alicia's story as a couple may not yet be over.

     Is Will really any more worthy for Alicia's affection? After all, he is involved with Tammy (Elizabeth Reaser), and they have gotten quite serious. Will assumes Tammy has left him for a job in London because he has been too wrapped up in his case to stop her, but that is an unconfirmed theory. Will should check with Tammy before acting on anything with Alicia. Chances are, Tammy could have chosen Will over her career, and may be wondering where he is as he has sex with another woman. In this scenario, Alicia suddenly is the interloper.

     Should The Good Wife pursue this line, it may be enough for Alicia to begin to forgive Kalinda. After all, when faced with a situation of infidelity, Alicia is choosing wrong. Perhaps she can start to see things from Kalinda's point of view, instead of judging her so harshly.

     For awhile, it looks like Cary might return to the Lockhart / Gardner fold, but that is not how this season ends. Instead, Cary cannot bring himself to work with Alicia instead of having her work for him, a bit of personal bitterness that is now hurting his career, and Cary makes himself invaluable to Peter instead. This may be a sign that the DA stories are not going anywhere, since Cary remains a main character, the only one outside of L/G. Cary's continued stay with the DA office also opens up the door for more scenes for Peter, keeping him firmly in the series, even if his name remains out of the opening credits. The Good Wife likes to shake up who interacts with who from time to time, and Cary staying put introduces a new relationship that might prove quite interesting. Either Peter and Cary will bond over an anger towards Alicia, or Cary's feelings could stunt his job goals even beyond L/G.

     Eli, on the other hand, is going deeper into L/G, moving his main occupation to their offices. This is a welcome development, especially if Alicia accepts the liason position, because Margulies and Cumming have impecable chemistry. She brings out the best in him, and their interplay during Peter's campaign provides some of the best moments of the series. Alicia resists Eli and what he represents over and over, but that only makes him more determined to prove himself worthy in her eyes. Long term, might Eli be a serious love interest for Alicia? It would certainly be a development worth pursuing.

     Most confusing is Jackie's continued presence on the show. She seems to be at an end to any real arcs when Alicia asks her not to be Grace (Makenzie Vega) and Zach's (Graham Phillips) primary caregiver any more. Alicia doesn't cut Jackie off from her grandchildren, but does reduce her role in their lives. Jackie's determination to stay involved comes with a ferocity that is surprising. Inviting herself along to their dinner out, one which Alicia misses so she can get it on with Will, only further strengthens Jackie's ties to the kids, while weakening Alicia's. What is shaping up is a very interesting battle for hearts, if not custody. Jackie is poised to create some major waves in Alicia's home life.

     It is disappointing there is no big reason to talk about Diane (Christine Baranski) in a review of "Closing Arguments." Diane is one of the best written characters on the show, but rarely gets strong, independent stories. She has had one love interest, but her firm political games involve Will and others, and she argues fewer cases than the other primary attorneys. Hopefully, going forward, The Good Wife will find more reasons to feature Diane. Baranski is proving formidable all over again, a career renaissance, and deserves good material.


     The Good Wife will get a third season, returning to CBS this coming fall.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To buy The Good Wife DVDs, please click here.

Article first published as TV Review: The Good Wife - "Closing Arguments" on Blogcritics.

Lost: Ab Aeterno

     This week's episode of ABC's Lost was called "Ab Aeterno", which translated to English means 'from the beginning of time'.  This was highly appropriate, as it was a very heavy mythology story.  Almost the entire installment was dedicated to the long awaited back story of Richard Albert (Nestor Carbonell).  As previously suspected, he did arrive on the island on The Black Rock, an old sailing ship.  It was revealed that he actually got there in 1867, and why he still looks the same as he did back then.

     The episode was also heavy on plot between Jacob (Mark Pellegrino) and the Man in Black (Titus Welliver) who have been on the island for a very long time, seemingly since the beginning of time, if the episode title is to be believed.  The big reveal here was why people were brought to the island, and to confirm that perhaps some castaways died when they made the right choices and atoned for their sins.  But this one was about Richard, and most of the Jacob / MIB plot was more reassuring past hypothesis than anything.  Obviously the MIB has chosen to take the form of now-deceased Locke (Terry O'Quinn).  This is just a guess, but perhaps he had to take a form other than his own to leave the island?  That's the only reason I can think of, besides O'Quinn's popularity and contract, that Welliver hasn't played him all season.  The question now is, who will step up and assume Jacob's role in the ultimate showdown between good and evil at the end of the season?  There will be another big mythology episode coming up shortly before the series finale, and presumably that one will tackle all further revelations about the duo that the series creators intend to reveal.

     That being said, we still don't know why Hurley (Jorge Garcia) can see and talk to the dead.  Obviously this is an extremely important point, and I want to know why.  My first instinct is to say that this rules him out as being Jacob's successor, but come on.  Many of the fans will be disappointed if it's Jack (Matthew Fox), thinking they took the easy way out.  Many of the fans will be disappointed if it's not Jack, because he is the obvious choice, and deserves the mantle.  Either way, it's going to be a delicate balancing act to satisfy all of the fans, though if any show can do it, Lost can.

     What's next for the Losties?  Well, obviously there is showdown of ginormous proportions coming.  It's good vs. evil.  People are choosing sides or trying to stay out of it, but everyone will be involved.  With only ten hours left, next week marks the halfway point.  And we've barely seen Desmond (Henry Ian Cusick).  Obviously, that's the real crime.

Lost: it's time to be found

    ABC took a chance five years ago on a series called Lost.  Steeped in mystery, it was the ultimate serial.  The survivors of Oceanic Flight 815 find themselves on an island, where all sorts of unexplained things occur, from a paralyzed man who can walk, to a polar bear, to a smoke monster.  Not only that, each of these castaways had a story, and each week we got a piece of the puzzle.  It was extremely popular at first, then fans tapered.  Yet, except for arguably season two, the show has only continued to get better with age, as the flashbacks became flash forwards, the Oceanic Six got off the island and returned, many of the characters did a stint in the 70's, and time became completely unhinged.  Tonight, the final season of the show begins.


     When we last left Jack, (Matthew Fox, Party of Five) Kate, (Evangeline Lilly, The Hurt Locker) and Sawyer, (Josh Holloway) the love triangle had fought, but decided to detonate a nuclear device that could possibly stop the entire series from happening.  It appears that may have worked, as the show began on a flight from Sydney to Los Angeles, the characters kept talking about how they would awake on their plane on course if it worked, and the two part premiere tonight is called "LA X".  This is great news for Sayid (Naveen Andrews), who was bleeding to death, and to Sun (Yunjin Kim) and Jin (Daniel Dae Kim, 24, Angel), a couple trapped more than three decades apart in time.  But what about the woman who actually set off the bomb and laid next to it as it went off, Juliet (Elizabeth Mitchell, V)?  Is she dead?  She is not among the principal cast for this final season.

     Of course with Lost, nothing is certain.  Many dead characters are signed on to appear this year.  This has happened plenty of time before on the show, most notably with Jack's father, Christian (John Terry, Trauma), who despite having been dead when the flight left, appeared several times on the island.  But was it him, or the mysterious Man In Black (Titus Welliver, Deadwood), who possibly can appear as dead people, such as John Locke (Terry O'Quinn, Alias), who remains a main character despite his demise?  Other deceased characters slated to appear at least once this year, although in what form is unknown, include Charlie (Dominic Monaghan, FlashForward, Lord of the Rings), Michael (Harold Perrineau, Oz), Boone (Ian Somerhalder, The Vampire Diaries), Shannon (Maggie Grace, The Fog), Libby (Cynthia Watros, The Drew Carey Show), Charlotte (Rebecca Mader, Justice), Daniel (Jeremy Davies), Alex (Tania Raymonde, Cold Case), and even Arzt (Daniel Roebuck).  Also, rejoining the cast full time is Emilie de Ravin (Roswell), whose character, Claire, disappeared without explanation at the end of season four.

     I can't end this article without mentioning the other huge plot point left hanging from last season.  Locke, or perhaps the ghost of Locke, persuaded Ben (Michael Emerson) to kill Jacob (Mark Pellegrino, Dexter).  We also found out that Jacob visited many of the main characters in the past, although as to what purpose is unknown.

    The series also stars the wonderfully talented Jorge Garcia (Becker) as Hurley, my personal favorite character.  My other favorite character, Desmond (Henry Ian Cusick) no longer stars, but will play an important role in the final season.  The show stars Ken Leung as Miles.  Joining the principal cast this season are longtime guest star Nestor Carbonell (Suddenly Susan, The Dark Knight), Jeff Fahey, and Zuleikha Robinson (The Lone Gunman).  Lost's sixth season will begin with a two hour premiere tonight at 9pm, and will air Tuesday nights through the spring.