Entirely (UN)BELIEVABLE

Article first published as TV Review: UNBELIEVABLE at Seat42F.

Warning: The following contains spoilers from the first two episodes of the series.

Recently, Netflix launched an 8-episode miniseries titled UNBELIEVABLE. Based on a true story, it tells the tale of multiple rapes that occurred a few short years ago. Taking the perspective of both the investigator and victim, it’s a slow-burn drama that dwells on the emotions involved and how complex such situations can be. It’s a deeply affecting series, and one that should help those who have been lucky enough to avoid such experiences personally better understand what can happen.

Episode one focuses almost solely on Marie (Kaitlyn Dever, Justified), a young teen transitioning out of foster care. A man comes into her apartment at night, ties her up with her own shoelaces, and does what he wants to her. Or so she says. After repeated interrogation, her story begins to fall apart, and she tells the police that she made the whole thing up. But did she?

There have been accusations lobbied against rape victims for failing to come forward or not being consistent in their stories. Marie shows us just how that can happen. A woman who has been through a traumatic experience is forced to relive it again and again, questioned until she starts to doubt her own memories, and made to feel like she’s done something wrong. Under that kind of pressure, the best of us may crack, and most of us would avoid going through it if we could. It’s such a monumental task she’s faced with, through no fault of her own, that one cannot blame her when she fails to live up to ideals.

Frustratingly, that means Marie becomes a pariah and the man gets away with it. This is not justice, nor a happy ending. This is dark, raw, and painful. Episode two picks up a short time later. Karen Duvall (Merritt Wever, Nurse Jackie) is looking into the rape of Amber (Danielle Macdonald, Patt Cake$). At the same time, Grace Rasmussen (Toni Collette, United States of Tara) works her own case. Unbeknownst to them, they are likely hunting the same criminal, and even more elusive is that it’s probably the same person that assaulted Marie.

Some of the things above are assumptions at this point, as I haven’t watched all eight installments yet, but they seem pretty clear. UNBELIEVABLE isn’t so much a mystery as it is an examination of trauma and realistic heroism while the procedures of the law take an agonizingly slow time to work themselves through. It’s not your typical crime series, but one welcome on my screen.

Dever is fantastic, as always. So are Wever, Collette, and Macdonald, as well as fellow cast members Elizabeth Marvel (House of Cards), Brent Sexton (The Killing), and Bridget Everett (Camping), among others. Kudos to whoever assembled some of the finest performers who aren’t yet household names, though a couple are well on their way. Even as the pace sometimes seems to crawl along, it’s easy to get sucked into the Emmy-deserving performances.

If I had to compare UNBELIEVABLE to another series I’d say it’s most like The Killing, though not nearly as bleak or obtuse. There is light at the end of the tunnel, if you’re at all familiar with the true story (or television formulas). Yet, it has a similar speed, letting characters breathe more than a little. The focus is on sympathetic people, not villains, so that helps, too. Whatever you think of how that show went on, the first season was fantastic, and so is this.

In fact, I’d go so far as to call UNBELIEVABLE must-see. Even were it not important to the current societal problems, it’s an acting tour de force. For either of those reasons and more, check it out, currently streaming in its entirety on Netflix.

Viewers Are HOSTAGES To Popcorn Political Thriller

Article first published as HOSTAGES Review on Seat42F.

HOSTAGES is CBS’s attempt at a drama that is a departure from the procedural, a much appreciated move. It concerns the assassination of the President of the United States, a political thriller with many moving parts and a slew of characters with dark secrets and selfish motivations. Unfortunately, built like an action movie, it falls short of its goal.

The first mistake HOSTAGES makes is starting with a tense scene, then jumping back twelve hours. As I have stated in other reviews, which is evidence that this happens far too often, this storytelling technique is done to death and should be used sparingly. It may be a quick hook, but it’s an unnecessary and unwelcome one.

Another glaring issue I have with that first scene, besides the fact it exists, is that one of the show’s leads, Dylan McDermott (American Horror Story), is incredibly obvious behind a ski mask that sports way-too-big holes. I don’t care what developments happen later in the hour to “explain” why this is OK; what it obvious from the get-go is that this show will choreograph its moves well ahead of itself, and seeing the stars’ faces is more important than logic.

These are two major complaints before the story even begins. Not a good sign, and this trend continues throughout the first installment. We learn “hidden” bits about each of the central family, but they are all easy to see coming before they are officially revealed. Music takes scenes from dramatic to overly so. The action cuts in a certain false way. A main character makes a face on television that she really shouldn’t, and should be noticed by far more people than it is intended to be.

I assume that HOSTAGES wants to be the next House of Cards or Homeland, but despite some terrific actors, it lacks the script, director, and editor to reach those heights. By playing out exactly to formula for a film in this genre, it distracts us from the good moments tucked within the larger cheese.

Things progress in a standard way. We are introduced to Dr. Ellen Sanders (Toni Collette, United States of Tara), who will soon perform surgery on the President (James Naughton, Gossip Girl). Her husband, Brian (Tate Donovan, Damages), is pretty much a caricature of a certain type of spouse, weak-willed and trying to posture to make up for it. Her kids, Morgan (Quinn Shephard, Unaccompanied Minors) and Jake (Mateus Ward, Sports Show with Norm Macdonald), seem like they are pretty well behaved, overall, as far as teenagers go, but also have a shady side.

In the real world, Brian, Morgan, and Jake probably wouldn’t have these vulnerabilities, but they need them here so that they can be manipulated. By extension, so is the viewer. If Ellen’s family were perfect, those who want to pull her strings wouldn’t have the leverage they need. Because the characters are artificially layered in terrible ways, Ellen can be controlled.

Now, HOSTAGES does seek to show Ellen can stand up for herself and will not go along with what she is supposed to do. This should anger the hostage takers who hold Ellen and her clan captive. After which, the bad guys should do horrible things to Ellen’s family. Except, that doesn’t seem to be what this show is about.

The main gang that takes Ellen is led by Agent Duncan Carlisle (McDermott). After the opening, the first time we see Carlisle, he is doing his job brilliantly, catching something everyone else misses. Since he is such a fine, upstanding FBI guy, we know he can’t possibly seem as bad as he first appears to be. The “Pilot” doesn’t get into why Carlisle does what he does to Ellen, but there is obviously more we’re meant to wonder about him, and we certainly won’t believe that he’s evil. Is he being forced to play a part, too? This is the thing that might save Ellen’s family.

Carlisle is joined by Archer Petit (Billy Brown, Dexter), Maria Gonzales (Sandrine Holt, House of Cards), and Kramer Daly (Rhys Coiro, Entourage). The latter makes the mistake of being nice to one of their hostages, which Carlisle dresses him down for, but not in a cruel way. So these are good guys?

By involving the FBI and people that don’t harm innocents, HOSTAGES wants to make viewers wonder at the real motivations behind the plot. Maybe the FBI must take out this president, as some think they did with prior ones, in the name of protecting the country. Maybe their loved ones are in danger, too. Whatever the reason, though, there’s supposed to actually be a sympathetic cause behind their actions.

I’m not saying HOSTAGES shouldn’t go for the onion-format, constantly peeling new layers. It’s just that what unfolds on screen isn’t of the quality one would expect it to be given the premise. Going just by the production, one would think Carlisle and crew were run-of-the-mill villains, which is why it doesn’t seem right that they aren’t. It’s this disjointedness that ruins this show for me.

HOSTAGES airs Mondays at 10 p.m. ET on CBS.

"The Good Parts" of United States of Tara

     Showtime's United States of Tara ends after three seasons with "The Good Parts." Not written as the series finale, the episode opens with Tara (Toni Collette) killing her newest alter, Bryce, who has already killed off the other personalities that live inside Tara's head. One might think that would be a relief for Max (John Corbett), especially since Tara plans on seeing a specialist doctor in Boston, but instead, his frustration with the situation builds until he blows his top at dinner. As Max and Tara prepare to leave town, what will happen to suddenly emotionally distant Marshall (Keir Gilchrist) hangs in the air, and Kate (Brie Larson) considers Evan's (Keir O'Donnell) invitation to move to St. Louis.

     "The Good Parts" would serve as a fine season finale, but as a series ender, it leaves much to be desired. While this season, certainly the best of United States of Tara's three, has been an amazing discovery of the trauma behind what makes Tara the way she is, it also leaves things far from resolved. Bryce's major disruption of the status quo shakes Tara into not only understanding her issues, but moving in new ways to finally solve them once and for all. Bryce's murder of Tara's alters is deeply disturbing, but it opens the door to something exciting and different for a fourth season. Definitely, progress will be made. Sadly, with Tara on her way to get help, the brief reappearance of the beat up, but somehow surviving, three main alters, T, Buck, and Alice, actually cheapens the moment. This seems like a turning point, but they reset her to square one.

     Please, Showtime, isn't there any way to reconsider? While United States of Tara may not carry the audience some other series on the network do, the writing is top notch, the acting is excellent, and the story is evolving in very interesting ways that will now never be played out. It seems a shame to cancel a show at its creative peak. Maybe allow a television movie or a few, or even a shortened fourth season to wrap things up?

     Perhaps most disappointing, had a fourth season been ordered, would have been Charmaine (Rosemarie DeWitt) and Neil's (Patton Oswalt) move to Houston. They are enjoyable supporting players, and while they may need distance from Tara and her drama for a happy ending, including an upcoming (finally!) marriage, they would have been sorely missed. Of course, now I guess they don't have to be, because the whole series will be missed. Had the series been picked up for another season, they may have moved back or taken frequent trips back and forth to keep them involved in the story. Guess that decision will never have to be faced.

     Max gets some serious development right at the end. Being married to a woman like Tara must be a serious struggle for any man, but much of what Max goes through has been kept hidden. Marshall forces some hidden disappointments to the surface with his film. Even though Max doesn't like it, much of what Marshall says rings true. Max's pain could be because his son hits too close to home. Max's dinnertime eruption in the series finale is a fine way to show how he is not as easy going as he often appears to be, and is struggling to hold it together. Further exploration of his psyche, and why he does what he does, would be welcome. If there were more episodes, which there will not be.

     Marshall also gets some intriguing growth in season three, as the death of Lionel (Michael J. Willett) spurs him to also release pent up emotions. Faced with serious loss, Marshall gets a renewed sense of today, which could be construed as a commonly used device, but in the hands of Willett, opens up whole new areas of the character. Marshall is the steady rock of the household, and his losing it helps Tara and Max see how their lives affect their children. It's a revelation that is obvious in retrospect, and worth talking about. Marshall needing some distance makes sense, and it a logical, good storytelling move. He will be available to love and help them, but he is not a care taker, and he should not be, as Max and Tara agree.

     Kate struggles with finding a place in the world throughout the series, bouncing between interests and careers. "The Good Parts" leaves her with a strong romantic bond, and a finding of responsibility. Being with Evan really seems to mature Kate, in ways she really needs to grow up. He's a great influence on her in so many ways. It's too bad there will not be a chance to explore her stephmotherhood.

     Kate and Marshall's relationship is one of the best sibling pairings on television, as they need each other more than most brothers and sisters. To see Kate step up to help Marshall the way she does is incredibly gratifying. The two are as co-dependent as Max and Tara in a totally different way that is healthy for them both. This is the factor done most correctly in the series finale.

     Yes, this review is a little truncated. Just like United States of Tara. I did it on purpose, as a tribute.

     It may be too little, too late, but if you are so inclined, I urge you to write to Showtime asking them to bring this brilliant series back. Click here for the Facebook page trying to do just that.

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

     Go to amazon.com to buy past seasons of The United States of Tara.

My Other United States of Tara Reviews:
United States of Tara "The Road to Hell..." Tara / Family / Kids
United States of Tara says "...youwillnotwin...": Tara / The Rest of the Family
United States of Tara is held together by love
United States of Crazy

Article first published as TV Review: United States of Tara - "The Good Parts" on Blogcritics.

United States of Tara and "The Road to Hell Is Paved With Breast Intentions"

     This season of The United States of Tara finds Tara (Toni Collette) dealing with her alters more directly. No longer are they just using her body, but she is communicating with them, and making agreements with them. But this week’s episode, “The Road to Hell Is Paved With Breast Intentions,” finds Tara touching on something else that may be going on. For the first time, it occurs that Tara may actually be using the personalities as an excuse, as Dr. Hattarras (Eddie Izzard) theorizes. It’s not that she is consciously doing it, but the fact that her alters begin taking over to shield Tara from her mother, Beverly (Pamela Reed), whom Tara does not get along with, is a sign.

     That does not mean that Tara is in control of the others yet. It merely hints that she may be able to control them, once she understands them better, and knows where they come from and why. While this has been an overaching theme of the series, Dr. Hattarras does a lot more to define it than Tara herself, or even Shoshanna, her psychologist personality, has. As such, Tara is actually making much faster progress than she previously has, especially in “The Road to Hell Is Paved With Breast Intentions.”

     Dr. Hattarras does not have all the answers. Not even close. He is skeptical at first that Tara isn’t already controlling her alters. Which goes to show that Tara is probably a much more severe case than most. Surely, Hattarras has dealt with others with the disorder that led him to draw the conclusions he holds. So Tara is something entirely new and different to him, an experienced mental health expert.

     At the end of the episode, Dr. Hattarras us listening to tapes of his sessions with Tara, and one piece of audio sticks out. A strange voice comes out of Tara saying “You will not win.” This is a reference back to the season premiere, when Tara faced the same phrase. What does it mean? Is it a new, unseen alter fighting against her? Or is it her, fighting against whatever caused the condition? This seems to be a whole-season mystery. The whole situation has really raised this season to whole new levels, making it far superior to the first two.

     A side plot where Dr. Hattarras tries, and eventually succeeds, in trapping a rat that has infested his office, is curious. Is the rat a methaphor for Tara’s condition? It proves elusive and grates at him, and then, all of the sudden, he understands it? Perhaps it is just a silly gag, but that seems unlikely.

     How important is family? In this week’s episode of Showtime’s The United States of Tara, “The Road to Hell Is Paved With Breast Intentions,” Neil (Patton Oswalt) calls his mother-in-law, Beverly (Pamela Reed), who is estranged from her daughter, to reconnect with the family. Neil’s motives are not pure. He and Beverly’s daughter Charmaine (Rosemarie DeWitt) have recently had a baby, and since Neil lost his job, his hope is that the rich Beverly will spend a bit to help them out during her stay. Unfortunately, Beverley no longer is swimming in cash, and that motive never pays off.

     It may seem callous of Neal to invite Beverly just for that reason, but Beverly spent many years lying about very important things to her family, and may be part of the reasons that her other daughter Tara (Toni Collette) developed multiple personalities. Because of that, Tara and Charmaine have cut their mother out of their lives, much to Beverly’s chagrin. Is it wrong to use someone when they don’t deserve your respect and love?

     Beverly realizes immediately why Neil has called her, but decides to go anyway, without telling anyone the truth. She just wants to meet her infant granddaughter. The debate here is, is Beverly just as manipulative and conniving as she was, or does her desire to know her daughter’s child supersede the not-so-nice way she goes about it? This isn’t easily answered, as both sides of the disagreement have valid positions and arguments.

     Personally, I am always for the importance of family, and despite the bad things that Beverly did, she should be in her daughters’ and granddaughter’s life as much as possible. That’s why it is so sweet that Tara decides to reach out to her mother as part of her therapy. Perhaps Tara is dealing with the difficult Beverly for somewhat selfish reasons, but at least they are renewing their relationship. That is something to be thankful for.

     This week on Showtime’s The United States of Tara, Tara’s (Toni Collette) kids, who aren’t yet quite adults, continue to forge their own paths, as their parents are too busy to offer much guidance. It’s resulted in a situation where both Marshall (Keir Gilchrist) and Kate (Brie Larson) have made some not-so-wise choices. In “The Road to Hell Is Paved With Breast Intentions”, this continue to act on following the decisions they have made.

     Kate is now a flight attendant, which is the latest in a long line of attempts to figure out who she is. It is not likely that Kate will stay a slight attendant very long, as nothing else she has done ever sticks either, no matter how much she initially likes it. While Kate is still young enough to make some mistakes, and search for her calling, she does need to spend some serious time considering, instead of jumping wildly from one thing to another without forethought. Otherwise, perhaps Tara isn’t the only crazy lady in the house.

     Daughter Kate also spends time flirting with a passenger. After subtly being rejected by him, she asks him out directly, to which he also lets her down. While Tara’s motherly advice to go for it may have been good given the facts that Tara knows, Kate could have predicted what the passenger’s response would be, given his behavior. And after such a brief meeting, why is she so smitten? It continues her pattern of obsessing over things she knows little about.

     Marshall, on the other hand, who always did carefully consider things, is now also acting on impulse. After a threesome instigated by Marshall’s boyfriend, Lionel (Michael J. Willett), Marshall ends up kissing the third party, Noah (Aaron Christian Howles, Swingtown). Lionel dumps Marshall when he finds out, and Marshall and Noah immediately begin seeing each other.

     While Marshall’s unhappiness with Lionel is relatively clear, especially when Marshall admits that part of the reason they are together is because of lack of choice, he is going about things all wrong. It would be out of character for Marshall to cheat, except, he is a teenager who recently first experienced physical love, and he is pursuing the guy he wants at the time. Hormones and lust can cause people to behave illogically, and Marshall has subcumbed to that.

     In this week’s episode, Marshall and Noah look at home movies, and discover a real love between Tara and Max (John Corbett) that is not exactly what Marshall is used to seeing. What he now realizes is that his parents have a real, loving, stable relationship based on deep emotions, not just physical attraction. Despite Max and Tara’s problems, they have a strong marriage. Hopefully, Marshall will use this new realization in his own love life, and stop acting so stupidly.

     United States of Tara airs Monday nights at 10:30 p.m. ET on Showtime.

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

     Go to amazon.com to buy past seasons of The United States of Tara.


 My Other United States of Tara Reviews:

United States of Tara says "...youwillnotwin...": Tara / The Rest of the Family

United States of Tara is held together by love

United States of Crazy

United States of Tara says "...youwillnotwin..."

     Lots of changes are occurring as United States of Tara begins its third season on Showtime. Season two ended a number of subplots pretty completely, so it's time to move on, though some of the new directions may take some getting used to. The biggest change may be the abandonment of the theme song, at least in the season premiere. It needs an update if they're going to continue to use it, anyway. Also, it appears that several minor characters are gone, quite possibly for good, while others are entrenching themselves even more firmly into the cast. As such, new dynamics are solidifying. Unlike other shows, I often feel United States of Tara is still finding its way, even three seasons in. However, that's part of the fun, as the series's story is as up and down a roller coaster ride as the character of Tara (Toni Collette) is, so it's not a bad thing, as it would be elsewhere.

      Tara has decided to go back to college, always having regretted dropping out just a few courses shy of a degree. Neighbor Ted (Michael Hitchcock) makes a call and gets her accepted into the right program, but she soon hits a snag when a class she needs is full. Appealing to the grumpy Professor Harris (Eddie Izzard) is partially successful, as he agrees to let her in - if he's impressed with an essay she writes. Unfortunately, as Tara sits down to write, she discovers it is much harder than she expected it to be.

     Meanwhile, Tara's husband Max (John Corbett) isn't very happy with her decision. It's not that he wants to hold her back, but she dropped out the first time, years ago, because she tried to kill herself. Max is worried Tara's current stresses, including recently finding out about childhood abuse, will drive her to do something dangerous again. He's not wrong, as Tara soon puts a knife to her wrist while struggling with the assigned essay.

     But this time, Tara's four main alter personalities - Buck, Alice, T, and Shoshana (all also played by Collette) - arrive to help her, convincing her to put down the weapon. Shoshana offers to come up with the prose, while Tara types, Alice pours Tara tea, Buck rubs Tara's shoulders, and T, well, tries not to get in the way. This is an unexpected turn; quite a surprise. Up until now, Tara's personalities have appeared to cause her problem after problem. Obviously, they hold they key to Tara getting better and overcoming her disorder, but they have gone about their business in a chaotic way, never in one that is blatantly useful.

     Has Tara finally accepted them enough to embrace them as a part of her? Or perhaps there are less secrets that need revealed now, so they can act in a manner not so obtuse? I'm not so sure this will be a permanent change, as Buck does take over Tara's body at the beginning of the episode to look for Tara's missing brother. Perhaps a balance can be found?

     Charmaine (Rosemarie DeWitt) is left at the altar last season, and is now determined to be an independent woman. As long as that independence allows her to rely almost entirely on Neil (Patton Oswalt), who buys her groceries, pays her bills, and paints her toenails. Oh, did I mention that Charmaine is pregnant with Neil's baby, and he is not the one who left her during the wedding? Neil wants to make things more official, and proposes, but Charmaine turns him down. Neil continues caring for her, even as she fails to appreciate him. However, Neil does eventually get more forceful after not being there during Charmaine's false labor, and insists on moving in. She relents to that, at least.

     These two have been in a delicate dance for years, and it's nice to see some forward momentum. Charmaine is damaged, like her sister Tara, but has different ways of coping. One way is clearly to push Neil away verbally, even while depending on him heavily. Neil is much more patient than most men would be, and the two share genuine affection. At first, I assumed Charmaine didn't want Neil because she is shallow. Now, I think the situation is much more complicated than that. I hope that Charmaine will eventually marry Neil, but what it will take to get her to that point is unknown at this time.

     Tara's daughter, Kate (Brie Larson), is learning a valuable lesson many young people are probably repeating all over the country. She seeks employment, but is haunted by her past, namely, sitting on a cake in a sexual manner, something readily searchable on the internet. There is some debate as to how a whole generation of internet exhibitionists will be affected in the long-term by their lack of discerning judgment. I personally feel like so many people post their whole lives that it will matter less and less as time goes on. The writers have chosen the more immediate option, though, and Kate will have a very hard time getting a job in any industry but one where morals are loose.

     Kate's brother, Marshall (Keir Gilchrist), is also dealing with contemporary issues. He is in a relationship with Lionel (Michael J. Willett). Lionel doesn't like labels like "boyfriend," though Marshall is more traditional. Well, as traditional as a homosexual can be, considering gayness is not usually thought of as traditional. I know marriage is trending towards later in life, if at all, and many couples rebel against convention. I find myself in Marshall's camp, however, it's hard to know what the new norm will be in a couple of decades. Is this a cycle, that will someday swing back more conservatively? Or is this a new trend that may lead to the end of marriage as we know it?

     See? United States of Tara is educational and thought provoking, as well as entertaining. You should watch it when it airs Monday nights at 10:30 p.m. ET on Showtime.


Article first published as TV Review: United States of Tara - "...youwillnotwin..." on Blogcritics.

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

Click here for an alphabetical list of all of Jerome's Current Season Reviews.

My Other United States of Tara Reviews:
United States of Tara is held together by love
United States of Crazy

The United States of Tara is held together by love

     Showtime's United States of Tara ended their second season with "From This Day Forward" this week.  If I can some up the change from season one to two it is this: the second season focused more on Tara (Toni Collette, Little Miss Sunshine)  than her personalities.  This was a good thing.  Season one was lots of fun, watching the crazy woman who could turn into Alice, Buck, T, or even Gimme at any time.  And sure, there was some delving into her past to discover how she got the way she is.  But now the focus is on Tara's growth and acceptance, and why certain personalities are.  Adding Chicken and Shoshanna, two new alters, into the mix, revealed more about the woman than the new characters.  And we got a lot more background on how Tara grew up.

     That wasn't the only thing that was different, though.  Tara's family got much more interesting.  Marshall (Keir Gilchrist) accepted who he was, and figured out just what kind of gay he was going to be.  Max (John Corbett, Sex and the City) cheated on his wife, and had to figure out all over again how he fit in with the alters.  Kate (Brie Larson) had her own awakening, and was once again unlucky in love, despite her sincere efforts and hopes.  And my favorite of the bunch, sister Charmaine (Rosemarie DeWitt, Rachel Getting Married) was left at the altar by her fiance, who just wasn't right for her, allowing her to stop trying to be normal and follow her heart back into the arms of true love and father of her unborn child, Neil (the incredibly talented and sweet Patton Oswalt).  Or so it appeared.

     The season ended with many more questions than it began with.  Who was Tara and Charmaine's half brother?  What exactly did he do to them?  Why is Tara the only one with split personality?  What effect did it have on Charmaine?  It may be too late to get all the answers, with their mother still being defiant, and their father slipping into Alzheimer's.  Will Tara begin getting better as more is revealed, or will she keep splitting into more people?

      One thing was not left up in the air though.  The series is about a devoted family who love each other very much.  Whatever issues they go through, they will support each other, and come through them.  Not in a soap-opera cheesy way, but in an authentic, caring way.  The show is realistic, despite being about an unusual topic, and sheds light on well defined characters, played by an amazing cast.  I look forward to season three next late winter / early spring.

United States of crazy

     United States of Tara returned to Showtime last night to begin its second season.  Centering on a woman with multiple personalities, it tells the story of a family and their struggles to get through life.  Tara is played by the superb Toni Collette, as are her alters, Alice, Buck, T, and Gimme.  Word is there will be a new alter soon, known as Shoshanna, a therapist.  Shoshanna was not to be seen in this first episode of the season, but the groundwork for her appearance was laid.

     As the episode begins, Tara has gone for three months without any of her other personalities asserting themselves.  This follows her stint in a heavy therapy situation where she sought, and failed, to discover the trauma that made her who she is in the first place.  However, by episode end, Buck made a come back, and began to woo the lovely Joey Lauren Adams (Chasing Amy), a barmaid (see picture).  How this will affect Tara's relationship with her husband, Max (John Corbett, Sex and the City) is anyone's guess, but I'd bet he'd be happier than if it was any of her female alters taking up with a new man.

     Tara's kids are also a major draw.  Unlike in other dramas, they are utilized as full characters in their own right, with intriguing plots.  Daughter Kate (Brie Larson) is done with her sexual harassment suit attempt and has switched her manipulative skills to debt collection.  Son Marshall (Keir Gilchrist) has seemingly embraced his gayness in public, though that will be tested soon, and forgiven his mother, or rather T, for stealing his guy.  Equally fascinating, though not a child, is Tara's sister Charmaine (Rosemarie DeWitt), who after her boob job was corrected, finds herself torn between a dreamy guy who wants to marry her, and Max's portly friend Neil (hilarious, but also good at drama, Patton Oswalt).

     Bottom line is, there is plenty of crazy coming out of Tara and her crew, and I'm surely not going to miss a second.  United States of Tara airs on Showtime Mondays at 10:30pm.

2010 Golden Globes results

     Ricky Gervais (the British version of The Office, Extras) hosted the 67th Golden Globes, the first host in fifteen years for the ceremony, and to no one's surprise, knocked it out of the park.  He started strong with an opening monologue mocking Steve Carell, NBC, Jay Leno, and cosmetic surgery, praising actors like Hugh Laurie (House) and Kiefer Sutherland (24), and pushing his Office DVDs.  The only sad part of Gervais's performance was how short it was.  Not allowing him more screen time was what hurt the Globes the worst.  Sir Paul McCartney wins for second funniest man of the night, when he said that cartoons aren't just for kids any more, but also "drug-taking adults".

     Some of the awards went to exactly who they should have gone to.  Glee won Best Musical or Comedy series, and hands down, it was the front runner.  The brilliant freshman show proves that geeks are definitely in vogue, and winners to boot!  Drew Barrymore, while having an unnecessarily long speech, came off sweet and sincere for her win portraying Little Edie in Grey Gardens.  Having finally seen the performance a few days ago, it was well deserved.  The series itself won, as I predicted it would.  Toni Collette certainly deserved an award, though I did not recommend her in my original picks. This was because I hadn't yet seen the show, but now I have, and I was blown away. My problem was which one she was given - Best Actress in a Comedy. United States of Tara is much more drama than comedy, but she is amazing in it, so I will overlook the gaff.

     Others were mistakes, at least in this reviewer's opinion.  Why, oh why, does Mad Men keep winning best series?  I tried to watch it.  I stuck with it for seven episodes.  It was incredibly boring.  Guess it's time to give it another chance, since it even beat True Blood.  And while I dearly love Alec Baldwin's performance in 30 Rock, there are other deserving actors.  He shouldn't keep getting the awards year after year.  I haven't yet seen Big Love so I shouldn't jump all over Chloe Sevigny taking the best supporting actress awards, but Jane Lynch is just so perfect in Glee that I can't help it!  Maybe supporting actor and actress need to split into Drama and Comedy categories like the other awards.  Next year, Jane Lynch!

     Other television winners included Michael C. Hall (Dexter) for Best Actor in a Drama, Julianna Margulies (The Good Wife) for Best Actress in a Drama, Kevin Bacon (Taking Chance) for Best Actor in a Miniseries, and John Lithgow (Dexter) for Best Supporting Actor in a Miniseries.

     On a slightly more sober note, many of the stars wore red ribbons to the event in support of the tragedy in Haiti.  People all across the country, and the world, have contributed to relief efforts.  Even in Lexington, there is something you can do.  The easiest thing is just to give money.  To donate, please visit www.redcross.org or text 'Haiti' to 90999 for ten dollars to be added to your cell phone bill.